Harivansh rai bachchan biography in pdf download

  1. बसेरे से दूर by Harivansh Rai Bachchan
  2. मधुशाला – हरिवंश राय बच्चन | Madhushala by Harivansh Rai Bachchan Hindi Book PDF Free Download
  3. Sopaan - Harivansh Rai Bachchan
  4. Biography Newsletter

Harivansh Rai Bachchan पीडीऍफ़ पुस्तक – कविता | Soot Ki Bhala: by Harivansh Ray Bachchan Hindi PDF Book – Poetry (Kavita) autobiography. 19 मार्च Download Madhushala by Harivansh Rai Bachchan Hindi Book PDF free available here. मधुशाला - हरिवंश राय बच्चन पुस्तक मुफ्त. Harivansh Rai Bachchan, was an Indian poet of the Nayi Kavita literary movement (romantic . Archived from the original (PDF) on 15 November Retrieved 21 July ^ Jump up to: West-Pavlov, Russell (). The Global South and Literature.

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Harivansh Rai Bachchan Biography In Pdf Download

of 31 results for Books: Harivansh Rai Bachchan. Skip to main search results . Kya Bhulu Kya Yaad Karu (Bachchan Autobiography). by Bachchan and. Results 1 - 16 of 17 Kya Bhulu Kya Yaad Karu (Bachchan Autobiography). Rs .. See search results for author "Harivansh Rai Bachchan" in Books. Nisha Nimantran - Harivansh Rai Bachchan. Identifier: NishaNimantran- HarivanshRaiBachchan. Identifier-ark: ark://t5fb8m28w.

Price: Rs Pages: Amitabh Bachchan must be just about the most infuriating person to interview. Peel off one veneer and there's another right beneath. Coax, cajole, humour or provoke to kingdom come but the lanky legend rarely lets his mask slip. Nor does that famous from-the-soul voice rise a decibel. Obviously the anger he incarnates on screen isn't allowed off it. Ask a personal question and an iron curtain comes up.

The actors are conspicuous by their absence. As are his friends. Surprisingly, the nuggets come from Raakhee. Bachchan's co-star in Bemisal also talks about how good a son the actor is - he wrote to his mother every day he was on location. There's a long interview with Rekha who gushes about him, cautiously. Bunged in as well are fact sheets about his life and career.

बसेरे से दूर by Harivansh Rai Bachchan

In other words: everything you want to know about Bachchan but didn't know where to look. And sometimes what you don't want to know: tedious passages and quotations about how he cleared his name after the Bofors incident.

However, the book is a goldmine for a Bachchan biography. It is a pity Somaaya hasn't distilled her efforts into one. She had the access: Jaya Bachchan has given fascinating insights about her husband. Underneath the sophisticated surface is a conservative, contradictory, often tortured persona. He touches his parents' feet everyday, his younger brother Ajitabh used to touch his.

As Jaya puts it, "The decorum of the older and younger is maintained. He blew a fuse when his wife and daughter cut their hair.

He is a fussy eater, likes his wife to serve him food and wants everything to be perfect in the house. During his hibernation after Khudah Gawah his preoccupation with perfection on the sets was transferred to the home. He would take the dhobi ka hisaab and wince if the cushions were out of place.

Bachchan also comes across as a moody introvert. Talking about herself and her son Abhishek Jaya observes: "We show everything on our face, not Amit. He festers wounds. PanditAnup Sharma 'Anup' seemed a clown in conversation,but became a lion when recitingkavitt,not speakinghis lines but roaringthem.

A verse of hersis citedlater in thispaper. The audi- ence was enraptured,thoughmanyperhapsdid not understandwhat this 'house of wine' was all about. Somebodyhad complainedto Gandhiji that the Conferencehe was chairingwas glorifying the consumptionof alcohol. I was summonedto see Gandhijione nightjust beforea midnightmeeting of the executivecommittee.

Even people anxious to meet Gandhiji were not gettingappointments, so I feltbothhappyand a littleapprehensiveat being called; if he said thatI shouldnot reciteMadhushalaor shoulddestroy it, howwould I be able to refuse?

मधुशाला – हरिवंश राय बच्चन | Madhushala by Harivansh Rai Bachchan Hindi Book PDF Free Download

Gandhiji mentionedthe complaintand asked to hear a fewverses. I adopted a certaincaution in my choice of rubais,selectingthosewhose symbolicmeaningwouldbe readilyaccessible to him: Now steps the drinkerfromhis home, The drinkinghouse his eager aim; 'Whichpath to take? The passers-bygive thisor that Advice,but hearkennow to mine- Take any road you like,myfriend, You'll findforsure the House ofWine.

By mosque and templeall's divided, All is either'mine' or 'thine'; But feudsthusforgedare all at last Forgottenin the House ofWine. He had his meeting to go to. This was the firstand last occasion on whichI sat in close proximityto Gandhiji. Another example of a verse retained in the translation is from Bachchan's Allahabad schooldays, when the children were made to sing a four-linehymnextended by an additional line declaring fealty to the imperial throne.

This particular passage turned out to be a translator's dream, because the quoted verse was followed by the 12 m W'r, ,4. Here then was an invitation to write bad English poetry in the interests of faithfulnessof translation. Oh Lord,whoyieldsall bliss and joy, praygrantus wisdom'sgift; and all ignoblevices' burdenfromus swiftly lift; Grantus refugesafe and sure,on virtue'spath proceeding; Faith-protecting,celibate,to strengthand truthacceding.

Long lifeto George the Fifth,our king:God, kindlyhear our drift. His grandfather had copied out in manu- script the text of the verse dictionaryKhdliqbarf optimisticallyattrib- uted to Amir Khusrau , and this was entrusted to the young Bach- chan when he began to learn to read.

None of the titles from the four Hindi volumes was appropriate for the consolidated version, so a new one had to be sought elsewhere.

The half-line 'In the afternoon of time' in an autobiographical poem by R. Hearing the suggestion,Dr Bachchan thoughtfora moment,smiled,and said, 'Bahutacchdhai-I like it! A furtherdecisionwas thatthe transla- tionshouldfollowthe usual Englishconventionofbeingdividedinto chapters,unlikethe originalHindi whose narrativewas punctuated bynothingmorethanthe occasionalline-spaceat pointsthroughout the fourvolumes. The narrativeshape of the booksuggestedits own logical breaks as a basis fordeterminingchapterboundaries,with chaptertitlesderivingstraightforwardly fromthecontentofthetext.

The firstdifficultyin the actual processof translationwas to find an appropriateEnglishstyleto suggestthe qualities of Bachchan's Hindi. His languagedrawsfreelyon numerouscomplementary regis- ters: the scholarly,with its high-flown Sanskriticvocabulary;the domestic,oftentingedwiththeAwadhicoloursofeasternU. But rathersay:In theafternoon oftime A strenuous familydusted fromitshands Thesandofgranite, andbeholdingfar Alongthesounding coastitspyramids Andtallmemorials catchthedying sun, Smiledwellcontent, andtothischildish task Aroundthefire addresseditseveninghours.

George Macbeth ed. The italicsare original. See also the editor'sbiographicalnote on p. What kind of voice should be adopted for the book? If authorial authenticitywas the catchword,then the English of Bachchan's own Cambridge Ph. What was needed was to create an idiomatic English voice, while not stray- ing into stylisticterritorywhich Bachchan himself would find unfa- miliar; thus one had to forge a reproduction which would remain faithfulto the flavourand spirit of the Hindi, while also being suffi- ciently readable to sustain the interest of an English readership.

Some initial draft paragraphs revealed too closely the surface topo- graphy of the Hindi syntax; others strayed too far from the Indian cultural context, and seemed to invent a completely new text only distantly connected to the original-rather as though a plate of jalebis had been translated into a bowl of plum pudding.

Revision of the draftsattempted to steer clear of both extremes, often finding that translation necessitated a change of imagery: a bhfgibillr or 'drenched cat' might become 'as timid as a mouse' without major damage to international understanding. The easiest end of the spectrumwas where Bachchan's Hindi itself showed the presence of underlyingEnglish syntactical patterns and cultural references.

The clearest examples were in describing such English-medium events as a speech made by Dr P. Dastoor, a col- league of Bachchan's in the English department of Allahabad Uni- versity.

The urbane and sympatheticDr Dastoor had aspired to the vacant Headship of the English department, only to be passed over in favour of Professor S. The universityoffered Dastoor an assistantprofessorship by way of consolation.

Bachchan's narrative takes up the story: A functionwas held in the departmentto celebrate this promotion. Dr Dastoor gave a brilliantly wittyspeechwhichI shall rememberas long as I live.

He said, 'It is naturalin this busyday and age that "AssistantPro- fessor"should be abbreviatedto "Ass Professor",and if anybodyshould appear to be ridiculedby such a designationI would blame the English language and not the user of the expression. I am verygratefulthat the administration has consideredme worthyof the title "Ass Professor",but shouldlike to pointout thatthe real Ass Professoris Mr S. Deb, forit is he who will do the donkey-work of the department.

The factof the matter This content downloaded from The linguistic context in the English department at Allahabad is again illustrated in Bachchan's portrait of its most Anglophile member, Mr Dayal: Other contemporaries,albeit more recentappointeesto the department, were Mr BhagvatDayal and RaghupatiSahay 'Firaq'. Mr BhagvatDayal had been educated in Anglo-Indianschools and in England-perhaps in Oxford-the fullimpactofwhichshowedin bothhis pronunciation and his manner.

When asked his name would say 'B. We alwaysshrankfromtalking to him because halfof the Englishthat emergedfromhis cigar-or pipe- clamping lips was completelybeyond us; if that was the case with us teachers,God alone knowswhat the studentsmust have made of it. The onlypersonable to speak on equal termswas Firaq Sahib: 'Mr Dayal, I'm beginningto understandyourEnglish again, I thinkit's time you made anothertripto England'. Such arch ironies indicate a depth of connection between Bach- chan's text and the English-medium contexts being described in these passages.

Unsurprisingly,then, there are occasions on which Bachchan's Hindi itself seems little more than a quick translation of an underlyingEnglish formula,as in the example 'I wanted justice, and fast' maznyaycahtathM, aurjaldf, 2. Similarlythe expression vilvasme lend 1. ITP nf In such usages we see Bachchan's Hindi usage quite deeplyaffectedbyhis knowledgeof the language which must have been second-natureto him after manyyears of teachingand studying, not to mentionthe English-speaking context of his various places of employment.

Indeed there are occasions whereBachchan has resortto Englishwordsto fillout a sense not fullyexpressed by Hindi: un seboke ek khastarahke svad,suganmdh komaraj taknah bhalaz. Elsewhere,Bachchan'sbilingualism flavour' contributescreativelyto the Hindi lexicon,as when the alliterative compoundtuk-tark nicelyreflectsthe English original 'rhymeand reason'.

Such usages as these make the processof translationone ofre-translation,or ratherof a restitutionof the syntax,lexiconand idiomwhichunderliesthe Hindi expressions. Given Bachchan's role as a translatorof officialdocumentsfor Nehru'sforeignministry, he had a professionalinterestin theappro- priatenessor otherwiseof the neologismsthat by commonconsent were necessaryforthe developmentof Hindi, and he oftenpauses in his narrativeto ponder this or that turn of phrase.

Seeking a translationfor'bona fides'he comes up withthe nicelyalliterative nadm-kdm-dhdm, perhapsslightlyat odds withthe intentionof the ori- ginal but a convincing coinage none the less. Momentsof hilarityin the neologismfactoriesof the nationallanguageprojectweregener- ated bysuch ridiculously ponderousproposalsas vidyut prasdranyantra 'electricalbroadcastingdevice' forradio,and thechestnutlauhpath- gaminf 'ferrous-path voyager' fortrain;thesewere dulymockedby Bachchan's colleagues throughwaggishforaysinto the absurd, as in translating'neck-tie'as kantha-lafigot 'larynxloincloth'.

Another momentof comic reliefis best told by Bachchan himself: I recall anotherincidentwhenthe sub-committee on non-scientificvocabu- lary,chairedbythe poet Dinkar,was discussingthe translationof the term 'Customs House Officer'. Examples are his slightlywayward use of the This content downloaded from Such minor infelicities, togetherwith several small mistakes in the quoting of English verse, were best silently corrected in the translation.

The preponderence of rhetorical questions what could be more typical of Hindi prose style? Conversely, many aspects of Hindi idiom present real difficulties to the translator. Particular ways in which a slight modulation of word order or emphasis lend a certain shade of meaning to the Hindi sentence seem clumsy or self-consciousin their English dress. Those notoriously untranslatable emphatic particles hf and to tempt the translator to rely too heavily on the much less subtle resources of words such as 'itself' and 'indeed', which invariably bring a clumsi- ness to the English phrase; worse, they tend to transforma contem- porary idiom into a kind of neo-Victorianese.

The difficultyis to break out of the straitjacket of the source language and to produce a version which makes sense in the idiom and style of the target language. Innocent-seeming words or phrases can prove surprisinglydiffi- cult to render convincingly in English. Even such an apparently simple item as the verb sunand has no wholly adequate English equivalent: the closest, 'to recite', has too formal a connotation when the context is spontaneous and domestic.

A word frequently encountered in the prose of Hindi writers is buddhifjvf, generally rendered by the word 'intellectual'.

Sopaan - Harivansh Rai Bachchan

It may be that take-up and usage of the Hindi word has itself been influenced by the existence of its English equivalent; but whereas buddhi'fvrsits well enough in the context of a Hindi sentence the English equivalent has a pretentious ring, making 'professional' sometimes seem a prefer- able substitute. Finding acceptable equivalents for words and phrases is hard enough within a single context of usage; but when the author makes a word do double duty in two distinctive but linked contexts, the problem is exacerbated.

An example is in a passage where the recently bereaved Bachchan describes an incident with his college friend,the Hindi poet Shamsher Bahadur Singh. I rememberwalkingdownthe stairswithhim one day afterclass, whereI had been thinkingthatmyowngriefwas a barrierwhichalienatedme from myclassfellows,preventingme fromestablishinga closeness with any of This content downloaded from Some lines of Mahadevi's came to mind and I recited them to Shamsher: Withinthe ample dome of archingsky wouldI, a shredofwater-weeping cloud no merestcornerof myown enshroud.

Here's mylife'sreportand history: I'm to driftand vanishby and by. The verb umarna lacks a satisfactory in synonym English,and Shamsher'sreworkingof this final line 'mitaj cale, umarege kal! Bachchan'suse ofEnglishvocabularyembeddedwithinHindi sen- tencessometimesinvitescomment.

In a movingpassage describing his father'suncharacteristic acquiescenceto Bachchan'sliaisonwith a Christiangirlcalled Iris,Bachchanuses the Englishword'efface' in the sentence'Father had alreadydenied his own personalityfor the sake of mine: that night,he seemed to efface himselfutterly'. The code-switching has a particularlycontrastiveeffect:it leans out fromthebase languageto reacha loanwordwhose'otherness'within the sentenceemphasizesthe peculiardevianceof the situationbeing described.

The contrastis lost when the wholesentenceis rendered in English; neitheritalicizationnor invertedcommas would suffi- cientlymarktheverb. In the translationof idiom and playfullanguage there is an A typicalproblem- unavoidableloss,eitherof sense or of sensibility.

To lose the playfulsarcasm of this parallelism is to condemnthe passage to blandness;so ratherthan slavishlyfol- lowingtheexactwordingoftheHindi idiomit seemsbetterto invent a parallelword-playin English,with'urgentlyworking-or urgently shirking'.

Maintainingin the targetlanguage specificcontrastiveregisters in the source language is perhaps impossiblydifficult. An example is in Bachchan's descriptionof his encounterwith two well-known personalitiesfromIndian public life: Maulana Azad and Rajendra Prasad.

Bachchan'ssearch fora grantto fundhis longed-for visitto England and Cambridge had brought him to the seat of power in Delhi, where he first sought an audience with Azad, the Education Minister in Nehru's government;Azad's language strains at the limits of the definitionof Hindi, and begs to be called Urdu-a reminder,perhaps,not onlyof Maulana Azad's own culturalback- groundbut also of Bachchan's own Kayasthheritage.

Later in the same page, Bachchan relates his visit to an even higherauthority, the Presidentof India, and the language shiftsdramaticallyto a fluentSanskritizedregisterwhollyofa piece withDr Rajendra Pras- ad's own culturalworld. Muchofthe specialAwadhi registerof Bachchan's neighbourhoodhas had to be foregonein English:thereseems no workableway of substitutinga convincing rusticregisterwithoutgoing over the border into parodyor pas- tiche-Premchand'sGodanrelocatedin Hardy'sWessex.

Bachchan, Baserese dar 5th edn, Delhi, , p. The dialectalvoice eludes translation, but the substitution can be suggestedby the con- trastiveversions'In the mart of my loved one, I spent my soul tender',versus 'For the heart of my loved one, I spent my sole tender'-always hoping that the sympatheticreader would accept the transformation of the word'tender'fromadjectiveto noun.

Quite apart from the long spell in Englandand Irelanddescribed in the thirdvolumeof the autobiography, manyof its mostplangent momentsmake referenceto Englishliteratureor to theculturefrom whichit springs. There can be no finerexamplethantheverymoving descriptionof the illness and death of Bachchan's one-timeboss, JawaharlalNehru; the well-known storyof Nehru's last days is told here in the wordsof a close colleague.

By chance,thispassage also affordsa glimpseofBachchan'sskillsas a translatorin his ownright, forit includes his sublime Hindi versionof those famouslines of RobertFrost'spoem 'Stoppingby Woods on a SnowyEvening'that were foundlyingon Nehru'sdesk at his death.

This verse is almost as well-establisheda part of the enduringNehruvianimage as the lapel rose or the 'trystwithdestiny'speech ofAugust As soon as his healthimproved a little[Nehru]beganto workagain- probablytoo much, as though he had a sensethathistimewasrunning out.

Gillian Wright Delhi, See, for example,p. There were milesof stonesto go beforeI slept. And youcan say thatagain.

And the sleep he took on the next morning was his last. On a paper lyingon his desk he had writtenthe lines of RobertFrost: The woodsare lovely,dark,and deep, But I have promisesto keep, And miles to go beforeI sleep, And miles to go beforeI sleep.

These fourlines of verse constitute an entire course in the art and craft of translation. The Hindi poem is not a dead replica of its English model but a living expression of the feelings engendered by reading the original; it is respectful to the wording and structure of the English without being bound to it hand and foot.

The Hindi refashionsFrost by assimilating it to an Indian landscape; his Amer- ican woods, 'lovely, dark and deep', are represented in Hindi by the ban-taru,whose qualifications as gahan, saghan,man-mohak, suggest a grove on the Jumna bank, a secluded Gutagovindaarbour.

No less characteristically Indian is the use of a rhetorical question in the third line: abhfkahd aram bada. But it is in the last line that Bach- chan's skill shows most clearly: rather than dutifullyreproducing the whole-line repeat of Frost's original 'and miles to go before I sleep', he picks out just a few syllables-the alliterative collocation mfld mujhko-and achieves the climax of the poem in the repeat of these alone.

Elsewhere there are other examples of Bachchan's inventiveness in Hindi that can only be silently admired by the translator: words such as the sublimely intercultural abstract noun narvasta 'nerv- ousness' IV.

Biography Newsletter

The expression kamdnkarna 'to command' in the context of a universitytraining corps not only delivers a clear meaning through a widely understandable English loanword lightlyIndianized by dropping the final -d , but also man- ages to suggest a militarycontext throughassociation with the Hindi word meaning 'bow'. This survey of translation issues may be concluded with a final example which allows a reiteration of some of the main points.

The This content downloaded from But the passage also reflectsthe differentgenius of the Hindi lan- guage. Perhaps its most significantfeature lies in the verb ghumarna, strongly suggestive of the massing dark clouds of a monsoon sky; to translate this merely as 'to gather', dropping the meteorological reference, would be to emasculate the imagery. Then there is the question of how adequately to capture the sense of vairagya,so much more a part of an Indian world-viewthan an English one.

More con- veniently,the surreptitiousnessof the Hindi adverb corrse 'by stealth' has a closely literal parallel in English.

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