Though the topic that I am going to write about is extremely fascinating to me, I doubt if I will be able to make it interesting to the reader. And I won't try too hard either. The subject is the relation between the Anthra and the Mukhda in a song. Especially the Anthra-Mukhda interface. I love the Anthra-Mukhda interface.

When after a stanza of digression, the poet comes back to the original theme of the song, some sort of sensuous energy seems to get released out of this 'Milan'. ( Corny stuff, eh? Go ahead. Skip this post). It's like a 'nadi' meeting the 'sagar'. No. Not quite. The 'Nadi' meets the 'sagar' in a calm, composed, casual sort of way, as a wife of 5 years might meet the husband at the end of the day. No. It's more like the water cascading down a water-fall to meet the pool of water at the bottom - energetic, eager, the speed increasing exponentially as the 'ghadi of the milan' approaches. More like a girl meeting her boy-friend.

I have liked songs for their excellent 'interfaces' and I have disliked songs for the relatively tame way in which a stanza of excellent poetry was ended, just before the Mukhda began.

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Suniye...
Jo hakeekat hai kehate hain hum...
Khulate...Rukate...
In rangeen labon ki kasamm..
Jal uthenge diye, Jugnu-on ki tarha...
Jal uthenge diye, Jugnu-on ki tarha...
Ji Tabassum to faramaaiye...

Yeh hai Reshami Zulfon ka andhera na ghabaraiye...