Grated horseradish mixed with cooked beets (known as chrein), romaine lettuce, and horseradish root, which should be freshly grated

Maror (מָרוֹר mārôr) also Marror, refers to the bitter herbs eaten at the Passover Seder in keeping with the biblical commandment "with bitter herbs they shall eat it." (Exodus 12:8).

Biblical source[link]

In some listings of the 613 biblical commandments, such as the Minchat Chinuch, the biblical obligation to consume maror is included within the commandment to consume the meat of the sacrificial pascal offering.^[1] Ever since the pascal offering ceased to exist with the destruction of the Temple in Jerusalem in 70 CE, the obligation to consume maror on the first night of Passover has been rabbinical in nature because the only biblical reference to the maror is the verse quoted above in which it is mentioned in reference to the offering.^[1] This is in contradistinction to the obligation to consume matzo on the first night of Passover, which remains a biblical commandment even in the absence of the pascal lamb, because there are other biblical verses that mention matzo as a standalone obligation (Exodus 12:18, Deuteronomy 16:8)

The word derives from the Hebrew word mar (מֵר or מָרָה — "bitter"), and thus may be related to the English word myrrh (through Aramaic ܡܪܝܪܐ murr).

Symbolism[link]

According to the Haggadah, the traditional text which is recited at the Seder and which defines the Seder's form and customs, the maror symbolizes the bitterness of slavery in Egypt. The following verse from the Torah underscores that symbolism: "And they embittered (ve-yimareru וימררו) their lives with hard labor, with mortar and with bricks and with all manner of labor in the field; any labor that they made them do was with hard labor" (Exodus 1:14).

Use at the Seder[link]

Maror is one of the foods placed on the Passover Seder Plate and there is a rabbinical requirement to eat maror at the Seder. Hazeret (Hebrew: חזרת‎) is used for the requirement called korech, in which the maror is eaten together with matzo. There are various customs about the kinds of maror placed at each location.

During the Seder, each participant recites a specific blessing over the maror and eats it. It is first dipped into the charoset—a brown, pebbly mixture which symbolizes the mortar with which the Israelites bound bricks for the Egyptians. The excess charoset is then shaken off and the maror is eaten. The halakha (Jewish Law) prescribes the minimum amount of maror that should be eaten to fulfill the mitzvah (a kazayis or kayazit, literally meaning the volume of an olive) and the amount of time in which it should be consumed. To fulfill the obligation, the flavor of the maror must be unadulterated by cooking or preservatives, such as being soaked in vinegar.^[2]

Types of maror[link]

The most common vegetables used as bitter herbs are horseradish and romaine lettuce. Romaine lettuce is not initially bitter, but becomes so after the first taste, which is symbolic of the experience of the Jews in Egypt. However, Wilde or Prickly Lettuce (Lactuca serriola), found in Israel, is a bitter vegetable that fits all descriptions of Chazeret in the Talmud. Other suitable vegetables include endive and charchavinah (variously identified as a vine growing around palms, a type of thistle, or a type of acacia), both of which are mentioned explicitly in the Mishna (Pesachim 2:6). Some Sephardic families use green onions or curly parsley. Although many Jews use Chrein condiment (a mixture of cooked horseradish, beetroot and sugar) the Code of Jewish Law Shulchan Aruch requires that maror be used as is, that is raw, and not cooked or mixed with salt, vinegar, sugar, lemon, or beets ^[3]

References[link]

Noorjehan^[1][2] or Noorjehan^[3] (Punjabi, Urdu: نور جہاں) was the adopted stage name for Allah Wasai (September 21, 1926 – December 23, 2000) who was a legendary singer and actress in British India and Pakistan. Her career spanned seven decades. She was renowned as one of the greatest and most influential singers of her time in South Asia and was given the honorific title of Malika-e-Tarannum (Urdu: ملکہ ترنم, English: the queen of melody).^[2]

Born in a Punjabi family of musicians, Wasai was pushed by her parents to follow in their musical footsteps and become a singer but she was more interested in acting in films and graced the earliest Pakistani films with her performances. She holds a remarkable record of 10,000 songs to her singing credits in various languages of India and Pakistan including Urdu, Hindi, Punjabi and Sindhi languages.^[4] Along with Ahmed Rushdi, she holds the highest record of film songs in the history of Pakistani cinema. She is also considered to be the first female Pakistani film director.

In 1957, Jehan was awarded the President's Award for her acting and singing capabilities.

Early life[link]

Noor Jehan was born in Kasur, Punjab, British India^[5] and was one of the eleven children of professional musicians Madad Ali and Fateh Bibi.^[4][6]

Career[link]

Wasai began to sing at the age of five or six years old and showed a keen interest in a range of styles, including traditional folk and popular theatre. Realising her potential for singing, her mother sent her to receive early training in classical singing under Ustad Bade Ghulam Ali Khan who was also a native of Kasur. He instructed her in the traditions of the Patiala Gharana of Hindustani classical music and the classical forms of thumri, dhrupad, and khyal.^[7] At the age of nine, Wasai drew the attention of Punjabi musician Ghulam Ahmed Chishti,^[8] who would later introduce her to stage in Lahore. He composed some ghazals, naats and folk songs for her to perform, although she was more keen in breaking into acting or playback singing. Once her vocational training finished, Wasai pursued a career in singing alongside her sisters in Lahore and would usually take part in the live song and dance performances prior to screenings of films in film theatres.

The family moved to Calcutta (now Kolkata) in hope of developing the movie careers of Wasai and her sisters. During their stay in Calcutta, the renowned singer Mukhtar Begum, encouraged Wasai and her two older sisters to join film companies and recommended them to various producers. She also recommended them to her husband, Agha Hashar Kashmiri, who owned a maidan theatre (a tented theatre to accommodate large audiences). It was here that Wasai received the stage name Baby Noor Jehan. Her older sisters were offered jobs with one of the Seth Sukh Karnani companies, Indira Movietone and they went on to be known as the Punjab Mail.^[4] Wasai would later adopt Mukhtar Begum's way of performance and sari attire.

In 1935, K.D. Mehra directed Pind di Kuri in which Jehan acted along with her sisters. She next acted in a film called Missar Ka Sitara (1936) by the same company and sang in it for music composer, Damodar Sharma. Baby Noor Jehan also played the child role of Heer in the film Heer-Sayyal (1937). After a few years in Calcutta, Noor Jehan returned to Lahore in 1938. In 1939, Ghulam Haider composed songs for Jehan which led to her early popularity. She then recorded her first song Shala Jawaniyan Mane for Dalsukh M. Pancholi's movie Gul Bakavli.

In 1942, she played the main lead opposite Pran in Khadaan. It was her first role as an adult, and the film was a major success. Khandaan's success saw her shifting to Bombay, with director Syed Shaukat Hussain Rizvi. She shared melodies with Shanta Apte in Duhai (1943). It was in this film that Noor Jehan lent her voice for the second time, to another actress named Husn Bano. She married Rizvi later the same year.^[9]

In 1945 Jehan played the lead role, alongside Lata Mangeshkar and Asha Bhosle, in the movie Bari Maa.

In 1945, she achieved a milestone, when she sung a Qawwali with Zohrabai Ambalewali and Amirbai Karnataki which was "Aahen Na Bhareen Shikave Na Kiye". This was the first ever Qawwali recorded in female voices in South Asian films.

Noor Jehan's (Deepa govindarajan) last film in India was Mirza Sahibaan (1947) which starred Prithviraj Kapoor's brother Trilok Kapoor. Noor Jehan sang 127 songs in Indian films and the number of talking films she made from 1932 to 1947 was 69. The number of silents was 12. Fifty-five of her films were made in Bombay, eight in Calcutta, five in Lahore and one in Rangoon (now Yangon), Burma.

Acting career in Pakistan[link]

After the creation of Pakistan in 1947, Rizvi and Jehan decided to move to Pakistan. They left Bombay and settled in Karachi with their family.

Three years after settling in Pakistan, Noor Jehan starred in her first film in Pakistan, Chan wey (1951), opposite Santosh Kumar, which was also her first Punjabi film as a heroine. Shaukat and Noor Jehan directed this film together making Noor Jehan Pakistan's first female director. Noor Jehan's second film in Pakistan was Dopatta (1952) which turned out to be an even bigger success than Chan wey (1951).

In 1953-54, Jehan and Rizvi were divorced due to personal differences. She kept custody of the three children from their marriage. News of several affairs followed, including one with cricketer, Nazar Mohammad. In 1959, she married another actor, Ejaz Durrani, nine years her junior.^[9]

Durrani pressured her to give up acting,^[9] and her penultimate film as an actress/singer was Mirza Ghalib (1961). This contributed to the strengthening of her iconic stature. She gained another audience for herself. Her rendition of Faiz Ahmed Faiz's Mujh se pehli si mohabbat mere mehboob naj maang is a unique example of tarranum, reciting poetry as a song. Noor Jehan last acted in Baaji in 1963, though not in a leading role.

Noor Jehan bade farewell to acting in 1963 after a career of 33 years (1930 to 1963). The pressure of being a mother of six children and the demands of being a wife to another actor forced her to give up her career. Noor Jehan made 14 films in Pakistan, ten in Urdu, four in Punjabi.

Noor Jehan as a playback singer[link]

After quitting acting she took up playback singing. She made her debut as a playback singer in 1960 with the film Salma. Her first initial playback for a Pakistani film was for Jan-e-Bahar (1958), in which she sang the song Kaisa Naseeb Layi Thi, picturised on Musarrat Nazir. She received many awards, including the highest Pakistani honour in entertainment, Tamgha-e-Imtiaz (The Pride of Performance) in 1966, Pakistan's top civil award. She sang a large number of duets with Ahmed Rushdi, Mehdi Hassan, Masood Rana and Mujeeb Aalam.

She had a great understanding and friendship with many great singers of Asia, for example with the late great Alam Lohar and many more singers also.

In the 1990s Jehan also sang for then débutante actresses Neeli and Reema. For this very reason, Sabiha Khanum affectionately called her Sadabahar (evergreen). Her popularity was further boosted with her patriotic songs during the 1965 war between Pakistan and India.

Jehan visited India in 1982 to celebrate the Golden Jubilee of the Indian talkie movies, where she met Indian Prime Minister Indira Gandhi in New Delhi and was received by Dilip Kumar and Lata Mangeshkar in Mumbai.

Patriotic songs[link]

During the 1965 India-Pakistan war. Noor Jehan sung many patriotic songs enthusiastically, which became tremendously popular. Some of these songs are listed below:

• Ae watan kay sajeelay jawano, Mere naghmay tumharay leeyay hain
• Aeh putr hataan tay nahin wikday, Tu lubni ain wich bazar kuray
• Mereya dhol sipahia, Tenun Rub dyaan rakhhan
• O mahi chhail chhabilah, Haey neen kernail neen jarnail neen
• Yeh hawaoun kay musafir, Yeh samandaroun kay rahi, Meray sir bakaf mujahid, Meray suf shikan sipahe
• Rung laey ga shaheedoun ka lahoo, Yeh lahoo surkhee hay aazadi kay afsanay ki
• Mera sohnan shehr Qasoor neen, Hoya dunya wich mashhoor neen

Last years and death[link]

In 1986, on a tour of North America, Jehan suffered from chest pains and was diagnosed with angina pectoris after which she underwent a surgery to install a pacemaker. In 2000, Jehan was hospitalised in Karachi and suffered a heart attack. On December 23, 2000 Jehan died as a result of heart failure. Her funeral took place at Jamia Masjid Sultan, Karachi and she was buried at the Gizri Graveyard near the Saudi Consulate in Karachi.

Filmography[link]

References[link]

External links[link]

• Noor Jehan at the Internet Movie Database
• Noor Jehan Audio Collection - Bingo.com.pk
• Rich tributes paid to Noor Jehan - DAWN.com
• Noor Jehan's immortal melodies - DAWN.com
• The unforgettable queen - DAWN.com
• The Melody Queen lives on - DAWN.com
• ^ Songs by Noor Jehan. Retrieved 2005-04-02. Includes a photograph of Noor Jehan.
• Few hits of Noor Jehan
• Madam Noorjehan on Pakistan Film Magazine