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Sunday, May 19, 2024

Remembering Anil Adam: A Tribute to His Life and Poetry

Though I never had the opportunity to meet Anil Adam in person, his legacy as a Punjabi and Hindi poet has left an indelible mark on my heart and mind. My acquaintance with his work and persona comes through the impassioned narrations of Harmeet Vidyarthi, who often spoke of Adam's profound impact on the literary world. Harmeet’s performances of Adam’s poems at Akal University, Talwandi Sabo, revealed the depth and resonance of Adam's poetic voice. The captivating recital, coupled with Adam’s lyrical mastery, left a lasting impression on me, sparking a deep appreciation for his work.

On April 7, 2024, Harmeet Vidyarthi gifted me a posthumously published collection of Adam’s poetry titled "26 Saal Baad." This gesture allowed me to delve deeply into the mind of a poet I had come to admire from afar. The experience of reading "26 Saal Baad" was both enlightening and bittersweet, offering a glimpse into Adam's soul while lamenting the fact that I could never meet him in person.

Anil Adam, born on July 6, 1974, in Batala to Shri Indrajit Prabhakar and Shubh Rani, departed this world on December 15, 2022. His life, spanning only 48 years, 9 months, and 9 days, was undeniably short. The mere 4,24,656 hours he lived seem an injustice, given the depth and breadth of his literary contributions. However, within this brief period, Adam crafted poetry that continues to resonate deeply, evoking both pleasure and surprise in its readers.

"26 Saal Baad" stands as a testament to Adam’s poetic prowess. The collection, comprising succinct poems, is distinguished by its repetitive and poignant refrain, "26 years later." This thematic consistency transforms the collection into a cohesive narrative, a long poem that explores a love story spanning over two decades. The poems serve as windows into Adam’s emotional journey, encapsulating the nuances of love, memory, and longing.

The title, "26 Saal Baad," suggests a retrospective gaze, inviting readers to accompany the poet on a journey through time. Each poem acts as a vignette, a snapshot of a love that endured despite the passage of years. Adam’s exploration of love is multifaceted, capturing the sweetness of early romance, the pangs of separation, and the bittersweet nostalgia of unfulfilled desires.

Beyond its romantic themes, "26 Saal Baad" delves into philosophical and autobiographical reflections. Adam’s poetry is imbued with a profound sense of introspection, contemplating the nature of existence, the passage of time, and the complexities of human relationships. This philosophical undercurrent adds depth to the collection, elevating it from a simple love story to a meditation on life itself.

One of the most striking aspects of Adam’s poetry is its conversational tone. The poems often read like intimate phone calls between the poet and his beloved, creating a sense of immediacy and personal connection. This stylistic choice enhances the emotional impact of the work, drawing readers into the private world of the poet and his muse.

Anil Adam’s unique voice in Punjabi poetry is characterized by its simplicity and emotional clarity. His use of language is unadorned yet powerful, conveying deep emotions with remarkable precision. This linguistic economy allows readers to engage directly with the themes and emotions of the poems, fostering a sense of shared experience and empathy.

Adam’s contribution to Punjabi and Hindi literature is invaluable. His ability to weave personal narrative with universal themes has cemented his place among the great poets of his time. "26 Saal Baad" is a shining example of his talent, a collection that continues to touch hearts and minds long after his passing.

In conclusion, while I never met Anil Adam, his poetry has provided a window into his soul, offering a profound connection that transcends the boundaries of time and space. His work in "26 Saal Baad" stands as a beacon of his artistic vision, a testament to the enduring power of love and memory. Through his poetry, Adam lives on, his words echoing in the hearts of those who read and appreciate his work. His legacy is a reminder of the transformative power of art and the timeless nature of true poetic expression. 

Saturday, May 18, 2024

Review: Sach De Bol by Gurmail Kaur Sangha

Published by Café World (Punjab), "Sach De Bol" marks the debut of Gurmail Kaur Sangha, a Punjabi poet residing in England. This collection of 74 poems, spanning 104 pages, introduces readers to Sangha's poignant and evocative voice in Punjabi poetry.

Gurmail Kaur Sangha's poetry is notable for its simplicity and accessibility. Her use of straightforward language allows readers to connect deeply with the themes she explores. The poems reflect her concerns about the evolving dynamics of the world and the distinctive ways of living that arise from these changes. Sangha's work consistently emphasizes resilience and the courage to ascend life's metaphorical mountains.

The collection delves into the profound joys of life, capturing them in a language that is both simple and profoundly poetic. Themes of love, conflict, dark mornings, and the victories and defeats that life brings are intricately woven throughout the poems. Her ability to articulate complex emotions and situations in a relatable manner is a testament to her skill as a poet.

A notable aspect of "Sach De Bol" is its duality in tone. On one hand, Sangha's poems exude a rebellious spirit, challenging societal adversaries and injustices. On the other, they offer a soothing balm with words of fragrance and positivity, creating a harmonious balance that enriches the reading experience.

Sangha's debut collection is a powerful addition to Punjabi poetry, offering a fresh perspective through her heartfelt and candid expressions. "Sach De Bol" not only showcases her poetic talent but also her deep understanding of the human condition. It is a must-read for anyone interested in contemporary Punjabi literature, as it beautifully captures the essence of life's varied experiences through the lens of a sensitive and perceptive poet. 

Review: "Oh Kudi" by Ms. Kaifi

"Oh Kudi," published by Spread Publication in Rampur (Ludhiana), marks the debut of Ms. Kaifi in the realm of Punjabi storytelling. This first collection of her stories comprises 23 narratives, encapsulated within 96 pages. Kaifi, a new voice in Punjabi literature, employs a distinctive narrative style characterized by bold dialogue and vibrant prose. Her storytelling captures the essence of courage and struggle, offering a fresh perspective on the enduring human quest for meaning and identity.

The central theme of "Oh Kudi" revolves around the myriad struggles faced by women. Kaifi's stories illuminate the latent power within women, a power that, once recognized, can enable them to accomplish anything, regardless of its magnitude. However, societal constraints often hinder women from realizing their potential, trapping them in a cycle of inaction and unfulfilled aspirations. Through her stories, Kaifi highlights the oppressive nature of these social restrictions and the long-term impact they have on women's lives.

One of the standout features of Kaifi's storytelling is her ability to weave personal narratives with broader socio-economic and political issues. Her stories explore the transformation of relationships and lifestyles in the face of wealth and status. The dominance of capitalism, symbolized by the fortified doors of affluent homes, exacerbates the divide between the privileged and the marginalized. This divide is poignantly depicted through the lives of daughters and mothers who suffer under the weight of ill-gotten wealth, a recurring motif in Kaifi's collection.

Kaifi's stories also delve into the dynamics between masters and workers, shedding light on the exploitation and dehumanization inherent in these relationships. The social crises she addresses are multifaceted, encompassing not only familial and interpersonal issues but also broader societal concerns. Her narratives are a commentary on the changing socio-economic landscape, where traditional values and relationships are often sacrificed at the altar of materialism.

Despite being a newcomer, Kaifi exhibits remarkable potential as a storyteller. Her ability to blend poignant character studies with incisive social critique makes "Oh Kudi" a compelling read. Each story in the collection stands as a testament to her narrative skill and her deep empathy for the struggles of women. The resilience and strength of her female characters serve as an inspiration, urging readers to recognize and harness their own inner power.

In conclusion, "Oh Kudi" is a noteworthy addition to Punjabi literature, deserving of a warm reception. Kaifi's debut collection not only entertains but also provokes thought and empathy, making it a significant work in contemporary storytelling. Through her vivid prose and courageous narratives, Kaifi has established herself as a promising voice in the literary world, one that is sure to resonate with readers for years to come. 

Review: "Shabdan De Suraj" by Surinder Maqsudpuri

"Shabdan De Suraj," the latest poetry collection by Surinder Maqsudpuri, is a luminous addition to the Punjabi literary landscape. Published by Sapatrishi Publication in Chandigarh, this second edition, following its initial release in 2023, offers readers 55 poems spread across 127 pages. As Maqsudpuri's tenth book, it showcases his seasoned literary craftsmanship and deep understanding of the human condition.

Maqsudpuri is already well-known in the literary circles for his poignant storytelling, especially in the realm of mini-stories. In "Shabdan De Suraj," he brings his narrative expertise into the poetic domain, creating pieces that resonate with simplicity yet evoke profound contemplation. His ability to delve into complex themes with brevity and clarity is evident throughout the collection.

The poems in "Shabdan De Suraj" cover a broad spectrum of subjects, including social, philosophical, religious, and spiritual themes. This variety ensures that there is something for every reader, whether they seek reflection on contemporary societal issues or a journey into philosophical musings. Maqsudpuri’s writing is steeped in historical and spiritual knowledge, giving his poetry a rich, textured quality that invites readers to explore multiple layers of meaning.

One of the hallmarks of Maqsudpuri’s poetry is his knack for transforming the mundane into the profound. He takes everyday experiences and imbues them with a depth that encourages readers to think beyond the surface. For instance, a simple observation about nature can lead to a meditation on life and existence, demonstrating his skill in drawing out universal truths from particular instances.

The spiritual undertones in many of the poems are particularly striking. Maqsudpuri's work often reflects a sense of spiritual retreat and introspection, inviting readers to embark on their own journeys of self-discovery. This spiritual dimension is not preachy but rather offers a gentle nudge towards contemplation and inner peace.

Many poems from this collection have already been published in various magazines and newspapers, attesting to their relevance and appeal. Each poem stands as a testament to Maqsudpuri’s mature poetic insight and the hard work he has invested in crafting this collection. His mastery of the Punjabi language and his ability to convey deep emotions and thoughts through simple yet evocative language make "Shabdan De Suraj" a standout work.

In "Shabdan De Suraj," Maqsudpuri achieves a delicate balance between accessibility and depth. His poems are short, making them easy to read, yet they are packed with meaning, ensuring that each word carries weight. This collection is a treasure trove for poetry enthusiasts who appreciate the interplay between simplicity and profundity.

"Shabdan De Suraj" is a book that will find a cherished place on the shelves of Punjabi poetry lovers. Surinder Maqsudpuri’s mature poetic vision and his dedication to the craft shine through in every poem. This collection is a welcome addition to his impressive body of work and a valuable contribution to the world of Punjabi literature. 

Friday, May 17, 2024

Review: "Lafzan Ton Paar" by Pal Gurdaspuri

"Lafzan Ton Paar," published by Chintan Parkashan, Ludhiana, is the sixth collection of ghazals by Pal Gurdaspuri and his tenth book overall. This collection, containing 53 ghazals spread across 80 pages, is a testament to Gurdaspuri's mastery of the form and his commitment to addressing contemporary issues through his poetic lens.

The collection is notable for its thematic diversity, with ghazals dedicated to the struggles of Bihar laborers during the COVID-19 pandemic, the Ukraine war, the farmers' agitation, and the women wrestlers' protest against sexual abuse. These themes showcase Gurdaspuri's sensitivity to social and political issues, reflecting his deep engagement with the world around him.

Gurdaspuri's precision in word choice and his command over the pure pronunciation of words are evident throughout the collection. His use of idioms is particularly impressive, as he employs them with such aptness that there is no risk of distorting their meaning or confusing the reader. This skillful use of language ensures that his ghazals maintain their integrity and impact.

One of the remarkable aspects of Gurdaspuri's poetry is its philosophical depth. He addresses real and potential issues with a nuanced perspective, blending literary elegance with profound insights. His political views are woven into his poetry in a way that does not overshadow the literary quality of his work. Instead, his political commentary is expressed under the influence of literature, enhancing his reputation as a mature and thoughtful poet.

"Lafzan Ton Paar" is free from vulgarity, maintaining a tone of dignity and respect throughout. Gurdaspuri demonstrates a clear understanding of the distinctions between poetry and prose, ensuring that his verses remain poetic in essence and structure. This collection is a reflection of his ability to balance poetic form with meaningful content, offering readers a rich and rewarding experience.

In conclusion, "Lafzan Ton Paar" is a significant contribution to contemporary Punjabi literature. Pal Gurdaspuri's ability to blend precision in language, thematic depth, and philosophical insight makes this collection a must-read for anyone interested in ghazals and Punjabi poetry. His work stands as a testament to his skill and maturity as a poet, cementing his place in the literary landscape. 

Book Review : Queen's Land By Aaghazbir

"Queen’s Land," the debut short story collection by Mr. Aaghazbir, published by Chetna Parkashan, Ludhiana, is a remarkable contribution to contemporary Punjabi literature. Containing 10 stories spread across 96 pages, this collection captures the essence of human struggles and emotions, resonating deeply with readers. The introductory note by the esteemed literary figure Mr. Gurbachan Singh Bhullar places Aaghazbir in high regard, comparing his storytelling prowess to that of the legendary Mahendra Singh Sarna. Bhullar's reflection on Sarna's words about the moral duties of a writer underscores the ethical backbone of Aaghazbir's narratives.

Aaghazbir's stories are deeply rooted in human values and principles. Each tale portrays characters who grapple with life's challenges while striving to uphold their integrity. This moral struggle is a central theme, illustrating the complexity and beauty of human existence. The stories are not just tales of survival but are imbued with a sense of righteousness and ethical dilemmas that elevate them beyond mere narratives. 

The ten stories in "Queen’s Land" are not only engaging but also carry an emotional depth that leaves a lasting impact. Aaghazbir's ability to evoke strong emotions is evident as readers find themselves moved to tears, with the words often blurred by the water in their eyes. This emotional resonance is a testament to his skill in crafting relatable and poignant scenarios. The characters, both main and supporting, are well-developed, each with their own unique struggles and victories, making them memorable and relatable.

Aaghazbir’s command over language and his vivid illustrations create a vibrant reading experience. His vocabulary is rich yet accessible, enhancing the narrative without overwhelming the reader. The on-the-spot illustrations add a layer of immediacy, drawing readers into the scenes as if they were happening right before their eyes. This mastery of language and illustration places Aaghazbir among the ranks of mature storytellers who can maintain the reader's interest from beginning to end.

One of the standout features of "Queen’s Land" is its readability. The stories flow seamlessly, compelling the reader to keep turning the pages. Aaghazbir has perfected the art of maintaining narrative charm, ensuring that each story is as captivating as the last. This readability, coupled with the depth of the stories, makes "Queen’s Land" a book that invites multiple readings. Each return to the book reveals new layers and insights, making it a valuable addition to any reader's collection.

In conclusion, "Queen’s Land" by Aaghazbir is a powerful and emotionally rich collection of short stories that captures the human spirit's resilience and moral struggles. With its engaging narratives, well-drawn characters, and vivid illustrations, the book stands as a significant achievement in Punjabi literature. It is a testament to Aaghazbir’s storytelling prowess and his ability to connect with readers on a profound level. "Queen’s Land" is not just a book to be read; it is an experience to be cherished and revisited, offering new perspectives and emotional depths with each reading. 

Thursday, May 16, 2024

Book Review: "Mitti Di Sultanat" by Kanwal Bajwa

Published by Calibre Publications, Patiala, "Mitti Di Sultanat" (translated as "Sultanate of Soil") is Kanwal Bajwa's second poetry collection, following his 2019 debut, "Sulagda Shamadan." This compilation of 58 poems spanning 103 pages continues to explore Bajwa's profound engagement with his cultural and social milieu, particularly focusing on the peasantry, revolutionary ideals, and historical narratives.

In "Mitti Di Sultanat," Bajwa crafts a vivid and hopeful portrayal of his surroundings, skillfully intertwining themes of peasant struggles, revolutionary thought, and the everyday lives of common people. Through his poetic lens, Bajwa transforms the mundane into the extraordinary, offering readers a poignant glimpse into the lives of the "Sultans of the soil"—the farmers and laborers who form the backbone of society. 

The collection stands out for its evocative imagery and emotional depth. Poems like "Rabi Kana," "Kranti," and "Mahapurukh" are exemplary of Bajwa's ability to capture the essence of the peasant struggle and the spirit of revolution. "Rabi Kana" delves into the cyclical nature of agricultural life, portraying the resilience and tenacity of the farmers who toil the land. "Kranti" (Revolution) is a call to arms, a powerful testament to the enduring spirit of resistance and the fight for justice.

"Mahapurukh" (Great Man) offers a reflective homage to historical figures who have shaped the course of history, imbuing the past with a sense of reverence and awe. Bajwa's treatment of such figures is not merely celebratory but also introspective, questioning the impact and legacy of these icons on contemporary society.

Bajwa’s sensitivity as a poet is further evident in poems like "Behrodh God" and "Painful Death." These works delve into the more somber aspects of life, exploring themes of loss, betrayal, and the passage of time. "Behrodh God" (Rebellious Lap) tackles the complexities of familial and societal expectations, while "Painful Death" confronts the inevitability of mortality with a stark, unflinching gaze.

One of the standout features of this collection is Bajwa’s ability to weave serious, often somber events into his narrative without losing the thread of hope and resilience. Poems such as "Privatisation" and "Lokraj" (People's Rule) critique contemporary socio-political issues, highlighting the struggles of the common man in the face of systemic challenges. "Privatisation" addresses the erosion of communal assets and the adverse effects on the rural populace, while "Lokraj" envisions a utopian society where the power truly lies with the people.

Despite the overall excellence of the collection, a few poems fall short of the high standard set by the others. These outliers, however, do little to detract from the impact of the book as a whole. Bajwa's evocative language and insightful commentary make "Mitti Di Sultanat" a compelling read.

In conclusion, "Mitti Di Sultanat" solidifies Kanwal Bajwa’s position as a perceptive and empathetic voice in Punjabi poetry. His masterful storytelling and poetic prowess offer a resonant and impactful narrative of the lives and struggles of the common man. This collection is not only a celebration of the resilience and spirit of the "Sultans of the soil" but also a powerful commentary on the socio-political landscape they navigate.

Sunday, May 5, 2024

Little Musician

TT came into the world frail, weak. The gossips, who had gathered around the plank bed of the sick ' woman, shook their heads over mother and child. The wife of Simon the blacksmith, who was the wisest among them, began to console the sick woman.

" Let me," said she, " light a blessed candle above you. Nothing will come of you, my gossip; you must prepare for the other world, and send for the priest to absolve you from your sins."

" Yes ! " said another, " but the boy must be christened this minute : he cannot wait for the priest. It is well even to stop him from becoming a vampire."

So saying, she lighted the blessed candle, and taking the child sprinkled him with water till his eyes began to blink; and then she said : —

" I baptize thee in the name of the Father, Son, and Holy Ghost. I give thee Yan as name ; and now, Christian soul, go to the place whence thou earnest. Amen ! "

But the Christian soul had no wish what- ever to go to the place whence it came and leave its lean little body. It began to kick with the legs of that body as far as it was able, and to cry, though so weakly and pitifully that, as the gossips said, " One would think 't is a kitten; 'tis not a kitten, — what is it?"

They sent for the priest : he came, he did his duty, he went his way, — the sick woman grew better. In a week she went out to her work. The little boy barely " puled," — still, he puled on till in the fourth year the cuckoo brought him sickness in spring ; still, he recovered, and with some kind of health reached the tenth year of his life.

He was always lean and sunburnt, with bloated stomach and sunken cheeks ; he had a forelock of hemp color almost white and falling on clear staring eyes, looking at the world as if gazing into some immense distance.

In winter he used to sit behind the stove and cry in silence from cold, and from hunger too, at times when his mother had nothing to put into the stove or the pot. In the summer he went around in a shirt, with a strip of cloth for a belt, and a straw hat, from beneath the torn brim of which he looked with head peering upward like a bird.

His mother, a poor lodger, living from day to day, like a sparrow under a stranger's roof, loved him perhaps in her own way; but she flogged him often enough and called him " giddy-head " generally. In the eighth year of his life he went to herd cattle, or, when there was nothing to eat in the cottage, to the pine woods for mushrooms. It was through the compassion of God that a wolf did not eat him.

He was a very dull little fellow, and, like village children, when spoken to put his finger in his mouth. People did not even promise that he would grow up, and still less that his mother could expect any good from him, for he was a poor hand at work. It is unknown whence such a creature could have come; but he was eager for one thing, that is, music. He listened to it everywhere, and when he had grown up a little he thought of nothing else. He would go to the woods for the cattle, or for berries, but would come home without berries and say stammering, — "Mamma, something was playing in the woods. Oi I oi ! "

And the mother 'would say : " I '11 play for thee, never fear ! "

And in fact she made music for him, some- times with the poker. The boy screamed and promised that he would not do it again, and still he was thinking, "Something is playing out there in the woods." What was it, — did he know ? Pines, beeches, golden orioles, all were playing, — the whole forest was playing, and that was the end of it !

The echo, too ! In the field the artemisia played for him; in the garden near, the sparrows twittered till the cherry-trees were trembling. In the evening he heard all the voices that were in the village, and thought to himself that certainly the whole village was playing. When they sent him to work to spread manure, even then the wind played on the fork- tines.

The overseer caught him once standing with dishevelled forelock and listening to the wind on the wooden tines : he looked at the boy, and unbuckling his leather belt, gave him a good keepsake. But what use in that? The people called him " Yanko the musician." In the springtime he ran away from the house to make whistles near the river. In the night, when the frogs were croaking, the land-rail calling in the meadows, the bittern screaming in the dew, the cocks crowing behind the wicker fences, he could not sleep, — he did nothing but listen ; and God alone knows what he heard in that playing. His mother could not take him to church, for as soon as the organ began to roar or the choir sang in sweet voices, the child's eyes were covered with mist, and were as if not looking out of this world.

The watchman who walked through the village at night and counted the stars in the sky to keep from sleeping, or conversed in a low voice with the dogs, saw more than once the white shirt of Yanko stealing along in the darkness toward the public house. But the boy was not going to the public house, only near it. There he would cower at the wall and listen. The people were dancing the obertas ; at times some young fellow would cry, " U-ha I " The stamping of boots was heard ; then the querying voices of girls, "What?" The fiddles sang in low tones: " We will eat, we will drink, we shall be merry ; " and the bass viol accompanied in a deep voice, with importance : " As God gave ! As God gave ! " The windows were gleaming with life, and every beam in the house seemed to tremble, singing and playing also; but Yanko was listening.

How much would he give to have such a fiddle playing thinly: "We will eat, we will drink, we shall be merry " ! Such singing bits of wood ! But from what place could he get them, — where were they made ? If they would just let him hold such a thing in his hand even once ! How could that be? He was only free to listen, and then to listen only till the voice of the watchman was heard behind him in the darkness,—

“Wilt thou go home, little devil? " Then he fled away home in his bare feet, but in the darkness behind him ran the voice of the fiddle : " We will eat, we will drink, we shall be merry," and the deep voice of the bass : " As God gave ! As God gave ! As God gave ! "

Whenever he could hear a fiddle at a harvest- home or some wedding, it was a great holiday for him. After that he went behind the stove and said nothing for whole days, looking like a cat in the dark with gleaming eyes. Then he made himself a fiddle out of a shingle and some horsehair, but it would not play beautifully like that one in the public house, — it sounded low, very low, just like mice of some kind, or gnats. He played on it however from morning till evening ; though for doing that he got so many cuffs that at last he looked like a pinched, unripe apple. But such was his nature. The poor child became thinner and thinner, only he had always a big stomach ; his forelock grew thicker and thicker, and his eyes opened more and more widely, though filled oftener with tears ; but his cheeks and his breast fell in more and more.

He was not at all like other children ; he was rather like his fiddle formed of a shingle, which hardly made a noise. Before harvest, besides, he was suffering from hunger, for he lived most frequently on raw carrots, and also the wish to possess a fiddle.. But that wish did not turn out well for him.

At the mansion the lackey had a fiddle and he played on it sometimes at twilight to please the waiting-maid. Yanko crept up at times among the burdocks as far as the open door of the pantry to look at it. It hung on the wall opposite the door; the boy would send his whole soul out to it through his eyes, for it seemed to him that that was some unattainable object, which he was unworthy to touch, that that was some kind of dearest love of his. Still he wanted it. He would like to have it in his hand at least one time, to look at it near by. The poor little fellow's heart trembled from happiness at the thought.

A certain night there was no one in the pantry. Their lordships had been in foreign countries for some time, the hoiise was empty, the lackey was at the other side with the waiting-maid. Yanko, lurking in the burdocks, had been looking for a long time through the broad door at the object of all his desires. The moon in the sky was full, and shone in with sloping rays through the pantry window, which it reflected in the form of a« great quadrangle on the opposite wall. The quadrangle approached the fiddle gradually and at last illuminated every bit of it. At that time it seemed in the dark depth as if a silver light shone from the fiddle, — especially the plump bends in it were lighted so strongly that Yanko could barely look at them. In that light everything was perfectly visible, — the sides with incisions, the strings, and the bent handle. The pegs in it gleamed like fireflies, and at its side was hung the bow in the form of a silver rod.

Ah, all was beautiful and almost enchanted ; and Yanko looked more and more greedily. He was crouched in the burdocks, with his elbows pressed on his lean knees ; with open eyes he looked and looked. Now terror held him to the spot, now a certain unconquerable desire pushed him forward. Was that some enchantment, or what? But the fiddle in the bright light seemed sometimes to approach, as it were to float toward the boy. At times it grew darker, to shine up again still more. Enchantment, clearly enchantment ! Then the breeze blew; the trees rustled quietly, there was a noise in the burdocks, and Yanko heard, as it were, distinctly, — " Go, Yanko, there is no one in the pantry ; go, Yanko ! "

The night was clear, bright. In the garden a nightingale began to sing and whistled with a low voice, then louder. " Go ! go in ! take it." An honest wood-owl turned in flight around the child's head, and cried : " Yanko, no ! no ! " The owl flew away, but the night- ingale and the burdocks muttered more distinctly :  “There is no one inside ! " The fiddle shone again.

The poor little bent figure pushed forward slowly and carefully ; meanwhile the nightingale was whistling in a very low voice, " Go ! go in ! take it ! "

The white shirt appeared nearer and nearer to the pantry. The dark burdocks covered it no longer. On the threshold of the pantry was to be heard quick breathing from the weak breast of the child. A moment more the white shirt has vanished ; there is only one naked foot outside the threshold. In vain, O wood-owl, dost thou fly once again and cry : " No ! no ! " Yanko is in the pantry.

The great frogs began to croak in the garden pond, as if frightened, but afterward grew silent. The nightingale ceased to sing, the burdocks to rustle. Meanwhile Yanko crept along silently and carefully, but all at once fear seized him. In the burdocks he felt as if at home, as a wild beast feels in the thicket; but now he was like a wild beast in a trap. His movements became hurried, his breath short and whistling; at the same time, darkness seized hold of him. A quiet summer lightning flashed between the east and west, and lighted up once more the interior of the pantry, and Yanko on all fours with his head turned upward. But the lightning was quenched, a small cloud hid the moon, and nothing was to be seen or heard.

After a while a sound came out from the darkness, very low and complaining, as if some one had touched strings unguardedly, and on a sudden some rough, drowsy voice, coming out of the corner of the pantry, asked angrily, —

"Who is there?"

Yanko held his breath in his breast, but the rude voice inquires again, —

"Who is there?"

A match became visible on the wall ; there was a light, and then — Oh, my God ! curses, blows, the wailing of a child, and crying " Oh, for God's sake ! " — the barking of dogs, moving of lights behind the window, a noise through the whole building !

The next day Yanko stood before the tribunal of the village mayor.

Was he to be tried as a criminal? Of course ! The mayor and elders looked at him as he stood before them with his finger in his mouth, with staring and terrified eyes, small, poor, starved, beaten, not knowing where he was or what they wanted of him. How judge such a poor little misery, who was ten years of age, and barely able to stand on his legs ? Send him to prison, — - how help it ? Still it was necessary to have some small mercy on children. Let the watchman take him and give him a flogging, so that he won't steal a second time, and that's the whole business. It was indeed !

They called Stah, who was the night watch.

"Take him and give him something for a keepsake."

Stah nodded his dull beastlike head, thrust Yanko under his arm as he would a cat, and took him out to the barn. The child, whether he failed to understand what the question was, or whether he was frightened — 'tis enough that he uttered not a syllable ; he merely stared like a bird. Did he know what they were doing with him? Only when Stah took the handful to the stable, stretched it on the ground, and raising the shirt from it struck a full blow, only then did Yanko scream, " Mother ! " and as long as Stah flogged him he cried, " Mother ! mother ! " but always lower and weaker, until after a certain blow the child called mother no longer.

The poor broken fiddle !

Ai, stupid, angry Stah, who beats children that way? Besides, this one is small and weak, hardly living.

The mother came, took the little boy, but had to carry him home. The next day Yanko did not rise from the bed, and the third day, in the evening, he died quietly on the plank cot under hemp matting.

The swallows were twittering in the cherry- tree which grew at the cottage ; the rays of the sun entered through the window pane and colored with the brightness of gold the dishevelled hair of the little boy and the face in which there remained not a drop of blood. That ray was as it were a road upon which the soul of the boy was to go away. It was well that it went out by a broad shining road in the moment of death, for during life it went on a thorny one, truly. Meanwhile the emaciated breast moved with another breath, and the face of the child was as if absorbed in listening to the sounds of the village which came in through the open window. It was evening, so the girls coming back from hay-making were singing, "Oi, on the green field ! " and from the stream came the playing of pipes. Yanko listened for the last time to the sounds of the village. On the matting lay the shingle fiddle at his side.

All at once the face of the dying boy lighted up, and from his whitening lips came out the whisper, " Mother ! "

"What, my son?" answered the mother, whom tears were choking.

" Mother, will the Lord God give me a real fiddle in heaven?"

" He will, my son, He will give thee one,"

answered the mother; but she could speak no longer, for suddenly in her hard breast burst the gathering sorrow, and groaning only, " O Jesus ! O Jesus ! " she fell with her face on a box, and began to wail as if she had lost her reason, or as a man wails who sees that he cannot wrest from death the beloved one.

In fact, she did not wrest him; for when she raised herself again she looked at the child. The eyes of the little musician were open, it is true, but fixed ; his face was very dignified, gloomy, and rigid. The ray of the sun had gone also.

Peace to thee, Yanko.

" And what a people of artists ! On estheureux de chercher la-bas des talents et de les proteger," added the young lady.

The birches were murmuring above Yanko.

On the second day the master and mistress of the mansion returned to their residence from Italy, with their daughter and the cavalier who was paying court to her. The cavalier said, —

" Quel beau pay que l'ltalie ! "