Madhushala - Rubaiya 36

साकी बन आती है प्रातः
saaki ban aati hai praatah
जब अरुणा उषा-बाला
jab arunaa ushaa-baalaa
तारक-मणि-मंडित चादर दे
taarak-mani-mandit chaadar de
मोल धरा लेती हाला,
mol dharaa leti haalaa,
अगणित कर किरणों से जिसको
aganit kar kirnon se jisko
पी, खग पागल हो गाते;
pee, khag paagal ho jisko
प्रति प्रभात में पूर्ण प्रकृति में
prati prabhaat mein poorna prakriti mein
मुखरित होती मधुशाला
mukharit hoti madhushaalaa

Bachchan continues his description of nature manifesting itself as the madhushala; in this self-explanatory verse, he describes how the dawn becomes the tavern; observe the choice of words, the poetic metre, and the loveliness of the mood he captures.

Madushala - Rubaiya 35

मंद झकोरों के प्यालों में
mand jhakoron ke pyaalon mein,
मधुक्रितु सौरभ की हाला
madhukritu saurabh kee haalaa
भर-भरकर अनिल पिलाता
bhar-bharkar anil pilaata
बनकर मधु-मद-मतवाला,
bankar madhu-mad-matwala,
हरे-हरे नव पल्लव, तरूगण,
hare-hare nav pallav, tarugan,
नूतन डालें, वल्लरियाँ
nootan daalen, vallariyan
new branches, creepers
छक-छक, झुक-झुक झूम रही हैं,
chhak-chhak, jhuk-jhuk jhoom rahee hain,
मधुवन में है मधुशाला
madhuvan mein hai मधुशाला

Bachchan continues his description of various features of nature as representing the madhushala, or the tavern of life. In this verse, he uses the way the wind plays with the flora as his context: this is another very beautifully constructed verse.

Madhushala - Rubaiya 34

प्रति रसाल तरु साकी-सा है
prati rasaal taru saakee-saa hai
प्रति मंजरिका है प्याला,
prati manjarikaa hai pyaalaa,
छलक रही है जिसके बाहर
chhalak rahee hai jiske baahar
मादक सौरभ की हाला,
maadak saurabh kee haalaa
छक जिसको मतवाली कोयल
chhak jisko matwaalee koyal
कूक रही डाली-डाली
kook rahee daalee-daalee
हर माधुत्रतु में अमराई में
har madhukritu mein amraaee mein
जग उठती है मधुशाला
jag utthtee hai madhushaalaa



In continuation of the description of "nature-as-madhushala", Bachchan describes how the cuckoos cry shrilly as they hop from branch to branch, drunk on the nectar of the the flowers on the juiciest trees.


In every piece of flora has the madhushala come alive!

This is one of the verses where there is less "deep meaning" and more lyricism....it is best enjoyed by letting the verse sink in as you savour them, and let it quietly do its work. Read them aloud!!

Madhushala - Rubaiya 33

पौधे आज बने है साकी
paudhe aaj bane hai saakee
ले-ले फूलों का प्याला,
le-le phoolon kaa pyaalaa,
भरी हुई है जिनके अन्दर
bharee hui hai jinke andar
परिमल-मधु-सुरभित हाला,
parimal-madhu-surbhit haalaa,
मांग-मांगकर भ्रमरों के दल
maang-maangkar bhramaron ke dal
रस की मदिरा पीते हैं
ras kee madiraa peete hain
झूम-झपक मद-झंपित होते,
jhoom-jhapak mad jhampit hote,
उपवन क्या है मधुशाला
upvan kyaa hai madhushaalaa


Bachchan continues to describe the various ways in which the world manifests itself as the madhushala. The attempt by the poet is to demonstrate how all natural laws are the laws of the tavern - how the entire world is constructed around the principle of the madhushala.

In this verse, Bachchan compares how the flowers and bees are representative of the principles of the tavern; a truly beautiful verse!!

Bhakti - and Madhushala Rubaiya 32

This verse is reminiscent of those who are on the path of devotion. All they can see is the object of their devotion: be it a beloved or a deity. Everywhere they look, whatever they touch, they experience the object of their devotion.


There is a spiritual-philosophical context to this. Extreme devotion (or what is called Bhakti) makes one see (for example) God everywhere, and in everything. At some point, the devotee asks, "if everything is God, then who am I?" It is at that instant that the observer ceases to exist: there is no devotee loving the Lord; no suitor admiring the beloved. The observer ceases to be, and he is the object of devotion: he is the universe.


The underlying meaning of this verse has to be understood in this context: I, and you, and every one of us, am or are or is the madhushala. The madhushala is all there is...there is nothing that exists outside of it. I am contained in the madhushala and the madhushala is contained in me. I am the universe. As are you.


I decided to write the commentary before the verse this time, in the hope that when you read the verse, you may choose to see it the way I do.


अधरों पर हो कोई भी रस
adharon par ho koi bhee ras
जिहूवा पर लगती हाला,
jihuaa par lagtee haalaa,
भाजन हो कोई हाथों में
bhaajan ho koi haathon mein
लगता रक्खा है प्याला,
lagtaa rakkha hai pyaalaa,
हर सूरत साकी की सूरत
har soorat saakee kee soorat
में परिवर्तित हो जाती,
mein parivartit ho jaati,
आँखों के आगे हो कुछ भी,
aankhon ke aage ho kuchh bhee,
आँखों में है मधुशाला
aankhon mein hai madhushaalaa

Madhushala - Rubaiya 31

तारक मणियों के सज्जित नभ
taarak manhiyon ke sajjit nabh
बन जाए मधु का प्याला,
ban jaaye jab pyaalaa,
सीधा करके भर दी जाए
seedha karke bhar dee jaaye
उसमे सागर-जल हाला,
usme saagar-jal haalaa,
मत्त समीरण साकी बनकर
matt samiranh saaki bankar
अधरों पर छलका जाए,
adharon par chhalkaa jaaye,
फैले हों जो सागर तट-से
failen ho jo saagar tat-se
विश्व बने ये मधुशाला
vishwa bane ye madhushaalaa


Bachchan is building on a theme here that suggests that everything is the tavern: there's the madhushala, and there's nothing else. In this verse, he beautifully weaves the world into a symbol for the madhushala that pervades it: the star-studded sky is the wine-cup, when it is "straightened" and the oceans' water is filled in it like wine, and the "drunk" waves spill this "wine" onto the lips that are the shores, you have the entire world becoming the madhushala!!

Equanimity, disinterestedness, the Gita, and Bachchan's 29th verse

I published my commentary on Verse 29 of the Madhushala earlier in the day today, and thought I'd write an extended commentary on two lines in that verse:

mangal aur amangal samjhe
masti mein kya matwaalaa

Bachchan points out that the man fully engaged in life does not differentiate between good fortune and bad. This is an important point, given that a great emphasis has been placed in almost every religion on the need for equanimity in the face of both good fortune and bad.

I find that most of us understand this to mean that we must practice equanimity; learn and acquire the capacity for unflappability. I, on the other hand, tend to think that such a quality cannot be acquired - you are either unflappable or you are not. This is not to say that if you are prone to excitement and emotional distress, you can't change - I am merely saying that you can't practice and develop disinterestedness; it is not a skill. (Incidentally, just so I'm not misunderstood, I use the word disinterested to imply impartiality, not indifference).

The trick lies in our capacity for complete engagement with life. When you are fully engaged in the moment, fortune or the lack of it is moot: the observer becomes the observed, and the man becomes life itself. He is the fortune or the misfortune, and so neither affect him. He is the universe, so the universe neither hurts him nor favours him.

Therefore, equanimity is the quality of the man who is fully engaged. He the one who lives his moment fully, and dies to it, so that he can be born into the next one - he is the yogi of the Gita. Such a man is naturally unflappable, for he is free. That is the true meaning behind the two lines in this verse, at least in my mind.

Madhushala - Rubaiya 30

सूर्य बने मधु का विक्रेता,
soorya bane madhu kaa vikreta,
सिंधु बने घट, जल हाला,
sindhu bane ghat, jal haalaa,
बादल बन-बन आए साकी,
baadal ban-ban aaye saakee,
भूमि बने मधु का प्याला,
bhoomi bane madhu kaa pyaalaa,
झडी लगाकर बरसे मदिरा
jhadi lagaakar barse madira
रिमझिम, रिमझिम, रिमझिम कर,
rimjhim, rimjhim, rimjhim kar
बेली, विटप, तृण बन मैं पीयूं,
belee, vitap, trin ban main peeyoon,
वर्षा ऋतु हो मधुशाला
varsha ritu ho madhushaalaa


Bachchan continues to explain how the natural order of things resembles the madhushala, that his metaphor was not an accidental one. The world seems to be constructed on the principle of prosperity: all of nature's forces produce a natural bounty that mankind can tap into, only if it will let itself.


In this verse, Bachchan compares the oceans to the wine-jar, the water to wine, the clouds to the bar girls, the rain to the pouring. He goes on to the creepers and plants and grasses to the drinkers, and puts himself into their role, implying that if we'll be like the grass, we will be taken care of.


The fascinating thing is that the grass and the young branches don't need to do anything much; they just have to hang around and get into the rhythm of life. Once you can do that, there is no need to control anything. It all happens. Naturally.

Madhushala - Rubaiya 28

बनी रहें अंगूर लताएँ
banee rahen angoor lataayen
जिनसे मिलती है हाला,
jinse miltee hai haalaa,
बनी रहे वह मिट्टी जिससे
banee rahe mitti jisse
बनता है मधु का प्याला,
bantaa hai madhu kaa pyaalaa
बनी रहे वह मदिर पिपासा
banee rahe vah madir pipaasaa
तृपत न जो होना जाने,
tript na jo ho honaa jaane,
बने रहें ये पीने वाले,
bane rahen ye peene waale,
बनी रहे यह मधुशाला
banee rahe yeh madhushala


The first time I read it, I didn't understand this verse. On the one hand, Bachchan says that the madhushala represents the undefeated, immutable laws of life...and on the other hand, he wishes, in this verse, that it stays available. I thought that this verse was in the tradition of the South Asian way of saying something was desirable by wishing it longevity. For example, we say, "may you live long", to indicate that you are loved or wanted.


This may indeed be the explanation, but I'd like to think that Bachchan pointed out something deeper in this verse. The parochialism of ideas and organizations make us selfish and greedy; we denude the earth and build instruments of death as a consequence. It is possible that in being thus, we may destroy ourselves entirely; and with that will go the madhushala as well? Is it possible that Bachchan is hoping that it won't come to that - that we will somehow stay south of complete destruction; that somehow, the human spirit will prevent us from annihilating ourselves?


May the madhushala remain open! For eternity!

Madhushala - Rubaiya 27

नहीं जानता कौन, मनुज
naheen jaantaa kaun, manuj
आया बनकर पीनेवाला,
aayaa bankar peenewaalaa,
कौन अपरिचित उस साकी se
kaun aparichit us saakee se,
जिसने दूध पिला पाला;
jisne doodh pilaa paalaa;
जीवन पाकर मानव peekar
jeewan paakar manav peekar
मस्त रहे, इस कारण ही
mast rahe, is kaaran hee
जग में आकर सबसे पहले
jag me aakar sabse pehle
पाई उसने मधुशाला
payee usne madhushaalaa





There is a small scope for misunderstanding this verse, so I translate it:


"Who doesn't know that man came into this world as the drinker?


Who is unfamiliar with that bar-girl who nurtured us with her milk?


To get life, to drink mankind and stay ecstatically happy is man's nature;


That's why, as soon as he came into this world, he got the madhushala".

This, in my mind, is one of the most beautiful verses in the madhushala. Bachchan demonstrates in one verse that our fundamental nature is that of the drinker at this tavern called "life". We don't have to look far for the evidence: it stares us in the face.

We come to this world, and our very first earthly experience is that loving "bar-girl" who feeds and nurtures us. At every turn, we are given the opportunity to be grateful for life and for the bounty that it offers us.

What a wonderful thing our life is, what a wonderful thing we have at our disposal!!

Bachchan has written this verse beautifully; it brings tears to our eyes. Tears of gratitude and joy.

Madhushala - Rubaiya 26

एक बरस में एक बार ही
ek baras me ek baar hee
जलती होली की ज्वाला,
jalti holee kee jwaalaa,
एक बार ही लगती बाज़ी,
ek baar hee lagtee baazee,
जलती दीपों की माला;
jaltee deepon kee maalaa;
दुनियावालों, किन्तु, किसी दिन
duniyaawaalon, kintu, kisee din
आ मदिरालय में देखो,
aa madiraalay mein dekho,
दिन को होली, रात दिवाली,
din ko holee, raat diwaalee,
रोज़ मनाती मधुशाला
roz manaatee madhushaalaa


A really beautifully constructed verse!! Notice the lilting play on the words, the "music" to which the verse is set!! Bachchan points out that we spend our days in grief, and celebrate some special days once an year as a sort of consolation, but at the tavern, it's Christmas every day!!


This is an indictment of the life that tolerates a five-day week, only to look for a short-lived weekend, whereas life, if properly lived, is a constant source of pleasure, of happiness, a seven-day-a-week of richness. The man who loves life does not need drink or drug - he is constantly living the joy of celebrating life. Every day is Christmas, Eid, Diwali.


It s a simple thing to be happy: we unnecessarily complicate our lives.

Madhushala - Rubaiya 25

हरा-भरा रहता मदिरालय
haraa-bharaa rehtaa madiraalay
जग पर पढ़ जाए पाला,
jag par padh jaaye paalaa,
वहां मुहर्रम का तम छाए,
wahaan muharram ka tam chhaye,
यहाँ होलिका की ज्वाला;
yahaan holikaa kee jwaalaa;
स्वर्ग लोक से सीधी उतारी
swarg lok se seedhee utaree
वसुधा पर, दुख क्या जाने;
vasudhaa par, dukh kyaa jaane,
पढ़े मर्सिया दुनिया सारी,
padhe marsiyaa duniyaa saaree,
ईद मनाती मधुशाला
iid manaatee madhushaalaa


This is a continuation of the theme that life carries on, in accordance to natural laws, irrespective of the grievances of men. Sorrow is inevitable, but conflict is man-made, and while men, because of their ignorance and blind beliefs, may suffer, life continues celebrating itself.


The phrase "swarg lok se seedhee utari, vashudha par" is important; the heavenly (or immutable) principle of life is ever positive. It is us, with our convoluted beliefs and ideas who bring grief upon ourselves - it is always celebrations at the tavern. If you are in harmony with life, you are always celebrating; if you dwell in the world of conceptions and ideas, you miss out on the best thing you've been given, and which you'll never get again.

Raji, Madhushala and the toys of "kolu"

We have done some twenty verses of the Madhushala, and I have received some wonderful feedback via personal email from friends, acquaintances and strangers. I thank all of you. However, my cousin Raji, who lives in Bangalore, India, has been sending me (and in our family's e-group), her own take and comments on the Madhushala; I wanted to hit the pause button and talk about that today.

She enjoys the Madhushala very much, and yesterday, when I read her comments, I thought that she had brought a dimension to the understanding of the Madhushala that I was missing in my commentary. So I thought of writing a special post in the blog, and dedicating to her, a great fellow-lover of the immortal poem.

What Raji reminded me was that while it is important to understand the poem, to uncover the message, to decipher the metaphor of the madhushala, it is also important to remember that it is a poem, and to miss out on its lyrical quality is to lose a significant part of its essence.

During navratri, in many Southern Indian homes, especially ones where there were girls, they would do something we call "kolu" or "golu". It consists of creating a stepped platform on which would be kept various dolls, small and large idols and decorative trinkets. Besides, around this platform, would be constructed toy playgrounds and such, and populated with dolls as well.

A key component of this was the time the girls would take in determining which doll or trinket or idol to place where, so that each piece was just right, so that not only was the overall appearance very aesthetic, but that no piece was in the wrong place.

Raji compared the madhushala by Bachchan to these "golu bommais" or golu toys. Each word, she said, was placed so exactly, so correctly, that it reminded her of a very well done golu.

What a beautiful analogy!! Yes, it is important to understand the underlying philosophy of each rubaiya, but it is equally important to let the lyrcial quality of the poem seep into your heart. Otherwise, we'd miss out on the pain, the effort and the hard work that goes into the creation of the poetry or of the golu....and forget that "patthar pe ghisne ke baad hee, rang laati hai hina".

And we if just praised the result without acknowledging the effort that went into the creation of the madhushala, Bachchan's spirit would scold me:

"payal ke gamon ka ilm nahin...jhankaar kee baatein karte ho...."

Thank you, Raji. Yeh din, yeh post, tumhare naam.

Madhushala - Rubaiya 24

बिना पिये जो मधुशाला को
bina piye jo madhushaalaa ko
बुरा कहे वह मतवाला,
bura kahe weh matwaalaa
पी लेने पर तो उसके मुँह
pee lene par to uske munh
पर पड़ जाएगा ताला;
par pad jaayegaa taalaa;
दास-द्रोहियों दोनों में है
daas-drohiyon dono mein hai
जीत सुरा की, प्याले की,
jeet sura kee, pyaale kee,
विश्वविजयिनी बनकर जग में
vishwavijayini bankar jag mein
आई मेरी मधुशाला
aaee meri mdhushaalaa


This is an important verse. Bachchan says that the world will always call the realist "deluded"; but it is the ideology of men that is delusional. Reality is truth, and it does not care about ideas. Truth simply is: it does not conform to a pattern: to force it into a pattern is to make a mockery of it; and it will be a dead thing at that point.


Once you experience reality, you become speechless: you realize there is nothing to say.


In the battle between ideas and reality, reality always wins: the universe is the truth, and it has already triumphed over man-made ideas and beliefs.

Madhushala - Rubaiya 23

बुरा सदा कहलाया जग में
bura sada kehlaayaa jag mein,
बांका, मद-चंचल प्याला,
baankaa, mad-chanchal pyaalaa,
छैल-छबीला, रसिया साकी,
chhail-chhabeelaa, rasiya saakee,
अलबेला पीनेवाला;
albelaa peenewaalaa;
पटे कहाँ से, मधुशाला औ',
pate kahaan se, madhushaalaa au'
जग की जोड़ी ठीक नहीं -
jag kee jodee theek nahin -
जग जर्जर प्रतिदिन, प्रतिक्षण, पर
jag jarjar pratidin, pratikshan, par
नित्य नवेली मधुशाला
nitya navelee madhushaalaa


The genuine person is usually very difficult to live with. He flaunts conventional wisdom, and does not play by the rules. He loves life, and shuns ideology, so the world calls him all sorts of names. It will make fun of him; but there's nothing anyone can do about it. The way of life and the way of the world are at loggerheads; and while the world decays every instant, it's always new and fresh at the tavern.

This is a very thought-provoking verse. Is the way of the world, with its conventions, ideas and divisive organizations, "normal"? Are the iconoclasts, the thought leaders, "abnormal"?

When you look back at history, people who broke with the conventional religious practices of their times were the real revolutionaries who created change for the better! Whether it was Jesus Christ or the Buddha, they broke with the practice of religion during their times, because they had decayed into orthodoxy, as most organized religions do.

In my mind, this is inevitable. Whenever you build an organization, the survival and furtherance of the organization will inevitably take precedence over the purpose for which it was created. That is why organizations always decay in the long term.

Personally, I have tried very hard in my life to not be part of any organization or idea, and have tried not to form one. I am not a patriot, but hopefully, a citizen of the world. I belong to no organized religion, for religion is very important to me. I have paid, and continue to pay the price for it - I am thought of as a sort of bizarrely intelligent eccentric, and mildly foolish. That has always been of the way of the world - it mocks what it does not understand.

Having said that, spontaneously formed groups are a good thing....this post is sent to five groups that I belong to, and which have stood the test of time because no specific attempt is made to keep the groups alive. They are a spontaneous gathering of a group of people - very different, but brought together for a variety of reasons. Each one is a new group everyday, and thus makes them the "nitya naveli madhushala".

Formal organizations always become stale....human contact, especially human contact in the spirit of love, are always fresh.

Madhushala - Rubaiya 22

सब मिट जाएँ, बना रहेगा
sab mit jaayen, banaa rahegaa
सुन्दर साकी, यम काला,
sundar saakee, yam kaalaa
सुखें सब रस, बने रहेंगे,
sukhen sab ras, bane rahenge,
किन्तु, हलाहल औ' हाला,
kintu, halaahal au' haalaa,
धूमधाम औ' चहल-पहल के
dhoom-dhaam au' chahal-pahal ke
स्थान सभी सुनसान बनें,
sthaan sabhee sunsaan banen,
जगा करेगा अविरत मरघट,
jagaa karegaa avirat marghat,
जगा करेगी मधुशाला.
jagaa karegee madhushaalaa


Bachchan refers to death for the first time. He points out that no matter what happens, life and death are the only certainties. The bar-girl and the God of Death will always be around, no matter what gets obliterated. Bustling places may become abandoned, but the cremation grounds and the tavern will always be open.

Madhushala - Rubaiya 21

बड़े-बड़े परिवार मिटे यों,
bade-bade parivaar mite yon
एक न हो रोनेवाला,
ek na ho ronewaalaa
हो जाएँ सुनसान महल वे,
ho jaaye sunsaan mehel ve
जहां थिरकतीं सुरबाला,
jahaan thirakteen surbaalaa,
राज्य उलट जाएँ, भूपों की
raajya ulat jaayen, bhoopon kee
भाग्य-सुलक्ष्मी सो जाए
bhaagya-sulakshmi so jaaye
जमे रहेंगे पीनेवाले,
jame rahenge peenewaale,
जगा करेगी मधुशाला
jagaa karegi madhushaalaa

Bachchan continues with the theme of the earlier verse, reiterating the impermanence of material things; and the permanence of the circle of life itself.

Families disappear, castles become deserted, kings lose their fortune, but the tavern remains open, forever.

Madhushala - Rubaiya 20

बजी न मंदिर में घड़ियाली,
baji na mandir me ghadiyaali,
चढी न प्रतिमा पर माला,
chadhi na pratima par maalaa,
बैठा अपने भवन मुअज़्ज़िन
baitha apne bhavan muezzin
देकर मस्जिद में ताला,
dekar masjid me taalaa,
लुटे खज़ाने नरपतियों के
lute khazaane narpatiyon ke
गिरीं गढों की दीवारें;
giri gadhon kee deewaren,
रहे मुबारक पीनेवाले,
rahe mubarak peenewaale,
खुली रहे यह मधुशाला
khuli rahe yah madhushaalaa


In the next four verses (20 through 23), Bachchan talks about the impermanence of things we hold dear, while life (the circle of life, really) is the only thing that stays permanent. The madhushala represents life, which goes on merrily, without worrying about whether a particular drinker comes or not. It is "no respecter of persons" (Acts 10:34-35), but stays open for ever and for ever, serving whoever visits it.


Temples and mosques may close down; wealth may be won and lost; and forts may crumble - but life goes on for ever.


In my own mind, this is why it is so important to live life fully. The only spirituality is harmonious living; staying with the flow; becoming vulnerable; swimming with the current. Everything else - every form of striving, of working to change, is a form of acquisitiveness: and what you acquire will always be taken away. Only participation in life cannot be taken away - when you participate in life, you become life. There is nothing more. Nothing.

Madhushala - Rubaiya 19

बने पुजारी प्रेमी साकी,
bane pujari premee saakee,
गंगाजल पावन हाला,
gangaajal paawan haalaa,
रहे फेरता अविरल गति से
rahe faerta aviral gati se
मधु के प्यालों की माला,
madhu ke pyaalon kee maalaa,
'और लिए जा, और पिए जा" -
'aur liye jaa, aur piye jaa' -
इसी मंत्र का जाप करे,
isee mantr kaa jaap kare,
मैं शिव की प्रतिमा बन बैठूं.
main shiv kee pratima ban baithoon.
मंदिर हो यह मधुशाला
mandir ho yeh madhushaalaa


To some, this would be a blasphemous verse. Bachchan not only commits the "sin" of comparing the tavern to a temple, he also compares the drinker to the idol!


However, if you truly think about it, what happens to the idol in the temple is precisely what happens to the drinker in the tavern. The bar-girl serves you with reverence, while her true motive for being there is the pay, just like that of a priest in the temple. The offerings flow continuously in the temple as the taps do in the tavern!!


The chants and hymns are as repetitive - except that the refrain is "have some more (wine)"!!


Bachchan seems to ask, "if in the madhushala you are the idol, then why bother going to the temple, where you are not?" It's a thought-provoking verse!

Madhushala - Rubaiya 18

लालायित अधरों से जिसने,
laalaayit adharon se jisne,
हाय, नहीं चूमी हाला,
hai, nahin choomee haalaa,
हर्ष-विकंपित कर से जिसने,
harsh-vikampit kar se jisne,
हा, न छुआ मधु का प्याला,
hah, na chhuaa madhu kaa pyaalaa,
हाथ पकड़ लज्जित साकी का
haath pakad lajjit saaki kaa
पास नहीं जिसने खींचा,
paas nahin jisne kheenchaa,
व्यर्थ सुखा डाली जीवन की
vyart sukha daali jeevan kee
उसने मधुमय मधुशाला
usne madhumay madhushala


Bachchan's disguises a plea - he exhorts people to drop pretenses and convention, and participate in life instead. We can spend our entire lives studying, arguing or philosophising; but we'd have lost the opportunity to live life. Using that opportunity involves living every moment; it requires attention, and it requires love.


Bachchan captures this sentiment beautifully in the verse: you need "eager lips"; "hands trembling with anticipation"; you need to put yourself out there, and risk the slap of the bar-girl. That, and that alone will teach you the meaning of life, Bachchan seems to say!

Mohd Rafi - Madhushala - Rubaiya 17 - The problem of conclusions

धर्म-ग्रंथ सब जला चुकी है
dharm-grant sab jalaa chukee hai
जिसके अन्तर की ज्वाला,
jiske antar kee jwaalaa,
मन्दिर, मस्जिद, गिरजे-सबको
mandir, masjid, girje - sabko
तोड़ चूका जो मतवाला,
tod chuka jo matwaalaa,
पंडित, मोमिन, पादरियों के
pandit, momin, paadariyon ke
फंदों को जो काट चूका,
fandon ko jo kaat chuka,
कर सकती है आज उसी का
kar saktee hai aaj usee kaa
स्वागत मेरी मधुशाला
swaagat meri मधुशाला

This is the third of a trilogy of consecutive verses, and perhaps one of the most important. I therefore decided to attach a small addition to the subject line.

The verse is also extremely controversial, for Bachchan suggests that if you want to learn from life, then you have to shun all organized religions, all priests, and shun all churches. Why does Bachchan say that? It's because if you truly think about it, any religious dictum or dogma is actually a barrier to salvation. Let me try and explain why, as I understand it.

In order for you to get enlightenment, you have to take off your blindfolds. Enlightenment, or salvation, is simply the ability to see reality the way it is, without the filters of preconceived notions. In order to do that, you have to have an insatiable curiosity, and an open mind.

The problem is that if you learn from a religious text, or a guru, or a master, then you will form conclusions that will "prevent" you from having an open mind. You'll have a lot of intellectual understanding, but an intellectual understanding prevents further direct examination.

Let me give you an example. We have all heard the phrase, "Honesty is the best policy". You may understand this very well, intellectually, but that understanding will NOT make you an honest person. The only way you can become an honest person when you clearly see, and have a direct experience of the futility of dishonesty. No guru can give you this direct experience; no religion can give it to you. And the knowledge of the maxim, "honesty is the best policy" will prevent you from experiencing the uselessness of dishonesty directly.

You see, the gurus and teachers are not usually wrong. What they tell you is the truth. However, learning that truth from that teacher does not help you.....you have to undertake the project of salvation on your own, by examining your dishonesty, your prejudices, your pettiness, your stupidities, your idiocy. Then and only then, will you become honest, open-minded and intelligent.

Intellectual knowledge, or knowledge acquired from someone else, is a barrier to understanding. Shun all that. Live life. That's the only way you can be enlightened. Otherwise, you'll only be entertained by spiritual masters - nothing more. You'll say, "wow" to their profoundness - and go right back to your unfortunate ways. If you want to be entertained, listen to a song sung by Mohammed Rafi - he didn't pretend to do anything else.

As a matter of fact, you have a greater chance of being enlightened being immersed in the beauty of a Rafi song than by listening to a "path" to the truth. Truth is a pathless land.

Madhushala - Rubaiya 16

बहती हाला देखी, देखो
bahti haalaa dekhee, dekho
लपट उठाती अब हाला,
lapat uthati ab haalaa,
देखो प्याला अब छूते ही
dekho pyaalaa ab chhoote hee
होंठ जला देनेवाला;
hont jalaa denewaalaa;
'होंठ नहीं, सब देह दहे, पर
'hont naheen sab deh dahe, par
पीने को दो बूँद मिले' -
peene ko do boond mile' -
ऐसे मधु के दीवानों को
aise madhu ke deewaanon ko
आज बुलाती मधुशाला
aaj bulaati madhushaalaa

Bachchan now contrasts the prescribed paths of the "salvation vendors" (if one could coin such a phrase) to the actual experience of life. He says you've seen the easy-flowing wine, in nice cold wine-cups; reality on the other hand, will be very hot and will burn your lips.

Yet, says Bachchan, if you are of the type that says, "let alone the lips; even if my entire body burns, and I get just two drops of the real thing, I'll take it"; if you're fanatical about the truth, not as it is purveyed but as it really is, then MY tavern beckons to you.

Wait till you read the next verse; it will shake you up.

Madhushala - Rubaiya 15

जगती की शीतल हाला-सी
jagati kee sheetal haalaa-see
पथिक, नहीं मेरी हाला,
pathik, nahin meree haalaa,
जगती के ठंडे प्याले-सा,
jagati ke thande pyaale-saa,
पथिक, नहीं मेरा प्याला,
pathik, nahin meraa pyaalaa,
ज्वाल-सुरा जलते प्याले में
jwaal-sura jalte pyaale mein
दग्ध ह्रदय की कविता है;
dagdh hriday kee kavitaa hai;
जलने से भैभीत न जो हो,
jalne se bhaibheet na jo ho,
आये मेरी मधुशाला.
aaye meri madhushaalaa


This is a foundational verse for the two that follow. Bachchan makes an extremely controversial point, and disguises it effectively. What he is referring to by the word "jagati" here is the world of gurus, masters and sellers of "the path". Each of them will package it for easy consumption, or sell it well. Bachchan's madhushala, on the other hand, has none of that. The wine here is the boiling, burning kind, poured into a burning cup, and contains the poet's tormented poetry - a metaphor for the "stuff" of life.


You have to have courage to experience life fully; the alternative is to run to a guru's school. If you are not scared of life, then you are welcome to Bachchan's school; the school of hard knocks.


Don't attempt to interpret this verse (or, if you are so inclined, disagree with my interpretation) till you've read the next two - then, and only then, will it fall into place! At that time, you can decide if I've got it right or not!!

Madhushala - Rubaiya 14

लाल सुरा की धार लपट-सी
laal suraa kee dhaar lapat-see
कह न इसे देना ज्वाला,
keh na ise denaa jwaalaa
फेनिल मदिरा है, मत इसको
feynil madiraa hai, mat isko
कह देना उर का छाला,
keh dena ur kaa chhaalaa
दर्द नशा है इस मदिरा का
dard nasha hai is madiraa kaa
विगत स्मृतियाँ साकी है;
vigat smritiyaan saakee hai
पीड़ा में आनन्द जिसे हो,
peeda mein aanand jise ho,
आए मेरी मधुशाला।
aaye meri madshushaalaa.



Bachchan continues his description of life. Gone are the mere play with the words - he continues from the previous stanza by describing life in the same strong terms. Using the wine, the wine-cup and the bar-girls as metaphors, Bachchan points out that life is not easy.


The verse is similar to what Kahlil Gibran said in "The prophet", "that sorrow is the cup in which joy is held". Life is about living, and when we come to this world as humans, sorrow is inevitable. But people who want to live life to the fullest have to deal with their sorrows; they have to experience the grief of living, if they are to realize its joys.


'Peeda mein anand jise ho" means, "those who derive happiness in sorrow". But do not mistake this for cynical masochism! Surely, Bachchan meant to convey the message that the happiness of life is not divorced from its realities - which may at times look like the flame of a raging fire, like an abcess of the heart. The beauty of life lies in these details; in pain, in lost memories. Those who can live these things, are welcomed by life!!


What a verse!

Madhushala - Rubaiya 13

हाथों में आने से पहले
haathon me aane se pehle
नाज़ दिखायेगा प्याला,
naaz dikhaayega pyala
अधरों पर आने से पहले
adharon par aane se pehle
अदा दिखायेगी हाला,
ada dikhayegi haalaa,
बहुतेरे इन्कार करेगा
bahutere inkaar karega
साकी आने से पहले
saaki aane se pehle
पथिक, न घबरा जाना, पहले
pathik, na ghabraa jaanaa, pehle
मान करेगी मधुशाला
maan karegi madhushala

This is a very important verse. At this point, Bachchan leaves the playfulness behind and "tells it like it is". Very clearly, he is setting the stage to describe life as it really is. Life pays every man what he is worth, and will inspect him before deciding where he fits in the payroll.

Bachchan describes this wonderfully - "maan karegi madhushala", he says; in other words, the tavern will "take his measure", or assess his worth.

Using the wine, the cup and the bar-girl as his symbols, he lets the reader feel the sternness of life, and yet, its fairness.

Madhushala - Rubaiya 12

मेहँदी-रंजित मृदुल हथेली
mehndi-ranjit mridul hatheli
पर माणिक मधु का प्याला,
par maanik madhu ka pyala,
अंगूरी अवगुंठन डाले
angoori avguntan daale
स्वर्ण-वर्ण साकीबाला,
svarn-varn sakibala,
पाग बैंजनी, जामा नीला
paag bainjni, jaama neela
डाट डटे पीनेवाले;
daat datey peenewale
इन्द्रधनुष से होड़ लगाती.
indradhanush se hodh lagaati.
आज रंगीली मधुशाला.
aaj rangeeli madhushala

Bachchan says that the life is so colourful that it can compete with a rainbow. We look for beauty everywhere, but there is nothing more beautiful than life itself - in its infinite variety, in everything that goes up to make it.

This is a very beautiful verse; you can see how Bachchan uses colours in this verse just like he used musical terms in the previous one.

Madhushala - Rubaiya 11

Jaltarang bajtaa, jab chumban
kartaa pyale ko pyaalaa,
veenha jhankrit hoti, chalti
jab rhunjhun saakibaalaa,
daant dapat madhuvikretaa ki
dhwanit pakhaaawaj karti hai;
madhurav se madhu kee maadaktaa
aur badaatee madhushaalaa


starting with this verse, Bachchan moves on to describing the qualities (or characteristics) of the tavern.

I interpret this verse as the poet's attempt to say that life simply consists of living it: the tavern lives in the tinkling of the wine-glasses toasting each other; in the tinkle of the barl-girls walking about distributing wine; in the arguments and recriminations of the wine-sellers.

Bachchan plays with words here while symbolising life as one big song, musical in nature, lyrical in quality; should we choose to live it fully. It is a beautifully crafted verse; read it aloud to get its full effect!

Madhushala - Rubaiya 10

sun, kalkal, chhalchhal, madhu-
ghat se girtii pyaalon me haalaa,
sun, runjhhun runjhhun chal
vitaran karti madhu saakibaalaa,
bas aa pahunche, door nahin kuchh,
chaar kadam ab chalnaa hai;
chahak rahe, sun, peenewaale,
singing are, listen, drinkers
fragrant is, here take, madhushala



Bachchan describes the tavern as we get close to it. I choose to interpret this verse to mean that as one pays attention to the "stuff" of life, one can begin to hear it's story, it's tale.



In this verse, the seeker hears the murmur, the splashing sound of wine being poured from jar to cup, the tinkling sounds the jewelry of the bar-girls make. We're nearly there: you can hear the drinkers singing; you can smell the fragrance of the tavern.



Bachchan seems to suggest that life is beautiful, that it is a great gift. Just living it is enough, nothing else is required.

Madhushala - Rubaiya 9

Madira paane kee abhilaashaa
hee ban jaaye jab haalaa
adhharon kee aturtaa mey hee
jab aabhaasit ho pyaalaa,
baney dhhyaan hee karte-karte
jab saakee saakaar, sakhe,
rahey na haalaa, pyaalaa, saakee,
tujhey milegee madhushaalaa


This is a classic verse that restates the age-old saying, "the journey is the destination".


Look at how beautifully Bachchan restates it, though! When the longing for the wine becomes the wine, when the wine-cup shines with the light of the lips' impatience, when the contemplation of the bar-girls and one's friends, in and of itself takes on their form; then the wine, the cup and the bar-girl are left no more; it is then that one attains the madhushala. Wow!! What a beautiful verse!!


Bachchan continues on the theme of having that inner fire to know the truth. When one has that intense need, then that need itself is the salvation! It is a profound thought, and not easily understood, but we can try.

Madhushala - Rubaiya 8

Mukh se tu avirat kehtaa jaa
madhu, madira, maadak haalaa,
hathon me anubhav kartaa jaa
ek lalit kalpit pyala,
dhyaan kiye jaa man me sumadhur,
sukhakar, sundar saaki kaa;
aur badha chal, pathik, na tujhko
door lagegi madhushaalaa


Bachchan says, "Keep your words wine related; your imagination fired up around a beautiful wine-cup; contemplate the happiness the bar-girl brings, and no longer will the tavern seem far away".


This is an optimistic verse, coming immediately after the previous one, where Bachchan shows how the purveyors of different "paths" leave the seeker disillusioned.


All that is required, says Bachchan, are two things. One, as he has already pointed out, is that we must LIVE life; the path or road is not relevant. In this stanza, Bachchan says that we must have an inner flame of curiosity, of an insatiable need to know the truth. I hesitate to use the word "focus"...which implies a sort of forced concentration, that seems alien to the feeling of the whole poem; but this may in fact have been what Bachchan meant.


I prefer the phrase "inner flame of curiosity", or better still, "an appetite for life". When you have an appetite for life, the metaphysical questions of life's meaning seem redundant. The truth does not seem far away when you live life to the full.

Madhushala - Rubaiya 7

chalne hee chalne me kitna
jeevan, hai, bitaa daalaa!
'Door abhee hai', par, kehtaa hai
har path batlaane vaalaa;
himmat hai na badhoon aage ko
saahas hai na-phiroon peechhey;
kinkartavyavimhood mujhe kar
door khadi hai madhushaalaa



This verse took me a while to really understand. On the one hand, it seems sort of obvious - when you go to the movies, it takes really long to get to the movie hall. It always takes longer to get to a place you really want to go to. On the other hand, I don't think Bachchan is talking about that commonplace feeling we've all experienced.


The clue lies in the phrase "door abhi hai", that everyone who wants to show you the path to salvation says. Each guru, master, or whoever, always starts by telling you how difficult it is to achieve salvation, before selling you his "path". (The guru, the master, the teacher is what the "har path batlaane waalaa" means here).


Flitting from one guru to another, each of us gets more and more disillusioned, while the truth remains out of reach, out of grasp. Yet, we are driven to find out, for that's our nature. Being victims of the purveyors of the "path" sellers, we neither have the courage to go ahead in our search, nor the courage to give up.


We are left uncertain as to what to do, while the tavern remains unattainable.

This is obviously a controversial verse: it seems to suggest that Bachchan decries every guru or master as selling something of the marketplace; that they cannot be giving us the real deal. Some people may argue that Bachchan is saying no such thing; I believe that is exactly what he is saying. Bachchan was an iconoclast; and he was very bold in the Madhushala. As you read the poem, you might find that you disagree with him; but don't let that stop you from enjoying the poem or letting your moral foundations get rocked a little bit! If they are strong, they'll withstand the pressure; if they are not, they weren't moral to begin with!!

Madhushala - Rubaiya 6

Madiraalay jaane ko ghar se
chaltaa hai peenewaalaa,
'kis pathh sey jaaoon' asmanjas
mein hai wah bholaabhaalaa;
alag-alag path batlaate sab
par main yeh batlaata hoon...
'raah pakad tuu ek chala chal
paa jaayega madhusaalaa

The introduction is complete; Bachchan starts the main body of his poem with this verse. Starting with this rubaiya, Bachchan describes the search for the tavern, or if you are so inclined, the search for truth, or the meaning of life.

This is perhaps the most over-analyzed, most quoted verse in the Madhushala. Yet, I would like to think that it is quite a simple verse. Bachchan is giving fair warning to his readers that he is not going to outline a point of view or state a philosophical position.

As a matter of fact, this is what most writers do. They first take a position, and then they proselytize it. As Bachchan repeatedly points out, the attempt to draw a map to the madhushala, or to describe a path to the truth, simply pushes the truth away. "Truth is a pathless land", said Jiddu Krishnamurti.

Bachchan states that the art of good living is not dependent upon choosing the right path to living, but to choose A path and then live it.

I do not like to think that this verse merely suggests that "all roads lead to the tavern". Indeed, this has been the conventional explanation. "All roads lead to God", or whatever. I think that Bachchan says, instead, "WALK; damn the road!!" As he'll show later, salvation lies in the walking, not in the fact that a road was chosen.

The meaning of life cannot be discovered intellectually. It has to be lived if it has to be understood. That is the meaning of this verse.

Madhushala - Rubaiya 5

Rubaiya 5
========

Madhur bhaavnaaon ki sumadhur
nitya banaataa hoon haalaa
bhartaa hoon is madhu se apne
antar kaa pyaasaa pyaalaa;
uthha kalpanaa ke haathon se
svayam use pee jaataa hoon;
apne hee mein hoon main saakee,
peenewaalaa, madhushaalaa

Bachchan establishes his credibility here; after all, he has declared very ambitious intentions - he has said that while being entertaining, he was going to tell the story of life itself.


In this rubaiya, Bachchan says that he constantly examines these questions within himself: without respite. Hence the use of the word "nitya"; he is forever a student of life, and therefore worthy of commenting on it.


The last two lines are extremely beautiful: he says that he is the bar-girl, the drinker, and the tavern, all rolled into one.

Madhushala - Rubaiya 4

Rubaiya 4
=======

Bhauvukta angoor lataa se
kheench kalpanaa ki haalaa,
kavi saaki bankar aayaa hai
bharkar kavitaa kaa pyaalaa;
kabhee na kanh bhar khaalee hogaa,
laakh piyen, do laakh piyen!
paathak ganh hain peenewaale,
pustak meri madhushaalaa



Bachchan, in this verse, tells us that the madhushala is the book itself, the readers are the drinkers. He says he has used the most best grapes from the most impressionable grapevines for his imagination, and comes to the reader as the bar-girl, having filled the glass with the wine of imagination.


Obviously, this wine is not going to run out, even if a hundred thousand (or two) drink!


Bachchan continues to establish the relationship between the poet and the reader. I particularly love the use of the word "paathak" here. In the context of the rubaiya, "paathak" means "a reader, particularly of sacred texts". However, "paathak" also means "teacher", and Bachchan seems to imply that his readers are the source of his learning: that humanity is the real teacher; he is merely translating what the story of mankind teaches into the substance of his poem.

Madhushala - Rubaiya 3

Rubaiya 3


=======



Priyatam, tu meri haala hai,

main teraa pyaasaa pyaalaa,

apne ko mujhme bharkar tu

bantaa hai peene waalaa;

main tujhko chhak chhalkaa kartaa,

mast mujhe pee tu hotaa;

ek doosre ko hum dono

aaj paraspar madhushaalaa





Bachchan assures the reader that the story he is about to tell is the story of humanity, the story of the drinker. He tells him that the poet is only the medium through which the story of the drinker is told; as he tells it, the poet is the listener also.





Bachchan emphasizes the symbiotic interrelationship between the poet and his listener, that one cannot "exist" without the other.





Bachchan increases the mystery here; we are impatient - we want him to get to the point. "Tell us, tell us", we cry.

Madhushala - Rubaiya 2

I got some feedback after I published my post on Rubaiya 1. Each of them sought to remind me that the words "haala", "pyala", "saaki" and "madhushala" were symbols of something else, like, life, or knowledge, or whatever.



Of course they are, but to my mind, that is not the point. Poetry must be felt, first. You have to get into the mood of the verse. You have to let the words sink in, and let the meter dance for you. When that has happened, the symbolism will become obvious anyway, but you'll have also gained a lot more than just understanding the poem intellectually.



Rubaiya 2

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Pyaas tujhe to, vishwa tapaakar

poorna nikaaloonga haala,

ek paon se saaki bankar

naachoonga lekar pyaala;

jeevan ki madhuta to tere

upar kab kaa vaar chukaa

aaj nichhaavar kar doonga main

tujh par jag ki madhushaala



This is a very ambitious verse. Bachchan tells his reader that if he is willing to listen, then he'll distill the wisdom of the world and give him that truth. He promises to be entertaining and comprehensive at the same time.



Bachchan is clear at the very outset that this no ordinary poem. He is clear in his intent: he is going for the big one - he is going to talk about the meaning of life, and he's not going to be wary of trying to answer complex questions.



As readers, we can be sure that we are going to be served a feast; we look forward to the rest of the poem with bated breath; we expect to be sated; we expect to find the answers to all the questions of life. There are no half-measures here.

Madhushala - Rubaiya 1

I have always wanted to write a complete thesis on Harivansh Rai Bachchan's immortal poem, "Madhushala".

This is my attempt to do that.

I am not going to write a conventional thesis in that I'm not going to research it. I am going to plunge right in, go through the poem stanza by stanza, and write my impressions and observations. So, this is really a blog of my own reflections, and I simply use "Madhushala" as a vehicle to do so.

So without any further preamble, let me go straight to the first stanza of this poem.

Stanza 1
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Mridu bhavon ke angooron ki
aaj banaa laayaa halaa,
priyatam, apne hee haton se
aaj pilaaoonga pyala;
pehle bhog lagaa loon tujhko
phir prasaad jag paayega;
sabse pehle tera swaagat karti meri madhushaalaa

In my mind, Bachchan is making the entire poem personal; he wants the reader to get the impression that he is the only one that matters; that this is not just a poem for general consumption. He seeks that one on one relationship with every reader.

This is important. In life, we tend to treat others in a general lump "out there", forgetting that everyone else is a human being just like you and I are. Personal relationship is important, for it is the only thing that endures. If people in power and position can understand this well, they will be more successful: they will not then treat others as tools to get things done, but as members of a team with a collective goal.

Bachchan makes the entire tone soft and gentle, by starting with the phrase "mridu bhavon ke angooron se", and sets the tone for a deep, personal, conversation.

Beautiful.