Aadaab-e-Lucknow

Wandering around Charminar in Hyderabad in search of the house of an old resident of the place, I spotted an old gentleman wearing a sherwani and cap and approached him with the address. After guiding and directing me to the address, the gentleman enquired whether I had come from Lucknow. I was taken aback and requested him to tell me how he could know the fact. "It is your way of speaking and your choice of words" he said. Eventhough I was'nt very good at it, the fact that I had been recognised by the distinct style and form of my speech was something that made me feel quite elated.

What is so special and distinct about the style and form of speech characterised as the Lakhnavistyle? Rooted within the walls of the old city, the style has spread its perfume all around and its traces are vivid in the common way of speech of the residents of Lucknow, irrespective of religion, caste and status. Even the downtrodden speak this flowery language and make themselves distinct from others belonging to the same category in other places. One finds the unintentional and spontaneous utterances of domestic servants, housemaids and roadside shopkeepers often being literary in form and expression, eventhough most of them appear to be illiterate.

Visitors coming to Lucknow consider it a privilege to hire a tonga for sightseeing, just for the sake of an informal chitchat with the tongawaala and to hear the tales of the Nawabs of bygone Lucknow and their romantic subjects, in the sweetest form of speech mingled with a lilting sprinkling of innocent oaths and the chewing of qimami paan (betel leaf with perfumed tobacco). Aap ke sar-e-aqdas ki qasam and Khuda jhoot na bolaye are phrases often repeated in such conversation.

Observing the Lakhnavi's language and form one comes across certain characteristics. The words chosen are musical, soft and sweet. They are generally taken from Urdu, mostly derived from Persian. The lyrical Urdu style of combining two or more words in a phrased form is utilised to the maximum. For example Janaab-e-Aali, and Huzoor-e-waala are used though Janaab and Huzoor themselves would have sufficed. The use of hyperbole for enhancement of the degree of a term is supposed to be the main object of exclamatiion and the chief characteristic of the Lakhnavi style. But this artefact is only applied in the case of a second or third person and the first person, the speaker himself, is presented in the most humble, downtrodden, earthly and inferior form. The person being addressed will be addressed with respectful words like Mohturum and Muazziz meaning respected and exalted and exclaimed with Janaab, Sarkaar, Huzoor, Hazrat, and may even be called Qibla (the direction of Mecca, to which the head is bowed in reverence and prayer). The effect of salutation is further enhanced with additional words as Janaab-e-waala, Sarkaare-e-Mohturum, Qibla-e-aala. However, for one's ownself the terms chosen are haqeer (the inferior), banda (the subject), ghareeb (the poor), faqeer (the destitute). One may even go to the extent of being humble in calling himself haqeerpazeer(the most inferior). Presenting himself as a person of little or no worth he may call himself fidvior naacheez(of no value), khaaknasheen or khaaksaar (the downtrodden or earthly being like a worm). Since the other person is addressed as the 'Master', one will portray his ownself in words as khaadim (servant), ghulaam (slave) or khidmatgaar (attendant). The other person will then be addressed as Banda parvar, Ghareeb parvar, Ghareeb nawaaz, Banda nawaaz, Saheb-e-karam, Karam farma, Mohsin or Meherbaan (the words are synonym for 'the benefactor').

The use of Aap for the other person is mandatory while Tu or Turn for 'You' is a taboo (however, these terms may be used for someone too close or intimate or somebody quite inferior).
Almost every exclamation has to be made in the form of a request or prayer, as a favour being sought from the other person who is superior, rich or higher in status and esteem, which is what the person to whom the exclamation is being made is supposed to be. This point will be more clear when we observe the terms that are used for houses (residences). The other person's house is always referred to as Daulat khana or Daulat kada (the house of wealth) while ones own house is mentioned as Ghareeb khana or ghurbat kada (the poor man's dwelling).

Any person's name is just not an ordinary name. The equivalent for name is Ism and for enquiring someones name the exclamation will be Aap ka ism-e-mubarak or aapka ism-e-giraami (your good or respected name) and the reply of a Lakhnavimentioning his name will be Khaaksaar ko Anwer kehte hain. For an introduction (ta'aruf) the query will be Aapka ia'aruf or Aap ki taareef .

In the Lakhnavi style of conversation, it is forbidden to order someone to do something. In fact, it is always a request in the most humble manner which is made in place of an instruction, order or command which will be something like saying 'will you kindly take the trouble of doing this' Kya aap ye karne ki takleef farmaaenge or kya aap zahmat gawaara karenge. A job done is a favour granted and not demanded, hence the doer is always the benefactor, the one granting favour at his own pleasure and the person requesting for it is the one benefacted and therefore mentions his ownself as mutamanni or tamannai (desirous of favour).

All the world over, the salutation (salaam) amongst Muslims is As-salaam-un-aleykum (I wish your welfare and security) to which the usual reply is Wa-alekum-as-salaam (I too wish welfare and security for you). But in Lucknow, the normal salutation is simply Aadaab or Aadaab arz hai (I offer my respects to you) which is exclaimed by all, irrespective of religion, caste or status. However, when a younger person makes the salutation he or she is expected to replace the word Aadaab by Tasleem or Tasleemaat. Thus the respect for age is recognised and distinctly perpetuated and in return brings lofty blessings and affection from the elder person who replies with exclamations like Jeete rahiye, Khuda aapki umar daraaz kare (may God grant you a long life) or khuda aapko shaad wa khush-o-khurram rakkhe (may God grant you happiness and prosperity) or for someone who is married the most popular expression could be Phooio phaio, aabaad raho (may God fulfil your desires and grant you many offsprings and decent living).

Since the belief in God is omni-present, all exclamations for praise, gratitude, or some expectation in the future and success in worldly affairs are attributed to God, they always contain and include the name of Allah. Thus the exclamation of praise is Subhaan-Allah or Al hamd-o-lillah (God be praised). Acknowledgement of somebody's accomplishment is mentioned as Maasha-Allah (by the grace of God). A future event or wish expected to be fulfilled is desired with the words Insha-Allah (if God wills). Any food or eatable is always partaken with the utterance of Bismillah which is actually a concise form of the phrase Ba-ism-e-Allah (I begin with the name of God). Also, at the beginning of any new venture or for that matter even a routine job, the exclamation Bismillah will prelude the act. The practice of using these words and phrases is very common and has actually taken a secular form because even non-Muslims un-hesitatingly and spontaneously make use of these words and phrases quite frequently.

 

Lakhnavis are generally extroverts and therefore quite social. To them a visitor is always a person most welcome. Khush aamadeed is their expression for welcome which actually means 'your sight pleases me'. However, on a visit to someones place, it is expected of the visitor to announce his arrival before entering and for this he should say Haazir ho sakta hoon or Haazir hone ki ijazat chaahta hoon as an expression for request of permission to enter the place. Being granted the permission with Tashreef laayen (do come in) the visitor will be asked to be seated Tashreef rakhkhen. The visitor will not be directly and immediately interrogated about his business or purpose of the visit but will be subjected to certain preliminaries of etiquette, e.g. an enquiry about his health and well being (khairiyat). Mizaaj-ba-khair, Mizaaj-e-girami, Mizaaj-e-aali, Mizaaj-e-mubarakor simply kaise mizaaj hain will be the host's enquiry in a sincere expression of concern. However, in case of an exigency, if it is desired to come to the point directly, the interrogatory exclamation Khairiyat? will suffice to mean 'what brings you here'. The query may be moderated by saying Kaise takleef ki or Kaise zahmatfarmaayi. In case it is desired to make the visitor aware of the honour and rarity of his visit (which isn't otherwise very often). Alternately, a more flamboyant expression Kaise izzat bakhshi ghareebkhane ko may be made with an expression that is appropriate to the occasion. [This may be said in good humour but should never appear to be offensive].

Even in the remotest sense, any initiative in knowing a person's business or purpose of visit is considered impolite and injurious to propriety till the person desires to speak of it on his own. To put him at ease and encourage him to state his purpose phrases Irshaad farmaaiye (state your command) may be said. The visitor will then put forth his case with the words Guzaarish hai(I humbly submit) and proceed. Arz, lltijaa, lltimaas, Istiduaa, darkhaast, minnaf are other synonyms which may be used in place of guzaarish.

Universally, an expression of thanks and gratitude is obligatory at the end of a conversation. Since an obligation is Ehsaan, the one who is obliged addresses hisownself as Ehsaan-mandor being Mamnoon (grateful to Mohsin, the benefactor). Shukriya is a widely used term for thanks and to express his thankfulness or gratitude one will say maien mashkoor hoon or maien shukarguzaar hoon may suffice for the not so formal. However, the real Lakhnavi will go a step further and to present his adulation and gratitude in a lyrical and poetic form with a sheyr (couplet);

Lucknow City Magazine
March 1989 issue — All Is In Speech

 

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