Originally posted by: BrhannadaArmour
Prompt: one or more characters has to improvise an ukhāṇā about her/his spouse.
This is a scene that Marathi daily dramas use as a post-wedding ritual and on other festive occasions. Ukhāṇā is a verse that states the spouse's name in the context of some auspicious imagery (e.g. vegetation in season, invoking a deity, luxury utensils). It's usually an end-rhyming couplet, but can be a verse with any number of lines of variable length, with the spouse's name occurring in the final or penultimate line. Traditionally, only wives are asked to recite ukhāṇe, but nowadays daily dramas like to show husbands being put on the spot to produce imagery and rhyme.
Every husband who can't compose his own couplet is teasingly prompted to use this ukhāṇā:
Bhājīta bhājī methīcī.
____ mājhī prītīcī.
The vegetable among vegetables is fenugreek.
_____ is the one I love.
There are so many emotions that your story can communicate through ukhāṇe.
The exuberant ukhāṇā; the groom loves his bride and wants everyone to know:
Ekā varṣāta mahine asatāta bārā.
Svanandi-cyā nāṃvātaça daḍalāya ānanda sārā.
In one year the number of months is twelve.
In Svanandi's name itself is hidden my total bliss.
The ironic ukhāṇā; the bride is tragically unaware that her in-laws are plotting against her:
Çāndīcyā tabakāta phaṇasāçe gare.
Indraneel-rāvāñcyā gharāta khoṭyālā praveśa nāhī; sagaḷeça khare.
On a silver plate are slices of jackfruit.
In Master Indraneel's house, falsehood has no entry; all are honest.
The dutiful and demure ukhāṇā; the bride has accepted her loveless marriage:
Maṅgaḷasūtrācyā dona vāṭyā, sāsara an māhera.
Abhimanyu-rāvāṃnī dilā malā āza saubhāgyāçā āhera.
The wedding-necklace's two cups are my marital and parental homes.
Master Abhimanyu gave me today the gift of wifehood.
The veiled insult in ukhāṇā; the bride lets her groom know that she has regrets:
Sāgarālā ālī bharatī, nadīlā ālā pūra.
Mahesh-sāṭhī kelaṃ mī māzhaṃ māhera dūra.
The ocean is at high tide; the river has flooded.
For Mahesh I left my parental home far away.
The stoic ukhāṇā; the groom assures his bride that he takes her moods in stride:
Āmbaṭa-goḍa divasāṃnā ekamekāñcī sātha.
Ānandāta rāhīna dharūna Sampada-çā hāta.
For sour-sweet days we have each other's company.
Happily I'll stay, holding Sampada's hand.
The awkward ukhāṇā; the bride accidentally says her late husband's name instead of her new groom's name:
Çāndīcyā nīrāṃjanāta tūpācī vāta.
Avinash-rāvāṃçaṃ nāṃva ghyāyalā kelī suruvāta.
In a silver lamp, clarified butter for the wick.
I have started to say Master Avinash's name.
The foreshadowing ukhāṇā; the bride inadvertently proclaims herself inauspicious for the household:
Daḷavīñcyā gharāta āza ālī pahā Saṃkrānta.
Māzhe paḍale yā gharāta pahile pāūla, khūśa zhāle Vikrānta.
In the Dalvi household today, look! It's a zodiacal transition (calamity).
With my first footfall in this house, Vikrant is delighted.
The contemptuous ukhāṇā; the groom avoids saying his bride's name and defers to his politician mother figure who insisted on the marriage:
Bhājīta bhājī methīcī.
Māstarāñcyā porīśī lagīna kelaṃ
Kāraṇa Shiva-lā kimmata phakta Ātyābāīñcyā śabdācī.
The vegetable among vegetables is fenugreek.
I married the schoolmaster's daughter
Because Shiva values only Atyabai's order.
An indictment-as-ukhāṇā; the bride names her lover and accuses her groom of killing him:
Saubhāgyāçaṃ leṇaṃ bharalaṃ zātaṃ kuṃkuvānaṃ.
Nāṃva ghete Shiva-çaṃ.
Tyānaṃ maḷavaṭa bharalaṃya mājhyā Gaurav-cyā raktānaṃ.
Wifehood's adornment is completed with vermilion.
I say Shiva's name.
He has painted my forehead-mark with my Gaurav's blood.
I'll conclude with an example of a long ukhāṇā, in which the wife gives her husband a list of what it would take to make her happy:
Çāndīçaṃ tapyālaṃ āṅghoḷīlā,
Candanāçā pāṭa basāyalā,
Zarīkāṭhāçaṃ dhotara nesāyalā,
Sāla Nevaḍyācī, khoḍa Baḍodyāçaṃ, keśarī gandha tyālā,
Pātaḷa sonyāçaṃ tabaka Binalyāçaṃ, barobarīcī kośimbīra jevāyalā,
Gādī Khutanīcī, uśī Morācī, ḍabā Gazanīçā, pāna Mālagāṃvaçaṃ, çunā Bhokarnīçā, supārī Koṃkaṇācī, patrī Bījāpuracī, vara bharazarīçā loḍa...
Bolaṇaṃ kitī amṛtāpekṣā goḍa!
Aśī hausa tara kitī! Hauselā paḍato paikā!
Yashvant-rāvāṃçaṃ nāṃva ghete Mangal.
Zarā nīṭa kāna deūna aikā!
A silver pitcher for the bath,
A sandalwood low-bench to sit,
A gold-embroidered dhotara to wear,
Peel from Nevda, chewing-fibre from Badoda, scented with saffron,
A thin golden saucer from Binala, salad to accompany the meal,
A cushion from Khutani, a pillow from Mora, a box from Gajani, betel-leaf from Malagav, paste from Bhokarni, areca nut from Konkan, various leaves from Bijapur, plus a heavily embroidered bolster...
The conversation is so much sweeter than nectar!
Luxuries like these - so many! Luxuries cost money!
Mangal is saying Master Yashvant's name.
For a moment, pay attention properly, and listen!
Those are some examples of how a couple's relationship can be reflected in their ukhāṇe. I am leaving the situation totally up to whoever wants to take up this prompt.
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