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Beware of your ATM statements

Check your bill carefully” (Spectrum, July 12) was very apt and an eye-opener. It concerns a large number of people. Most of the people don’t know what to do in case supermarket store managers refuse to listen to a customer’s complaint.

The media should enlist simple procedures to approach a consumer court, as many of the people are not aware of the exact procedure.

One must be careful with ATM machines, too. Always keep a regular check on the balance and keep your passbooks updated. At times, the same amount is debited twice, without the customer’s knowledge, and by the time one realises it’s too late. Always maintain a list of the number given on the mini-statement that one collects after each ATM transaction.


Inimitable Kaka

“Honour for Kaka” (Spectrum, June 14) has accurately traced Rajesh Khanna’s film career. He, no doubt, is a talented actor who gave several sterling performances.

He had an ordinary physique, average looks and height. Many times he had to wear shoes, fitted with “pads” to add some inches to his height to match with tall heroines. He gave a new dimension to the image of a romantic hero in Hindi films. Such was the impact of “Aradhana”, that many girls wrote love-letters to him in their blood. Young boys started sporting folded handkerchiefs on their foreheads, which Rajesh Khanna used as a bandage in “Dushman”. It was he who made “kurta-pant” combination popular among youth.


Taste of Faraz

Ahmed Faraz, a rebel poet par excellence with love, yearning and pathos his incomparable forte in verse, was a tall, handsome man with a bewitching smile, known for living a “free man” (Saturday Extra, July 11). He opted to move out of Pakistan as he felt suffocated during Zia –ul-Haq’s dictatorial regime for writing Dekhtey hain (Let Us Gaze) and Mohassra (The Siege).

His philosophical and ideological stance running through the warp and waft of the ghazal Suna Hai is impressive. Each couplet here has independent meaning but is laced with subtle nuances that transport one to new heights of wisdom and magnetism of poetry. Savour its bite:

“Suna hai rabt hai use kharab halon se — so apne aap ko barbad kar ke dekhte hain.

Suna hai bole to baton se phool khilte hain — yeh baat hai to chalo baat kar ke dekhte hain.

Suna hai us ke badan ki tarash aisi hai — ke phool apni kabaen kutar ke dekhte hain.

Suna hai chand use takta rehta hai — sitare baam-e-falak se uttar ke dekhte hain.

Kise naseeb ke be pehran use dekhe — kabhi kabhi dar o deevar use dekhte hain.”n

B.M.SINGH, Amritsar

Keats of Urdu poetry

Majaz (“Poet of romance and rebellion”, Spectrum, June 7) was admired in the galaxy of distinguished poets of his time. He believed that poetry should not be used as a vehicle only for religious and didactic purposes. It should also be used to motivate common man to fight for his honour.

According to literary critic Asar Lakhnavi, “a Keats was born in the world of Urdu poetry, but revolutionary wolves kidnapped him”. His verses have poetic excellence and literary grace.

In March last year, Vice-President Hamid Ansari, released a commemorative stamp bearing the poet’s couplet: “Bakshi hain hum ko ishq ne voh jurratein majaz/ Darte nahin hain siyaasat-e-ahl-e-jahaan se hum”.

His fascination for liquor is revealed in the couplet: Mujhe peene de, peene de, je tere jaam-e-la’leen mein/ abhi kuchh aur hai, kuchh aur hai, kuchh aur hai saaqi.

Once in a drinking bout, Josh Malihabadi said he always kept a ghari (watch) while sipping wine. “And if it were in my power, I would keep a ghara (wine pitcher) before me”, quipped Majaz. The “distilled fire” consumed him when he was just 44. May God bless his soul.




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