Liked the poem very much- but it is very sad; could you ask the author about
the reason? He appears to be watching the things from a window of an alien
land where every sensitive person is quite likely to falls in such moods.
Cheer up Mr. P.S.Grewal you have accomplished soooooo much in your life -
your poem shows it.

Respectfully,
CP Singh
Cardiff (U.K) 15.2.04

'....there are people who are writng for their personal gains.....Janmeja Johl

Just read a letter by hon. S. Swarn Singh ji,

I have never and will never write anything that is personal enimity and unfourtunatly I have with none. The 2 persons are not on my hate list as one of them is my favourite writer too. It was just a reference. In fact there are many many more of these kind.

My purpose is just to point out that , out there, there are people who are writng for their personal gains in the grab of literature and I mean to just make others aware of it too. I am an elected secretary of Punjabi Sahit academy and I have asked for votes frome none. If I donot do my duty of weeding out bad practices (there are many) I will be failing in my commitments to all those who selected/elected me even without my asking them. The politics of votes should be shun from literary organisations, only then we can produce writers of emminance. In Punjab only there are more than 4000 persons who claim to be a writer. And there are plenty more in other parts of the world. But what are we getting out of these, is a big question.

Any way if you still feel offended, I am sorry for it.

Janmeja Johl

‘The Poet' -----a beautiful and meaningful poem, indeed.......Pritam Singh Grewal

Dear Editor,

I enjoyed reading Renu Singh’s poem ‘The Poet’. More so, because I see a wonderful coincidence that juxtaposed my contribution ‘The living poem’ with it. I am amazed to find much similarity of the phenomenon of time affecting nature and life as pictured in both the poems.

For example, ‘the leaves of fall’, ‘the pinnate of springs’, ‘summer’s knife’ and ‘A life so big so small’ in The Poet; and ‘verdant summer scene’, ‘mellowness of fall’, ‘sway of time over big or small’, and ‘a silent song to see and hear through winter long’ in A living poem.

To my mind, the frequent use of ‘When’ by Renu Singh signifies the influence of time on life of which the poet is intensely aware. Nevertheless, I do not claim to reach the depth of expression of her thought in the same way as she does.

A beautiful and meaningful poem, indeed.

Pritam Singh Grewal

'A Living Poem' by Prof. Pritam Singh Grewal, reminisces of Wordsworth & Shelley----Inderpal Singh Hans, Windsor, ON.

Dear Editor Sir,

Thank you very much for bringing us contemporary writings esp. poems like 'A Living Poem' by Prof. Pritam Singh Grewal.

The poem reminisces of Wordsworth & Shelley. It picturizes the passing phases of nature with easy grace & depicts that even sad can be beautiful- a tree denuded of leaves can still hold a ray of hope. Without saying it in words, the poet seems to leave a message that 'if Winter comes can Spring be far behind.' It hints at the end of Winter & sprouting of fresh leaves. He makes the reader conscious of quiet beauty of winter & does not ever talk of whistlig, wintry winds.

The Poet successfully makes use of poetic machinery. Alliteration & Consonance have been employed with effect. The phrases like 'penning poems', 'pages of passing breeze', 'ink from pink', 'on aging page of --', & 'to orange ranged' etc. add to internal rhythem.

Hoping to see more of such reading,

Sicerely,
Inderpal Singh Hans, Windsor, ON.

ikDry 'ilKfrI', pfrsipRk ikV kwZx df aKfVf[[[[ (qF nhIN bxdf jf irhf?)[[[[[[[[svrn isMG - amrIkf

sMpfdk jI,

keI hÌiqaF qoN jnmyjf jOhl horF df iek lyK pVHn ivc af irhf hY: 'pMjfbI sfihq dy mrfsI'

Aus ivc gwl BfvyN mrfsI kOm dy guxF qoN ÈurU kIqI hY, aYpr Gumf iPrf ky, koeI do ivakqIaF dy pfj KolHx df mMqv nËr afAuNdYY. pqf lwgf hY, ik jOhl sfihb Kud vI pMjfbI dI iksy sfihqk sMsQf nfl sMbMiDq hn. ho skdY iehnF dI AuhnF nfl iksy kfrn (Difference of opinion) hovy.

ÈFied myrI smJ hI sImq hovy. pr ijMnf vI ies lyK df mhwqv smJx dI koiÈÈ kro, nf qF ies nUM pVHn nfl koeI sfihqk rucI pYdf huMdI hY. nf hI koeI duinafvI jfxkfrI 'c vfDf huMdf hY, svfey iksy nNUM nIvF ivKfAux dy. cMgf huMdf ieh swjn AuhnF do ivakqIaF dy nfm hI ilK idMdy. ikENik afm afdmI leI qF BMbl BUsy vflI gwl hI jfpdI hY.

ies dy nfloN qF iehnF ijhy Auc kotI dy klfkfr vwloN koeI klf ikRqI vyKx ivc afAuNdI qF Xfdgfr bxI rihMdI.

ikDry 'ilKfrI', pfrsipRk ikV kwZx df aKfVf nf bxdf hovy.

iek svfl!

svrn isMG - amrIkf

“isMGxIaF leI BI aimRq dI eyho rIiq hY” ---mhfn kosL

sMpfdk sfihb,

ilKfrI dy iek lyKk/pfTk vloN, iswK ivdvfn BfeI kfnH isMG nfBf dI mhfn rcnf ‘mhfn koÈ’ ivwcoN
‘isMGxI’ lÌË dI pRIBfÈf lwB ky pyÈ krn dy hvfly nfl hI, iesy koÈ ivcoN hyT ilKI jfxkfrI vI imldI hY:

‘aimRq sMskfr’ dI ivafiKaf dy aÉIr ‘c Bf: kfnH isMG jI ilKdy hn-
“isMGxIaF leI BI aimRq dI eyho rIiq hY”

ardfs ivc ijnHF isMGxIaF dIaF bhfdrIaF/kurbfnIaF nUM Xfd kIqf jFdf hY, EhnF dI Xfdgfr ivc bxy hoey iek asQfn bfry pRisD koÈkfr jI ny ‘lhOr ivc siqgurF aqy ÈhIdF dy ieh pivqR asQfn hn’ aDIn ‘mhfn koÈ’ aMdr ieMj drj kIqf hY-

11[ BfeI qfrU isMG jI dy ÈhIdgMj dy nyVy hI isMGxIaF df ÈhIdgMj hY. eyQy isMGxIaF ny anyk duK shfry, afpxy bwcy toty krvf ky JolI pvfey pr ipafrf Drm nhIN iqafigaf.

pRo: pRIqm isMG gryvfl (30 jnvrI 2004)

'Kandhaan'...........is the best reflection of the writer in her.---Renu Singh

Rai Saheb,

Just finished reading Balbir Kaur Jee's di Kahani, 'Kandhaan'. I have to say that of all the other stories she has written, this one is the best reflection of the writer in her. Even though the subject has been chosen by many writers and has been explored in many different ways, her detailed expression of emotions stands out on its own. It is as if she has dived deep into the characters and absorbed it all. The words make the characters come alive in the story. The best part of the story is its continuity. At no time, the reader feels the characters jumping from one part of the story to another. The flow is there and it makes the story a very successful attempt that proves the writer's ablity to be able to say it all without marking it in black and white.

Renu Singh (29.01.2004)

puryvfl jI ny bVI iÈwdq nfl supinaF qy supnysfËF dI dunIaf dy nkÈ AuBfry hn--pRo: pRIqm isMG gryvfl

 

awj ilKfrI rfhIN BUipMdr puryvfl jI dI ÈfhmuKI puÈfk ivc sjI pMjfbI nËm supny pVHn df mOkf imilaf. iek Éfs iksm dI KuÈI dy aihsfs dy nfl nfl XfdF dy KËfny ivcoN Aus mOlvI jI dy nkÈ vI Ëfhr ho pey ijhVy loar-imzl jmfqF nUM AurdU qy ÌfrsI pVHfieaf krdy sn. Aus buinafdI qflIm dI bdOlq hI AurdU jF ÈfhmuKI awKrF rfhIN nËm jF nsr df Ëiekf vI kdI cwK skIdf hY.

puryvfl jI ny bVI iÈwdq nfl supinaF qy supnysfËF dI dunIaf dy nkÈ AuBfry hn.vMn suvMnqf Bry supny pRymIaF dy, ienklfbIaF dy, rfj-gwdI leI qVPidaF dy, srhwd dI qrP jFdy, DfhF mfrdy supny vgYrf. ÉuafbF dy axgOly qy nfËuk aflm – ‘supny df kI hY, jy kql huMdy hn qF kI; supny qF ryqy dy GrF ivc vsdy hn’ – nUM Èfier ny drd BrI hsqI idqI hY.

kwcy GVy qy qrdI suhxI aqy bflU ryq Auqy sVdy pYrIN BjdI swsI df pMjfbI acyq mn ivcoN ÉUbsUrq qrIky nfl sfkfr kIqf ibMb ÉuafbF dI hoxI ieMj icqRdf hY:

‘ikhVy GVy qy jfn zoldI
ikhVy ryq ivc pYr Bujdy
jl Ql sB iek hoey’

aihsfsF vFg supny vI muÈklF nUM jnm idMdy hn:

‘Eh ijnHF nUM supny nhIN afAuNNdy… Eh sdf sOKy rihMdy hn.‘

Èfied PONt/tfeIp dI AukfeI kfrn, keI spYilMg suDfeI loVdy hn ijvyN-

sqr 4 ivc mYN dI QF ‘mYc’ ho igaf qy qoN dI QF ‘qoc’; sqr 5 ivc roNdy dI jgHf ‘rocdy’

puryvfl jI dI ieh invyklI pyÈkÈ kfbly qfrIÌ hY.

pRo: pRIqm isMG gryvfl (27 jnvrI 2004)

Surinderpal Virk writes: I tried ( real hard) to understand your definition of MAUN but....

By presenting your poetic excellence ( MAUN) to the readers of Likhari, wonder if you are open for a  healthy discussion. I tried (real hard) to understand your definition of MAUN. A few months ago, there was another similarly lengthy poem of yours,  in www.5abi.com  which was analyzed by another critic.This poem spanning over 6 pages,  is interspersed with self-contradicting  statements throughout its outlay. It is another matter, that there are a whole lot of spelling mistakes.

To me, instead of being a poem, it looks more as a (inbMD), an exercise to lump up lot of ( Fancy) Vedantic words, without a proper linkage.Without rhyming, ( the narrative as it is)  seems to have failed to precisely drive home  your central idea of MAUN,  thus being unable to grasp the reader's  interest to continue reading ( beyond a page or two)Take for instance, verses by Onkar Preet, Harbhajan Singh Bains, Prof. Garewal,  Roop Sidhu,  Randhir Singh, Surinder geet, Maqsoodpuri and others (although no comparison of construction), in reading less than a page one begins to feel that the author has been successful in drawing a reader's  attention, and  conveying his message.Though not quite related, I am sure  you are aware of the prevalent practice  (according to American writers forums) of restricting the length of a verse ( as far as possible)  within 20 lines. In other words,  unless it is a long historical narrative, (according to the present day art of poetry writing) if an author is not able to convey to the readers his view point within the first 20 lines (roughly about one page) , he better improve upon his skills.

With the beautiful collection of words in this narration, a seasoned writer could write 6 digestible texts.I understand,  the other critic's  constructive remarks failed in convincing you.It appears that you have a wonderful talent to create. You need to sharpen up the skill of presentation and precis.Hope these words are accepted in a sporting spirit.Surinderpal Virk - New York (25 January 2004)

mhfn ivdvfn BfeI kfhn isMG nfBf duafrf ricq mhfn kosL (iensfeIklopIzIaf aOP iswK iltrycr) anusfr “isMGxI" sLbd dy arQ ieh hn : 1[ sLyrxI . 2[ aimRqDfirxI iesqRI, Kflsf mq dI aOrq. ---(ilKfrI dy iewk lyKk/pfTk vloN)

Renu has made a good point that in order to learn, we should ponder over the views of others....Ch.Nijjar
Please Note: Further discussion is closed on this subject.Our thanks to all the contributors. .......Likhari

Rai Sahib,

Renu has made a good point that in order to learn, we should ponder over the views of others.
Spiritual selves have no genders as the physical selves have. For example a student is a student whether he or she.
So are the Professors. That is a Sikh is a Sikh whether male or female. So, there is no word as Sikhni or Singhni.

Chaudhry Rajinder Nijjhar (25.01.2004)

We do use the word 'Singhni' in the Ardaas---'A Singhni At Arms' is a beautiful and educating poem.----Renu Singh

Dear Rai Saheb Jee,

If the discussion is still open on the word 'Singhni' in Prof. Grewals' poem, I would like to put my two cents in too. I've been reading other reader's feedback, and I agree with Gyani Jee's and Kamaljit Kaur Sidhu's comments. We do use the word 'Singhni' in the Ardaas. I don't think I have the ability and the thorough knowledge to comment on the historically correct description of the word, but I believe that it is poetically correct. Like Giani Jee said it would be very expressionless to be written otherwise. That's the beauty of poetry. We write a plain expression in many poetical ways, yet bringing out the same meaning...only beautifying the expression.

To expressivly write about a happy moment, I make the sky smile, the moon sing and the stars dance in my poems all the time, which is so practically wrong and quiet impossible to imagine. And we all do that in one way or another. Only a poem can allow you to do that and the joy we get out of it is priceless.

'A Singhni At Arms' is a beautiful and educating poem. But, I also like to acknowledge Nijjar Saheb's feedback, which opened the doors to this meaningful discussion. I think that's what literature is all about. There is not positive or negative feedback. It's just feedback and it always brings out something to think about...something to write about.

With best regards to you and all my writer/reader friends:

Renu Singh(24.01.2004)

cODrI sfihb! koeI nvIN pirBfsLf, kyvl iek iswK kvI vwloN AusdI aMgryjLI BfsLf dI
kfiv rcnf nUM CuitafAux leI ikEN dy rhy ho? [[kmljIq kOr iswDU - amrIkf

siqkfr Xog cODrI sfihb,

afp qF sfzy bjLurg ho. asIN virHaF qoN ardfs ivc hr rojL pVHI suxIdY,

"ijMnHF isMGF isMGxIaF ny Drm hyq sIs idwqy, bwcy JolIaF ivc puafey, Drm nhI hfiraf."

ieh qusIN koeI nvIN pirBfsLf, kyvl iek iswK kvI vwloN AusdI aMgryjLI BfsLf dI kfiv rcnf nUM CuitafAux leI ikEN dy rhy ho?

eyQy aMimRq, jF AuWc dy pIr dI gwl ikwQoN af geI? quhfnUM qF KusL hoxf cfhIdY, iksy ny nvIN pIVHI nUM AuqsLfhq krn leI, iehnF mulkF ivc puMgr rhI pnIrI dI BfsLf ivc iek awKF KolHx vflI sLhIdI rcnf ilK ivKfeI.

iek skflr hox nfqy qusIN BlI BFqI jfxdy ho, ik kivqf iek ajyhf mfiDam hY, jo bwcy jldI ihPLjL kr skdy ny. aqy ies qrF khI gwl Auhnf dI isMmRqI ivc dyr qwk surKsLq rihMdI hY. ikMny ku lok ilKdy hn, ajyhI vzmuwlI rcnf? mYN qF soicaf sI, ajyhIaF ilKqF nUM afp sgoN Auqsfihq krogy.
guwsf nf kirE jI!

kmljIq kOr iswDU - amrIkf

Prof. Garewal's dealing with the account of the battle of Mukatsar ( in this narrative)  is a very interesting  educative treatise, with his eye-catching CAPTION, specially for our young Sikh readers.

Dear Editor Sahib,

Chaudhary Nijjhar seems to be a scholar of a certain degree.
But, I feel that in his criticism of Prof. Garewal's poem (his elaboration of the other aspects about
Sache Paatshah or Amrit are more a display of his knowledge of History and as such irrelevant to the text.)
The Title of  the verse ( by the author ) Singhni-at-arms, is (a beautiful adjective to the Sikh Womanhood) more in line with the metaphorical use of words like THE KNIGHT AT ARMS as prevalent in English verse.
According to him, should the author write WOMAN AT ARMS? (Which will look so FLAT )
I think,  writing the word SINGHNI, is more a matter of reverence.
It raises a Sikh woman, to the status of a TIGRESS (fearless specie - among the otherwise Moghal-time powerless Hindu community)

In my views,  Prof. Garewal's dealing with the account of the battle of Mukatsar ( in this narrative)  is a very interesting  educative treatise, with his eye-catching CAPTION, specially for our young Sikh readers.
Every one knows, the language of poetry in not always in conformity with norms of grammar.

Karnail Singh Giani

buwDI jIvIaF df isr qy hwQ rvHy qF, swc muwc hr sfDfrn lyKk vI pRbIxqf hfsl kr skdY
[[[[[[krnYl isMG igafnI

   snmfn XOg rfey sfihb,

   afp dy pfTkF dy pwqrF rfhIN, pMjfbI sfihq dy inmn iliKq isrmOr lyKkF ny myry sLbd joVF dI 'ajL-hwd' srfhuxf kIqI hY.

pRo[pRIqm isMG gryvfl,
s[avqfr isMG igwl,
s[ svrn isMG vrjInIaf

   myrf qF ' sry-qslIm-KLm ' krn nUM jIa krdY.

   'jLrfey-muafsL' dy vsIilaf sdkf sfry dUr dUr 'qy vsdy hox kfrn mn ivc kdy kdy ivgocf AuWTdY,

'ieMj duryzy vsdy swjno,
eysy gwl df sojL.
ikDry kol ivgsdy hovoN,
qwk lvF hr rojL.'

   iesy qrF hI buwDI jIvIaF df isr qy hwQ rvHy qF, swc muwc hr sfDfrn lyKk vI pRbIxqf hfsl kr skdY.
snyh!

   krnYl isMG

krnYl isMG igafnI horF dI kivqf “hfa df nfhrf” cMgI lwgI.
AunHF ny ierfk smwisaf dI gihrfeI ivc jfx dI koisLsL kIqI hY-----avqfr igwl

    krnYl isMG igafnI horF dI kivqf “hfa df nfhrf” cMgI lwgI. AunHF ny ierfk smwisaf dI gihrfeI ivc jfx dI koisLsL kIqI hY.

    afpxI kivqf ivc Auh ierfk ivc qfienfq hmlfafvr POjIaF dI mjbUrI ieMJ dwsdy hn:

lok dwsdy ny,
pwCm dI DrqI dy iehnF gwBrUaF nUM hukm hoieaY,
dUsiraF nUM njfq duafx KLfqr.
hukm dy bwDy ieh afAuNdy ny,
qy afp hI ijLMdgI qoN njfq pf ky ruKLsq ho vYNdy ny.
ies hmly dy kfrn vl Auh iesLfrf krdy hn:
sB puafVy dI jVH, AuhnF qyl dIaF pfeIpF 'coN,
ggn cuMbI, awg dIaF lptF AuWTdIaF ny,
qF idl pftx 'qy afAuNdY.

    ies hmly dI vjHf, ijhVI ierfkI lokF nUM dwsI geI :
lokF AuhnF qoN suixaYN,
"quhfnUM lok rfj cfhIdY."
jdoN igafnI jI ieh afKdy hn:
AuhnF nUM kI pqf? ik lok rfj qF,
hr vqn dy afpxy lokF dy idlF dI DVkx huMdI hY.
Aus leI qF hr iek glI dy gLdrI bfibaF nMU,
afp AuWTx dI loV huMdI hY,
bygfny puwqrF dI nhIN.

    qF Auh solF afny nhIN, sgoN svf solF afny shI afK rhy hn.
ierfk AuWqy hmlf krn leI amrIkf ny jo bhfnf bxfieaf, Aus df vrnx igafnI jI ny byhwd kfivk ZMg nfl kIqf hY:

sfzy kol Auh kuwJ nhIN hY,
ijs dI aYNvyN qohmq lfAuNdy ho.

    ipCly mhIny iek Kbr pVHn ivc afeI sI ik aYsosIeytz pRYWs vloN iqafr kIqI iek dsqfvyjL anusfr 20 mfrc qoN 20 apRYl qwk ies lVfeI ivc mfry gey inrdosL lokF dI igxqI 3240 sI. ieh aMkVy ierfk dy awDy hspqflF qoN iekwqr kIqy gey sn. asl igxqI ies nfloN ikqy vDyry sI.

    ieh vI suxn ivc afieaf hY ik hux ierfkI hspqflF ivc inrdosL lokF dIaF mOqF df irkfrz rwKxf bMd kr idwqf igaf hY. ikAuN? ikAuNik ieh aMkVy pVH ky ierfkI lok BVkdy hn aqy kfbjL pRdysI POjIaF AuWqy hmly vDdy hn.
igafnI jI df ieh qOKLlf:

ies aONqry qyl ny,
dunIaF dy iek iek jIa df qyl kwZ sutxY.
vylxy vFg ips jfxf eyN ikMny hI inrdosF ny.

    iblkul vfjb hY.

avqfr igwl (18 jnvrI 2004)

mYN krnYl isMG horF nUM (Xky-bfd-dIgry) do sÌl khfxIaF ilKx
leI mubfirk bfd kihxf cfhuMdf hF----svrn isMG vrjInIaf - amrIkf

    siqkfr Xog rfey sfihb,

    jlMDr qoN Cpdf, blbIr prvfnf horF vwloN sMpfdq nvF Ëmfnf aKbfr df aYqvfrqf (Sunday Edition), pMjfbI sfihq dIaF srgrmIaF df ingrfn aqy mhwqv pUrn prcf smiJaf jFdf hY. ies ivc Cpdy lyKF nUM mYN iek bYromItr (Barometer) vFg mMndf hF.

    iesdy 4 jnvrI dy aMk ivc, sfl 2003 dIaF byhqrIn khfxIaF df AulyK hY. ijs ivc Bfrq, ieMglYNz, kYnyzf dy kuwJ hor lyKkF dy nfl nfl krnYl isMG igafnI horF dI khfxI 'iewk hor swsI' df vI kQn hY. ieh rcnf mYN 'ilKfrI' vYbsfeIt qy kuwJ icr pihlF pVHI sI. Èfied ies dI KubsUrqI kfrn hI, ajIq jlMDr ny vI ies nUM cfr ikÈqF ivc sicwqR Cfipaf hY. mYN afp jI nUM vDfeI dyxf cfhuMdf hF, ik ies ijhIaF (pMjfbI BfÈf ivc sfl 2003 dIaF) pRmfxkqf pRfpq rcnfvF pyÈ krky afp sfihq dI vzmuwlI syvf kr rhy ho.

    pr mYnUM hYrfnI ies gwl dI huMdI hY ik (blbIr sMGyVf horF dy kQn anusfr) asIN sfry pfTk/lyKk eyny sUMm hF (jF dUjy lyKk nfl eIrKf krdy hovFgy) ik iek inhfieq hI kfmXfb kMpoËIÈn pRqI, pRsMsf dy do Èbd vI ilKx leI iqafr nhIN. mYN krnYl isMG dI pRcilq khfxI 'qpwisaf' vI pVHI hY, ijhVI ik AusdI pihlI rcnf (iek hor swsI) dI pUrk lwgdI hY, qy EnI hI rock vI.

    myry iek imwqR inrml syTI (bflIvuwz dy shfiek inrdyÈk ) vI afpxy afp nUM 'ilKfrI' dy pfTk hox ivc gOrv mihsUs krdy hn. iek bYTk dOrfn AuhnF ny Aucycf dohF rcnfvF dI nftkI smrwQf bfry iËkr kIqf. AuhnF anusfr ijs sUKmqf nfl Ëfq pfq dy vKryvyN nUM lY ky krnYl isMG horF ny, GtnfvF nUM iek suKfvF moV dy ky iek kfmyzI (Comedy) vjoN pyÈ kIqf hY, ieh iek Feature Film jF Serial khfxI dI Xogqf rwKx vflIaF rcnfvF hn.
    mYN krnYl isMG horF nUM (Xky-bfd-dIgry) do sÌl khfxIaF ilKx leI mubfirk bfd kihxf cfhuMdf hF.

    svrn isMG vrjInIaf - amrIkf

There is no word as "Singhni" as the Khalsas are all "Singh"-----Ch. Rajinder Nijjhar

Professor Grewal has written this poem entitled 'A Singhni-at-arms'-----------. First of all, there is no word as "Singhni" as the Khalsas are all "Singh". Mai Bhago, a Dhillon Jatti was never given the "Amrit" by Sachae Paatshah Gobind Singh Ji. Only men were entitled to Amrit and that too they should be Gurmukh. Baemukh as these 40 Muktae were and the Munn Mukh, as Banda Bahadur was, were not entitled to "Amrit". But the Baemukh Khalsas when rebuked for deserting Sachae Paatshah felt ashamed and gave their sacrifice whilst a Munn Mukh does it knowingly and he thinks he is too clever for the simple minded ordinary people.

 So, the author of this poem does not know that Gobind Singh Ji was not a Brahmin Guru but a Sachae Paatshah, Uch da Pir.

Ch. Rajinder Nijjhar

Note: 'Likhari' invites any clarification regarding the word 'Singhani' from the author or any other scholar of the Sikh History.

Can we really change and force people to part with age old tradition of oneness?.....Janmeja Johl

'nËmF Ausmfn' [[[[[khfxI (aqy adnfn jvfn ho igaf) dy qFqy nUM twutx nhI idMdI--mnmohn kOr iswDU - pYnislvynIaf ( amrIkf)

siqkfrq rfey sfihb,

nËmF Ausmfn dI ilKI, afp vwloN anuvfidq kIqI khfxI, 'aqy adnfn jvfn ho igaf' pVHI.
lyKkf dI roËfnf jIvn bfry bfrIk-bInI aqy ibafn krn dI kfblIaq nUM dfd dyxI bxdI hY.
Auh iksy ÌflqU prsMg ivc pYx dI bjfey, khfxI dy qFqy nUM twutx nhI idMdI. aqy iqMnF hI mwuK pfqrF
pRqI hmdrdI df aihsfs ijwqx ivc sÌl hoeI hY.

afpxy vqn qoN cwl ky afey, pMjfbI swiBafcfr dy lok ijMnHf musIbqF nfl iehnF mulkF ivc afpxI hoNd nUM
sQfipq krdy hn, pVHidaF pVHidaf aYNj lgdY ijvyN Auh sfzI afpxI jF iksy guaFZI dI iËMdgI dy kuJ kFz
pyÈ kr rhI hovy.
myry vwloN Aus nUM vDfeI sMdyÈ phuMcfx dI ikrpf krnf jI.
afÈf hY ÈIGr hI, Aus dIaF hor rcnfvF vI pVHn ivc afAuxgIaF.

mnmohn kOr iswDU - pYnislvynIaf ( amrIkf )

‘hfa df nfhrf’ vwK vwK mulkF dIaF do duKI mfvF dI jËbfqI sFJ nUM bfÉUbI pRgt krdI hY.
--pRo: pRIqm isMG gryvfl--

s: krnYl isMG igafnI jI dI nËm ‘hfa df nfhrf’ vwK vwK mulkF dIaF do duKI mfvF dI jËbfqI sFJ nUM
bfÉUbI pRgt krdI hY. qIjI ivÈv jMg nf vfprn dy bfvjUd vI, QF QF iksy nf iksy bhfny lVfeI BVfeI dy
Èualy AuT rhy hn ijnHF dI lpyt ivwc bydoÈ bMMdy aqy mfsUm bwcy hr roË rfK ho rhy hn.
lyKk df AuTfieaf svfl, ‘kI eys brbfdI df kdy aMq hovygf?’ kul lokfeI qoN hmyÈf jvfb qlb krdf rhygf.

kfÈ, pfTkF dI ÈbdfvlI ivcoN ies kivqf ivc vrqy gey pMjfbI dy Èbd-BMzfr nUM amIr bxfAux vfly
‘njfq’, ‘ÊrUb’, ‘ruÉsq’, ‘qImfrdfrI’ afid lPË alop nf ho jfx!

pRo: pRIqm isMG gryvfl

siqkfrq sMpfdk jI,

awj klH, klf ikRqIaF ivc iek ruJfn cwilaf hY, ik jyhVI pyNitMg iksy dy smJ nf afvy, Aus nUM mfzrn afrt ikhf jFdf hY. aqy jyhVI kivqf iksy pwDr jF bihr jF CMdf-bMdI ivc iPLwt nf bYTdI hovy (ivgVI hoeI kMpojLIsLn) Aus nUM KuwlHI kivqf kih ky invfijaf jFdf hY.

kfPLI smyN qoN ilKfrI vYbsfeIt aqy hor pMjfbI Cyber mYgjLInF / aKbfrF ivc iksy zfktr tFzf horF dIaF rcnfvF pVHn nUM af rhIaF hn.

mYN socdf hF ik 'ilKfrI' ies vyly sfihqk pwKoN isrmOr prcf hY, aqy dUsry prcy vI rlvyN imlvyN Item Cfp ky pMjfbI dI sLlfGf BrI syvf kr rhy hn.

'ilKfrI' ivc, jdoN iksy Kfs pwDr dy ilKfrI dI rcnf pVHnI hovy qF pqf huMdf hY ik iks sYksLn ivc lwB pvygI.
blbIr kOr, kuljIq mfn, myjr mFgt, jF krnYl isMG horF dIaF khfxI sYksLn ivc.
iZwloN sfihb dI lIgl sYksLn ivc. pMnUM sfihb kMipAUtr jfxkfrI.
sMqoK isMG isznI, guridafl isMG rfey, ibMdrf sfihb horF dI aiDaqfmk ivsLy qy.
mksUd purI horF dI lok lihr ivisLaF qy.
EaMkfr pRIq, inrMjn isMG nUr, rUp iswDU, BUipMdr swgU sfihb dIaF suMdr njLmF / gLjLlF kfiv sYksLn ivc. afid

tFzf horF dIaF ilKqF iks sLryxI ivc afAuNdIaF ny?
sPLy dr sPLy pMjfbI dy swiBafcfrk sLbdF, aKfxF dI eynI Brmfr huMdI hY ik, pqf nhI Auh afpxI lyKxI rfhIN kI pysL krnf cfhuMdy hn, afm pfTk dy smJ qoN bfhr vflI gwl jfpdI hY.

awj klH (ilKfrI ivc) iqMn BfgF qy afDfrq AuhnF df iek lyK 'dIvy dI lOa' isrlyK hyT Cipaf hoieaf vyKx nUM iml irhY. ijs ivc sLfied Auh iksy ivcfr Dfrf nUM pysL kr ky iksy lok lihr nUM lfm bMd krn df hokf idMdy jfpdy ny.
afm ilKqF dI vMngI nUM PLst klfs, sYkMz klfs jF Aus qoN aglI klfs ivc

hox dy nMbr idwqy jf skdy ny. kdy kdy iksy mYgjLIn ivc, nklIaF dI vfrqf rfhIN tFzf sfihb df ivaMg pysL kIqf huMdY, ijs 'qy hwsx nUM vI jIa nhI krdf. pwDr dI gwl qF ikqy rhI.

kuJ smF pihlF jnmyjf sfihb ny iek srvjnk eI[myl[ rfhIN tFzf sfihb nUM AuhnF dI ilKx pRikiraf bfry aqy kuJ ivakqI gq itwpxI rfhIN dws ky sqrk qF kIqf jfpdf sI pr[[[.

sLfied Auh iksy spYsLYltI dy zfktr dI pdvI qy hox krky, AuhnF bfry koeI kuJ nhI ilKxf psMd krdf. ilKdy qF pfTk aksr, cMgy PLIcrF bfry vI nhI hn.

pr jykr qusIN sfihq dIaF nroeIaF vMngIaF, pfTkF nUM pysL krn df bIVf cuwikaf hY qF km sy km gLlq jF PLorQ, iPLPLQ klfs lyKxIaF nUM cMgIaF rcnfvF ivc rlgwz krky pfTkF df mjLf qF nf ikrkrf kro plIjL!
ies nfloN qF jy ikwsf sfihq vI Cfp idEgy qF km sy km rock qF lwgygf.
jF kI quhfnUM ajyhf sfihq pysL krn dI koeI mjbUrI hY?

AumId hY, dUsry pfTk vI ies bfry afpxI amuwl rfey dyxgy.
ikDry ieh qF nhI ik ikENik ieh swjx afstrylIaf ivc iksy akflI dl dy AuWcI pwDr dy nyqf hn, qy (mgrmwC dy vYr dy zroN) awj klH dy amIr iswK nyqfvF dI pfrtI nfl sMbMDq 'aisstYNt-nyqfvF' bfry ilKx dI mnfhI hY.

svrn isMG, vrjInIaf amrIkf (9 nvMbr 2003)

I read the story. Even though I liked the story, I noticed that fictional name Sukhjinder/herjinder have been used interchangeably for the same person in the story. It confuses the reader. Its story writer's mistake or of the person who typed it on PC. Also, the story just goes on and on. I understand that Balbir jee wanted to represent how the main actor of the story got to his current situation, but its done not so great way. The reader starts feeling bored after a while. I got so bored that I scrolled to the end of the story and read last few paragraphs.

I usually like her other stories very much.

Thanks for providing so realistic stories that we can relate to some situations and some actors of the story in some way somewhere. Keep up the good work.

Amarjit (9th October 2003)

not: 'ilKfrI' nUM ies gwl dI prsMnqf hY ik 'amrjIq' hurF ny eI-myl rfhIN ies khfxI ivwc vrqy gey nfvF dI gLlqI sbMDI sfnUM sUicq kIqf. gLlqI suDfr idwqI geI hY. khfxI dI lyKkf blbIr kOr sMGyVf jI aqy 'ilKfrI' AuhnF df DMnvfdI hY. ---11 akqUbr 2003

Please gLlq nf smJxf. ikENik eynI lMmI (kfmXfb) khfxI ilKx df vsPL hr iksy ivc nhI huMdf. sLfied mYN nF ilK skF. nuks qF jxf Kxf hI kwZ dyNdf hY.

khfxI bfry AuWTy pRsLnF dy sMdrB ivc afp jI dy ivcfrF qoN ieh iKafl pRbl jfpdY, ik ieh rcnf afm pfTkF leI nhI hY.

qusIN BfvyN ies Discussion  ivc afp vwloN idwqI dlIl 'qy, vkqI qOr qy sMqusLt hovo, pr jdoN kdy ieh khfxI pusqk rUp ivc afeI, quhfnUM vgocf mihsUs hoxY ik QoVHI jhI hor imhnq krky, ies nUM pRfxI mfqr dy phuMc dI ikEN nf kr sky.

iksy vI klfeImYks df sMkyq jy kyvl aFisLk iesLfry qoN lwBxf pvy qF ajyhI siQqI aksr sfDfrn pfTk dI pkV qoN bfhr ho jFdI hY.

AuNj qF qusF khfxI ivc ryxUM dy kYnyzf afAux df kfrn iek qoN vwD bfry duhrfieaf hY, ijMnFH sLbdF dI loV hI nhI sI, ikENik Es kuVI dI Intention, Ausdy Actions  QF QF qy Loud and clear drsFdy hn. pr khfxI dI pUrqI leI jy ikDry iek do vfrIN, ryxUM qy hrbIr nUM iksy nyVqf dI iesQqI ivc inhfrdy, imldy, muKfiqb krdy, (pfrsipRk Un-intentional sprsL qoN svfdq huMdy) ivKfieaf huMdf (ijs bfry suKbIr nUM vI acfnk vyK ky duKI idl nfl shfrnf pYNdf) aqy kyvl sLrn nfl hI eIrKf krdy dwisaf huMdf qF pfTk nUM hyT ilKI aOkV qoN bcfieaf jf skdY.

"pfTk nUM keI vfrI sMkyq mfqr hI dwsxf TIk lgdf hY qy kuJ AusdI afpxI soc qy vI hoxf cfhIdf hY ik Auh afp Bfly lyKk kI kihxf cfhuMdf hY. "

Bflx dI QF, rcnF dy Dialogues  and actions  dI klf rfhIN hI jy pVHn vfly nUM Message nhIN imldf qF kI ikhf jfvy[[[?
afp qF anuBvI ho. sMXukq sLbd hYrfn-kuMn (PLfrsI) aksLr hY jF sI nfl hI Terminate hoxf TIk lgdY. afp dy hux dy inrxy anusfr kyvl hYrfn sLbd hI vfjb hY.

ihqU,
kMvljIq
--------------------

aksr myjr mFgt horF dIaF khfxIaF, kfPLI rock huMdIaF hn. aYpr khfxI kTpuqlIaF pVHn qy mihsUs hoieaf ijvyN ieh Auhnf dI rcnf nf hovy.

BfvyN qF kYnyzf dy vDyry lyKk, iksy kfrn BU-hyrvy dI vlgx ivwcoN nhI inkl skdy. hr dUsrI khfxI ivc, iksfnF vwloN isafV vycx, muMzy knyzy kwZx, twbr dy afAux qy bybI iswitMg aqy rujLgfr dI cwkI ivc igVx dI bysurI grdfn qoN jfpdY ik sfzy lyKkF kol ivsLy muwk gey hn.
Pyr iksy tYkst nUM khfxI kihx leI GtnfvF df aBfv qF swc muwc hI aKrdf hY.

AuhnF dI ieh khfxI, Gr dy Stereo-typic Scene kfrn iek inbMD bx ky rih geI hY. QF QF qy kTpulIaF sLbd df duhrfv vI bdmjLgI pYdf krdf jfpdf hY. ijvyN ieh duhrfv hI CLIMAX  dI QF pUrI krn leI vriqaf jf irhf hovy.

BfvyN Narrative dI ipwT BUmI ivc bdl nf vI hovy, aYpr iksy rcnF dy ivc Events ivc Auqfr cVHf nf hovy qF pfTk nUM Auh iek PokI jhI Composition lwgx lwg jFdI hY, qy jldI hI Aukqf skdf hY. klfeImYks dI axhoNd qF gunFh-by-lwjLq vflI gwl smJxI cfhIdI hY. ijs dI afs, km sy km mFgt sfihb jYsy smrwQ lyKk qoN nhI kIqI jf skdI.

svrn isMG, vrjInIaF-amrIkf

rfey sfihb,

kMvl jI ny bhuq bfrIkI nfl khfxI 'roxf mnHf hY' nUM piVHaf hY. afs hY QoVf-bhuq mfixaf vI hovygf. ieh svfl pfTk dy mn ivc afAuxy kudrqI hn. ijs qrHF iensfn dI soc hmysLF dohrI cwldI hY. eysy qrHF khfxI bfry vI, pfqrF dy afdqF-suBf bfry pfTk aMdr svfl duicwqI ivc pYdf hoxy kudrqI hn. kMvl jI ny koeI aYsy svfl KVy nhIN kIqy, jo myry mn ivc vI nf Aupjy hox. afpxy svflF dy AWqr vI Auh afp dy gey hn. hF do ku AuWqr khfxI ivc hI hn ijvyN, 'kI ryxU hrbIr nUM cfhuMdI sI?' iesdf AuWqr khfxI ivc hY jdoN suKbIr hwQ dI cutkI vjf ky puwCdf hY ik mYzm ikwQy guafc gey? pfTk nUM keI vfrI sMkyq mfqr hI dwsxf TIk lgdf hY qy kuJ AusdI afpxI soc qy vI hoxf cfhIdf hY ik Auh afp Bfly lyKk kI kihxf cfhuMdf hY. Pyr vI mYnUM AunHF dy ivcfrF dI KusIL hoeI. rhI gwl khfxI dy nF aqy aMq dI, khfxI df nF smuwcI khfxI dI bxqr nfl sMbMD rwKdf hY nFik isrP aMq nfl. nF df sMbMD suKbIr dI smuwcI mfniskqf nfl hY aqy smfj vwloN khy gey sLbdF nfl hY ik 'mrd roNdy nhIN huMdy.' suKbIr dy pwly rox qoN ibnF ipaf kuJ nhIN. Auh roNdf jLrUr hY pr aQrU pI ky.

ieh kMvl jI nUM mihsUs nhIN krnf cfhIdf ik sfry lyKk jF sQfipq lyKk kuJ suxnf psMd nhIN krdy. mYN hr Aus suJfa nUM jI afieaF afKdI hF, ijs qoN mYN kuJ iswK skdI hovF. rhI gwl sLbdF dI, hYrfn-kuMn dI QF hYrfn vI vriqaf jf skdf sI qy CMzk dI QF CMz idwqf vI vriqaf jf skdf sI jF hor koeI sLbd vI vrqy jf skdy sn pr mYnUM smyN-siQqI anusfr ieho TIk jfpy. ikMnf cMgf huMdf jy kr suJf vI dy idwqy jFdy. ijhVy kuJ suJf afey hn, AunHF dI kdr krdI hF.

afdr sihq

blbIr sMGyVf

afdrxIX sMpfdk jI,

blbIr kOr horF dI khfxI roxf mnFh hY pVHn ivc afeI.

15 pMinaF dI rcnf ivc kYnyzf ivc af vsy prvfrF dI XQfrQ BrI gfQf hY.

pr kuJ pRsLn AuWTdy hn, ies dI bxqr bfry. ies qrF dy pwqR jy jwg jLfhr kIqy jfx qf Auh lyKk aksr Defensive ho jFdy hn. Kfs kr ky jy iksy nfmvr lyKk nUM 'sB-awCf' sunx dI iewCf hovy.

lyKk afp dy aYzItorIal stfPL dI mYNbr hY. jy qusIN AuhnF dI rcnf bfry ies aflocnf nUM swQ ivc ilafAuxf TIk smJdy hoN qF Cfp lYxf. smJFgI qusIN inrpwK ho.

pRsLn krn qoN pihlF mYN Es Composition  dy kuJ Auh aMsL Reproduce krF, ijMnHF bfry myry mn ivc svfl AuWTy hn
****

(prm ikrpflU kmljIq iswDU jI!

afpdf eI-myl imilaf. afpny ijs imhnq nfl 'roxf mnFh hY' khfxI nUM pVH ky ies sbMDI afpxy sLuB ivcfr Byjy hn. ies sbMDI afpdf ijMnf vI DMnvfd kIqf jfvy QoVf hY. 'ilKfrI' afpnUM vDfeI pysL kridaF afp dy ivcfrF nUM hU-b-hU pysL krn dI prsMnqf lY irhf hY. XkIn krnf asIN sdf hI inrpwKqf dy mudeI rhy hF aqy sdf hI rhFgy. asIN afs krdy hF ik afp aqy afp ijhy hor ivdvfn ilKfrI vI'ilKfrI' ivwc Cwp rhIaF rcnfvF sbMDI AusfrU aqy syD dyxy ivcfr pysL krdy rihxgy. khfxI lyiKkf blbIr kOr sMGyVf jF koeI hor lyKk ies khfxI jF iksy hor rcnf sbMDI kuJ ilKxf cfhy qF jI afieaF nUM.---iLlKfrI)

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vI ijhVf kYnyzf ivc rihMdf hovy. Auh mnuwK ryxU dI klpnf dy vI myc df hovy. Ausny iks qrHF imhnq krky pVHfeI kIqI, ies nfÜ Ausdf vfh-vfsqf nhIN sI. ryxU dy qswvr ivc jy ieMjnIar pqI sI qF AusdI qlb lMmy-lMJy, sohxy-sunwKy mnuwK dI vI sI. ijs ryKf ivc suKbIr iPwt nhIN sI huMdf. kYnyzf aqy ieMjnIar hoxf hI jLrUrI nhIN sI,

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Auh mihsUs krn lwg ipaf ik ryxU nUM isrÌ Ausdf ruqbf, AusdI kmfeI aqy Gr hI cfhIdy hn. suKbIr dy aMdr dI tuwt-Bwj nfÜ AusnUM koeI srokfr nhIN sI. suKbIr qF kYnyzf phuMcx dI rfhdfrI sI jo ryxU dy Gr idaF ny smJOqf krf ky Ausdy lV bMn idqf sI. Auh idn-rfq ieho ihsfb lfAuNdI rihMdI ik Ausdy Gr dy jIaF nUM mMgvfAux vfsqy ikMnI qnÉfh dI loV hY? ikMny vwzy Gr dI loV hY?
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jIvn dI gwzI iesy qrHF cwlI jFdI.
sohxf vwzf Gr sI, sunwKI pqnI sI, do bwcy sn, hor iËMdgI ivc cfhIdf vI kI sI suKbIr nUM?
ryxU bwicaF nUM lY ky jdoN Gr vVdI qF Gr df ieh hfl dyK ky lohI lfKI ho jFdI. suKbIr ijwQy ipaf huMdf AuWQy hI Aus AuWpr kMbl dy idMdI aqy Ëubfn qoN jo nf so boldI. “mrnf hI qwikaf hoieaY. hor kI? sfzI kfhnUM icMqf krnI hoeI. bMdf aY iksy dI bfq eI puwCy. kI loV peI aY Gr dy jIaF bfry iDafn krn dI. nf afpxI icMqf nf sfzf koeI iPkr? bMdf kdI qF gwl kry?" Auh bolI jFdI. qy suKbIr bysurq ipaf rihMdf.
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ivckfrlI hvf ivc guafc jFdf. BfvyN suKbIr koiÈÈ krdf ik ryxU dy Dur aMdr nMU jfx sky, pCfx sky. pr Auh nf-kfmXfb rihMdf. inwky-inwky hfsy, inwky-inwky duwK-suwK vI Auh sFJy nf kr skdf. ryxU dy aMdr kI hY? AusnUM iBxk nf pYNdI. kdI Ausdf jIa krdf ik ryxU nUM ibTfl ky puwCy ik “dws qUM cfhuMdI kI aYN? iksnUM cfhuMdI aYN? jo vI qyry mn ivc hY, mYnUM dws dy." qy Pyr kdI AusnUM mihsUs huMdf ik ryxU ny Aus nfÜ ivafh hI kYnyzf afAux vfsqy krfieaf hY ik Auh afpxy twbr nUM mMgvf sky. afpxf koeI duwK vI Auh ryxU nfl sFJf nf kr skdf. jdoN vI suKbIr dy Gr idaF dI koeI gwl bfq cwldI qF ryxU smJx dI QF imhxy mfrn qy AuWqr afAuNdI. afKdI, “twbr ikqy aYdF dy huMdy ny? iksy df iewk dUjy ivc moh ipafr df irsLqf eI nhIN."

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ryxU dI afdq qoN hrbIr aqy Èrn cMgI qrHF nfÜ vfkÌ ho gey sn. pihly hI idnF ivc jdoN Auh ieMzIaf qoN afeI sI qF AunHF ny AusnUM Gr Kfxy qy bulfieaf sI. Èrn ny jdoN ryxU nUM ikcn ivc afAux leI afiKaf ik, “cl afpF donoN kMm krFgy aqy nfÜy gwlF-bfqF krFgy.”
ryxU nUM Èrn dI afKI gwl cMgI nf lwgI. Auh mUMh-Pwt qF pihlF hI sI. qy Ausny AuWqr idwqf, “mYN quhfzy Gr df kMm krn QoVf afeI hF. kMm qF mYN Gr vI bQyrf krdI hF.”

ieh gwl sux ky suKbIr JUTf ijhf ho igaf. hrbIr qy Èrn vI hYrfn-kuMn rih gey. iewk dUjy vwl dyKidaF hoieaF Èrn ny afK idwqf, “koeI nhIN qusIN bYTo, gwlF kro. mYN huxy hI afeI.” ies qoN bfad AunHF ny ijvyN hr gwl soc ky krn dI Tfx leI. Pyr vI koeI nf koeI gwl puwTI pY hI jFdI. qy Auh ijvyN ryxU qoN dUr hI rihMdy. vYsy vI BrfvF df aYzf moh df irÈqf nhIN sI. Pyr vI ies irÈqy ivc afKr aYnI ku sFJ qF bxdI hI sI ik jdoN imlo qF ipafr
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eysy qrHF dI iewk svyr sI jdoN suKbIr rfq dI vwD pIqI hox kfrn, AuWT nhIN sI sikaf. KflI hoeI peI boql Aus dy awgy vfsqy pf rhI sI. … qy suKbIr dI hoÈ, AulJI peI sI. Gr ivwc KmsLI nwc rhI sI. suwqy AuWTdy dy pYr, dUjy kmry vwl vD gey. ryxU soÌy ivc guwCf-muwCf hoeI lMmI peI sI. pihlF qF Auh KVf ryxU nUM inhfrdf irhf. ryxU dy sLFq ichry dI suMdrqf ny ijvyN suKbIr dy mn nUM kIilaf. Ausdf jIa kIqf, Auh ryxU dy kol bYT ky afKy, “ijLMdgI ikMnI KubsUrq ho skdI aY. qUM hovyN, mYN hovF … qy…kfienfq dI KmosLI hovy. JwlIey! ikvyN ijbHf kr rhy hF KusLIaF nUM. potf-potf npIiVaf ipaY. ikAuN… ikvyN… qy iks qrHF phuMcy hF ies mMJDfr ivwc?" pr Auh kuJ nhIN afK sikaf. iksy KVfk ny Tfh kridaF, AusdI soc qoV idwqI. awDvfitEN kfienfq ijvyN pft geI. hrbIr qy suKbIr dI pihly idnF dI Poto df Prym sI, jo ryxU dIaF bfhvF ivwcoN izwg ky cUrf-cUrf ho igaf sI. suKbIr nUM Auh vylf cyqy afieaf jdoN ryxU ieMzIaf qoN afeI sI. hrbIr aqy Èrn bYTy gwlF kr rhy sn. qy ryxU AunHF nUM KVI inhfrdI rhI sI. suKbIr ny hwQ dI cuwtkI vjf ky puwiCaf sI, “mYzm ikwQy guafc gey?” ryxU ny isr CMzk idqf sI. “ikwDry vI nhIN” afK ky Auh prF ho geI. suKbIr nUM mihsUs hoieaf sI ijvyN ryxU dIaF awKF dy koieaF ivc pfxI dIaF bUMdf hox. … qy awj suKbIr nUM mihsUs hoieaf ijvyN hrbIr Poto dy iqVky sILsLy ivcIN inwkl ky Ausdy ilivMg rUm ivwc sfbq-sbUqf afx Kloqf hovy.
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khfxI ivc ryxU nUM suKbIr nfl ivafh axjoV lwgdf hY. qy Ausdf svfrQI vqIrf afpxy pqI bfry sLurU qoN hI iqRskfr Biraf hY. afpxy twbr dy jIaF mUhry Ausdy afpxy jIvn sfQI jF Ausdy Brf BrjfeI dI koeI iewjLq nhI hY. ijs qoN duKI hoky Aus sLrfb df shfrf lYNdf hY.

jy kr Auh bwicaF dI pVHfeI df, Gr dy gfrzn afid bfry iDaFn rwKx vflf bfp hY ijsdI skUl df stfPL pRsMsf krdf hY, qF Auh

eynf gLlq nhI ho skdf . ryxU df Characterization  eyQy kuJ pirvrqn dI mMg krdf hY.

Pyr jdoN hrbIr qy sLrn Aus nUM mfx nfl Gr bulFdy hn, qy sLrn Aus nUM ikcn ivc ienvfeIt krky nyVqf ivKFdI hY, pr Auh AuhnF dI byiewjLqI krdI hY, qF Auh AuhnF vwloN ikhVy irsLiqEN afdr siqkfr BfldI hY?

suKbIr sLrfb qF gLm gLlq krn leI pIx lwgdf hY, ikEN ik Auh

ijvyN AuWprly cOQy pYry  dy ibrqFq anusfr[[[[

jdoN sqrk ho ky koisLsL krdf ik Aus nUM Dur aMdr jfx sky[ pCfx sky, pr Auh kfmXfb nf ho skdf. qF sc muc Auh hmddI df hwkdfr bxdf hY.

afKrI pYry ivc twutI PLoto PLrym dI siQqI koeI bfhlf spsLt klfeImYks nhI pysL krdI, jo koeI tfeItl dy nyVy qyVy df sMkyq dy sky.

kI kuJ iesLfrf hY ik ryxU hrbIr nUM cfhuMdI hY? ijsdf ikDry vI hor sMkyq nhI hY.

lyKk df kI njLrIaf hY, jfnxf jLrUrI hY. myrI jfcy ies qoN pihlF ik eyh khfxI iksy sMgRih ivc klm bMd hovy, kuJ suDfr kIqy jfx dI mMg krdI hY.

AuWpr idwqy pMjvyN pYry dI CyvI pMgqI ivc (myry iKafl ivc) , hYrfn -kMun sLbd df pRXog aqy hyToN pMjvI lfeIn df sLbd CMzk, drusqI dI mMg krdy ny.

kMvljIq iswDU

(23 sqMbr 2003)