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Sunday, 5 December 2010

Man Kunto Maula

Hazrat Amir Khusrow has written this Qawwali. Most of the famous qawwals over the generation have sung this manqawat (Qawwali in praise of Imam Ali) . The first stanza is poetic version of the hadith (Sayings of the Prophet) of the pond of Khumm. As per Shia Muslims here Mohammad proclaimed Ali as his successor. Prophet said that "Of whomsoever I had been Master(Mawla), Ali here is to be his Master." Sunnis have a different interpretation of this Hadith. 
 
Whem Hazrat Amir Khushro visited Sufi Saint Bu Ali Shah Qalandar he ask him to say something in honor of Imam Ali . Then Amir Khusrow said these verses  

अली इमाम-ए-मनस्तों मनम गुलाम-ए-अली
हज़ार जाँ-ए-गिरामी फ़िदा-ए-नाम-ए-अली 
[Ali is the master of all, I am the slave of Ali
thousands life are to be sacrificed for Ali. ]

शाह-ए-मर्दां, शेर-ये-येज्दां
कुव्वत-ए-परवरदिगार
ला फता इल्ला अली
ला सैफ इल्ला ज़ुल्फ़िकार
 [King of the brave, the Lion of God
The Strength for The Lord,
There is none like Ali,
There is no sword like Zulfiqaar (Sword of Ali)]

 
अली शाह-ए-मर्दां इमामों कबीरा
के बादश्त नबी शुद बसीरुष नजीरा
[Ali is the king of men, the great spiritual leader,
Cause after the Prophet he becamethe bearer of glad tidings and warner for mankind ]

मन कुन्तो मौला
ख्वाजा अली-उन मौला
[ "Whoever I am master to,Venerable Ali is his Master too."  hadith of the pond of Khumm]

दारा दिल-ए-दारा दिल-ए-दारे-ए-दानी
ओम तुम तानाना नाना, तानाना नाना रे
यालाली यालाली याला, याला रे
[ These words are sufi mystical chants. Many people have different interpretation.For instance, the highly esteemed singer and acclaimed authority on Hindustani music, Ustad Amir Khan (1912-1974), held the view that the syllables used in singing tarana-s are derived from the Persian language. According to him, a tarana phrase like “daaraa dil” would really mean “aa dar dil” (“Enter into the heart”]

हज़रत आमिर खुसरो 'देहलवी'  

Thursday, 2 December 2010

halka halka suroor rehta hai..

उदी उदी सी घटायें आती हैं, मुतरिबों के नवायें  आती हैं,

किसके गेसू खुले हैं सावन में, महकी महकी सी हवाएं आती हैं,

आ सहन-ए-चमन में रस्क करें, साज़ ले के घटायें आती हैं,

देख कर उनकी अंख्दियों  को अदम, मैकदों को हयाएं आती हैं,

पास रहता है दूर रहता है, कोई दिल में ज़रूर रहता है,

जब से देखा है उनकी आँखों को, हल्का हल्का सुरूर रहता है,

वो मेरे दिल में हैं ऐसे, जैसे ज़ुल्मत में नूर रहता है,

अब अदम का ये हाल है हर वक़्त, मस्त रहता है चूर रहता है.

[उदी = purple, घटायें = clouds,मुतरिबों = musicians,नवायें = music, गेसू = tresses, सहन-ए-चमन = backyard of garden, रस्क = dance; ज़ुल्मत = darkness, नूर = light]

Tuesday, 30 November 2010

saaki ke har nigaah pe balkhaa ke pee gaya..

साकी की हर निगाह पे बलखा के पी गया,
लहरों से खेलता हुआ लहरा के पी गया,

बेकैफियों के कैफ से घबरा के पी गया,
तौबा को तोड़ कर थर्रा के पी गया
[बेकैफियों = un intoxicating, कैफ = intoxicating, तौबा =pledge]

सरमस्ती-ए-अज़ल मुझे जब याद आ गयी,
दुनिया-ए-ऐतबार को ठुकरा के पी गया
[सरमस्ती-ए-अज़ल = fun from time immemorial ]

अए रहमत-ए-तमाम मेरी हर खता मुआफ,
मैं इंतहा-ए-शौक़ में घबरा के पी गया
[ इंतहा-ए-शौक़ = limits of desire]

पीता बैगैर इज़्न यह कब थी मेरी मजाल,
दर पर्दा  चस्म-ए-यार के सह पा के पी गया,
[इज़्न = permission/order; मजाल = dare; दर पर्दा = hidden; चस्म-ए-यार = beloved's eyes; सह = support]


ज़ाहिद यह मेरी शोखी-ए-रिन्दां ना देखना,
रहमत को बातों बातों में बहला के पी गया.
[ज़ाहिद = wise man; शोखी-ए-रिन्दां = mischief/restlessness of a drunk person; रहमत = benevolence]

उस जाँ-ए-मैकदा की कसम बारहा "जिगर"
कुल आलम-ए-बिसात पे मै छा के पी गया
[जाँ-ए-मैकदा = life of the bar refering to saaqi; बारहा = everytime; कुल = whole; आलम-ए-बिसात= complete universe]

जिगर 'मोरादाबादी'

I am adding a makhta to this ghazal.

 
तिशनागी कुछ  ऐसी उठी 'मुज़्तरिब' दिल में   
मैं जाँ को मय  में मिला के पी गया
[तिशनागी = thirst, जाँ= life, मय = wine] 

Friday, 19 November 2010

nemat-e-khlalish lage hai ishrat kee tarah

साईल हाज़तमंद है तेरे  दर पे इस तरह
नेमत-ए-खलिश लगे है इशरत की तरह
[साईल = beggar; हाज़तमंद = needy ; नेमत-ए-खलिश = gift of pain; इशरत = happiness]

बाद फ़िराक-ए-यार में तन्हाई ना मिली
गम-ए-यार मेरे साथ है साए की तरह
[बाद फ़िराक-ए-यार = after seperation from beloved]

तीरगी तेज़तर  होती जाये है शब-बा-शब
याद-ए-खूबां  है बेनुरी में उजाले की तरह
[तीरगी = darkness; तेज़तर = sharp; शब-बा-शब = night by night ; याद-ए-खूबां = memories of the beauty; बेनुरी = darkness]

आरज़ू  है की दीद-ए-यार हों फिर से
तमन्ना उन्हें भी जगे कभी हमारी तरह
[दीद-ए-यार = vision of beloved]

कब से हरीम-ए-खल्वत का मकीं हूं
जुज़ तेरे  घर लगता है तुर्बत की तरह
[जुज़ = without ;हरीम-ए-खल्वत = house of solitude; मकीं= tenant; तुर्बत =tomb/grave]

एक इलाज़ है इस रोग का मेरे चारागर
दे ज़हर  अपने हाथों से दवा की तरह
[चारागर = doctor]

दिल जो आतिश-फिशां  था  कभी  'मुज़्तरिब'
सोज़-ए-खुस्ता  सर्द  है संग-ए-बर्फ की तरह
[आतिश-फिशां = volcano; सोज़-ए-खुस्ता = extinguished heat; सर्द = cold; संग-ए-बर्फ = stone of ice]

'मुज़्तरिब'

Sunday, 31 October 2010

dekh to dil se ke jaan se uthta hai..

देख तो दिल से के जाँ से उठता है
यह धुआं कहाँ से उठता है

गोर किस दिलजले की है ये फलक
शोला एक सुभः यां से उठता है
[गोर = grave/tomb ;दिलजले = heart burnt; ]

खाना-ए-दिल से ज़िन्हार ना जा
कोई ऐसे मकाँ से उठता है

नाला सर खेंचता है जब मेरा
शोर एक असमान से उठता है
[नाला = lament]

लडती  है उस की चश्म-ए-शोख जहाँ
एक आशोब वां से उठता है
[आशोब = turmoil]

सुध ले घर की भी शोला-ए-आवाज़
दूद कुछ आशियाँ से उठता है
[दूद = smoke]

बैठने कौन दे है फिर उस को
जो तेरे आस्तां से उठता है
[आस्तां  = threshold]

यूँ उठे आह उस गली से हम
जैसे कोई जहाँ से उठता है
 
इश्क इक 'मीर' भारी पत्थर है
बोझ कब नातवां से उठता है
[नातवां = weak]
मीर ताकी 'मीर'


mujhse pehli si muhabbat mere mahboob na maang..

Below is a nazm by 'Faiz'. The translation is by Kuldeep Salil.

मुझसे पहली, सी मुहब्बत मेरे महबूब ना मांग
Ask me not for love, O dear like before

मैंने समझा था की तू है तो दरखशां है हयात
तेरा गम है तो गम-ए-दहर का झगडा क्या है
तेरी सूरत से है आलम में बहारों को सबात
तेरी आँखों के सिवा दुनिया में रखा क्या है
[दरखशां = bright, हयात = life, गम-ए-दहर = sorrows of life, सबात = permanence/stability ]

With you around, I had thought, life is all aglow,
when I sorrow for you, I need not bother about the sufferings of the world
your beauty gives permanence to the spring season
that nothing else is worthwhile in the world except your eyes, so I had thought

तू जो मिल जाए तो तकदीर निगू हों जाये
यूँ ना था, मैंने फकत चाहा था यूँ हों जाये
और भी दुःख हैं ज़माने में मोहब्बत के सिवा
राहतें और भी हैं वस्ल की राहत के सिवा
[निगू = supplicant/subservient, फकत = merely, वस्ल = meeting, राहतें = happiness ] 

But that is not it;
There are other sorrows too in world, apart from the sorrows of love
and other joy beside the joys of union

अनगिनत सदियों के तारीक बहीमाना तिलिस्म
रेशम-ओ-अतलस-ओ-कमख्वाब के बुनवाये हुए
जा-बा-जा बिकते हुए कूचा-ओ-बाज़ार में जिस्म
ख़ाक में लिथड़े हुए, खूं में नहलाये हुए
[तारीक = darkness, बहीमाना = dreadful/animalistic, तिलिस्म = magic
रेशम-ओ-अतलस-ओ-कमख्वाब = silk and satin and brocade, जा-बा-जा = here and there
कूचा-ओ-बाज़ार = lanes and markets]

A web of brutal darkness woven over centuries,
human bodies on sale in the street and the market place,
bodies bathed in dust and blood

जिस्म निकले हुए अमराज़ के तन्नूरों से
पीप बहती हुई गलते हुए नासूरों से
लौट जाती है उधर को भी नज़र, क्या कीजे
अब भी दिलकश  है तेरा हुश्न, मगर क्या कीजे
[अमराज़ = diseases,तन्नूरों = ovens , पीप = pus, नासूरों = ulcer, दिलकश = heart warming ]

Diseased bodies with festering wounds
The eye is arrested by all this, it cannot help;
your beauty though is as attractive as before

और भी दुःख हैं ज़माने में मुहब्बत के सिवा
राहतें और भी हैं वस्ल की राहत के सिवा
मुझसे पहली सी मुहब्बत मेरे महबूब ना मांग.

There are other sorrows also in the world beside the sorrows of love
and othe joys apart from joys of union
do not ask me, dear, for love like before.

फैज़ अहमद 'फैज़'

Wednesday, 27 October 2010

Aaj Baazar mein paabajaulaa chaloo..

आज बाज़ार में पाबजौला चलो
चस्म-ए-नम , जाँ-ए-शोरीदा काफी नहीं
तोहम-ए-इश्क पोशीदा काफी नहीं
आज बाज़ार में पाबजौला चलो
[पाबजौला = in fetter, चस्म-ए-नम = moist eyes, जाँ-ए-शोरीदा = sad soul, पोशीदा = concealed]

दस्त-ए-अफशां चलो, मस्त-ओ-रक्सां चलो
खाक बरसर चलो खूबदामां चलो
राह ताकता है सब शहर-ए-जाना चलो
[दस्त-ए-अफशां = clapping/rotating hands; मस्त-ओ-रक्सां = mad dancers; खाक बरसर = laborers, खूबदामां = drenched in blood];

हाकिम-ए-शहर भी, मुहब-ए-आम भी
तीर-ए-इलज़ाम भी, संग-ए-दुशनाम भी
सुबह-ए-नाशाद भी, रोज़-ए-नाकाम भी
इनका दमसाज़ अपने सिवा कौन है
शहर-ए-जाना में अब वासफा कौन है
दस्त-ए-कातिल के शायां रहा कौन है
रुखसत-ए-दिल बाँध लो, दिलफिगारो चलो
फिर हमही क़त्ल हों आये यारो चलो |
[हाकिम-ए-शहर = officers of town, मुहब-ए-आम = common man, संग-ए-दुशनाम = infamous, शायां = capable, दिलफिगारो = wounded heart]
फैज़ अहमद 'फैज़'

Thursday, 16 September 2010

jaan ka meri jaana na hua..

जाँ का मेरी जाना न हुआ,
अंजाम-ए-इश्क-ए-फ़साना न हुआ
[अंजाम-ए-इश्क-ए-फ़साना = end of love story]

यूँ तो फिरता हूं दर-ब-दर
पर तवाफ़-ए-कू-ए-जाना न हुआ
[तवाफ़-ए-कू-ए-जाना = circumbulation of beloved's lane ]

नम-ए-संग  हुआ है चस्म मेरा
आज फिर तेरा आना न हुआ
[नम-ए-संग = moist stone; चस्म = eyes]

हुए हैं कई कैस-ओ- फरहाद जहाँ में
'मुज़्तरिब' सा कोई दीवाना न हुआ
[कैस-ओ- फरहाद = Kaise (name of majnu) & Farhad]

'मुज़्तरिब'

Tuesday, 7 September 2010

Wo walwale nahi rahi guftaari kee..

हुई थी क़रार जिनसे ताउम्र यारी की
पेशानी पे उनके शिकन है बेज़ारी की
[क़रार = pact; ताउम्र = for life, पेशानी = forehead, बेज़ारी = displeasure]

रक़्स करती थी जिंदगी इक इशारे पे
रही ना कुव्वत अब उस इख्तियारि की
[रक़्स = dance, कुव्वत = power; इख्तियारि = control]

हाल-ए-जीस्त की बयानी क्या करूँ
वो  वलवले  नही रही गुफ्तारी की
[हाल-ए-जीस्त = tale of life; बयानी = recite, वलवले = enthusiasm, गुफ्तारी = to speak]

लब पे हँसी लिए फिरते हो 'मुज़्तरिब'
बहुत जी चुके ये ज़िंदगी मुख्तारी की
[मुख्तारी = proxy]
'मुज़्तरिब'

Saturday, 17 July 2010

tardeed hee sahi

तज़वीज़ मेरी गर तुझे मंज़ूर नहीं
पशेमानी मेरी पर तरदीद ही  सही
[तज़वीज़ = proposal, पशेमानी = shame, तरदीद = refutation/rejection]

दिल मुद्दई  है और खुदा मुखालिफ,
तवक्को  क्या रखे अब क्या बाकी रही
[मुद्दई= enemy, मुखालिफ = enemy,तवक्को = expectation]

कह रहा हूं फिर से आज वो बात,
बात जो ना तुमने कभी मुझसे कही

दिल-ए-गरां ना बैठ दर-ए-संग-ए-दिल पे,
कमबख्त उठ, चल चलें और कहीं
[दिल-ए-गरां = Heavy heart; दर-ए-संग-ए-दिल = Door of a stone heart; कमबख्त = unfortunate]
 
बेकसी जिसका मुक्क़दर बन गई
मैं हूँ बदनसीब 'मुज़्तरिब' वही
[बेकसी = helplessness/distress; मुक्क़दर = destiny; बदनसीब = unfortunate]
'मुज़्तरिब'

Wednesday, 30 June 2010

Bukhaaraat

दूर से सराब  पास  आ रही है
कहीं से दबी हुई आवाज़ आ रही है
[सराब = illusion; ]

साँसों में गर्मी बदन में तपिश
आतिश-ए-दिल ज़बर पर आ रही है
[तपिश = heat; आतिश-ए-दिल = ambers from heart; ज़बर = above]

चस्म-ए-शम्स बरसाए शरारे    
सोज़-ओ-दूद  मेरे बदन से आ रही है
[चस्म-ए-शम्स = eyes which seem like sun, शरारे = ambers; सोज़-ओ-दूद = heat & smoke]

खर्जरों में गूंजती  हैं आवाजें
आवाजें दिल-ए-बियाँबान से आ रही है
[खर्जरों  = desolate]

 जल रहा मुज़्तरिब, बिन चिता बिन आग 
हों रहा है राख और फुगाँ आ रही है
[फुगाँ = wail]
'मुज़्तरिब'

Saturday, 26 June 2010

Choomaha Dar Ardo Saman

This ghazal is written by famous Afghan sufi poet Jami. I was unable to find the meaning of the lyrics. The fourth and fifth stanza is used in many sufi songs.

Choomaha Dar Ardo Saman Taaban Tui Taban Tui
Rashke Malak Noore Khuda Insaan Tui Insaan Tui

Roshan Ze Rooyat Do Jahan Akse Ruqat Khursheed-o-Maan
Aye Noore Zaate Kibriya Rakhshaan Tui Rakhshaan Tui

Ayat-e-Quran Abroyat Tafseer-e-Quran Gaisuyat
Aye Roo-e-Tou Quran-e-Maan Iman Tui Iman Tui

Ya Mustafa Ya Mujataba Irhamlana Irhamlana
Dast-e-Hamaan Becharara Damaan Tui Damaan Tui

Man Asiyam Man Ajizam Man Bekasam Haal-e-Maraa
Ya Shafe-e-Roze Jaza Pursan Tui Pursan Tui

Jami Ravad Az Chashme Maan Jalwa Numaan Behre Khuda
Jano Dilam Har do Fida Jaana Tui Jaana Tui

 'Jami'

Protagoras and The Sophists

A sophist was a man who made his living by teaching things that would be useful to them and are not taught in regular curriculum. As there was no public provision for such education, the Sophists taught only to those who had private means. This tended to give them a certain class bias which was increased by political circumstances of the time.

In Athenian democracy, judges and most executive officers were chosen by lot and served for short periods. They were thus average citizens with their characteristic prejudices and lack of professionalism. The plaintiff and defendant or prosecutor and accused appeared in person, not through professional lawyers. Naturally, success and failure depended largely on oratorical skill in appealing to popular prejudices. Although a man had to deliver his own speech, he could hire an expert to write the speech for him, or, as many, preferred, he could pay for instruction in the arts required for success in the law courts. These arts the Sophists were supposed to teach. They taught the art of arguing, and as much knowledge as would help in this art. Broadly speaking, they were prepared, like modern lawyers, to show how to argue for or against any opinion and were not concerned to advocate conclusion of their own. Those, to whom philosophy was closely bound to religion, were naturally shocked; to them, the sophists appeared frivolous and immoral. The sophists were prepared to follow an argument wherever it might lead them. Often it led to skepticism. One of them, Gorgias, maintained that nothing exists; that if anything exists; and to be knowable by any one man, he could never communicate it to others.

Protagoras was most prominent amongst the sophists. Protagoras was born about 500 B.C; at Abdera in Thrace, the city from which Democritus came. He twice visited Athens. His second visit to Athens is described somewhat satirically in Plato’s Protagoras, and his doctrines are discussed seriously in Theaetetus. He is chiefly noted for his doctrine that “Man is measure of all things, of things that are that they are, and of things that are not that they are not.” This is interpreted as meaning that each man is the measure of all things and that when men differ there is no objective truth in virtue of which one is right and other is wrong. The doctrine is essentially skeptical and is presumably based on deceitfulness of the senses.

Russel quotes Plato, in the Theaetetus, to explain Protagoras. One opinion can be better than other but not necessarily truer. For e.g. when a man has jaundice everything looks yellower to him. There is no sense in saying that things are not really yellow, but the color they look to a healthy man, one can say, however that since health is better than sickness, the opinion of man in health is better than that of man who has jaundice. This point of view is akin to Pragmatism.

Wednesday, 23 June 2010

tamaam umr ik lamhe ka intezaar kia..

तेरी रंजिश ने दिल को तार तार किया
इश्क में हमने इसे ज़ार ज़ार किया
[तार तार = shred; ज़ार ज़ार = wail copiously]

खुशफहमी-ए-शादगी है तुझे ए खूबां
क्या जिया जो ना तुमने कभी प्यार किया
[खुशफहमी-ए-शादगी = illusion of happiness; खूबां = beautiful]

तुम ना समझ पाए ज़ज्बात-ए-मुहब्बत
यूँ तो हमने सद हजारां आशकार किया
[सद हजारां = hundred thoushand; आशकार = reveal]

लो आज हों गए हम तुम से बाबस्ता
जाँ हमने तेरे दर पे वार किया
[बाबस्ता = associated ]

ना होगा कोई मुन्तज़िर 'मुज़्तरिब' सा
तमाम उम्र एक लम्हे का इंतज़ार किया
[मुन्तज़िर = awaiting]

'मुज़्तरिब' 

Sunday, 20 June 2010

Leucippus and Democritus - The Atomist

Leucippus and Democritus are considered to be the founders of Atomism. Though Democritus place is later in the chronology, along with Socrates, he is generally considered along with Leucippus.

Leucippus seems to have flourished around 440 B.C. He comes from Miletus and carried on the rationalistic and scientific way of philosophy associated with the city. He was much influenced by Parmenides and Zeno. Epicurus, a later follower of Democritus doubted his existence. There are, however, a number of allusions to him by Aristotle and it seems incredible that these would have occurred if he had been merely a myth.

Democritus was from Abdera in Thrace. He flourished around 420 B.C. He travelled widely in eastern & southern lands in search of knowledge. He seems to have visited Egypt and Persia.

Leucippus, if not Democritus, was led to atomism in the attempt to mediate between monism as represented by Parmenides and pluralism as represented by Empedocles. Their theory is remarkably akin to modern physics. They believed that everything consists of atoms and atoms are physically invisible and indestructible. The atoms have always been in motion and there are infinite numbers of atoms. The space between two atoms is empty. Atoms have different shape and size. Whether Atomist considered atoms as weightless is debated. But there is considerable reason to think that weight was not an original property of atoms of Leucippus and Democritus.

It seems more probable that, on their view, atoms were originally moving at random. Democritus said that there was neither up nor down in the infinite void and compared the movement of atom in the soul to that of motes in sunbeam where there is no beam. As a result of collisions the collection of atoms comes to form Vortices.

Contrary to popular perception in antiquity, Atomists were strict deterministic, who believed that everything happens in accordance with the natural laws. Democritus explicitly denied that anything can happen by chance.

Aristotle and others reproached Leucippus and Democritus for not accounting for original motion of atoms (i.e. how the atoms got into motion), but in science causation must start from something, and wherever it starts no cause can be assigned for initial datum. The world may be attributed to a creator, but even the creator himself is unaccounted for.

The atomists sought to explain the world without introducing the notion of purpose or final cause. The “final cause” of an occurrence is an event in the future for the sake of which the occurrence takes place.

Taking an example if we ask, “Why are railways built?” the answer would be because people would travel. This is the “final cause” why railways are built. When we ask “Why” concerning an event, we may mean either of two things. We may mean “What purpose did this event serve?” or we may mean “What earlier circumstances caused this event?”

The answer to the former question is teleological explanation, or an explanation by final causes, the answer to the latter question is mechanistic explanation. The mechanistic question leads to scientific knowledge, while the teleological question does not. The atomist asked the mechanistic question and gave mechanistic answers. Their successors, until the renaissance, were more interested in teleological question, and thus led science up a blind alley.

As regards the teleological explanation, it eventually arrives at creator whose purpose is realized in the course of nature. But if a man is so obstinately teleological as to continue to ask what purpose is served by the Creator, it becomes impious. The conception of purpose, therefore, is only applicable within reality, not to reality as whole.

A similar argument applies to mechanistic explanations. One event is caused by another and other by third and so on. But if we ask for a cause of the whole, we are driven again to creator who must himself be uncaused. All causal explanations, there must have an arbitrary beginning. This is why it is no defect in the theory of atomist to have left the original movements of atoms unaccounted for.

Leucippus was concerned to find a way of reconciling the arguments of Parmenides with the obvious fact of motion and change. Leucippus thought he had a theory which harmonized with sense perception and would not abolish either coming to be and passing away or motion and the multiplicity of things. He made this concession on the facts of perception. On the other hand he conceded to the monists that there could be no motion without void. The result is a theory which he states as follow:

“The void is a “not being”, and no part of “What is” is a “not being”; for 'what is' in the strict sense of term is an absolute plenum. This plenum, however, is not one, on the contrary, it is many, infinite in number and invisible owing to the minuteness of the bulk. The many move in the void (for there is a void): and by coming together they produce coming to be, while by separating they produce passing away. Moreover, they act and suffer action whenever they chance to be in contact (for there they are not one) and they generate by being put together and becoming intertwined. For the genuinely one, on the other hand, there could never have come to be a multiplicity, nor from genuinely many a one: that is impossible.”

It will be seen that there was on which everybody so far was agreed, namely there could be no motion in the plenum. In this, all alike were mistaken. There can be cyclic motion in a plenum, provided it has always existed. The idea was that a thing could only move into an empty space, and that in a plenum, there are no empty spaces. It might be contended, perhaps validly, that motion could never begin in a plenum, but it cannot be validly maintained that it could not occur at all.

To the Greeks, however, it seemed that one must acquiesce in the unchanging world of Parmenides, or admit the void. One may put the Parmenidian position in this way: “You may say that there is the void; therefore the void is not nothing; therefore it is not the void.” It cannot be said that Atomists answered this argument; they merely proclaimed that they proposed to ignore it on the ground that motion is a fact of experience, therefore there must be a void, however difficult it may be to conceive.

Democritus worked out his theories in considerable details and some of the working out is interesting. Each atom, he said, was impenetrable and indivisible because it contained no void. When you use a knife to cut an apple, the knife has to find empty places where it can penetrate; if the apple contained no void, it would be infinitely hard and therefore physically indivisible. Each atom is internally unchanging, and in fact a Parmenidian one. The only thing that atoms do is to move and hit each other, and sometimes to combine. They are of all sorts of shapes; fire is composed of small spherical atoms; and so is the soul. Atoms, by collision produce vortices, which generates bodies and ultimately worlds. There are many worlds, some growing, some decaying; some may have no sun or moon, some several. Every world has a beginning and an end.

Life developed out of the primeval slime. There is some fire everywhere in a living body. Thought is a kind of motion and is thus able to cause motion elsewhere. Perception and thought are physical process. Perception is of two sorts, one of the sense and one of the understandings. Perception of the latter sort depend only on the things perceived, while those of the former sort depends also on our senses, and therefore apt to be deceptive. Like Locke, Democritus held that such qualities as warmth, taste, and color are not really in the object, but are due to our sense organs, while such qualities as weight, density and hardness are really in the object.

Democritus was through-going materialist; for him, the soul was composed of atoms and thought was physical process. There was no purpose in universe, there were only atoms governed by mechanical laws. He disbelieved in popular religion and argued against nous of Anaxagoras. In ethics he considered cheerfulness as the goal of life, and regarded moderation and culture as the best means to it. He disliked everything violent and passionate; he disapproved of sex, because he said, it involved the overwhelming of consciousness by pleasure.

Sunday, 13 June 2010

aaj main gaya to laut ke phir na aaonga

आज  मैं गया
तो लौट के फिर ना आऊंगा

ये  आँखें ना रोक पायेंगी
ये आंसूं  ना रोक पायेंगे
तेरी बातें ना रोक पाएंगी
तेरी कसमें ना रोक पायेंगे
आज मैं गया
तो लौट के फिर ना आऊंगा

तेरी हंसी मैं भूल जाऊँगा
सारी ख़ुशी  मैं भूल जाऊँगा
सारे वादे मैं भूल जाऊँगा
सब इरादे मैं भूल जाऊँगा
आज मैं गया
तो लौट के फिर ना आऊंगा

अधजगी रातें मैं छोड़ जाऊँगा 
अनकही बातें मैं छोड़ जाऊँगा
अधूरी मुलाकातें मैं छोड़ जाऊँगा
अतृप्त ज़ज्बातें मैं छोड़ जाऊँगा
आज मैं गया
तो लौट के फिर ना आऊँगा

आधी रातो में  किसे जगाओगी
  वेवजह किसे सताओगी
कौन देखेगा राह तुम्हारी
किसे अपने किस्से सुनाओगी

रूठोगी, तो कौन तुम्हे मनायेगा
कौन अपने हाथों से खिलायेगा
कौन तुम्हे सब बातें समझायेगा
कौन तुम्हारे सपनो को अपना बनायेगा

फिर ये आँखें भर आयेंगी
और खर्जारों  से टकराएंगी
नज़र बार बार दरवाजे तक जायेंगी
पर मुझको ना ढूंढ पायेंगी

 अपने लिए ही सही
 रोक लो मुझको तुम आज, की
आज मैं गया
तो लौट के फिर ना आऊंगा 

'प्रशांत'