Translator’s Note:

Bhojpuri is native to and predominantly spoken in the Bhojpur-Purvanchal region of India (Bihar and eastern Uttar Pradesh) and the Terai region of Nepal. It also has sizeable bases of speakers in the countries of Fiji, Mauritius, Guyana, Suriname, and Trinidad and Tobago, among others. It is spoken by over 50 million people in India alone. Similar to Hindustani (Hindi-Urdu), it can be written in both the Devanagari script and the Nasta’liq (Urdu) script. The status of Bhojpuri as a language has been long-debated, with some linguists considering it a distinct language and others opining it to be a sub-language or dialect of Hindi. Nonetheless, both native-speakers as well as the diaspora and descendants of the native-speakers consider Bhojpuri to be a crucial component of their respective cultural identities. There has been little effort to preserve Bhojpuri literature, partly owing to its lack of recognition as a distinct language in India as well as to the prejudice and stereotypes about the economically and educationally underdeveloped region which downplay its rich heritage. Due to a lack of historical and cultural awareness, translation efforts have been few and far between.

The five poems in this collection were chosen to reflect the diversity of Bhojpuri literature from psychosocial critique to motivational melodies, capturing everything from meditative natural rhythms to themes of urbanisation, migration, and social transformation. There is a pervasive stigma against Bhojpuri language in contemporary India and a stereotype that compositions in Bhojpuri are crude, vulgar, lewd, garish, and kitschy. These prejudices have affected both the linguistic as well as the geocultural identities of Bhojpuri speakers, particularly in Bihar, a state with one of the lowest literacy rates, levels of industrialisation, and welfare-infrastructural development in India. Expressions of or through Bhojpuri language, literature, and culture are thus perceived as unscrupulous and uncouth in many parts of India, even Bihar itself. This curated collection of poems is aimed at helping to dispel such prejudice. These relatively lesser-known poems reflect a tradition rich in literary sophistication, keen observation, and philosophical wisdom. The three poets represented in this collection hail from different parts of Bihar and the slight difference in the sub-dialects of Bhojpuri that they use, is perceptible. They showcase the internal richness, diversity, and vibrance of the language through its subtly-distinguished, fine-nuanced variants. The poems are united in featuring a strong sense of community and unity in the highly-diverse and largely-agrarian state of Bihar. Humanism and social-knitting serve as unifying threads running through the works.

The poems are given below in the original script of Devanagari, then in transliteration using the IAST (International Alphabet of Sanskrit Transliteration) scheme, and finally, in English translation. Each poem is followed by its recital in Bhojpuri by Aakanksha Dwivedi.

***Irene Febry, Imaji Dunia Fana (2021)***
Image description: A mixed media collage resembling the shape of two continents connected by two green strips of fabric. The collage consists of subdued, pastel colours with some neutral browns and patterns.

भुइँया सरग बनि जाई
By अविनाश चन्द्र विद्यार्थी

आई, उहो दिन आई, अन्हरिया राति पराई
लीही अकासे छाई, किरिनि धरती पर धाई ।

कठमुरकी कन-कन के छूटी
सकदम साँस-साँस के टूटी
लीही पवन अँगडाई, गमक वन-वन छितराई ।

चह-चह बोल चुचूहिया बोली
जबदल कंठ मुरुगवा खोली
भँवरा पराती गाई, कली के मन मुसुकाई ।

डगर-डगर तब होई दल-फल
निसबद रही पाई ना जल-थल
जगरम घर-घर समाई, नगर में सोर सुनाई ।

भायी मोर, नयन ना निहँसी
धूमिल मुँह अँजोर में बिहँसी
भुइँया सरग बनि जाई, सुदिन तब साँच कहाई ।

Bhuiṁyā Saraga bani jāī
By Avināśa Candra Vidyārthī

āī, uho dina āī, anhariyā rāti parāī
līhī akāse chāī, kirini dharatī para dhāī |

kaṭhamurakī kana-kana ke chūṭī
sakadama sāṁsa-sāṁsa ke ṭūṭī
līhī pavana aṁgaḍāī, gamaka vana-vana chitarāī |

caha-caha bola cucūhiyā bolī
jabadala kaṃṭha murugavā kholī
bhaṁvarā parātī gāī, kalī ke mana musukāī |

ḍagara-ḍagara taba hoī dala-phala
nisabada rahī pāī nā jala-thala
jagarama ghara-ghara samāī, nagara meṃ sora sunāī |

bhāyī mora, nayana nā nihaṁsī
dhūmila muṁha aṁjora meṃ bihaṁsī
bhūṁiyā saraga bani jāī, sudina taba sāṁca kahāī |

The Earth Shall Turn into Paradise
By Avinash Chandra Vidyarthi

Indeed, even that day shall come to pass, when the dark night shall flee, it will;
Spreading over the sky, rays shall sprint on the Earth.

The indolence shall be lost from every grain,
The congestion of each breath shall rupture,
The breeze shall pandiculate, scattering fragrance throughout the woods.

The whistler bird shall chirrup in chuckles,
The rooster shall free its constricted throat,
The bumblebee shall drone the morning-carol1, the heart of the bud shall beam.

Every trail shall then bloom and bustle,
No land or waters shall be able to stay wordless,
Awakening shall pervade every home, the commotion shall be heard in the town.

It shall please me, eyes shall never be downcast,
The ashen countenance shall twinkle in the light of dawn,
The Earth shall turn into Paradise, ‘Good Times’ shall then be deemed true.

Translator’s Note:

1. Par āti is a genre of traditional devotional folk-songs that often invoke certain deities and seek to awaken the household and neighbourhood. These auspicious melodies are sung at daybreak and traditionally draw from popular Hindu mythological narratives. Their recital is believed to rouse the listener’s spirit and render the ambience propitious.

अबहीं बहुत कहे के बा
By अविनाश चन्द्र विद्यार्थी

सुनि पवलीं हाँ अबहीं कहवाँ, अबहीं त बहुत कहे के बा।
गूँजत आइल बा राग जवन
मानीं, ह साँच बिहाग तवन
सुर सूतल जहाँ भैरवी के
उचरी तहवाँ अब काग कवन ?
खरकल ना एको पीपर पात, पवन उनचास बहे के बा।
रगवा पग के कठुआइल बा
ठगवा मग में हहुआइल बा,
गाँथी कइसे मोती लरिया
तगवा मन के अझुराइल बा
टुसिआई ठुँठी पाकड़िओ, कुछ दिन पतझार सहे के बा।
उड़ि के अइसन रहिया धइलीं
कलियन के संग भँवरा भइलीं
मधुआइल नयना भरमबलसि
माया का नगरी में अइलीं
निरभेद चदरिया तानीं जनि, सपना के महल ढहे के बा।
के आजु पराती गवले बा ?
जगरम के अलख जगवले बा ?
‘धाव धाव’-कहि के केदो
अनदेखल के गोहरवले बा
जे जागत बा से पावत बा, बस लागल आतु के बा

Abahīṃ Bahuta Kahe ke bā
By Avināśa Candra Vidyārthī

suni pavalīṃ hāṁ abahīṃ kahavāṁ, abahīṃ ta bahuta kahe ke bā|
gūṁjata āila bā rāga javana
mānīṃ, ha sāṁca bihāga tavana
sura sūtala jahāṁ bhaairavī ke
ucarī tahavāṁ aba kāga kavana ?
kharakala nā eko pīpara pāta, pavana unacāsa bahe ke bā|
ragavā paga ke kaṭhuāila bā
ṭhagavā maga meṃ hahuāila bā,
gāṁthī kise motī lariyā
tagavā mana ke ajhurāila bā
ṭusiāī ṭhuṁṭhī pākaḍa़io, kucha dina patajhāra sahe ke bā|
uḍa़i ke aisana rahiyā dhilīṃ
kaliyana ke saṃga bhaṁvarā bhilīṃ
madhuāila nayanā bharamabalasi
māyā kā nagarī meṃ ailīṃ
nirabheda cadariyā tānīṃ jani, sapanā ke mahala ḍhahe ke bā|
ke āju parātī gavale bā ?
jagarama ke alakha jagavale bā ?
‘dhāva dhāva’-kahi ke kedo
anadekhala ke goharavale bā
je jāgata bā se pāvata bā, basa lāgala ātu ke bā

There’s Still Much to Be Said
By Avinash Chandra Vidyarthi

Have I even had the chance to hear yet, there’s still so much to be said,
The melody [1] that has drifted in reverberating,
Believe it! It’s the true night-melody Bihaag;
Where the tune of the dawn-melody Bhairavi is itself asleep,
What crow would ever dare utter?
Not a leaf of the sacred fig rustled, myriad gusts are yet to blow.
The veins of my feet are petrified,
The thug [2] has turned impatient on the trail;
How do I thread a strand of pearls,
The strand of my mind is ravelled;
Tree-stumps are sprouting buds, a few days to bear the fall.
Taking the course of such a flight
That I turned into a bumblebee with the blossoms,
Mead-mellow eyes delirious with delusion,
I arrived in the city of illusions;
Their impregnable blankets are pulled over, the palace of dreams is bound to collapse.
Who chants the morning-carol these days?
Who awakens the zeal to awaken?
Who in the world urges, ‘Hurry! Hurry!’,
beckoning the unseen;
One who rises, receives, mere haste pervades!

Translator’s Note:

1. ‘Rāga’ is a complex concept in Indian Classical Music Systems, which has no direct equivalent in Western Music. It defines a broad melodic framework roughly resembling the concept of ‘melodic modes’. Roughly, the ‘Raga’ is a specific yet spacious framework or musical aesthetic space within which a musical artist can improvise. It establishes the scope of a musical piece and provides the basic idea of the overall mood, spirit, and feel of the performance.

2. The word ’thug’ historically referred to members of groups of highway and trunk-road bandits found in Northern India, who would ambush/deceive, strangle, and loot travellers, a practice called ‘thugee’. The word’s meaning has significantly loosened in contemporary India and it is now used to refer to any swindler or fraudulent person, including petty conmen. Today, the word is frequently used as a mild pejorative.

बिनु गीत के
By अविनाश चन्द्र विद्यार्थी

कुँहुँकत बा जहान बिनु गीत के
डहकत बा परान बिनु मीत के।

हरिअरिया बे-फुहार के झुरात बा
फुलवरिया ई बहार में धुँवाँत बा
धन्हकत बाटे आँचि अनरीत के।

बा लहरिया, ना नजरिया में हुलास बा
लहवरिया में नगरिया ई उदास बा
चहकत बा बिचार हार-जीत के।

मोहेला अल्हड़ करेज तनिक छोह से
सोहे ना बचनियाँ मुँह में मन का द्रोह से
सहकत बा सिंगार बे-पिरीत से।

झलकी रूप-रंग असली नवका भोर में
तनिका नेहिया लगवले जा अँजोर में
लहकत बाटे जियरा दियरा हीत के।
डहकत बा परान बिना मीत के॥

Binu Gīta ke
By Avināśa Candra Vidyārthī

kuṁhuṁkata bā jahāna binu gīta ke
ḍahakata bā parāna binu mīta ke|

hariariyā be-phuhāra ke jhurāta bā
phulavariyā ī bahāra meṃ dhuṁvāṁta bā
dhanhakata bāṭe āṁci anarīta ke|

bā lahariyā, nā najariyā meṃ hulāsa bā
lahavariyā meṃ nagariyā ī udāsa bā
cahakata bā bicāra hāra-jīta ke|

mohelā alhaḍa़ kareja tanika choha se
sohe nā bacaniyāṁ muṁha meṃ mana kā droha se
sahakata bā siṃgāra be-pirīta se|

jhalakī rūpa-raṃga asalī navakā bhora meṃ
tanikā nehiyā lagavale jā aṁjora meṃ
lahakata bāṭe jiyarā diyarā hīta ke|
ḍahakata bā parāna binā mīta ke||

In the Absence of Melody
By Avinash Chandra Vidyarthi

The world is snivelling in lack of melody,
The soul is whimpering in lack of its companion.

The greenery is shrivelling in want of showers,
The flower-yard is hazed in this spring,
The flame of disorder is flaring.

There is an uproar but no vigour in sight,
This city is gloomy in midst of festivities,
The deliberation of victory-and-loss is dinning.

The rambunctious heart is enchanted by the slightest trace of affection,
The words don’t suit on the lips out of the dissent of the heart,
The Adornment is being unbridled lovelessly.

The true visage shall be glimpsed in the new dawn,
Adore me a little while the light (of the lamp) lasts,
The well-wisher’s heart-lamp is burning;
The soul is whimpering for want of companionship.

About the Author:
Avinash Chandra Vidyarthi was a Bhojpuri author and poet, born in 1928 in Shahpur, Arrah in Bihar. His works include the short story publication ‘Daga Baji Gail’, the poetry collection ‘Anasail Raag’, and the satirical essay ‘Beta ke Naihar’. Although he was a prolific writer in terms of employment of a variety of forms, he was particularly distinguished in the comical satire subgenre of Bhojpuri literature. He was also one of the editors of ‘Bhikhari Thakur Rachnavali’, a compilation of the works of the celebrated Bhojpuri folk writer, poet, and playwright Bhikhari Thakur.

दउर सुरू हो जाला
By अवधेन्द्रदेव नारायण

सरेख मन से
गते-गते सँसरे में
करेज कसकेला।
बउराइल अकुलाहट
उफनात
जिदिआ के
दउर लगावे में
इचिको ना थथमे।
फरीछ होते
जुड़ाइल
किरिन संगे चुप्पी सधले
सोना नियर दिन में
दउर सुरू हो जाला।
दूरी नापत
गहिर चाल से, धीरज बन्हले
नया बसेरा खोजत
जोत जगावत
दरद पी के
मन मुसक उठेला।
एही जिनगी के
निखरल खुलल दरपन बनेला
तबे नू
सरेख मन से।
गते-गते सँसरे में
करेज कसकेला।

Daura surū ho jālā
By Avadhendradeva Nārāyaṇa

sarekha mana se
gate-gate saṁsare meṃ
kareja kasakelā|
baurāila akulāhaṭa
uphanāta
jidiā ke
daura lagāve meṃ
iciko nā thathame|
pharīcha hote
juḍa़āila
kirina saṃge cuppī sadhale
sonā niyara dina meṃ
daura surū ho jālā|
dūrī nāpata
gahira cāla se, dhīraja banhale
nayā baserā khojata
jota jagāvata
darada pī ke
mana musaka uṭhelā|
ehī jinagī ke
nikharala khulala darapana banelā
tabe nū
sarekha mana se|
gate-gate saṁsare meṃ
kareja kasakelā|

The Race Commences
By Awadhendra dev Narayan

Slow and steady,
gentle drifting
strains the heart.
The feverish fidgeting
doesn’t relent in the least
in running the errands
of the foaming
frenzied fit.
With the crack of dawn
all gathered,
poised quietly with the raylets,
in the golden morrow,
the race commences.
Scaling the distance
with firm steps and intact composure
seeking a new dwelling
kindling a flame
gulping the ache
a smile radiates within
This itself becomes
life’s refined, unobscured looking glass
Verily no wonder why,
slow and steady,
gentle drifting
strains the heart.

About the Author:
Awadhendra dev Narayan was a poet and author from Gaya, Bihar, noted for his social critique through poetry. His works are marked by extraordinary intellectual reflection on common sentiments, keen observation of everyday human life, and profound insights into the dynamics of social psyche.

नाव खुले माँझी रे
By अनिरूद्ध

पंछी चहके डेरात, कुनमुनात छवरा बा,
फुलवा महके डेरात, गुनगुनात भँवरा बा,
कुलबुलात भोर लुका, कुहरा के पहरा बा,
कुहा खुल माँझी रे, नाव खुल होसियार,
धार, लहर, जल, अकास, रँगवा चीन्हऽ बयार,
हइया रे हइया रे, भइया रे, थम्हले पतवार॥

चहचहा उड़े फर-फर, चिड़ई-मड़ई जागे,
गाय-भँइस खोल चले चरवाहा धुन रागे,
झटक चले बैला सँग, कान्हे हरवा-कुदार॥
चटक-मटक खिले कली, गमकल मग-गाँव-गली,
मतलब बहुते इयार, रसलोभी छली अली,
का सबेर दिलकली, खिले न जिया डर-अन्हार॥

प्यार धरम करम करे, हित जिनगी मेहनत बा,
बइठल मदवा स्वारथ, जियले में मउवत बा,
गैर कहाँ, के आपन, कुछ हमार ना तोहार॥
हाथ-हाथ जगरनाथ, हर देहिया खुदा एक,
एक रंग लहू हर तन, हर मजहब सदा एक,
हम सभ इनसान एक, भारत मइया हमार॥

पानी-दूधवा लजाय, भाई के खून पीअत,
धरम इहे मरदानी, अदमी ना अदमीअत,
बैरी के चाल मिलऽ, सुनलऽ भइया गोहार॥
साहस, बिसवास लगन, मिले कूल ठउआ ऊ,
जग सफर मुसाफिर हम, एक बा परउआ ऊ,
लगे जोर पहुँचा, पहुँचे नइया लगे पार॥
हइया रे हइया रे, भइया रे, थम्हले पतवार॥

Nāva Khule Māṁjhī re
By Anirūddha

paṃchī cahake ḍerāta, kunamunāta chavarā bā,
phulavā mahake ḍerāta, gunagunāta bhaṁvarā bā,
kulabulāta bhora lukā, kuharā ke paharā bā,
kuhā khula māṁjhī re, nāva khula hosiyāra,
dhāra, lahara, jala, akāsa, raṁgavā cīnha’ bayāra,
hiyā re hiyā re, bhiyā re, thamhale patavāra||

cahacahā uḍa़e phara-phara, ciḍa़ī-maḍa़ī jāge,
gāya-bhaṁisa khola cale caravāhā dhuna rāge,
jhaṭaka cale baailā saṁga, kānhe haravā-kudāra||
caṭaka-maṭaka khile kalī, gamakala maga-gāṁva-galī,
matalaba bahute iyāra, rasalobhī chalī alī,
kā sabera dilakalī, khile na jiyā ḍara-anhāra||

pyāra dharama karama kare, hita jinagī mehanata bā,
biṭhala madavā svāratha, jiyale meṃ mauvata bā,
gaaira kahāṁ, ke āpana, kucha hamāra nā tohāra||
hātha-hātha jagaranātha, hara dehiyā khudā eka,
eka raṃga lahū hara tana, hara majahaba sadā eka,
hama sabha inasāna eka, bhārata miyā hamāra||

pānī-dūdhavā lajāya, bhāī ke khūna pīata,
dharama ihe maradānī, adamī nā adamīata,
baairī ke cāla mila’, sunala’ bhiyā gohāra||
sāhasa, bisavāsa lagana, mile kūla ṭhauā ū,
jaga saphara musāphira hama, eka bā parauā ū,
lage jora pahuṁcā, pahuṁce niyā lage pāra||
hiyā re hiyā re, bhiyā re, thamhale patavāra||

The Boat Unmoors, O Oarsman
By Aniruddh

The bird is afraid of chirping, the kid is afraid of stirring,
The blossom fears divulging a whiff, the bumblebee is humming,
The mist stands guard over the tucked restless dawn;
Heed, O Oarsman!, Part the fog, part with the dock, O wise one!
The currents, the waves, the water, and the sky, do discern the complexion of the breeze,
Ahoy, Heave – Ho! Heave-Ho!, holding on to the oar.

Taking flight, fluttering away with a trill, the birds have arisen along with the field-huts,
The herder has untethered the cattle, crooning a rapturous strain,
The tiller has set off for the fields, oxen at his side, shoulder laden with plough, spade, and hoe.
Here and there brilliant blossoms blooming, every road, town, and street infused with fragrance,
Myriad, believe it, thirsting deceptive bumblebees,
What love-bud would blossom, the self fears unfurling in the dark.

Love, Integrity, and Duty, a life of favour is one of labour
Staying put with ego, a life of self-service is lifeless.
Where’s a stranger to be found? Who’s your own? None of mine, none of yours.
Every hand, the world’s master, in every embodiment of self, the Almighty,
The same shade of red fills every body, every faith ever one,
We are one, the land our mother.

Milk and water look on abashed, as the blood of brethren quenches thirst.
This, verily the hero’s code, human sans humanity.
Towards the steps of the ill-wisher, heed my imploration!
Courage, Faith, and Diligence, the bank shall be gotten to.
The world a voyage, we the voyagers, united in destination
Harder! spare no effort, have the boat reach ashore
Ahoy, Heave – Ho! Heave-Ho!, holding on to the oar.

About the Author:
Aniruddh was a Bhojpuri poet hailing from Maker in the Saran district of Bihar. His poetry features rich yet poised depiction of rustic, idyllic rural life and calm reflection on the day-to-day activities of ordinary village-folk. He is best-known for his work ‘Panihaarin’. This poem “N āv Khule M ānjh ī Re” juxtaposes the spiritual theme of transcendence with an everyday setting and common, lay sights through the use of extended metaphor. Aniruddh was born in Dihi village, which lay on the banks of the river Gandak. His childhood was spent in an idyllic, verdant, and picturesque setting, which is reflected in the prominence of natural themes in his poetry. Rural themes both feature directly as well as retain a strong influence conveyed through motifs in his works. Aniruddh was an active participant in sociocultural circles, events, and activities. Known for being a humble and genial samaritan, he took initiative in organising grassroot literary events at the local level and furthering the intellectual and literary cause in his community.

Pitamber Kaushik is a writer, columnist, teacher, and independent researcher. His writings, cutting across boundaries of disciplines, styles, and geopolity, have appeared in over a hundred-odd publications across thirty-five countries. He is interested in exploring philosophy, politics, linguistics, social psyche, and culture through his creative efforts, focussing on rationalism, postcolonialism, environmentalism, and social justice, among others. With his interdisciplinary, comparative, and eclectic approach to the Humanities, he considers himself a xenophile – a purveyor and philatelist of unique ideas and historico-cultural curios.

Aakanksha Dwivedi is a Kathak visharad-level performer and theatre artist by passion, chemical engineer by education, and a software engineer by profession. She takes a keen interest in classical and folk music, dance, drama, literature, and art, from either side of the fourth wall. She was one of the winners of Miss India Khadi pageant in 2017. Her colleagues describe her as, ‘Enthusiastic, Eager, Expressive, and Ebullient’. Her mantra is “Never Stop Learning”.

The Boat Unmoors, O Oarsman

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