This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

Nagendranath Sanyal, more famously known as Pahari Sanyal, was born on 22nd February, 1906, in Darjeeling. Being born in the hilly region, he got the nickname as Pahari, a name that stuck for the rest of his life. His school education was completed in Lucknow. After completing his schooling, he enrolled in Benaras Hindu University, in engineering course. But his destiny and his interest dictated otherwise. He dropped engineering studies and joined classes for Hindustani classical music at Morris college in Lucknow. He learnt both classical vocal music and also instrumental music.

In the year 1933, and the young Sanyal got introduced to Devki Kumar Bose, who was working with New Theatres, Calcutta. Bose took the young artist and introduced him to BN Sarkar, the owner. And Pahari got his first break with the film Rajrani Meera. The film is written and directed by Bose himself. The same year, he also appeared in the film ‘Yahudi Ki Ladki’ and ‘Pooran Bhagat’. After this he became a regular in New Theatre Releases – Chandidas, Daku Mansoor and Rooplekha in 1934, Devdas, Carvaan-e-Hayaat and Dhoop Chhaaon in 1935, Krorepati and Maya in 1936, Vidyapati and President in 1937, Dharti Mata in 1938, and Badi Didi in 1939, Saugandh in 1942 and Kaadambari in 1944. He gained recognition as the lead actor in films like Dhoop Chhaaon and Vidyapati. In all, he has acted in more than 150 films in Hindi and Bengali. He was seen in 1956 in Raj Kapoor’s ‘Jaagte Raho’, in the Merchant-Ivory Production ‘The Householder’ (1963), and then his last appearance was in ‘Aradhana’ (1969). He passed away on 10th Feb in 1974.

The film ‘Devdaas’ (1935) is an iconic production from New Theatres, Calcutta, that sealed the place for KL Saigal as the premier singer-actor of that era. A lot has been written and said about this film, as well as the character as portrayed by Saigal Saab. The film is better known for the songs rendered by Saigal Saab and by KC Dey. But many are not aware that this film had two ghazals sung by Pahari Sanyal also. In this post, I present one of the ghazals from this film, rendered by Pahari Sanyal, and also performed by him on screen. The scenario setting is at the place of the dancing girl, Chandramukhi. A motley set of men folk are gathered and are having fun. And as part of this setting, Pahari Sanyal sings out this ghazal while playing the harmonium himself. It is apparent that he is trying to flirt with and impress a bored looking Chandramukhi. Halfway through the second antaraa, he stops singing, looking expectantly at Chandramukhi, who was so far pretending to be bored and uninterested. But then, she gives a smile and the singing then continues.

There are some other actors in this clip, many of whom I cannot identify. But I will attempt to guess one of them. Notice the heavyset man with a moustache, wearing a white kurta pajama, and for a small fun interlude, he dons a woman’s dress. I have a feeling he is Nemo, and would request other readers to confirm or correct my guess.

The video clip is much longer than the song, and the later part of the clip carries the sequences wherein Devdas is led to Chandramukhi’s place by his friend Chunnilal.

The lyrics are written by Kidar Sharma, and the music is composed by Timir Baran. The ghazal is in a light tone, and yet very impressive. Listen and enjoy is somewhat different sound from the era Saigal and KC Dey.

roshan hai tere dum se duniya ka parikhaana
allaah tujhe rakhe o jalwaa-e-janaanaa

The fairly land on this earth
Is aglow with your radiance only
May the Good Lord protect you, preserve you
O the most beautiful amongst all the ladies

roshan = aglow, illuminated, lighted
dum = literal meaning is strength or capacity; in context the strength or capacity here refers to the glowing beauty of the lady being wooed
parikhaana = from pari + khaana; pari means fairy, and khaana means enclosure, in context, the adobe or habitat; so parikhaana is adobe or land of fairies
rakhe = variant of rakhna – to keep, to protect, to preserve
jalwaa = splendor
janaana = lady
jalwaa-e-janaana = the most splendid amongst the ladies

kya jalwaa-gari hai ye o mast nazar waale
paimaane ke andar hai maikhaane ka maikhaanaa

O the beautiful one with impish, playful eyes
What a splendid illusion your eyes are
As if the entire tavern is inside a cup of wine

jalwaa = splendor, wonder
jalwaa-gari = something that is a wonderful illusion
mast = literally means carefree, or drunk; in context refers to the eyes of the lady – as impish, mischievous, playful
paimaana = a cup of wine
maikhaana = tavern, a place where wine is served

zaahid ke ta’assub se kab zafar ka barpa hai
varna. . .
butkhaane mein kaabah hai kaabeh mein hai butkhaanaa

Has any victory ever been caused
By the prejudices of zealots
(What they don’t realize is)
That a house of idols also embraces the Holy Kaabah
And the Holy Kaabah also includes the house of idols

Alternatively, for the first line, it can also be interpreted as
What have the abstainers ever achieved with their bigotry
(towards us lovers of the wine)

(NOTE: the poet’s intent in these lines is to emphasize the intent that the basic teachings and the basic objectives of different faiths, is but the same).

zaahid = devotee, zealot, abstainer
ta’assub = prejudice, partiality, bigotry
zafar = victory, triumph
barpa= arisen, happen, caused, caused to happen
varna = else; in context – ‘so it happens to be that . . .’
butkhaana = abode of idols, images; refers to a Hindu temple
Kaabah = the holiest place of worship for Islam; in the city of Mecca

Song-Roshan hai tere dam se (Devdas)(1935) Singer-Pahadi Sanyal, Lyrics-Kidar Sharma, MD-Timir Baran

Lyrics

roshan hai tere dum se
duniya ka parikhaana
roshan hai tere dum se
duniya ka parikhaana
roshan hai tere dum se
duniya ka parikhaana
allaah tujhe rakhe
o jalwaa-e-janaanaa
allaah tujhe rakhe
o jalwaa-e-janaanaa
roshan hai tere dum se
duniya ka parikhaana
roshan hai tere dum se

kya jalwaa-gari hai ye
o mast nazar waale
kya jalwaa-gari hai ye
o mast nazar waale
paimaane ke andar hai
maikhaane ka maikhaanaa
paimaane ke andar hai
maikhaane ka maikhaanaa
roshan hai tere dum se
duniya ka parikhaana
roshan hai tere dum se

zaahid ke ta’assub se
ae ae
kab zafar ka barpa hai
zaahid ke ta’assub se
ae ae ae
kab zafar ka barpa hai
varna. . .
butkhaane mein kaabah hai
kaabeh mein hai butkhaanaa
butkhaane mein kaabah hai
kaabeh mein hai butkhaanaa
roshan hai tere dum se
duniya ka parikhaana
roshan hai tere dum se
haan