” a course of massages using an infusion of oils,” said Mr Nair.
“and the burst of the monsoon is the correct time to start. that is the period when body and mind heal best. to an European it may sound like quackery, but i promise it works. ”
” a course of massages using an infusion of oils,” said Mr Nair.
This illustration by artist Nana Joshi is based on the 25th verse of the Uttarmegh. (In the illustration, Nana Joshi mentions that this is based on the 23rd verse of Uttarmegh. This is because his illustrations were based on the Marathi translation of Meghadūta by Kusumagraj, in which the numbering is somewhat different.) In this verse, the Yaksha speculates that the cloud may see his wife worshipping to seek relief from their separation, or she may be drawing his portrait from memory and fancy, or perhaps asking their caged sarika bird whether she misses him too.
संस्कृत (कालिदास, मेघदूत, खण्ड २, २३)
आलोके ते निपतति पुरा सा बलिव्याकुला वा मत्सादृश्यं विरहतनु वा भावगम्यं लिखन्ती ।
पृच्छन्ती वा मधुरवचनां शारिकां पञ्जरस्थां कच्चित् भर्तु: स्मरसि रसिके त्वं हि तस्य प्रियेति ॥२५॥
English 1 (by Arun Nisargand)
When you see her she may be lost in my thoughts or may be asking the sarika in the cage: Do you miss him too? You were his favorite!
English 2 (annotated by McComas and prepared and presented by Aditya Sachan)
She will come at once into your sight, either engaged in pouring oblations,
or drawing from memory my portrait, but grown thin on account of separation,
or asking the sweet-voiced sarika bird in its cage,
‘I hope you remember the master, O elegant one, for you are his favourite; (25)
English 3 (by Mubin M.)
Thou first wilt see her when she seeks relief
In worship; or, half fancying, half recalling,
She draws mine image worn by absent grief;
Or asks the caged, sweetly-singing starling:
“Do you remember, dear, our lord? You were his darling.”
मराठी १ (कुसुमाग्रज, मेघदूत, अवृत्ती पहिली, पॉप्युलर बुक डेपो, १९५६)
दिसेल अथवा पूजन करितां भाविकतेने सती,
चितारीत वा कल्पनेतली कृष माझी आकृती,
उभी पिंजऱ्यासमोर अथवा पुसत सारिकेप्रत :
तूंहि लाडकी होतिस त्यांची, तुज होते का स्मृत ॥उत्तरमेघ २३॥
मराठी २ (डॉ. वसंत पटवर्धन, मेघदूत, अवृत्ती तिसरी, सन् पब्लिकेश्न्स, २००४)
पूजा करिता देवांची तुज दिसेल मम कांता
विरहे सुकल्या कल्पुनि मजला चित्री रेखाटिता
पिंजर्यातल्या मधुर-बोलत्या पुसेल मैनेला
आठवती का नाथ तुला गे तू त्यांची प्रेमला ॥८७॥
हिन्दी १ (रवीन्द्र कुमार दास, मेघदूत अनुवाद कविता से)
वह लगी हुई होगी पूजा में होकर जो कृशकाय विरह से
या खोई अपने भावों में हो मेरी तस्वीर बनाती
या बतियाती हो मैना से पिंजरबद्ध होकर भी मैना
मीठी बातें ही करती है ‘री मैना ! ओ री मनमौजी !
तू तो बड़ी दुलारी थी री उनकी याद सताती है क्या !’
ऐसा ही कुछ करती हो दिख जाएंगी वो …
हिन्दी २ (कविता कोश से)
हे मेघ, वह मेरी पत्नी या तो देवताओं की पूजा में लगी हुई दिखाई पड़ेगी, या विरह में क्षीण मेरी आकृति का अपने मनोभावों के अनुसार चित्र लिखती होगी, या पिंजड़े की मैना से मीठे स्वर में पूछती होगी – ‘ओ रसिया, तुझे भी क्या वे स्वामी याद आते हैं? तू तो उनकी दुलारी थी।’
(many thanks Nana Joshi)
Mausam Vigyani ka Prem Geet
Socha tha ek din baadal ban ur jaoonga,
dharti par uske chehre ki jhalak dekh paoonga,
khili dhoop mein uski mukurahtein dekh paoonga.
Yaa phir main baarish ki nanhi boond ban jaoonga,
Aur uske phool se gaal par gir jaoonga,
Ek lamhe ke liye hi sahi, par usey choom to paoonga.
Yaa phir main baarish ki phuhaar ban jaoonga,
Aur thodi der uske hoton par thehar jaoonga,
Phir usse lipat kar gudgudate huye beh jaoonga.
Yaa phir main bhaari barsaat ban jaoonga,
Aur apna sara pyar us par barsaoonga,
Aur khud hi usko pura ka pura bhigo jaoonga.
Socha tha ek din hawa ka jhonka ban jaoonga,
Aur phir dheere dheere usey sataoonga,
Apne pyar ki meethi batein uske kaan mein phusphsaoonga.
Socha tha main ek bhyankar toofan ban jaoonga,
Aur isi josh mein usey udaa le jaoonga,
Apne aagosh mein bhar ke usey, hamesha ke liye apne saath le jaoonga.
Par aphsos! Yeh mahaz mere khyal hi nikley,
Main aaj bhi dharti par khada aasmaan ko dekhta rehta hoon.
Main uske chehre ki jhalak baadalon mein talashta rehta hoon,
Main dhoop mein uski ek udati huyee muskaan dhoondhta rehta hoon.
Main baarish ki boond ka muntzir hoon, ki woh uska chumban ban ke aa jaye,
Main bearish ki phuhaar ke intzaar mein hoon, ki woh uska sparsh ban ke aa jaye.
Main moosladhar barsaat mein uske pyar ko khojta rehta hoon,
uski dabi awaaz ki talash mein main hawaaon ko sunta rehta hoon.
Main intzaar mein hoon ki toofan is kadar aur barh jaye,
Ki mujhe is dharti se udaa kar,
Hamesha ke liye uske aagosh mein le jaye
( many thanks Mangu, too good !)
and here’s the english version ……
A Meteorologist’s Love Song
I thought I would be a cloud one day,
And look to the earth for a glimpse of her face,
And spot her smile in the sunshine around.
Or I would be just a little raindrop,
And fall on her cheek,
And kiss her if only for a moment.
Or I would come down as a drizzle,
And linger on her lips,
And trickle all the way down caressing her.
Or I would burst into a downpour,
And shower her with my love,
And drench her in my care.
I thought I would be a breeze one day,
And tease her gently,
And whisper my thoughts into her ears.
I thought I would be a mighty storm,
And sweep her off her feet,
And hold her close to me, forever.
But alas! these were just thoughts,
I am still on the earth and watch the skies.
I look to the cloud for a glimpse of her face,
I search the sunshine for her fleeting smile.
I wait for the raindrop to give me her kiss,
I long for the drizzle to bring me her touch.
I seek her love in the torrents of rain,
I listen to the breeze for her whispered voice.
I await that storm to gather strength,
And lift me off this earth,
And take me to her, for eternity.
(Thanks Prof K
Prof K is Dr R. R. Kelkar, former Director General of the India Meteorological Department, New Delhi (1998-2003).
After his retirement from IMD, he had served as ISRO Chair Professor at the Department of Atmospheric and Space Sciences of the University of Pune (2004-2008).)
The southwest monsoon is commonly said to have two branches, the Arabian Sea branch and the Bay of Bengal branch.
They are complementary to each other but sometimes in competition.
If the Arabian Sea branch is very active in June, the monsoon may even reach north India via the Arabian Sea across Gujarat into Rajasthan towards Delhi.
But normally, this does not happen.
The southwesterly winds that blow across the southern peninsula make an about-turn over the Bay of Bengal and reach the northern plains as easterlies.
The monsoon advances into West Bengal, then Bihar and Jharkahnd, then Uttar Pradesh and finally comes towards Delhi and Rajasthan.
Thus over the Indian peninsula, the setting in of the westerlies in the lower levels of the atmosphere signals the arrival of the monsoon.
But over the plains of northern India, it is the setting in of the easterlies that heralds the coming of the monsoon.
The monsoon trough of low pressure establishes itself, and there are westerlies to its south and easterlies to its north.
This change in the wind direction over north India brings an end to the scorching summer when hot winds blow in from the Rajasthan desert and temperatures soar to 45 deg C or higher.
The easterlies immediately cool down the atmosphere and there is a change in the air !
There is singing and dancing, swinging on the “sawan ke jhoole”.
The “lal dupattas” and “bheegi chunariya”s go flying around.
The rivers get full and the boats and “naiya”s set sailing.
No wonder then that the wind blowing from the east or the “purvaiya” has been a favourite theme of many Hindi film songs.
In the 1994 film Hum Aapke Hain Kaun, Madhuri Dixit and Salman Khan danced a 9-0 countdown to launch the magical spell of the monsoon easterlies: “Thandi thandi purvaiya mein udti hai chunariya, hey dhadke mora jiya rama, bali hai umariya, dil pe, nahin kaabu, kaisa yeh jaadu? Yeh mausam ka jaadu hai mitwa, na ab dil pe kaabu hai mitwa, naina jisme kho gaye, deewane se ho gaye, nazara woh harsu hai mitwa…”The duet was sung by Lata and S. P. Balasubrahmanyam under the music direction of Ram Laxman.
The only other song that can match the HAHK number and whose magic is still alive, is the Mukesh-Lata duet “Sawan ka mahina” from the film Milan, released 40 years ago in 1967.
Here Sunil Dutt gives Nutan a lesson in meteorology as well as linguistics: “Sawan ka mahina, pawan kare shor… Arey baba shor nahin .. sor, sor…pawan kare sor, …jiyara re jhoome aise, jaise banmaa naache mor… Raama gajab dhaae, yeh purvaiyya, naiyya sambhalo kit, khoe ho khiwaiyya, Hey, purvaiya ke aage, chale naa koi zor…”. Laxmikant-Pyarelal’s music and Anand Bakshi’s lyrics had a power that equalled the strength of the easterlies.
The third “purvaiyya” song that is also worth listening to is from the film Anurag released in 1972.
Moushumi Chatterjee played the role of a blind girl, who longs for a companion in her dark and lonely world, someone who can hold her hand and keep her from stumbling.
Finding none, she asks the “purvaiya” to be her friend in a beautiful song sung by Lata under S. D. Burman’s direction: “sun ri pawan, pawan puravaiya, main hoon akeli, alabeli tu saheli meri ban ja saathiya…koi to ho aisa poochhe baat jo, giroon to pakad lewe haath jo, hase roye sadaa mere saath jo, soye jaage, sang dinaraat jo, aise ho Milan jaise dhoop chhaiya…”.
There are other songs like “puravaiya ke jhonke aaye, chandan ban ki mahak bhi laaye, door voh nindiya rani muskaaye…” from Dulhan Wahi Jo Piya Man Bhaaye (1977), sung by Hemalata, and written and composed by Ravindra Jain. The film Do Jasoos (1975) had one more Ravindra Jain song, which was a koli geet or fishermens’ song, “Purvaiya leke chali meri naiya jane kahan re” sung by Lata with Shailendra Singh. Another 1975 film, Chupke Chupke, had a slow number, “Chupke chupke chal di purvaiya…”, sung by Lata, under S. D. Burman’s music direction and written by Anand Bakshi. The film was a Amitabh-Jaya-Dharmendra-Sharmila multi-starrer.
In the hide-and-seek song “Bada nat khat hain yeh krishna kanhaiya, kya kare yashoda maiya” from Amar Prem (1972), Sharmila Tagore sings: “Jane kahan chhup gaya nand kishor, mud gaya kaise jaise purvaiya…”.
A subtle refernce to the turning of the wind !