The Eyes Have It in Urdu/Hindi
Table of Content
About The Author
Ruskin Bond (1934-) is a widely read writer of Indian origin who writes in English. The setting for most of his stories are the hills of the Himalayas. Among his most notable works are The Room on the Roof, The Angry River, Rain in the Mountains.
Ruskin Bond (1934-) ek Hindustani origin ka lekhak hai jo angrezi mein likhte hain aur bohot zyada parhe jane wale writer hain. Unki kahaniyon ka zyadatar manzar Himalaya ki paharon mein hota hai. Unki mashhoor kitaabein mein se The Room on the Roof, The Angry River, Rain in the Mountains hai.
About The Text
In this story Bond exploits the situational irony that originates between two people who meet by chance in railway compartment. The young man and the girl are unaware of their individual blindness and converse with each other from the conviction that both of them can see.
Is kahani mein Bond do logon ke darmiyan moqay par halat kay mutabiq latife ko istemal karte hain jo railway compartment mein aik doosre se miltay hain. Jawan shakhs aur larki apni alag alag andhe pan ke bare mein jante hain aur aik doosre se baat karte hain yakeen ke sath ke dono ko dekh sakte hain.
The Text
I had the train compartment to myself up to Rohana, then a girl got in. The couple who saw her off were probably her parents; they seemed very anxious about her comfort, and the woman gave the girl detailed instructions as to where to keep her things, when not to lean out of windows, and how to avoid speaking to strangers.
Main ek train k compartment mai baitha Rohana tak jaane k liye, phir aik larki chadhi. Jo ause chorne aaye te woh shayad uske walidain thay; unhein uski aaram ki bohot fikar thi, aur aurat ne larki ko tafseelat se bataya kahan apni cheezen rakhein, khirkiyon se bahar na jhukein, aur anjaan logon se baat karne se kaise bacha jaye.
They called their goodbyes and the train pulled out of the station. As I was totally blind at the time, my eyes sensitive only to light and darkness, I was unable to tell what the girl looked like; but I knew she wore slippers from the way they slapped against her heels.
Unhone apne alwida kaha aur train station se nikal gayi. Meri tab poori tarah andha tha, meri aankhen sirf roshni aur andheray ko hi mehsoos kar sakti thi, mein nahi bata sakta tha ke larki ka chehra kaisa tha; lekin mujhe maloom tha ke woh chappal peheni hui thi, kyunke wo uske ediyon se takra rahi thi.
It would take me some time to discover something about her looks, and perhaps I never would. But I liked the sound of her voice, and even the sound of her slippers.
Mujhe kuch waqt lagega ke main kuch uske bare mein pata karoon, aur shayad mein kabhi na kar sakoon. Lekin mujhe uski awaz ka sound pasand aya, aur uske chappalon ki awaz bhi.
“Are you going all the way to Dehra?” I asked.
“Tum Dehra tak puray safar mein ja rahe ho?” maine poocha.
I must have been sitting in a dark corner, because my voice startled her. She gave a little exclamation and said, “I didn’t know anyone else was here.”
Mujhe shayad andhe pan ki wajah se kisi andhere kone mein bethna para tha, kyun ke meri awaz usay dara di. Usne ek choti si cheekh di aur kaha, “Mujhe nahi pata tha ke yahan aur bhi koi hai.”
Well, it often happens that people with good eyesight fail to see what is right in front of them. They have too much to take in, I suppose. Whereas people who cannot see (or see very little) have to take in only the essentials, whatever registers most tellingly on their remaining senses.
Acha, aksar hota hai ke log jo achi nazar rakhte hain, unko wo cheez nazar nahi aati jo unke samne hoti hai. Shayad unko zyada cheezen samajhne ki zaroorat hai. Jabke log jo nazar nahi dekh sakte (ya buhat kam dekhte hain) unhe sirf zaroori cheezon ko samajhne ki zaroorat hoti hai, jo unke baqi hisson ke zyadati hisson par sab se zyada asar karti hai.
“I didn’t see you either,” I said. “But I heard you come in.”
“Maine bhi tumhe nahi dekha,” maine kaha. “Lekin maine tumhe aate hue suna.”
I wondered if I would be able to prevent her from discovering that I was blind. Provided I keep to my seat, I thought, it shouldn’t be too difficult.
Main soch raha tha ke kya main usay andha hone ka pata chalne se bacha paunga. Agar main apni jagah par baitha rahun, toh yeh bahut mushkil nahi hoga, yeh socha.
The girl said, “I’m getting off at Saharanpur. My aunt is meeting me there.”
Larki ne kaha, “Main Saharanpur par utarne wali hoon. Meri khala mujhe wahan mil rahi hai.”
“Then I had better not get too familiar,” I replied. “Aunts are usually formidable creatures.”
“Toh phir main zyada friendly nahi hona chahiye,” maine jawab diya. “Khalaen usually formidable hoti hain.”
“Where are you going?” she asked.
“Tum kahan ja rahe ho?” usne poocha.
“To Dehra, and then to Mussoorie.”
“Dehra, phir Mussoorie,” maine kaha.
“Oh, how lucky you are. I wish I were going to Mussoorie. I love the hills. Especially in October.”
“Oh, kitni khush nasib ho tum. Main bhi Mussoorie ja rahi hoti. Mujhe pahaaron se bohot pyar hai. Khaaskar October mein.”
“Yes, this is the best time,” I said, calling on my memories. “The hills are covered with wild dahlias, the sun is delicious, and at night you can sit in front of a logfire and drink a little brandy. Most of the tourists have gone, and the roads are quiet and almost deserted. Yes, October is the best time.”
“Han, yeh sabse behtareen waqt hai,” maine apni yaadon ko yaad karte hue kaha. “Pahaaron mein jangli daheliyon se bhara hai, suraj bohot lazeez hai, aur raat ko aap ek lakri ke aage baith sakte hain aur thoda sa brandy pi sakte hain. Ziyadatar seyahat karne wale chale gaye hain, aur raaste khamosh aur lagbhag khali hain. Han, October sabse behtareen waqt hai.”
She was silent. I wondered if my words had touched her, or whether she thought me a romantic fool. Then I made a mistake.
Usne kuch nahi kaha. Mujhe laga ke kya meri baatein us par asar daal gayi, ya phir woh mujhe romantic bewakoof samajhti thi. Phir maine ghalati ki.
“What is it like outside?” I asked.
“Bahar kaisa hai?” maine poocha.
She seemed to find nothing strange in the question. Had she noticed already that I could not see? But her next question removed my doubts.
Usne sawal mein kuch ajeeb nahi dikhaya. Kya woh pehle hi notice kar chuki thi ke main andha hoon? Lekin uska agla sawal mere shakon ko door kar diya.
“Why don’t you look out of the window?” she asked.
“Tum khirki se kyun nahi dekhte?” usne poocha.
I moved easily along the berth and felt for the window ledge. The window was open, and I faced it, making a pretence of studying the landscape. I heard the panting of the engine, the rumble of the wheels, and, in my mind’s eye, I could see telegraph posts flashing by.
Main aaram se berth ke saath chala gaya aur khirki ki parchi ko mehsoos kiya. Khirki khuli hui thi, aur main uske samne khada ho gaya, manzar ko jaanchte hue banawati taur par. Main engine ki dhaadkan, pahiye ki gurr gurrahat sun sakta tha, aur apne dimaag ki aankh se, main telegraph poles ko guzarte dekh sakta tha.
“Have you noticed,” I ventured, “that the trees seem to be moving while we seem to be standing still?”
“Kya tumne notice kiya hai,” maine (dobara baat krne ki) koshish ki, “aisa mehsoos hota k darakht chal rhe hain aur jab k hum ek jaga pr he hain?”
“That always happens,” she said. “Do you see any animals?”
“Yeh hamesha hota hai,” usne kaha. “Kya tumhe koi janwar nazar aaye?”
“No,”I answered quite confidently. I knew that there were hardly any animals left in the forests near Dehra.
“Na,” maine bharosa se jawab diya. Mujhe maloom tha ke Dehra ke qareeb ke janglon mein ab kuch janwar bachay hi nahi hain.
I turned from the window and faced the girl, and for a while we sat in silence.
Main khirki se munh mor kar larki ke samne aya, aur kuch waqt ke liye hum chup chap baithe rahe.
“You have an interesting face,” I remarked. I was becoming quite daring, but it was a safe remark. Few girls can resist flattery. She laughed pleasantly-a clear, ringing laugh.
“Tumhara chehra dilchaspi ka hai,” maine kaha. Main bohot daring ban raha tha, lekin yeh ek safe tajziya tha. Kuch larkiyan ta’aruf se nahi bach sakti. Usne khushiyon se bharpoor muskurahat di-a clear, ringing laugh.
“It’s nice to be told I have an interesting face. I’m tired of people telling me I have a pretty face.”
“Acha lagta hai ke mujhe kaha jata hai ke mera chehra dilchaspi wala hai. Main thak gayi hoon logon ko sunte hue ke mera chehra khoobsurat hai.”
Oh, so you do have a pretty face, thought I-and aloud I said: “Well, an interesting face can also be pretty.”
Oh, toh tumhara chehra khoobsurat hai, maine socha-main ne zehar diya-“Acha, ek dilchasp chehra bhi khoobsurat ho sakta hai.”
“You are a very gallant young man,” she said, “but why are you so serious?”
“Tum bohot bahadur jawan shakhs ho,” usne kaha, “lekin tum itne serious kyun ho?”
I thought, then, I would try to laugh for her, but the thought of laughter only made me feel troubled and lonely.
Main socha phir, ke main uske liye hansne ki koshish karunga, lekin hansne ka khayal sirf mujhe pareshan aur tanha mehsoos karane laga.
“We’ll soon be at your station,” I said.
“Jald hi tumhari station aa jayegi,” maine kaha.
“Thank goodness it’s a short journey. I can’t bear to sit in a train for more than two-or-three hours.”
“Shukar hai ke yeh choti si safar hai. Main do ya teen ghante se zyada train mein baith kar nahi reh sakti.”
Yet I was prepared to sit there for almost any length of time, just to listen to her talking. Her voice had the sparkle of a mountain stream. As soon as she left the train, she would forget our brief encounter; but it would stay with me for the rest of the journey, and for some time after.
Phir bhi main taiyar tha ke kisi bhi lambe waqt ke liye wahan baithun, bas uske baaton ko sunne ke liye. Uski awaz ek pahar ki nadi ki chamak thi. Jaise hi woh train se utregi, woh hamari chhoti mulaqat ko bhool jayegi; lekin yeh meri baki safar ke liye aur kuch waqt tak mere sath rahega.
The engine’s whistle shrieked, the carriage wheels changed their sound and rhythm, the girl got up and began to collect her things. I wondered if she wore her hair in bun, or if it was plaited; perhaps it was hanging loose over her shoulders, or was it cut very short?
Engine ki seeti chillai, carriage ke pahiye ki awaaz badal gaye, larki uthi aur apni cheezein ikattha karne lagi. Main soch raha tha ke kya usne apne baal gol banaye hain, ya shayad use lambi choti banai gayi hai; shayad aus k baal apni kandhon ke upar latak rahi hai, ya kya uske baal bohot chhote hain?
The train drew slowly into the station. Outside, there was the shouting of porters and vendors and a high-pitched female voice near the carriage door; that voice must have belonged to the girl’s aunt.
Train dheere dheere station mein dakhil ho gayi. Bahar, kuliyon aur bechne walon ki cheekhain aur carriage ke darwaze ke nazdik ek unchi awaz thi; wo awaz larki ke khala ki hogi.
“Goodbye,” the girl said.
“Alwida” , larki ne kaha.
She was standing very close to me, so close that the perfume from her hair was tantalising. I wanted to raise my hand and touch her hair, but she moved away. Only the scent of perfume still lingered where she had stood.
Woh mujhse bohot qareeb khari thi, itni qareeb ke uske baalon se aane wala itra bohot hi dilchasp tha. Mujhe apna haath uthakar uske baalon ko choone ka khayal aya, lekin woh door ho gayi. Sirf itra ka mahak ab bhi wahi maujood thi jahan woh khadi thi.
There was some confusion in the doorway. A man, getting into the compartment, stammered an apology. Then the door banged, and the world was shut out again. I returned to my berth. The guard blew his whistle and we moved off. Once again, I had a game to play and a new fellow-traveller.
Darwaze mein kuch uljhan thi. Ek aadmi, compartment mein dakhil hotay huay, ek maafi ke saath hichkichaya. Phir darwaza zor se band hua, aur duniya phir se baahir ki taraf band ho gayi. Main apne berth par laut aya. Guard ne apni seeti bajaayi aur hum chal pade. Ek baar phir, mere paas khailne ka mauqa aur ek naya saathi musafir tha.
The train gathered speed, the wheels took up their song, the carriage groaned and shook. I found the window and sat in front of it, staring into the daylight that was darkness for me.
Train tezi se chalne lagi, pahiye ne apna geet shuru kiya, carriage ghurane lagi aur hilne lagi. Main khirki ko dhoondh kar uske saamne beth gaya, din ke roshni mein andhere ko ghurne laga.
So many things were happening outside the window: it could be a fascinating game, guessing what went on out there.
Bahar khirki ke samne itni saari cheezen ho rahi thi: yeh ek dilchasp khail ho sakta tha, sochne mein ke wahan kya ho raha hai.
The man who had entered the compartment broke into my reverie.
Compartment mein aane wala aadmi ne meri khayalon ko todi.
“You must be disappointed,” he said. “I’m not nearly as attractive a travelling companion as the one who just left.”
“Tum ko shayad afsos hua hoga,” usne kaha. “Main utna bilkul bhi dilchaspi musafir nahi hoon jitna woh larki jo abhi chali gayi.”
“She was an interesting girl,” I said. “Can you tell me-did she keep her hair long or short?”
“Woh ek dilchasp larki thi,” maine kaha. “Kya tum mujhe bata sakte ho ke usne apne baal lambay ya chhotay rakhe the?”
“I don’t remember,” he said, sounding puzzled. “It was her eyes I noticed, not her hair. She had beautiful eyes-but they were of no use to her. She was completely blind. Didn’t you notice?”
“Mujhe yaad nahi,” usne kaha, pareshani se bhaari awaaz mein. “Mujhe uske aankhen yaad hain, na ke uske baal. Uski aankhen bohot khoobsurat thi – lekin unka koi faida nahi tha. Woh puri tarah se andhi thi. Kya tumne notice nahi kiya?
The Eyes Have It Meaning in Bengali, Hindi and Urdu
| English Word | Bengali | Hindi | Urdu |
|---|---|---|---|
| Widely read | বহুল পঠিত (Bohul pothito) | व्यापक रूप से पढ़ा गया (Vyaapak roop se pada gaya) | وسیع پیمانے پر پڑھا جاتا ہے |
| Writer | লেখক (Lekhok) | लेखक (Lekhak) | مصنف |
| Origin | উৎপত্তি (Utpatthi) | मूल (Mool) | اصل |
| Setting | প্রেক্ষাপট (Prekshapot) | पृष्ठभूमि (Prashthabhoomi) | منظر |
| Stories | গল্প (Golpo) | कहानियाँ (Kahaniyan) | کہانیاں |
| Hills | পাহাড় (Pahar) | पहाड़ (Pahaad) | پہاڑ |
| Notable | উল্লেখযোগ্য (Ullekhojoggo) | उल्लेखनीय (Ullekhniya) | قابل ذکر |
| Exploits | ব্যবহার (Byabohar) | शोषण करना (Shoshan karna) | استحصال |
| Situational irony | পরিস্থিতিগত বিদ্রূপ (Poristhitijogoto bidrup) | परिस्थितिजन्य विडंबना (Paristhitijanay vidambana) | حالات کے مطابق طنز |
| Blindness | অন্ধত্ব (Ondhotto) | अंधापन (Andhapan) | نابینا پن |
| Converse | আলাপ (Alap) | बातचीत करना (Baatcheet karna) | گفتگو کرنا |
| Compartment | কামরা (Kamra) | डिब्बा (Dibba) | ڈبہ |
| Train | ট্রেন (Train) | ट्रेन (Train) | ٹرین |
| Parents | বাবা-মা (Baba-ma) | माता-पिता (Mata-pita) | والدین |
| Anxious | উদ্বিগ্ন (Udbigno) | चिंतित (Chintit) | فکرمند |
| Comfort | সান্ত্বনা (Santoona) | आराम (Aaraam) | آرام |
| Instructions | নির্দেশাবলী (Nirdeshaboli) | निर्देश (Nirdesh) | ہدایات |
| Windows | জানালা (Janala) | खिड़कियाँ (Khidkiyan) | کھڑکیاں |
| Strangers | অপরিচিত (Oporichito) | अजनबी (Ajnabi) | اجنبی |
| Goodbye | বিদায় (Biday) | अलविदा (Alvida) | خدا حافظ |
| Pulled out | টেনে বের করা (Tene ber kora) | खींच लिया (Kheencha gaya) | کھینچ لیا |
| Station | স্টেশন (Steshon) | स्टेशन (Steshan) | اسٹیشن |
| Sensitive | সংবেদনশীল (Songbedonshil) | संवेदनशील (Sanvedansheel) | حساس |
| Darkness | অন্ধকার (Ondhokar) | अंधकार (Andhkaar) | اندھیرا |
| Discover | আবিষ্কার করা (Abhishkar kora) | पता लगाना (Pata lagana) | دریافت کرنا |
| Looks | চেহারা (Chehara) | दिखावट (Dikhawat) | شکل |
| Slippers | চপ্পল (Chappal) | चप्पल (Chappal) | چپل |
| Startled | চমকে উঠা (Chomke utha) | चौंकना (Chaukna) | چونکنا |
| Exclamation | বিস্ময় (Bishmoy) | विस्मयादिबोधक (Vismayaadibodhak) | تعجب |
| Essentials | প্রয়োজনীয় (Proyojoniyo) | आवश्यकताएँ (Aavashyaktaayen) | ضروریات |
| Remaining | অবশিষ্ট (Aboshishto) | शेष (Shesh) | باقی |
| See | দেখা (Dekha) | देखना (Dekhna) | دیکھنا |
| Heard | শুনেছি (Shunechi) | सुना (Suna) | سنا |
| Prevent | প্রতিরোধ করা (Protiraudh kora) | रोकना (Rokna) | روکنا |
| Discovering | আবিষ্কার করা (Abhishkar kora) | खोज (Khoj) | دریافت |
| Blind | অন্ধ (Ondho) | अंधा (Andha) | اندھا |
| Provided | প্রদত্ত (Prodotto) | प्रदान किया गया (Pradaan kiya gaya) | بشرطیکہ |
| Seat | আসন (Aashon) | सीट (Seet) | نشست |
| Difficult | কঠিন (Kothin) | कठिन (Kathin) | مشکل |
| Aunt | খালা (Khala) | चाची (Chachi) | پھوپھی |
| Formidable | ভয়ংকর (Bhoyongkor) | दुर्जेय (Durjey) | خوفناک |
| Creatures | প্রাণী (Prani) | प्राणी (Praani) | مخلوق |
| Lucky | ভাগ্যবান (Bhagjoban) | भाग्यशाली (Bhagyashaali) | خوش قسمت |
| Hills | পাহাড় (Pahar) | पहाड़ (Pahaad) | پہاڑ |
| October | অক্টোবর (Oktoober) | अक्टूबर (Aktoobar) | اکتوبر |
| Memories | স্মৃতি (Smriti) | यादें (Yaaden) | یادیں |
| Covered | আচ্ছাদিত (Achhadito) | ढका हुआ (Dhaka hua) | ڈھکا ہوا |
| Dahlias | ডালিয়া ফুল (Dahlia phool) | डहलिया के फूल (Dahlia ke phool) | ڈاہلیا کے پھول |
| Delicious | সুস্বাদু (Suswadu) | स्वादिष्ट (Swadisht) | مزیدار |
| Tourists | পর্যটক (Porjotok) | पर्यटक (Paryatak) | سیاح |
| Roads | রাস্তা (Rasta) | सड़कें (Sadken) | سڑکیں |
| Quiet | শান্ত (Shanto) | शांत (Shaant) | خاموش |
| Deserted | নির্জন (Nirjon) | सुनसान (Sunsaan) | سنسان |
| Touched | স্পর্শ করা (Sporso kora) | छुआ (Chhua) | چھوا |
| Romantic | রোমান্টিক (Romantic) | रोमांटिक (Romantic) | رومانوی |
| Fool | বোকা (Boka) | मूर्ख (Moorkh) | بے وقوف |
| Mistake | ভুল (Bhool) | गलती (Galti) | غلطی |
| Strange | অদ্ভুত (Odbhut) | अजीब (Ajeeb) | عجیب |
| Question | প্রশ্ন (Proshno) | प्रश्न (Prashna) | سوال |
| Noticed | লক্ষ্য করা (Lokkho kora) | देखा (Dekha) | دیکھا |
| Window | জানালা (Janala) | खिड़की (Khidki) | کھڑکی |
| Ledge | প্রান্ত (Pranto) | किनारा (Kinara) | کنارہ |
| Open | খোলা (Khola) | खुला (Khula) | کھلا |
| Pretence | ভান (Bhaan) | दिखावा (Dikhawa) | دکھاوا |
| Studying | অধ্যয়ন করা (Adhyayan kora) | अध्ययन (Adhyayan) | مطالعہ |
| Landscape | প্রাকৃতিক দৃশ্য (Prakritik drishyo) | परिदृश्य (Paridrishya) | منظر |
| Panting | হাঁফাচ্ছে (Haanfachhe) | हाँफना (Haanfna) | ہانپنا |
| Engine | ইঞ্জিন (Engine) | इंजन (Engine) | انجن |
| Rumbling | গর্জন (Gorjon) | गड़गड़ाहट (Gadgadahat) | گرجنا |
| Wheels | চাকা (Chaka) | पहिए (Pahiye) | پہیے |
| Mind's eye | কল্পনায় (Kalponay) | मन की आँख (Mann ki aankh) | ذہن کی آنکھ |
| Flashing | ঝলকানি (Jholkani) | चमक (Chamak) | چمکنا |
| Telegraph | টেলিগ্রাফ (Telegraph) | टेलीग्राफ (Telegraph) | ٹیلی گراف |
| Posts | পোস্ট (Post) | पोस्ट (Post) | پوسٹس |
| Animals | প্রাণী (Prani) | जानवर (Jaanwar) | جانور |
| Confidently | আত্মবিশ্বাসের সঙ্গে (Atmobishwasher shonge) | आत्मविश्वास से (Aatmavishwas se) | اعتماد کے ساتھ |
| Hardly | প্রায়ই না (Prayi na) | शायद ही (Shayad hi) | مشکل سے |
| Forests | বন (Bon) | जंगल (Jungle) | جنگلات |
| Turned | ঘুরিয়ে নিল (Ghurie nilo) | मुड़ा (Muda) | مڑا |
| Faced | মুখোমুখি (Mukhomukhi) | सामना किया (Saamna kiya) | سامنا کیا |
| Silence | নীরবতা (Nirbota) | चुप्पी (Chuppi) | خاموشی |
| Interesting | আকর্ষণীয় (Akorşonio) | दिलचस्प (Dilchaspi) | دلچسپ |
| Remarked | মন্তব্য করেছিল (Montobbo korechilo) | टिप्पणी की (Tipanni ki) | تبصرہ کیا |
| Daring | সাহসী (Shahoshe) | साहसी (Saahsi) | بہادر |
| Flattery | চাটুকারিতা (Chatukaritā) | चापलूसी (Chaplusi) | چاپلوسی |
| Laughed | হেসেছিল (Hesechilo) | हँसा (Hansa) | ہنسا |
| Pleasantly | আনন্দদায়কভাবে (Anondodayok bhabe) | सुखद रूप से (Sukhad roop se) | خوشگوار طریقے سے |
| Nice | সুন্দর (Sundor) | अच्छा (Achha) | اچھا |
| Pretty | সুন্দরী (Sundori) | सुंदर (Sundar) | خوبصورت |
| Gallant | সাহসী (Sahoshi) | साहसी (Saahsi) | بہادر |
| Serious | গম্ভীর (Gombhir) | गंभीर (Gambhir) | سنجیدہ |
| Thought | ভাবনা (Bhabna) | विचार (Vichar) | خیال |
| Laughter | হাসি (Hasi) | हंसी (Hansi) | ہنسی |
| Troubled | উদ্বিগ্ন (Udbigno) | परेशान (Pareshan) | پریشان |
| Lonely | একাকী (Ekaki) | अकेला (Akela) | تنہا |
| Station | স্টেশন (Stesho) | स्टेशन (Steshan) | اسٹیشن |
| Journey | যাত্রা (Jatra) | यात्रा (Yatra) | سفر |
| Train | ট্রেন (Train) | ट्रेन (Train) | ٹرین |
| Hours | ঘন্টা (Gonta) | घंटे (Ghante) | گھنٹے |
| Prepared | প্রস্তুত (Prostut) | तैयार (Taiyar) | تیار |
| Length | দৈর্ঘ্য (Doirgho) | लंबाई (Lambai) | لمبائی |
| Listen | শোনা (Shona) | सुनना (Sunna) | سننا |
| Talking | কথা বলা (Kotha bola) | बातचीत (Baatcheet) | بات چیت |
| Sparkle | ঝলক (Jholok) | चमक (Chamak) | چمک |
| Mountain | পাহাড় (Pahar) | पर्वत (Parvat) | پہاڑ |
| Stream | প্রবাহ (Probaho) | धारा (Dhara) | ندی |
| Encounter | সাক্ষাৎ (Sakhhat) | मुठभेड़ (Muthbhed) | مقابلہ |
| Engine | ইঞ্জিন (Injin) | इंजन (Engine) | انجن |
| Whistle | হুইসেল (Whistle) | सीटी (Seeti) | سیٹی |
| Carriage | গাড়ি (Gari) | गाड़ी (Gadi) | گاڑی |
| Wheels | চাকা (Chaka) | पहिये (Pahiye) | پہیے |
| Rhythm | তাল (Tal) | ताल (Taal) | تال |
| Things | জিনিসপত্র (Jinispotro) | चीजें (Cheezein) | چیزیں |
| Hair | চুল (Chul) | बाल (Baal) | بال |
| Bun | খোঁপা (Khopa) | जूड़ा (Jooda) | جوڑا |
| Plaited | বেণী করা (Beni kora) | चोटी (Choti) | چوٹی |
| Loose | আলগা (Alga) | ढीला (Dheela) | ڈھیلا |
| Shoulders | কাঁধ (Kadh) | कंधे (Kandhe) | کندھے |
| Cut | কাটা (Kata) | काटा (Kaata) | کاٹا |
| Slowly | ধীরে (Dhire) | धीरे (Dheere) | آہستہ |
| Porters | কুলি (Kuli) | कुली (Kuli) | قلی |
| Vendors | বিক্রেতা (Bikreta) | विक्रेता (Vikreta) | فروشندہ |
| High-pitched | উচ্চ স্বরযুক্ত (Uchcho shor jukto) | तीव्र स्वर (Teevr swar) | اونچی آواز |
| Female | মহিলা (Mohila) | महिला (Mahila) | عورت |
| Goodbye | বিদায় (Biday) | अलविदा (Alvida) | الوداع |
| Standing | দাঁড়িয়ে (Dariye) | खड़ी (Khadi) | کھڑی |
| Close | কাছাকাছি (Kachakachi) | पास (Paas) | قریب |
| Perfume | সুগন্ধি (Sugondhi) | इत्र (Ittar) | عطر |
| Hair | চুল (Chul) | बाल (Baal) | بال |
| Tantalising | প্রলোভনকর (Prolobhonkar) | लुभावना (Lubhavna) | لبھانے والا |
| Touch | স্পর্শ করা (Sporś kora) | छूना (Chhoona) | چھونا |
| Moved | সরে গেল (Sore gelo) | हिलना (Hilna) | ہٹ گیا |
| Scent | সুগন্ধ (Sugondho) | सुगंध (Sugandh) | خوشبو |
| Lingered | দীর্ঘস্থায়ী হয়েছিল (Dirghosthayi hoyechilo) | रुकी रही (Ruki rahi) | دیر تک رہا |
| Stood | দাঁড়িয়েছিল (Dariyechilo) | खड़ा हुआ (Khada hua) | کھڑا تھا |
| Confusion | বিভ্রান্তি (Bibhranti) | भ्रम (Bhram) | الجھن |
| Doorway | দরজার পথ (Dorjar poth) | द्वार (Dwaar) | دروازہ |
| Getting | পাচ্ছিলাম (Pachchilam) | मिलना (Milna) | مل رہا |
| Compartment | কামরা (Kamra) | डिब्बा (Dibba) | ڈبہ |
| Stammered | তোতলানো (Totlāno) | हकलाया (Haklaaya) | ہکلا گیا |
| Apology | ক্ষমা প্রার্থনা (Khoma prarthona) | माफ़ी (Maafi) | معافی |
| Banged | আঘাত করা (Aghat kora) | धमाका (Dhamaka) | زور سے بند ہوا |
| World | বিশ্ব (Bishwo) | दुनिया (Duniya) | دنیا |
| Shut | বন্ধ (Bondho) | बंद (Band) | بند |
| Returned | ফিরে আসা (Fire asha) | लौट आया (Laut aaya) | واپس آیا |
| Berth | শয্যা (Shôjya) | बर्थ (Berth) | برتھ |
| Guard | গার্ড (Guard) | गार्ड (Guard) | گارڈ |
| Whistle | হুইসেল (Whistle) | सीटी (Seeti) | سیٹی |
| Moved | সরানো (Soraano) | चला गया (Chala gaya) | چلا گیا |
| Speed | গতি (Goti) | गति (Gati) | رفتار |
| Wheels | চাকা (Chaka) | पहिये (Pahiye) | پہیے |
| Song | গান (Gaan) | गीत (Geet) | گانا |
| Carriage | গাড়ি (Gari) | गाड़ी (Gadi) | گاڑی |
| Groaned | কর্কশ স্বরে বলা (Korko śore bola) | कराहना (Karahana) | کراہنا |
| Shook | কেঁপে উঠল (Kempe uthlo) | हिल गया (Hil gaya) | ہل گیا |
| Staring | তাকিয়ে থাকা (Takie thaka) | घूरना (Ghoorna) | گھور رہا تھا |
| Daylight | দিনের আলো (Diner alo) | दिन का उजाला (Din ka ujala) | دن کی روشنی |
| Darkness | অন্ধকার (Andhokar) | अंधकार (Andhkaar) | اندھیرا |
| Happening | ঘটছে (Ghotche) | हो रहा (Ho raha) | ہو رہا ہے |
| Outside | বাইরে (Baere) | बाहर (Bahar) | باہر |
| Window | জানালা (Janala) | खिड़की (Khidki) | کھڑکی |
| Fascinating | আকর্ষণীয় (Akarşoniō) | आकर्षक (Aakarshak) | دلکش |
| Game | খেলা (Khela) | खेल (Khel) | کھیل |
| Guessing | আন্দাজ করা (Andaj kora) | अनुमान लगाना (Anuman lagana) | اندازہ لگانا |
| Breaking | ভেঙে ফেলা (Bhenge felo) | तोड़ना (Todna) | توڑنا |
| Reverie | স্বপ্নমুগ্ধতা (Swapnamugdho ta) | स्वप्न (Swapna) | خواب |
| Disappointed | হতাশ (Hotash) | निराश (Niraash) | مایوس |
| Nearly | প্রায় (Prayi) | लगभग (Lagbhag) | تقریباً |
| Attractive | আকর্ষণীয় (Akarşoniō) | आकर्षक (Aakarshak) | دلکش |
| Companion | সঙ্গী (Sangi) | साथी (Saathi) | ساتھی |
| Left | চলে যাওয়া (Chole jaoya) | छोड़ दिया (Chhod diya) | چھوڑ گیا |
| Remember | মনে রাখা (Mone rakha) | याद रखना (Yaad rakhna) | یاد رکھنا |
| Sounding | শব্দ করা (Shobdo kora) | लग रहा है (Lag raha hai) | آواز آنا |
| Puzzled | বিভ্রান্ত (Bibhranto) | उलझन में (Ulghan mein) | الجھن میں |
| Eyes | চোখ (Chokh) | आँखें (Aankhen) | آنکھیں |
| Beautiful | সুন্দর (Sundor) | सुंदर (Sundar) | خوبصورت |
| Notice | খেয়াল করা (Kheyāl kora) | ध्यान देना (Dhyaan dena) | نوٹس کرنا |
| Completely | সম্পূর্ণরূপে (Shômpurno rupe) | पूरी तरह से (Pooree tarah se) | مکمل طور پر |
| Blind | অন্ধ (Andho) | अंधा (Andha) | نابینا |
The Eyes Have It Summary
English
The narrator, a blind man, is traveling alone on a train. He has the whole compartment to himself until the train reaches a station called Rohana. At that point, a girl gets on the train. It seems like her parents are seeing her off, and they are very concerned about her comfort. The mother gives the girl many instructions, like where to keep her things, not to lean out of windows, and to avoid talking to strangers.
After her parents leave, the train starts moving. The narrator, being blind, cannot see what the girl looks like, but he can hear the sound of her slippers as she walks. He wonders what she looks like but doesn’t know yet. He likes the sound of her voice and even the sound of her slippers.
The narrator asks her if she is going all the way to Dehra, but the girl is surprised to hear a voice in the dark compartment. She says she is getting off at Saharanpur, where her aunt will meet her. The narrator jokes that he should not get too familiar with her since aunts are usually strict.
The girl asks the narrator where he is going, and he tells her that he is heading to Dehra and then to Mussoorie. She expresses how much she loves the hills and wishes she could go to Mussoorie too. The narrator talks about how beautiful the hills are in October, with wild dahlias, sunshine, and peaceful roads. He speaks from memory, recalling the beauty of the place.
The girl is silent for a while, and the narrator wonders if she liked his words or thought he was just a romantic fool. Then he makes a mistake by asking her what it is like outside the window. She doesn’t find the question strange and asks why he doesn’t look out the window. The narrator moves along the berth, pretending to study the landscape by feeling the window. He talks about how the trees look like they are moving while the train stays still.
The girl asks if he sees any animals, and the narrator confidently says no, knowing there are not many animals left in the forests near Dehra. They sit quietly for a while, and then the narrator says she has an interesting face. The girl laughs and says she is tired of people always telling her she has a pretty face. The narrator then tells her that an interesting face can also be pretty, and the girl calls him gallant but wonders why he seems so serious.
The train is soon approaching the girl’s station, and she expresses relief that it has been a short journey because she doesn’t like sitting in a train for long. The narrator, however, would be happy to stay on the train just to listen to her talk. Her voice has a special quality, like a mountain stream, and he knows that after she leaves, she will forget their brief meeting, but it will stay with him for a long time.
As the train slows down at Saharanpur station, the girl starts collecting her things. The narrator wonders what her hair looks like—whether it is in a bun, plaited, or hanging loose. He hears the sounds outside the train, including the shouting of porters and vendors, and the voice of the girl’s aunt, who is waiting for her at the station.
The girl says goodbye and stands very close to the narrator. He is tempted to touch her hair but doesn’t, as she moves away. There is some confusion as a new man enters the compartment, and the train begins moving again. The narrator returns to his seat and starts thinking about the journey ahead.
As the train picks up speed, the narrator wonders about the things happening outside the window, even though he cannot see them. The new passenger breaks his thoughts and comments that the narrator must be disappointed because he is not as interesting as the girl who just left. The narrator asks the man if the girl had long or short hair, but the man replies that he noticed her eyes, not her hair. He then tells the narrator that the girl was completely blind, which shocks the narrator because he never realized it during their conversation.
This revelation surprises the narrator because, despite his own blindness, he never suspected that the girl was also blind. The irony of the situation—two blind people unknowingly connecting—adds a touching layer to the story.
Hindi
एक नेत्रहीन व्यक्ति अकेला ट्रेन में यात्रा कर रहा है। शुरू में पूरा डिब्बा उसके लिए खाली है, लेकिन जब ट्रेन एक स्टेशन “रोहाना” पर पहुँचती है, तो एक लड़की डिब्बे में चढ़ती है। ऐसा लगता है कि उसके माता-पिता उसे छोड़ने आए हैं और उसकी यात्रा को लेकर बहुत चिंतित हैं। लड़की की माँ उसे कई सलाह देती है, जैसे कि सामान कहाँ रखना है, खिड़की से बाहर न झाँकना और अजनबियों से बात न करना।
जब माता-पिता चले जाते हैं और ट्रेन चलने लगती है, तो नेत्रहीन व्यक्ति लड़की को देख नहीं सकता लेकिन उसकी चप्पल की आवाज़ सुन सकता है। वह सोचता है कि लड़की कैसी दिखती होगी लेकिन उसे नहीं पता। उसे लड़की की आवाज़ और चप्पल की आवाज़ भी अच्छी लगती है।
वह लड़की से पूछता है कि क्या वह “देहरा” तक जा रही है। लड़की हैरान होती है क्योंकि उसे अंदाज़ा नहीं था कि डिब्बे में कोई और भी है। वह बताती है कि वह “सहारनपुर” पर उतरेगी, जहाँ उसकी बुआ उसे लेने आएँगी। वह मजाक करते हुए कहता है कि उसे बहुत करीब नहीं होना चाहिए क्योंकि बुआएँ अक्सर सख्त होती हैं।
लड़की उससे पूछती है कि वह कहाँ जा रहा है। वह कहता है कि वह “देहरा” और फिर “मसूरी” जा रहा है। लड़की कहती है कि उसे पहाड़ बहुत पसंद हैं और काश वह भी मसूरी जा सकती। व्यक्ति उसे मसूरी की खूबसूरती के बारे में बताता है, जैसे कि वहाँ के जंगली फूल, धूप और शांति।
कुछ देर के लिए लड़की चुप रहती है, और वह सोचता है कि क्या उसने उसकी बातों को पसंद किया या उसे बस एक कल्पनावादी समझा। फिर वह गलती से पूछ बैठता है कि खिड़की के बाहर का दृश्य कैसा है। लड़की इस सवाल को अजीब नहीं मानती और कहती है कि वह खुद बाहर क्यों नहीं देख लेता। वह खिड़की के पास जाकर बाहर देखने का नाटक करता है।
लड़की पूछती है कि क्या उसने कोई जानवर देखे। वह कहता है कि नहीं, क्योंकि उसे पता है कि देहरा के जंगलों में अब बहुत कम जानवर बचे हैं। फिर वे दोनों कुछ देर चुप रहते हैं। वह लड़की से कहता है कि उसका चेहरा दिलचस्प है। लड़की हँसती है और कहती है कि लोग हमेशा उसे सुंदर कहते हैं, लेकिन दिलचस्प कोई नहीं कहता। वह कहता है कि दिलचस्प चेहरा भी सुंदर हो सकता है। लड़की उसे मजाकिया कहती है लेकिन पूछती है कि वह इतना गंभीर क्यों है।
जल्द ही ट्रेन सहारनपुर स्टेशन पर पहुँचने वाली होती है। लड़की कहती है कि वह खुश है कि यात्रा छोटी थी क्योंकि उसे ट्रेन में लंबे समय तक बैठना पसंद नहीं। लेकिन व्यक्ति को उसकी बातें सुनने के लिए यात्रा लंबी भी होती तो कोई दिक्कत नहीं होती। उसकी आवाज़ पहाड़ी झरने जैसी मीठी लगती है। व्यक्ति जानता है कि लड़की इस मुलाकात को भूल जाएगी, लेकिन वह इसे लंबे समय तक याद रखेगा।
जब ट्रेन सहारनपुर स्टेशन पर रुकती है, तो लड़की अपना सामान उठाने लगती है। वह सोचता है कि उसके बाल कैसे होंगे – बाँधे हुए, चोटी में या खुले हुए? वह स्टेशन की हलचल सुनता है, जैसे कि कुलियों की आवाज़, विक्रेताओं की पुकार और लड़की की बुआ की आवाज़।
लड़की उससे विदा लेती है और उसके पास खड़ी होती है। वह उसके बालों को छूने का मन करता है लेकिन ऐसा नहीं करता। लड़की डिब्बे से बाहर चली जाती है। कुछ हलचल होती है और एक नया यात्री डिब्बे में आ जाता है। ट्रेन फिर से चलने लगती है। वह अपनी सीट पर लौटता है और आगे की यात्रा के बारे में सोचने लगता है।
नया यात्री उससे कहता है कि शायद वह निराश होगा क्योंकि वह लड़की जितना रोचक नहीं है। व्यक्ति उससे पूछता है कि क्या उसने लड़की के बाल देखे। नया यात्री कहता है कि उसने लड़की के बालों पर ध्यान नहीं दिया, लेकिन उसकी आँखें नोट कीं। फिर वह बताता है कि लड़की पूरी तरह नेत्रहीन थी। यह सुनकर व्यक्ति हैरान रह जाता है।
यह सुनकर उसे झटका लगता है क्योंकि वह खुद नेत्रहीन होते हुए भी यह नहीं समझ पाया कि लड़की भी नेत्रहीन थी। यह कहानी दोनों नेत्रहीन लोगों के बीच बने एक अनजान संबंध को दर्शाती है और इसे और भी भावुक बना देती है।
Urdu
راوی، جو کہ ایک نابینا شخص ہے، ٹرین میں اکیلا سفر کر رہا ہے۔ ابتدا میں پورا ڈبہ اس کے لیے خالی ہے، لیکن جب ٹرین ایک اسٹیشن “روہانہ” پر پہنچتی ہے تو ایک لڑکی ڈبے میں داخل ہوتی ہے۔ ایسا لگتا ہے کہ لڑکی کے والدین اسے الوداع کہہ رہے ہیں اور اس کی آرام دہ سفر کے بارے میں بہت فکر مند ہیں۔ لڑکی کی ماں اسے کئی ہدایات دیتی ہے، جیسے کہ اپنی چیزیں کہاں رکھنی ہیں، کھڑکی سے باہر نہ جھانکنا، اور اجنبی لوگوں سے بات نہ کرنا۔
جب والدین رخصت ہو جاتے ہیں اور ٹرین چلنے لگتی ہے، تو راوی، جو نابینا ہے، لڑکی کو دیکھ نہیں سکتا لیکن اس کے چپل کی آواز سن سکتا ہے۔ وہ یہ جاننے کی کوشش کرتا ہے کہ لڑکی کیسی دکھتی ہوگی لیکن اسے کچھ اندازہ نہیں ہوتا۔ وہ لڑکی کی آواز اور یہاں تک کہ اس کے چپل کی آواز بھی پسند کرتا ہے۔
راوی اس سے پوچھتا ہے کہ کیا وہ “دہرہ” تک جا رہی ہے؟ لڑکی یہ سن کر حیران ہو جاتی ہے کیونکہ اسے ڈبے میں کسی اور کے ہونے کا اندازہ نہیں تھا۔ وہ بتاتی ہے کہ وہ “سہارنپور” میں اترے گی، جہاں اس کی خالہ اسے لینے آئیں گی۔ راوی مذاق کرتے ہوئے کہتا ہے کہ اسے زیادہ قریب نہیں ہونا چاہیے کیونکہ خالائیں اکثر سخت ہوتی ہیں۔
لڑکی راوی سے پوچھتی ہے کہ وہ کہاں جا رہا ہے، اور وہ بتاتا ہے کہ وہ “دہرہ” اور پھر “مسوری” جا رہا ہے۔ لڑکی پہاڑوں سے اپنی محبت کا اظہار کرتی ہے اور کہتی ہے کہ کاش وہ بھی مسوری جا سکتی۔ راوی مسوری کے بارے میں یادیں بیان کرتا ہے، اکتوبر کے موسم میں جنگلی گلاب، دھوپ، اور پرسکون سڑکوں کا ذکر کرتا ہے۔
لڑکی خاموش ہو جاتی ہے، اور راوی سوچتا ہے کہ آیا اس کے الفاظ نے لڑکی کو متاثر کیا یا وہ اسے ایک خیالی انسان سمجھ رہی ہے۔ پھر راوی ایک غلطی کر بیٹھتا ہے اور لڑکی سے پوچھتا ہے کہ باہر کا منظر کیسا ہے؟ لڑکی اس سوال کو عجیب نہیں سمجھتی اور کہتی ہے کہ وہ خود کھڑکی سے باہر کیوں نہیں دیکھ لیتا۔ راوی برتھ کے قریب جا کر کھڑکی کے پاس آتا ہے اور منظر دیکھنے کا ڈرامہ کرتا ہے۔
لڑکی پوچھتی ہے کہ کیا اس نے کوئی جانور دیکھے؟ راوی اعتماد سے جواب دیتا ہے کہ نہیں، کیونکہ اسے معلوم ہے کہ دہرہ کے قریب جنگلوں میں اب زیادہ جانور نہیں ہیں۔ پھر وہ کچھ دیر خاموش بیٹھے رہتے ہیں۔ راوی لڑکی سے کہتا ہے کہ اس کا چہرہ دلچسپ ہے، جس پر لڑکی ہنستی ہے اور کہتی ہے کہ لوگ ہمیشہ اسے خوبصورت کہتے ہیں، لیکن دلچسپ کہنے والا کوئی نہیں۔ راوی کہتا ہے کہ دلچسپ چہرہ بھی خوبصورت ہو سکتا ہے، جس پر لڑکی اسے بہادر کہتی ہے لیکن پوچھتی ہے کہ وہ اتنا سنجیدہ کیوں ہے۔
جلد ہی ٹرین سہارنپور کے اسٹیشن کے قریب پہنچ جاتی ہے، اور لڑکی کہتی ہے کہ وہ خوش ہے کہ یہ سفر مختصر تھا کیونکہ اسے زیادہ دیر تک ٹرین میں بیٹھنا اچھا نہیں لگتا۔ لیکن راوی کو اس کی گفتگو سننے کے لیے سفر طویل کرنے میں کوئی اعتراض نہیں ہوتا۔ اس کی آواز ایک پہاڑی جھرنے کی طرح خوبصورت ہوتی ہے، اور راوی جانتا ہے کہ لڑکی جلد ہی اسے بھول جائے گی، لیکن یہ ملاقات اس کے لیے یادگار رہے گی۔
جیسے ہی ٹرین سہارنپور کے اسٹیشن پر رکتی ہے، لڑکی اپنا سامان اکٹھا کرتی ہے۔ راوی سوچتا ہے کہ لڑکی کے بال کیسے ہوں گے؟ بندھے ہوئے، چوٹی میں، یا کھلے؟ وہ اسٹیشن پر شور سنتا ہے، جیسے قلیوں کی آواز، دکان والوں کی آواز، اور لڑکی کی خالہ کی اونچی آواز۔
لڑکی الوداع کہتی ہے اور راوی کے قریب کھڑی ہوتی ہے۔ راوی اس کے بالوں کو چھونے کی خواہش کرتا ہے لیکن لڑکی دور ہو جاتی ہے۔ دروازے پر تھوڑی افراتفری ہوتی ہے، اور ایک نیا آدمی ڈبے میں داخل ہو جاتا ہے۔ ٹرین پھر سے چلنے لگتی ہے، اور راوی اپنی نشست پر واپس آ جاتا ہے۔
نیا مسافر راوی سے کہتا ہے کہ شاید وہ مایوس ہو گیا ہوگا کیونکہ وہ لڑکی جتنا دلچسپ ساتھی نہیں ہے۔ راوی اس سے لڑکی کے بالوں کے بارے میں پوچھتا ہے، لیکن آدمی کہتا ہے کہ اس نے بال نہیں بلکہ لڑکی کی آنکھیں نوٹ کیں۔ پھر وہ راوی کو بتاتا ہے کہ لڑکی مکمل طور پر نابینا تھی، جو راوی کو حیرت میں ڈال دیتا ہے۔
یہ انکشاف راوی کو چونکا دیتا ہے کیونکہ وہ خود نابینا ہونے کے باوجود کبھی یہ نہیں سمجھ پایا کہ لڑکی بھی نابینا تھی۔ یہ کہانی دونوں نابینا افراد کے درمیان بننے والے غیرمتوقع تعلق کو ظاہر کرتی ہے اور ایک گہری جذباتی پہلو کو پیش کرتی ہے۔
