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Folk Tales of Pakistan: Heer-Ranjha

Posted on January 1, 2008
Filed Under >Mast Qalandar, Culture & Heritage, Poetry
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Mast Qalandar

Heer painted by ChughtaiOf all the folk tales of Punjab, Waris Shah’s Heer is the most widely read, recited (actually, sung), commented upon and quoted love story. People have even done Ph.Ds on it. It is a very long poem, written in the Punjabi baint meter, comprising of 630 odd stanzas of 6 to 12 or more lines each.

Syed Waris Shah wrote it sometime in the 1760s.

Rural folks in Punjab routinely gather, as they always did, at the end of a hard day’s work, under a tree or a chappar (thatched canopy) to smoke hukka and discuss and share the daily news, views and common problems. It is not uncommon at such gatherings for someone to sing a few passages from Heer. Folks listen to it, mesmerized both by the melody and its contents. Older people would often quote a line or two from Waris Shah’s Heer as a piece of wisdom in their conversations. In fact, Heer is quoted by the rural folks more often than any other traditional book of wisdom.

The story of Heer and Ranjha, like all such stories, is partly true and partly fiction. But it continues to have such a powerful hold on the imagination of rural folks that they want to believe it to be true.

Numerous people have written the story of Heer before and after Waris Shah, the earliest being Damodar and probably the latest being Ustad Daman. But it is only Waris Shah’s Heer that the world knows about — or cares to know about. By writing Heer, Waris Shah not only told a fascinating story but also raised the status of Punjabi from that of a rustic language, which was mostly a spoken language, to that of a language of literature. Many believe Waris Shah is to Punjabi what Chaucer and Shakespeare were to English or Sa’di was to Persian.

Waris Shah was born in a village in district Sheikhupura but studied at Kasur. He was a contemporary of Bulleh Shah and they are supposed to have studied at the same madrassah (not necessarily in the same class) under the tutorship of one Hafiz Ghulam Murtaza Makhdumi Kasuri.

Waris Shah by all accounts was a spiritual man, well versed in Islamic theology, but he was more of a mystic than a “maulvi”. In fact, going through his Heer one cannot help but wonder if Waris Shah were alive today would he be able to, or allowed to, write a daring epic like Heer?

He wrote the story while staying at the hujra (quarters) attached to a little mosque in village Malka Hans, which falls in district Pak-Pattan (old district Sahiwal). The mosque (picture below) exists even today.

It is said when Waris Shah completed Heer he showed it to his teacher. The latter was rather disappointed to see his talented student, instead of writing something on fiqh or shariah, had chosen to write a love story. He is reported to have said:

“Warsa (deflection of the name, often used in Punjabi to address juniors in age or rank), I am saddened to see that my efforts have gone waste. I taught both you and Bulleh Shah. He ended up playing the sarangi (a string instrument) and you have come up with this.”

Waris Shah then opened the book and started reciting Heer. As the teacher listened, the words slowly started sinking in. He was so touched by the language, the poetry, the powerful imagery, the intensity of emotions, and the melody that he is famously reported to have said,

“Wah! Waris Shah, you have strung together precious pearls in a twine of “munj” (a coarse string of hemp or jute).”

Some commentators interpret the “pearls” in the teacher’s comment as the deeper spiritual meanings and the “twine of munj” as the coarse theme of physical love. In other words, they say, you would, if you care to, find profound meanings beneath the superficial words of the story. However, others interpret the comment to mean that such beautiful thoughts and powerful images are expressed in a language (Punjabi) that was considered coarse or not quite as sophisticated at the time. Having myself sped through the book I tend to agree with both the views. (I must confess, however, that, Punjabi not being my native tongue, it was not easy for me to fully understand the text. I had to rely mostly on the Urdu translation provided alongside the Punjabi text.)

Shorn of all the embellishments and detail — the devil, in this case, though, literally lies in the embellishments and the detail — here is the story for those who may not have read it or heard it before.

The events of the story are supposed to have occurred sometime in the middle of the 15th century. Ranjha (his given name was Deedho. Ranjha was his clan) was born in Takht Hazara, a town in district Sargodha, to a local landlord. He was the youngest of eight sons, and his father’s favorite. While others went about their daily chores Ranjha whiled away his time playing the flute that he loved so much. He grew long hair — longer than men usually wore those days — and was a very handsome young lad.

When their father died, a dispute arose between Ranjha and his brothers over the distribution of land. The brothers had apportioned the best land to themselves and gave Ranjha only the barren land. Ranjha, after a heated argument with his brothers, left home in protest. He headed aimlessly southward along the River Chenab until he reached somewhere near the present day Jhang where the Sayyal tribe ruled.

An incident that stands out during this part of the story, which has been described in great detail by Waris Shah, is when Ranjha stays in a village mosque for the night. In the quiet of the night, tired and distressed that he was, Ranjha starts playing the flute. The village folks, when they hear the poignant notes are attracted to the mosque. The maulvi of the village also turns up, not to listen to the flute, though, but to scold Ranjha for desecrating the mosque. The maulvi denounces Ranjha for playing the flute in the mosque and also for his long-haired looks, and tells him to leave the mosque. Ranjha is not intimidated and replies:

“You and your kind, with your beards, try to pretend to be saints, but your actions are that of the devil. You do evil deeds inside the mosques and then mount the mimbar (rostrum) and quote scriptures to others …”

(In fact, Ranjha is more explicit than what I have been able to paraphrase.)

The back and forth denunciations between the maulvi and Ranjha continue for some time. Interestingly, the village folks don’t seem to share the maulvi’s enthusiasm in denouncing Ranjha. They simply watch the scene as silent spectators. (Fortunately for Ranjha the blasphemy law was not in vogue then.) Anyway, Ranjha spends the night in the mosque and leaves early next morning. After a few days he ends up in Jhang.

The chief of Jhang at the time was one Chuchak Sayyal who had an extraordinarily beautiful and a headstrong daughter named Heer. Waris Shah describes her beauty and physical attributes, literally from head to toe, with the usual poetical exaggeration. Some of the analogies and metaphors he uses may sound a bit unfamiliar and even strange to the present day readers. For example, Waris Shah says:

“Can any poet sufficiently praise Heer’s beauty? Her face shines like the full moon. Her eyes are like the narcissus flower. Her eyebrows are like a Lahori bow (I didn’t know that Lahore was ever known for making bows). The kohl (kajal) in the corner of her eyes suggests as if the armies of Punjab have invaded Hind (India). Her lips are like red rubies. Her chin is like a selected apple from the King’s orchard. Her nose is like the pointed end of the sword of Hussain (!). Her teeth are like the white petals of champa flower and sparkle like pearls. She is tall and straight like a cypress in the garden of Paradise. Her neck is like that of a koonj (a species of cranes). Her hands are smooth and soft like a chinar leaf (similar to maple leaf) and her fingers like lobiay ki phallian (pods of beans, which are longer than most other pods). In short, her features are like a beautifully calligraphed book.”

Heer, when she meets Ranjha, is instantly taken by his wild and romantic looks and the soulful tunes of his flute. She persuades her parents to hire Ranjha as a cowherd for their cattle. Ranjha is hired, and thus kindles a blazing romance between Heer and Ranjha that lasts for several years, and has since been recounted and sung for almost 250 years. The two lovers often meet in the forestland along the river (known as bela in Punjabi) where Ranjha takes the cattle to graze. While the cattles graze Ranjha plays his flute. And Heer listens by his side. The days and months pass in total bliss — and very fast.

Heer’s uncle, Kaido, becomes suspicious and starts spying on her. He gathers sufficient evidence to report to the matter to her parents. The parents admonish Heer on her conduct and warn her of terrible consequences. When Heer is not deterred they call in the village Qazi (a muslim judge who decides disputes between people in the light of Sharia and also solemnizes marriages) to counsel her.

Punjabi villageThe Qazi tells her mildly that good girls, when they come out of their home, keep their gaze lowered; that they always keep their families’ honor uppermost; that they better spend their time in tiranjans (places where village women gather to spin yarn on spinning wheels and chat). He also reminds her that, being from a higher caste and a renowned family, it is unbecoming of her to mingle with family servants like Ranjha. Heer is not convinced and tells the Qazi:

“You cannot wean away an addict from the drug. It is not possible for me to walk away from Ranjha. If it is our destiny to be together then who, other than God, can change it?” And then she adds rather philosophically: “True love is like a mark that a hot iron burns on to the skin or like a spot on a mango fruit. They never go away.”

Seeing that Heer is admant the Qazi threatens her with a fatwa of death. But Heer remains unshakeable.
Exasperated, Heer’s parents decide to marry her to a man named Saida Khairra from village Rangpur (Muzaffargarrh district). Nikah ceremony is arranged and the Qazi is invited to perform the ceremony. As is customary, the Qazi first asks the bridegroom if he would accept Heer as his wife, which, of course, the bridegroom readily does. Then the Qazi asks Heer and her answer is a loud No. When the Qazi insists for an affirmative answer, Heer says forcefully:

“My nikah was already made with Ranjha in heavens by no less a person than the Prophet himself, and was blessed by God and witnessed by the four angels, Jibraeel, Mikael, Izarael and Israfeel . How can you dissolve my first nikah and marry me a second time to a stranger? How is that permissible? “.

The Qazi is dumbfounded and angry, and tells Heer to shut up or or “he will have her lashed with the whip of Sharia”, and goes ahead and solemnizes the marriage, anyway. After the ceremony Heer, in tears, is bundled off to Rangpur amidst great pomp and celebrations.

Ranjha, alone and heartbroken, takes to the jungle and joins a group of jogis (yogis). Dressed like a jogi, with ash rubbed on his body, wearing large earrings and carrying a begging bowl, he goes from house to house and village to village seeking alms — and also trying to find the whereabouts of Heer. Meanwhile, Heer languishes in Rangpur, pining for Ranjha.

Waris Shah uses a lot of ink and a lot of pages in describing the heartache and anguish that both Heer and Ranjha suffer during this period. Amrita Pritam (died 2005), a great Punjabi poet and novelist refers to this pain and anguish, in a different context, though, in her memorable poem, when she addresses Waris Shah in these words:

Ik roi si dhee Punjab di,
Toon likh likh maare vaen
Aj lakkhan dheeyan rondiyan,
Tainu Waris Shah noon kehn

When one daughter of the Punjab wept
You penned a thousand dirges of lament
Today a hundred thousand cry out to you
To make another statement

Ranjha comes searching for Heer and a jogiEventually, Ranjha finds Heer’s village and Heer also comes to know through her friends that the young handsome jogi in town was no one else but Ranjha. The two meet and, with the help of Heer’s friends and her sister-in-law, Sehti, manage to elope one night.

The Khairras follow them and capture them in the territory of one Raja Adli (a raja, not to be confused with Ranjha of the story, is a ruler of a territory or state). The lovers are brought before the raja. He asks the local Qazi to decide the case according to the Muslim law. The Qazi, without much ado, declares that Heer belongs to Saida Khairra, her “lawful” husband.

Heer and Ranjha are both devastated, but helpless.

When Heer is being forcibly taken back by the Khairras to Rangpur a forlorn Ranjha, still dressed as a jogi, raises his hands skywards and begs loudly:

“Oh, Lord, you are also Qahar and Jabbar. Destroy this town and these cruel people so that justice may be done.”

Coincidentally, a huge fire erupts in a part of the town. The village folks as well as the raja, being superstitious, are convinced that the fire was the result of the jogi’s prayer and might consume the whole town. The raja immediately proceeds to undo the “wrong” administered by the Qazi, stops the Khairras from taking Heer away and holds court to hear the case anew. After listening to all the sides he decides to allow Heer to go with Ranjha.

Joyful, Heer and Ranjha leave for Jhang Sayal expecting to live happily thereafter. However, the Sayyals, believing their honor was soiled by the unconventional behavior of Heer, conspire to “cleanse” their name of this ugly stain. While appearing to welcome the couple they suggest that Ranjha go home and bring a barat to take Heer as a wife in a proper conventional manner. Ranjha happily agrees and goes back to his brothers in Takht Hazara, who by now have forgotten their old quarrel and are also remorseful. He informs them of his planned marriage. Preparations begin for taking a colorful barat to Jhang and bring Heer home.

Meanwhile the Sayals quietly poison Heer. She dies. A messenger is sent to Takht Hazara to inform Ranjha of the unexpected and sudden death of Heer. On hearing the news Ranjha collapses and dies there and then. Thus ended the lives of Heer and Ranjha. But they continue to live in the hearts and hearths of the people across Punjab and elsewhere — and so does Warish Shah.

References:

1. The story is based on Heer Waris Shah by Akram Sheikh.
2. The translation of the lines from Amrita Pritam‘s poem is by Khushwant Singh.
3. Top paintings of Heer by Abdul Rahman Chughtai.

Previous Folk Tales posts by Mast Qalandar:

1. Sohni-Mahiwal
2. Mirza-Sahiban

46 Comments on “Folk Tales of Pakistan: Heer-Ranjha”

  1. Rahim Khan says:
    January 1st, 2008 7:56 pm

    Suna jo raat woh qissa HeerRanjha ka
    To ahl – dard ko Punjabiyon ne loot liya

  2. ASIF says:
    January 1st, 2008 7:57 pm

    The painting of Heer at the top is very mesmerizing.

    I am reading the essay in detail now but my first thought is that this story of another strong-willed woman is also a tribute of sorts to Benazir Bhutto.

  3. Smitten says:
    January 1st, 2008 8:00 pm

    Beautiful story, beautifully told.

    Can anyone give me the correct version of this verse which I love but have heard many versions of:

    Mahi, Mahi kookdi ni meiN aapiye Ranjhan hoee
    Ranjhan, Ranjhan aa-khaieyo, meino Heer na aakhan koee

  4. Irum Sarfaraz says:
    January 1st, 2008 10:08 pm

    Why aren’t we romantic anymore? There is just too much ‘practicality’ nowadays whereas romance can cure so much of the pain of modern man….The more practical man is becoming, the more dependant on Prozac.

  5. Boy Wonder says:
    January 1st, 2008 10:13 pm

    Waris Shah

  6. Rohan says:
    January 1st, 2008 10:42 pm

    Had a very nice feeling to read it….Beutifully portrayed !

    Well share with me thoughts abt “Gulgee-The Late Legend” at:

    http://www.chowrangi.com/gulgee-the-late-legend.html

  7. Taban Khamosh says:
    January 1st, 2008 11:25 pm

    Thanks for a wonderful summary of this beautiful love story. I couldn’t help but notice that the institutional/organized religious figures are depicted as villains of one sort or another.

    In many ways, it is the microcosm of our culture even to this day. I just discovered your blog, truly loving your content!

    Keep up the good fight!

  8. CHirag says:
    January 2nd, 2008 12:51 am

    Is there still the culture of “jogis” (yogis) in Pakistan today, or has it died out? If so, were would someone like Ranjha find his refuge today?

  9. Ahsan says:
    January 2nd, 2008 2:50 am

    Dear MQ,
    Well done. I liked your idea of keeping the unique names of Allaah, jabbAr and qahhAr, in Arabic. Any English translation will transform these sacred words into profane.
    Congratulations.

  10. Sohail Khalid says:
    January 2nd, 2008 2:55 am

    Mast Qalandar Jee great post. Saw the other folk tales by you as well. Any chance of posting Sassi Punnoo. I am listening to Asad Amanat Ali Khan’s Umran Langiyan Pabaan Paar and there is a verse

    Jaan Sassi witch nazar na aaundi
    au tey legiya kech da khan aay

    Will love to know the whole tale.

  11. Jamshed Nazar says:
    January 2nd, 2008 7:28 am

    Adding some realistic context,
    my ancestors seem to be the Khairras from the village Rangpur!
    No offense to Messrs. Ranjha / Heer or their descendents, if any. :-)

    I have not read much of punjabi literature although I was raised in Lahore. Never taught in the education system in Punjab like Sindhi is done in Sindth, the impression of Punjabi is that of a language of the villages and of the working / uneducated class. Although Urdu is spoken much less than punjabi in Punjab as well as overall in Pakistan, it is quite ironic that the language Punjabi itself is not really owned and respected as much as Urdu is.

    Now living abroad, whenever I have meet sikh friends, it is quite enjoying to talk in Punjabi and feel the connection to my roots. Looks like Punjabi is much more preserved and evolving on the other side of the border.

    The write on Heer Ranjha was quite entertaining – Good work.

  12. Pervaiz Munir Alvi says:
    January 2nd, 2008 8:47 am

    First the love story of Sohni-Mahiwal, then Mirza-Sahiban and now Heer-Ranjha. The latest refreshing post by Mast Qalandar is a welcome divergence from the ugly (or should I say murderous) politics of Pakistan. But why such a long wait in between your posts Qalandar Sahab?

  13. Naveed Siraj says:
    January 2nd, 2008 12:25 pm

    Mast Qalandar, you have given us much needed respite from the recent events in Pakistan

    I wonder if you could, perhaps one day, do an article on Amrita Preetam’s ‘aj aakhan waris shah noon’, a poignant piece of work on the genocide that followed independence. Being a non-Punjabi, I give credit to popular artists like Meekal Hasan whose rendition of this great poem has made it accessible to us

    Sohail Khalid – Can you help me with ‘umraan langeeyaan pabaan paar’. wanted to understand it better but some words seems a little too difficult. can you guide me to a site that has a translation. I get mesmerized when Asad Amanant Ali Khan goes “phullaan day rang kalay”; what a great loss to have lost such a great artist (I actually know what umraan langeeyan means but not the rest of the words in the 1st line)

    Jamshed Nazar – It is not correct that people have lesser respect for Punjabi than Urdu. Sometime after the partition, the ‘officer’ cadre in the punjab brought this on themselves to have associated upward social mobility to Urdu. But this sense of pride in the language, I have noticed, to be more present today than it ever was. The cultural tapestry of Punjab is so rich that even a slight effort would reveal a whole new world to the folk tales and fables and wisdom that is inherintly grounded in the DNA of our village-folk

    I do feel that it is idealistic to believe that even today people would gather around a chappar and listen to Waris Shah’s Heer. More often than not, you would find villagers watching Lollywood productions on TV while having lassi. But I sure hope that Mast Malang is right that Heer is still being recited in villages

  14. mystic says:
    January 2nd, 2008 12:36 pm

    Listen Noor jahan’s beautiful song

    Wanjhli di mithri taan we
    main te ho gai qurban we

    http://www.youtube.com/watch?v=r5oDwHtlNFY

  15. Aik Pakistani says:
    January 2nd, 2008 1:56 pm

    What a lovely article, thanks for this… for those who are interested here is a Pakistani Punjabi online newspaper written in Shahmukhi (perso arabic script) it also has a Gurmukhi (script used in east Punjab) section as well as a Sindhi section.

    http://www.wichaar.com/

    If you are very interested in Baba Waris Shahs work you may access it in its original here;

    http://www.wichaar.com/category.php?id=23

    Some of my family too live in Jhang and Mai Heer da Mazar is located there, many a lover still goes there. The tradition used to be in the old days, so i was told, was that when a Jhangvi girl got married her dooli would pass by the Mazar of Mai Heer… Though this doesnt happen much now, but Mai Heer and Ranjha are still very much revered in the villages and countryside, along with other saints, much more so than any mullah or molvi!

    Those interested in the Punjabi language there is a fantastic resource on this site;

    http://www.apnaorg.com/

    Those who think that the Punjabi language is not as preffered should bear in mind that now a sort of renaissance is happening, though thankfully not at the expense of any other language.

    Take Care
    Khuda Hafiz

  16. Aik Pakistani says:
    January 2nd, 2008 1:59 pm

    Chirag

    Jogis and malangs can be found at any Urs of the various saints throughout Sindh and Punjab (I am not sure of Sarhad or B’stan i have never been there, though i assume it to be smilar)

    KH

  17. sidhas says:
    January 2nd, 2008 5:21 pm

    Mast Qalandar,

    This is was beautiful post. Reference to Amrita Pretam poem was worth mentioning. Comments like “blasphamey law not being in vogue” was funny.

  18. mrizvi says:
    January 2nd, 2008 9:13 pm

    What a wonderful story! All credit to MQ for bringing it to life one more time.
    Thank you MQ.

  19. sosan says:
    January 3rd, 2008 1:12 pm

    Great legend of ‘Heer-Ranjha’
    ” All Masti and Qalandri in ”Heer-Ranjha” by writer MQ.very well written.The whole story and description of Heer and her beauty is very impressive .
    The paragraph in which Waris shah describes Her beauty, is itself very good form of poetry, very unique words used for her beauty like,’pods of beans, narcissus flower , lahori bow and apple from the king’s orchard.
    Thanks for Waris Shah and ofcourse Thank you sooooo much MQ sahibbbbb.

  20. Adnan Ahmad says:
    January 3rd, 2008 3:28 pm

    “Her nose is like the pointed end of the sword of Hussain (!)”

    Both pathos and exaggeration reach their limit in this line.

  21. Ranjit says:
    January 5th, 2008 12:02 am

    Great Post. I just came accross this site as I was doing some research on Waris Shah. For those who may not know – Gurdas Mann has recently made a high budget Punjabi Movie on the life of Waris Shah called Waris Shah – Ishq Daa Waaris.

  22. MQ says:
    January 5th, 2008 7:29 am

    While I thank all those who appreciated the post, I feel some comments need need to be commented up or require some kind of response.

    @Boy Wonder,
    Your analogy of comparing the characters of Heer-Ranjha with those involved in the political drama being played currently in Pakistan is very interesting. I would suggest a little change, though. If Heer, as you suggest, is democracy and people of Pakistan are Ranjha then Kaido is more likely the Chuadhry duo of Gujrat instead of Musharraf. Musharraf, perhaps, fits the character of Chuchak and Saida Khairra would probably be Shaukat Aziz. No?

    @Ahsan,
    [quote] I liked your idea of keeping

  23. desidiary says:
    January 9th, 2008 3:34 am

    Beautiful article. Had a great feeling reading it. Thanks for sharing with us.

  24. gursharan says:
    January 25th, 2008 2:39 pm

    Dear Smitten,
    Correct verse is:
    Ranjha-ranjha kardi ni main Aape Ranjha Hoyi,
    SaDDo ni Mainu Dhido-Ranjha Heer na aakho koi

  25. Rafay Kashmiri says:
    January 25th, 2008 3:50 pm

    @ Gursharan,

    I think in the last part of radhif, the second last
    word should be “Heer na aakheo koi ” I hope it is
    like this.

  26. gursharan says:
    January 26th, 2008 12:28 pm

    Rafey Kashmiri ji:
    I have a printed kissa of heer waris which is about more then 100 years old. and it is like the way I typed it. baaki I can confirm it later on when I check it again in the book

  27. Tina says:
    January 26th, 2008 2:44 pm

    Very sad that all the love stories of the Punjab end with what we would call today an honor killing.

    Anarkali killed by her lover’s father.
    Sohni killed by her sister in law.
    Sahiban killed by her brothers.
    Heer killed by her first husband’s family.

    And after all these years it’s still going on. People still accept it as normal that some love marriages are met with terrible revenge if one side of the family feels dishonored. The newspapers often recount cases. It’s really tragic.

  28. Rafay Kashmiri says:
    January 26th, 2008 3:46 pm

    @gursharan ji,

    I appriciate your comprehension , thanks.
    you deserve a punjabi sher of Allama Iqbal !

    Tina,

    its because Punjabis are very romantic. !

  29. Tina says:
    January 26th, 2008 5:23 pm

    If so romantic why do they kill all lovers?

    More romantic to get married and have kids, I would think.

    And in other parts of the world “romances” do end that way.

  30. Rafay Kashmiri says:
    January 27th, 2008 5:10 am

    Tina,

    Punjabi romances are highly influenced by the
    “Sufism” the end has to be dramatic, the 4th degree
    of love ” ISHQ” has to reach its culminating point
    which is ‘Al Fanah’ there is nothing after that, either
    you are ‘aspirated’ by love or the love ‘aspires’ you.

    Anarkali was the victim of Emperor’s “raison d’etat”.
    The Prince Shaikhu compromised !! (coward)

    Sohni was the victim of jealousy and her own wrong
    judgement of solidity of the potry culture of epoch.
    Poor Mahinwal was waiting the other side of Chinab
    for nothing. !

    Sahiban was the victim of “Chaudri ” Politics, Mirza
    again was ‘ tangue-less’ like a donkey ! putting ashes
    in his hair.

    Heer was victim of family jealousy, again the politics
    is the mastermind of “Heer da Mama ” diplomacy, in
    Punjab actually.

    Punjabis believe that A Romance is not a romance
    unless it ends with a domestic tragedy with a lot of
    noise. Who gives a heck to having kids and retire
    peacfully next to a railway station counting trains.

  31. Tina says:
    January 27th, 2008 11:33 am

    Rafay,

    thanks for the laugh.

    And yes the “Fanaa” concept plays a role. The ultimate sacrifice for love being a popular theme in different cultures.

    Guess I wasn’t feeling well yesterday. Your reply cheered me up :)

  32. January 30th, 2008 4:26 am

    AOA to alls

    This is a beautiful post and it is a good post,which is history of love and which tells about our history.
    Heer-Ranjha is our history who give us massage of love.A stanza for these types fo people’s ie.Heer-Ranjha,Soni Mahiwal,Laila Majnoon

    This stanza in Punjabi language:

    Jis tan wich Ishaq da josh hoya
    Oh bekhod ta behosh hoya
    Oh kiyun kar na khamosh hoya
    Jis piyala pita Saaqi da

  33. sukhpal deol says:
    February 22nd, 2008 6:43 am

    A REAL STORY OF LOVE MIND ONLY AND ONLY

  34. Nimi says:
    March 7th, 2008 8:35 am

    guys, i discovered this site just yesterday and can’t get my eyes off since then. A big thanks to all who contribute to it.

    I loved the account of heer and ranjha.

    I just have one thing to say to Rafay Kashmiri. According to what I have read, Mirza wasn’t tongueless. In fact it is said that finally mirza was able to “kidnap” sahiban on the night of her marriage. Both escaped to a forest and at a given point of time, when Mirza was asleep, sahiban heard horses at distance. These were in fact boys of her clan coming to get her back. Sahiban, already somewhat guilty of having escaped and dishonor she would get to her family, broke the arrows and arches of Mirza. She knew that if Mirza aimed at her brothers he wouldn’t miss them.

    A confusion of loyalties mais be ?

  35. Prof.R.C. Sharma says:
    May 4th, 2008 12:05 am

    A very well done brief account

  36. HONEY RACHNA says:
    May 4th, 2008 12:46 am

    Its too good

  37. Aamir says:
    May 11th, 2008 2:17 pm

    LOVE IT.

  38. Khadim Hussain says:
    May 15th, 2008 12:55 pm

    Assalam-u-Alaikum. I”m try to write a long poem about migration mainly from Mirpur to England. Does anyone have a compelete translation of Heer Ranjha in poetic form?

  39. Rafay Kashmiri says:
    May 15th, 2008 3:57 pm

    @Nimi,

    Sahiba’n
    Yes, it is said about breaking arche and arrows,
    its remarkable diplomacy, this lady had, this is known
    as ” Sanp bhi mar ja’ey, aur lathi bhi ne tootay “, among
    all the legends, contrary to Heer, Sohni, Sussi etc she
    was the most intelligent and aware.

  40. July 7th, 2008 6:34 am

    Always try to preserve the culture of pakistan.

  41. July 21st, 2008 9:42 am

    What a true love it is.No any example of such a love can be find today.How Allah meet them again after their long lonliness and accept his prayer for destroying the whole town.This shows a true love of Heer and Ranja.

  42. lucky says:
    September 26th, 2008 12:49 pm

    i like these very much i like punjabi sahitaya and want know more about heer ranjha the kings of isqe mijaji if you some more materail about these lover and other lover which is also belong to punjab also please give send me e-mail
    thanks very much

  43. ayesha says:
    November 23rd, 2009 2:10 am

    Good Effort

  44. Javaid says:
    March 5th, 2010 8:32 am

    Remarkable,but heer RANJA has hidden meaning,whch I Cn’t disclose.

  45. Watan Aziz says:
    May 15th, 2010 6:56 am

    I am a great fan of Heer Ranjah, especially, the remarkable and unforgeable Firdous with Madam as the singer.

    Ahhh, “sunn wanjle de ta’an”.

    But then, truly, love expressed in Romeo Juliet is a class by itself.

    And my favorite passage, translated (though totally butchered) by Google:

    واشنگٹن
    جولیٹ) اس (اگر میں اپنی unworthiest ہاتھ سے بدنام کرنا
    اس مقدس ، نرم ٹھیک ہے :
    میرے ہونٹ ، دو شرما حجاج کرام کے لئے تیار کھڑے
    ایک ٹینڈر چومنے کے ساتھ کہ کسی نہ کسی طرح رابطہ ہموار.
    جولیٹ
    اچھا حاجی ، آپ اپنے ہاتھ ظلم بہت زیادہ ہے ،
    کون ونیت مخلص دکھاتا ہے اس میں)
    سنتوں کے لئے ہاتھ ہے کہ ‘مسافروں کے ہاتھ کو مس کرنا ہے ،
    کھجور کھجور اور کو پاک ‘palmers چوم رہا ہے.
    واشنگٹن
    سنتوں ہونٹ نے نہیں ، اور palmers پاک بھی؟
    جولیٹ
    سوال ، حاجی ہونٹ ، کہ وہ نماز میں استعمال کرنا چاہیے.
    واشنگٹن
    اے ، تو ، عزیز ذرائع ، دو ہونٹ جو ہاتھوں ؛
    ان کی دعا ، گرانٹ تو ، ایمان کی باری ورنہ تو مایوس.
    جولیٹ
    سینٹس اقدام نہیں ، تاہم ‘نماز کے لئے دے دی گئی.
    واشنگٹن
    پھر ، منتقل نہیں جبکہ میری نماز کا اثر میں لے.
    اور اسی طرح میرے منہ سے ، تمہاری طرف ، میرے اور اپنے گناہ مقدس ہے.
    جولیٹ
    لیا ہوا پھر میرے ہونٹ گناہ ہے جو ان کے پاس ہے.
    واشنگٹن
    آپ کے منہ سے گناہ؟ اے پتھر پیار سے پر زور دیا.
    میرے جرم پھر دو.
    جولیٹ
    آپ کتاب (الہی) کو چومو.

    I do not know why Romeo is translated as “Washington”?

    But this is just the start. It will all get better.

    For reference, here is the English passage:

    ROMEO
    [To JULIET] If I profane with my unworthiest hand
    This holy shrine, the gentle fine is this:
    My lips, two blushing pilgrims, ready stand
    To smooth that rough touch with a tender kiss.
    JULIET
    Good pilgrim, you do wrong your hand too much,
    Which mannerly devotion shows in this;
    For saints have hands that pilgrims’ hands do touch,
    And palm to palm is holy palmers’ kiss.
    ROMEO
    Have not saints lips, and holy palmers too?
    JULIET
    Ay, pilgrim, lips that they must use in prayer.
    ROMEO
    O, then, dear saint, let lips do what hands do;
    They pray, grant thou, lest faith turn to despair.
    JULIET
    Saints do not move, though grant for prayers’ sake.
    ROMEO
    Then move not, while my prayer’s effect I take.
    Thus from my lips, by yours, my sin is purged.
    JULIET
    Then have my lips the sin that they have took.
    ROMEO
    Sin from thy lips? O trespass sweetly urged!
    Give me my sin again.
    JULIET
    You kiss by the book.

  46. Nayla says:
    June 19th, 2010 8:06 am

    Hi,
    Through my years of growing up as a child,I always wondered,that why did Heer and Ranjha had to die? It does not make sense to me.They were killed in the name of “honour” and “culture” which I think was and is very stupid!
    And how stupid could it get,that after killing them,someone convinently built their tomb, signifying,their victory!
    It is very frustrating…”They didn’t have to die” this line keeps repeating itself in my mind.
    Anyhow,I want to know,how was Heer’s tomb made? and Who came up with this idea?
    I would kill myself,if it turns out to be someone from her family!
    Waiting for the answer.
    ciao.

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