ilKfrI, ilKdy ikAuN nhIN? ilKfrI Éq ilKx dI kMjUsI ikAuN kr rhy hn?

kuJ smF pihlF sfnUM 'ilKfrI' dI sLuB-icMqk aqy khfxIkfr blbIr kOr sMGyVf df iewk pwqr afieaf sI ijs ivwc AuhnF ny ies gwl qy a-sMqoK pRgtfieaf sI ik pqf nhI ilKfrI iewk dUjy dIaF rcnfvF pVHky cMgy suJf ikAuN nhIN idMdy. AuhnF dy ilKy pwqr dy kuJ aMsL agHF dyNidaF asIN prsMnqf df pRgtfa krdy hF ik ies sbMDI BfvyN pihlF vI pfTkF dy pwqr rcnfvF dI prsMsf ivwc afAuNdy rhy hn (pwqrF dy pMny 'qy vyKy jf skdy hn) pr hux ivsQfr ivwc pihl khfxIkfr ipRqpfl isMG ibMdrf aqy khfxIkfr krnYl isMG igafnI hurF ny kIqI hY. 'ilKfrI' nUM pUrn afs hY ik agHF nUM hor lyKk vI iewk dUjy dIaF rcnfvF pVH-ivcfr ky rcnfvF df mulFkx krn dI koisLsL kridaF AusfrU suJf vI dyxgy. ieh pMnf 'ilKfrI' ivwc CpIaF rcnfvF sbMDI afpdy kImqI ivcfrF dI AuzIk ivwc hY.---ilKfrI

asIN sB Éq ilKx dI kMjUsI ikAuN kr rhy hF? koeI iksy ilKq qy tIkf itwpxI ikAuN nhIN kr irhf?
---blbIr kOr sMGyVf

zf: rfey jI,
quhfzI lgn, imhnq sdkf prcf bulMdIaF CUh irhf hY. mYN jfxdI hF ik quhfzI ishq dI nfdfnI vI hY pr Pyr vI quhfzy isrV awgy myrf qF isr Jukdf hY. qkrIbn sfry hI lyKk prcy ivwc Cpxf afpxf mfx smJdy hn. hr qrHF dI smwgrI, hr iewk pVHx vfly vfsqy mOËUd hY. cMgIaF khfxIaF /lyK/aflocnf/kivqfvF hn. myjr mFgt, kuljIq mfn, igafnI krnYl isMG, gurnfm igwl, sfDU ibinMg, ndIm prmfr, pRIqm isMG kYNbo, AuNkfrpRIq, qusIN, mYN qy hor vI bhuq sfry lyKk Èfml hn. alocnf dI lVI hY, kivqfvF hn, jfxkfrI BrpUr lyK hn pr ieh sB kuJ huMidaF hoieaF mYnUM iewk Gft mihsUs ho rhI hY. asIN sB Éq ilKx dI kMjUsI ikAuN kr rhy hF? koeI iksy ilKq qy tIkf itwpxI ikAuN nhIN kr irhf?
sfnUM sB nUM (smyq mYN) cfhIdf hY ik asIN Cp rhIaF ilKqF df shI mulFkx krIey. ivcfrF df afdfn-prdfn vI krIey. ijhVI ilKq cMgI lwgI hY Aus bfry ilKfrI rfhIN hI lyKk nUM afpxy ivcfrF qoN jfxU krfeIey, AusdI Gft bfry ijwQy AusnUM pqf lwgy, AuWQy cMgI ilKq nUM hwlf ÈyrI vI dyeIey. iewk dUjy dy mn dI soc qk phuMcx dI koiÈÈ krIey. Gwto-Gwt mYnUM qF AuzIk hY. mYN qF jfnxf cfhuMdI hF ik jo mYN ilK rhI hF, kI Ausdf koeI arQ vI hY jF nhIN? jF myrI gwl iksy qwk phuMcdI hY jF nhIN? mYnUM myry imwqr lyKkF/pfTkF qoN afs rhygI.
jdoN vI mYN Éq jF quhfzy ivcfrF vfly pyË nUM KolHdI hF qF purfxy Éq hI huMdy hn. afs hY sfzy lyKk/pfTk ies pyË nUM bdlx ivwc mwdd krngy.
blbIr kOr sMGyVf

Vehli Teevin and Pannu Sahib's remarks.
As I mentioned earlier, this is a very good short-story. I had merely meant
to suggest to Amrit to avoid dialect in the NARRATIVE part of her prose.
But, my good friend, Pannu Sahib felt offended unnecessarily and tried to
justify the use of just a few words by specifying that the prose was in
FIRST PERSON. Please, Pannu Sahib, print the story, mark the parts in quotes
(" ") and then ascertain if there is even one word, which makes it FIRST
PERSON SHORT STORY. Perhaps Pannu Sahib does not realize what is difference
between a SHORT-STORY IN FIRST PERSON and A NARRATIVE SHORT-STORY.
To clarify my point with regard to the use of dialect I would like to
specify just two lines from the story. In the beginning of the story, it is
said: "Cy vj gy?" gurf BVk dMxy AuiTaf and now consider: "lKbIr BfeI afh
hIry nUM PVIH kyrF CyqI dyxy." We, now consider the use of word, dMxy. In
the second instance dyxy is quite appropriate as it is in quotes but in the
first instance, it is the part of narrative where, being a word from local
dialect, seems odd.
With due apologies and regards, Pritpal Singh Bindra
(23rd December 2002)

*****
siqkfr Xog zf: guridafl isMG rfey jI,
mYN aMimRq mfn dI khfxI 'ivhlI qIvIN' sbMDI iliKaf sI ik AuWqm purK ivwc ilKI geI hY. Auh shI nhIN hY. asl ivwc Auh khfxI aMnH purK ivwc ilKI geI hY. ikrpf kr ky myrI Buwl soD dyxf.
quhfzf afpxf,
ikrpfl isMG pMnUM
(23rd December 2002)

**************

bhu-pKI lyKk aqy khfxIkfr ikrpfl isMG pMnU 'ivhlI qIvIN' bfry ilKidaF kihMdy hn:
'[[ivcfr prqfvy df kMm krdy hn. ieh ivcfr prqfvf lyKk leI ijMd-prfx df kMm krdf hY'.

siqkfr Xog zf: guridafl isMG rfey jI,
aMmrq mfn dI khfxI 'ivhlI qIvIN' bfry mYN vI kuwJ kihxf hY. iksy hwd qIkr mYN igafnI krnYl isMG dy 'ilKfrI' ivwc idwqy gey ivcfrF nflL sihmq hF. iewQy mYN igafnI krnYl isMG dI vYWb sfihq ivwc pfey sfrQk aqy amuwly Xogdfn df DMnvfd vI krnf cfhuMdf hF. Auh iksy nf iksy rUp ivwc afpxy ivcfr pysL krdy hI rihMdy hn. jo iksy vI lyKk leI ivcfr prqfvy df kMm krdy hn. ieh ivcfr prqfvf lyKk leI ijMd-prfx df kMm krdf hY.
iesy qrHF srdfr ipRqpfl isMG ibMdrf vI afpxf bxdf Xogdfn brqfeIN jf rhy hn. mYN AunHF dy ivcfr 'ivhlI qIvIN' pRqI pVHy. ijhVf AunHF ny ikhf hY ik ibafn aqy vfrqflfp df Prk BulyKf pfAU hY. Aus bfry mYN qF ieho hI bynqI krnf cfhFgf ik ies sbMDI prclq ivDI qF iewko hI hY. Auh hY gwlbfq nUM "" hvflf kOimaF ivwc rwKxf. ijsnUM aMmrq mfn ny pUrI qrHF nflL inBfieaf hY.
ibMdrf jI vrgy keI sUJvfn pfTk vfrqflfpI BfsLf aqy sUqrDfr dI BfsLf dy aMqr nflL vI ibafn aqy vfrqflfp dI pCfx kr lYNdy hn. jo mYN aMdfjf lfAuNdf hF, ikAuNik ies khfxI ivwc ieh dovyN BfsLfvF iewk hI hn, ies leI ibMdrf jI nUM tplf lwg igaf hY.
ikAuNik ieh khfxI AuWqm purK (Pst prsn) ivwc ilKI geI hY ies leI, ibafn aqy vfrqflfp dI BfsLfvF df iewk imwk hoxf kudrqI gwl hI hY. jy ieho khfxI aMnH purK (Qrz prsn) ivwc ilKI geI huMdI iPr sLfied ibMdrf sfhb nUM ieh isLkfieq nf rihMdI.
aMq ivwc mYN igafnI krnYl isMG aqy ipRqpfl isMG ibMdrf jI df vYWb sfihq swiBafcfr ivwc afpxf invyklf Xogdfn pfAuxf leI iewk bfr iPr DMnvfd krdf hF. aqy hor ivakqIaF (iewQy mYN smrwQ sLbd vrqx qoN sMkoc kIqf hY. ikAuNik hr ivakqI hI smrwQf rwKdf hY koeI QoVHI aqy koeI bhuqI) nUM vI, jo ieh Xogdfn pf skdy hn, KuwlH ky afpxI ikrpf krn leI bynqI krdf hF. swcy-suwcy ivcfr vtFdry nflLoN AuWqm Xogdfn, isLRsLtI AuWqy sLfied hI koeI hor hovy. (21 dsMbr 2002)

aMimRq mfn dI khfxI 'vyhlI qIvIN' iewk sPl khfxI hY: krnYl isMG igafnI

ibMdrf sfihb dy lyK dI roÈnI ivc mYN aMimRq mfn horF dI khfxI
vyhlI qIvIN pVHI.aqy pRBfvq hoey ibnf nf rih sikaf.
pwCmI jIvn ivc Day to day life events nUM eyQoN dI clMq BfÈf ivc ijs qrF
ies lyKkf ny ies iebfrq nUM pyÈ kIqf hY, iek pMjfbI gRihxI dy jIvn df XQfrQ
hU bhU pyÈ krn ivc ieh khfxI pUrI qrF kfmXfb jfpdI hY.
jy iksy ny akYizmI avfrz ivjYqf, zfktr virafm isMG sMDU horF dI pusqk
'aMg sMg' pVHI hovy, qF Aus ivc pyNzU swiBafcfr dI BfÈf iesy qrF hI ilKI hoeI
vyKI jFdI hY, ijs qrF ies khfxI ivclI nfiekf lwKo dy mUMhoN amrIkx jIvn dIaF
hr roË ivc vrqIaF jFdIaF vsqUaF bfry.
ho skdf hY, ik aMimRq jI QoVf smf vDyry lgf ky Aus df ivvrx kuJ ku hor suafr
skdy. pr jo khfxI df Drfql hY, qy ijs qrF dy prvfr dI gfQf hY, ies ivc nf cusq
ÈbdF dI ËrUrq hY, nf Background preparation bfry kuJ hor krn dI afvwÈkqf.
khfxI df vyg, Esy sihj ivc maintain kIqf igaf jfpdf hY, ijs qrF dy mfhOl dI
mMg hY. Es kuVI dy mUMhoN inwkly aMgRyËI dy Èbd inry EhI hn, jo asIN inwq
eyQy suxdy hF.
nvyN vrHy dI afmd dy mOky qy ÈuB iewCfvF Byjdf hoieaf, mYN aMimRq jI nUM
AuhnF dI eys pyÈkfrI leI mubfirkbfd pyÈ krdf hF.
krnYl isMG igafnI
(20[12[2002)

*****

Mr. Bindra's English story POORO highlights the hypocritical face of Indian society
...Karnail Singh Gyani- Philadelphia

Dear Dr. Rai Sahib,

Thanks for publishing Mr. Bindra's English story POORO.
This highlights the hypocritical face of Indian society.
I am glad the things are finally shaping up for the better, not only due to the daring write ups like this one,
but because of the economical conditions of the society, when both husband and wife have to go
to work to keep families going. And domestic service of any kind has become a
necessity.
The present day set up of maid servants ( BAIS) in India, specially in Delhi /Punjab is almost a revolution.
This reminds me of a poem I wrote, years ago, and I would like to share it with your readers.

The Untouchable Girl
Karnail Singh Gyani- Philadelphia

Again looking back, misty eyed,
She had a glimpse of the departing bride
From the neighboring village, with her princely groom,
Whose turban was adorned with pearls and plume.

She sobbed and heaved a profound sigh,
Yet no one was there to hear her cry.
For someone's love, she yearned so much,
'Would a knight of her dreams, come and touch
Her heart and soul full of desire?
Her rustic charm would he admire?'

Perhaps she knew her father's misery,
Who could never amass a huge dowry
To tint with henna his daughter's hands,
Who was pining to hear the wedding bands.

'Must she go on with her wretched life?
Or partake in the social strife?'

Deep inside her tender heart
A pain welled up to tear it apart,
"How did I become an object of scorn?
Why as untouchable was I born?"
_________________

(Award winning poem from American anthology -Where Dreams Begin)
Library of U.S.congress
Cat.No.ISBN 1-56167-039-1

*****
Is the Standard of Punjabi Language deteriorating?
(Would you like to comment?...Likhari)

Before I left India in 1960, I used to be a very keen reader of Punjabi Literature. I had a few pieces published, as well, in Pritam published from New Delhi. A couple of my One-Act-Plays appeared in Punj Dariya but my essay on the Folk Songs of Himachal Pardesh had very good response from the readers of Panj Dariya and admiration from Prof. Mohan Singh. My Urdu and Punjabi writing lasted from 1950 to 1954 (I got married then)
After a neglect of Punjabi reading for about 35 years, I was pulled back towards the study of Punjabi Language through the aegis of Kalma Daa Kafla, Toronto. I was appalled to observe the downfall in the standard of the language. In the essays and the poetry, to some extent, it is still there. But in the writing of novels and stories, it has taken a worse turn. Dialogues and Conversations are the necessary part of any such endeavour and the local dialects are permissible and are frequently used. But the latest trend of writing prose using local and dialectical terms is going to deteriorate the STANDARDISATION OF PUNJABI LANGUAGE.
Mr. Kirpal Singh Pannu, the doyen of Punjabi Fonts, is devolving the Punjabi Web Dictionary. Would he be able to cope with all the words used in the prose, as mentioned above? Perhaps he can throw some light on the subject.
As a matter of fact Amrit Mann's "Vehli Teeveen" prompted me to write this piece. It is a nice story but in her prose writing she must distinguish between the "narration" and the "conversation." There are quite a few examples in Likhari itself. In the short stories by Kuljit Mann, Mangat, Sanghera, Gianai Karnail Singh one can easily find where the narration ends and where the dialogue begins..
Kartar Singh Duggals's first novel, AANDHRA is a typical example in this regard. He has used maximum amount of Puthohari Dialect; they are inside the quotes (""). But the narration of story is in very simple, attractive and standard Punjabi.
And this goes for the enormous amount of Punjabi Weeklies and (East) Punjabi Broadcasting media, too.
With due apologies,
Pritpal Singh Bindra
bindra@rogers.com [www.bindra.net]
P.S. I shall be looking forward to read the response from the writers mentioned above and, perhaps, others, too.