जी एस श्रीवास्तव, दीपक बज्राचार्य र फारसी शेर

यो जुनि त यस्तै यस्तै भयो
अधूरो कथा जस्तै भयो
ती तिम्रा अधर
चुम्ने मेरो रहर
मेरा अधरसम्म नआइ
म भित्रै हराउने भयो

मर्दैन माया कहिले
मान्छे मरेर जान्छ
अतृप्त प्यास उसको
बाँचि संधै रहन्छ

जाँदैछु म आज
यो संसार छोडी,मलाई नजलाऊ
कतै लगेर बरू
मेरो मायाको समाधि बनाऊ
माटोमा गल्न देऊ
मेरो यो देहलाई

अनि कुनै दिन एउटा
कुम्हाले आउनेछ
त्यहींबाट खनेर उसले
माटो लैजानेछ
बनाउन देऊ उसलाई त्यसले
मेरो देहका वर्तनहरू
के थाहा कुनै एउटा
पुग्ला कि तिमीसम्म

पिउनेछौ त्यसमा जब तिमीले
जोडेर आफ्ना ओठहरू
पूरा हुनेछ त्यो दिन
तिम्रा ती अधर
चुम्ने मेरो रहर
ब्यूंतनेछु म फेरि
चुमेर ती अधर

यो जुनि त यस्तै यस्तै भयो
अधूरो कथा जस्तै भयो


Long time back I had worked with Nabil Bank. Mr. GS Srivastav was the executive director. Everyone was in awe of him since he was very senior. He must have been in his early seventies. He was considered the Bhishm Pitamah of Indian banking as he had served all his life in State Bank Of India. No one talked to him more than required and conversations were reserved strictly to official matters.

It was a get together at a colleague Anju Sharma's house. GS was also there. In fact he was in a cheerful mood (which was very rare) as he had gulped down few pegs of whiskey. We started singing and when my turn came, I sang a Talat Mehmood's Ghajal. It was a very old song before he started playback in films. GS was surprised to hear a 17 years old lad singing such an old song. As it happened, he turned out to be a die hard Talat fan. He asked me how I knew about Talat. I was almost like an encyclopedia of Talat since I was too awestruck by his silken voice. GS was impressed and I still remember what he had said,
"Well young man, since you know so much about Talat, there is no generation gap between you and me."

He made me sit with him and recited many Sher-O-Shayaris. Some of them I understood, some not. I remember one particular Shayari in Farsee. It just had four short lines and I could not understand any word. What he explained later was remarkable. It had a very vast meaning. It was the extreme expression of love, pain of an unfulfilled desire. I still remember the explanation.

During the audition tour of Nepali Tara 2, I shared the hotel room with singer Deepak Bajracharya in Narayanghat. While we talked about songs, lyrics, poetry and expressions, I told Deepak about that Farsee Shayaree which expressed so much in just four small lines. Deepak was euphoric. He asked me to write a song based on that in Nepali. He would compose and sing it. I told him it was beyond my capacity to explain such a vast feeling in four lines. He told me to forget the restriction of lines, rhymes or meter of a typical song. I started and completed it almost after a month. Going through my old files, I recently found the copy. It is not the final version. Deepak has yet not composed it.

I am still wondering how it could have been summed up in four lines in Farsee.