आज तक कोई भी रहा ही नहीं

On the Day, A.R. Rahman shared another award for Jai Ho with Gulzar, there is a controversy raging in India whether Gulzar lifted a popular Ishqiya song from a poem written by Sarveshwar Dayal Saxena. Saxena had written a poem for kids “Ibn-e-batuta, pahan ke juuta, nikal pade tuufan mein” and Gulzar wrote a song in Ishqiya as an obvious tribute to Saxena and gave his own twist to it “Ibn-e-batuta, bagal mein juuta, pahne to kartaa hai churrr”. Sarveshwar Dayal Saxena is not alive to see this day when half-wits with little knowledge of his work or Gulzar’s for that matter were dragging both of them in a controversy that is not. My own little survey of 10 people by showing them both these poems/songs threw a scary result. 9 out of 10 said it was plagiarism because the “meaningless” word Ibne batuta had been invented by Saxena and hence Gulzar should have invented his own to rhyme with juuta. These nine did not know that Ibn-e-Batuta was a living creature who walked this earth. But that’s sad, and not so infuriating as calling Gulzar a thief. If that’s how we are going to decide, then Faiz, Insha, Kaifi or Faraz all of them can be accused of committing theft.

If we accuse Gulzar of plagiarism for “Ibn-e-Batuta” then he is never been original. The hugely popular Kar thaiya thaiya is by Bulle Shah. The opening lines of “Dil dhoondhta hai phir wahi fursat ke raat din” is lifted in its entirety from a ghazal by Ghalib titled “Muddat huii hai yaar ko mehmaan kiye hue”. Yet I would recognize it as a Gulzar song and it will remain a Gulzar song. Because he has written it. Period. In fact, Ghalib’s kaafiyaa has been used by poets from Faiz to Gulzar as they weave their own words around the great man’s words to create poetry that resonates with original thought and déjà vu. This is a tradition in Hindustani poetry that goes back to the origins of Hindustani poetry.
And most readers understand the obvious yet subtle tributes. They are never called a tribute to X or Y. I am reminded of many films where great filmmakers pay tributes to past masters or people they admired by designing a scene around a memorable scene from the past. They don’t subtitle it as this scene is a tribute to X. They expect the viewer to understand and rejoice in it.
No one went to Gulzar and asked him before throwing dirt at him. He would have told them of tens of his own work lifted from popular folk or poetry of the great masters. That’s one of the problems with journalism today, an industry I am part of. But it goes beyond this. Ahmed Faraz wrote a heart-breaking nazm about sectarian violence in Pakistan titled Ae mere Logo. Now, we had a patriotic song called Ae mere watan ke logo, immortalized by Lata. Should Faraz credit the songwriter because three words are common? Both these works are entirely different in their treatment and purpose. My answer is no. In Ibn-e-batuta case, it’s so obviously a tribute to Saxena’s poem for kids. By that logic, Jai Ho is too similar to Jai he by Ravindranath Tagore. And the Lage Raho Munnabhai song "Bande mein tha dum" should be attributed to Bankim Chandra Chatterjee for the words Vande Mataram. And "Chal Akela Chal Akela" by Mukesh was a Tagore song.

Pity, Gulzar writes for films where too many thieves masquerade as originals. It is easier to cast aspersions on Bollywood because there are too many phonies inhabiting that world. Gulzar is a misfit and his white kurta is tainted because of this association. Piyush Mishra played around the Jinhein naaz hai Hind par wo kahan hain in Gulaal to perfection. It was an original. But then with people in mood to attack Gulzar for Ibn-e-Batuta, he should hide.