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The Turbulent Night

by Gowri Bhargav

 

๐™๐™ž๐™ฉ๐™ก๐™š : ๐™๐™๐™š ๐™๐™ช๐™ง๐™—๐™ช๐™ก๐™š๐™ฃ๐™ฉ ๐™‰๐™ž๐™œ๐™๐™ฉ( ๐˜’๐˜ท๐˜ฆ experimented ๐˜ฎ๐˜บ ๐˜ฐ๐˜ธ๐˜ฏ ๐˜ฑ๐˜ฐ๐˜ฆ๐˜ต๐˜ณ๐˜บ ๐˜ด๐˜ต๐˜บ๐˜ญ๐˜ฆ ๐˜ตa๐˜ฌ๐˜ช๐˜ฏ๐˜จ ๐˜ช๐˜ฏ๐˜ด๐˜ฑ๐˜ช๐˜ณ๐˜ข๐˜ต๐˜ช๐˜ฐ๐˜ฏ ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ ๐˜Ž๐˜ถ๐˜ญ๐˜ป๐˜ข๐˜ณ’๐˜ด ๐™๐™ง๐™ž๐™ซ๐™š๐™ฃ๐™ž ๐™›๐™ค๐™ง๐™ข)

 

She held her still born child blue black,

The quiet hamlet moaned a soft dirge,

๐—ง๐—ต๐—ฒ ๐—ฒ๐—ฏ๐—ผ๐—ป๐˜† ๐˜€๐—ธ๐˜† ๐˜€๐˜‚๐—ฟ๐—ด๐—ฒ๐—ฑ ๐˜„๐—ถ๐˜๐—ต ๐˜„๐—ฎ๐˜ƒ๐—ฒ๐˜€ ๐—ผ๐—ณ ๐—บ๐—ผ๐—ผ๐—ป๐—ฏ๐—ฒ๐—ฎ๐—บ๐˜€.

 

The dreams she had weaved during her pregnant months,

Seemed to rapidly drift away to the skies above,

๐—ง๐—ต๐—ฒ ๐—ฏ๐—น๐˜‚๐—ฟ๐—ฟ๐˜† ๐˜€๐˜๐—ฎ๐—ฟ๐˜€ ๐—ฒ๐˜…๐—ฝ๐—น๐—ผ๐—ฑ๐—ฒ๐—ฑ ๐˜„๐—ถ๐˜๐—ต ๐˜„๐—ถ๐˜€๐—ต๐—ฒ๐˜€ ๐˜‚๐—ป๐—ฏ๐—ผ๐—ฟ๐—ป.

 

The loss and pain strained her fragile heart,

Agonizedโ€“ tears gushed down her soft cheeks,

๐—ง๐—ต๐—ฒ ๐˜๐˜‚๐—ฟ๐—ฏ๐˜‚๐—น๐—ฒ๐—ป๐˜ ๐—ณ๐—ถ๐—ฟ๐—บ๐—ฎ๐—บ๐—ฒ๐—ป๐˜ ๐˜„๐—ฎ๐˜€ ๐—ต๐˜‚๐—ฒ๐—ฑ

๐˜„๐—ถ๐˜๐—ต ๐—ฟ๐—ฎ๐—ถ๐—ป๐—ถ๐—ป๐—ด ๐˜๐—ฒ๐—ฎ๐—ฟ๐˜€.

 

Ruthless was deathโ€“pleas several fell on deaf ears,

She solemnly wrapped the child with shivering hands,

๐—” ๐˜๐—ฎ๐—น๐—น ๐—ด๐—ฟ๐—ถ๐—บ ๐˜๐—ฟ๐—ฒ๐—ฒ ๐˜€๐˜๐—ผ๐—ผ๐—ฑ ๐˜€๐—ถ๐—น๐—ต๐—ผ๐˜‚๐—ฒ๐˜๐˜๐—ฒ๐—ฑ ๐—ฎ๐—ด๐—ฎ๐—ถ๐—ป๐˜€๐˜ ๐˜๐—ต๐—ฒ ๐—น๐—ฎ๐—ป๐—ฑ๐˜€๐—ฐ๐—ฎ๐—ฝ๐—ฒ๐—ฑ ๐—ฐ๐—ฎ๐—ป๐˜ƒ๐—ฎ๐˜€.

 

***

๐—›๐—ฒ๐—ฟ๐—ฒ’๐˜€ ๐˜๐—ต๐—ฒ ๐—ง๐—ฟ๐—ถ๐˜ƒ๐—ฒ๐—ป๐—ถ ๐—ณ๐—ผ๐—ฟ๐—บ

The Triveni is a form that Gulzar began experimenting with in the mid-1960s. It gets its name from the fact that it is composed of three lines. It is different from other three-line forms like the haiku and senryu, which have a fixed limit on the syllable count and in essence describe one image.

As Gulzar says, โ€œI called it Triveni because the first two lines meet like the Ganga and the Yamuna and complete a thought, it forms a poem on its own. But beneath the two there is the subterranean flow of another, the Saraswati. Hidden. Not visible to the eye. The Triveni intends to reveal the Saraswati. The third line, lost in the first two, either changes the meaning of the poem altogether, its focus, or gives it a surprising twist, in the process creating an entirely new poem altogether.โ€™

 

Examples of Triveni :-

เคœเคผเฅเคฒเฅเคซเคผ เคฎเฅ‡เค‚ เคฏเฅ‚เค เคšเคฎเค• เคฐเคนเฅ€ เคนเฅˆ เคฌเฅ‚เคเคฆ

เคœเฅˆเคธเฅ‡ เคฌเฅ‡เคฐเฅ€ เคฎเฅ‡เค‚ เคคเคจเคนเคพ เคเค• เคœเฅเค—เคจเฅ‚

เค•เฅเคฏเคพ เคฌเฅเคฐเคพ เคนเฅˆ เคœเฅ‹ เค›เคค เคŸเคชเค•เคคเฅ€ เคนเฅˆ

 

๐—œ๐—ป ๐—บ๐˜† ๐—ฝ๐—ผ๐—ฒ๐˜๐—ฟ๐˜† ๐˜๐—ต๐—ฒ ๐˜๐—ต๐—ถ๐—ฟ๐—ฑ ๐—น๐—ถ๐—ป๐—ฒ ๐—บ๐—ฎ๐˜† ๐—ป๐—ผ๐˜ ๐—ฒ๐—ป๐˜๐—ถ๐—ฟ๐—ฒ๐—น๐˜† ๐—บ๐—ฒ๐—ฎ๐—ป ๐˜€๐—ผ๐—บ๐—ฒ๐˜๐—ต๐—ถ๐—ป๐—ด ๐˜๐—ผ๐˜๐—ฎ๐—น๐—น๐˜† ๐—ฑ๐—ถ๐—ณ๐—ณ๐—ฒ๐—ฟ๐—ฒ๐—ป๐˜ ๐—ฏ๐˜‚๐˜ ๐˜„๐—ต๐—ฒ๐—ป ๐—ผ๐—ป๐—ฒ ๐—ฐ๐—ผ๐—บ๐—ฏ๐—ถ๐—ป๐—ฒ๐˜€ ๐˜๐—ต๐—ฒ ๐˜๐—ต๐—ถ๐—ฟ๐—ฑ ๐—น๐—ถ๐—ป๐—ฒ ๐—ณ๐—ฟ๐—ผ๐—บ ๐—ฎ๐—น๐—น ๐Ÿฐ ๐˜€๐˜๐—ฎ๐—ป๐˜‡๐—ฎ๐˜€ ๐—ถ๐˜ ๐˜€๐—ถ๐—ด๐—ป๐—ถ๐—ณ๐—ถ๐—ฒ๐˜€ ๐˜€๐—ผ๐—บ๐—ฒ๐˜๐—ต๐—ถ๐—ป๐—ด ๐˜๐—ผ๐˜๐—ฎ๐—น๐—น๐˜† ๐—ฑ๐—ถ๐—ณ๐—ณ๐—ฒ๐—ฟ๐—ฒ๐—ป๐˜ ๐˜„๐—ต๐—ถ๐—ฐ๐—ต ๐—ต๐—ฒ๐—ฟ๐—ฒ ๐—ถ๐˜€ ๐˜๐—ต๐—ฒ ๐—ฝ๐—ฎ๐—ถ๐—ป๐˜๐—ถ๐—ป๐—ด ” ๐—ง๐—›๐—˜ ๐—ฆ๐—ง๐—”๐—ฅ๐—ฅ๐—ฌ ๐—ก๐—œ๐—š๐—›๐—ง ๐—ฏ๐˜† ๐—ฉ๐—ถ๐—ป๐—ฐ๐—ฒ๐—ป๐˜ ๐—ฉ๐—ฎ๐—ป ๐—š๐—ผ๐—ด๐—ต

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