Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Ye tasarruf allah allah tere maikhaane mein hai

Posted on: July 22, 2011


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

“Yahudi Ki Ladki” (1933) is the first movie in which K L Saigal’s voice was first heard in a Hindi movie. And this voice took the nation by storm.

K L Saigal sang four songs in this movie. Three of these songs have already been discussed in this blog.

Here is the fourth K L Saigal song. This song is written by Agha Hashra Kashmiri. Music is composed by Pankaj Mullick.

What a fantastic piece of poetry this is – almost divine.

An epitome of a drunkard’s emotions, a tippler’s heaven, a ballad of an inebriated sot – that is what this ghazal endeavors to showcase. A drunkard’s universe is a floating mishmash of carefree philosophy, spirituality, bawdy humor, desirous raunchiness, built around segments of life’s truths and its ephermal experiences. In a manner of shining visions beyond the apparent twaddle and noise, the utterances of a drunkard drive home the true realities and the futilities of human existence.

A verse from Ghalib on similar lines, goes as follows:

” ye masaai-e-tassawuf, ye teraa bayaan ghalib ”

” tujhe hum wali samajhte, jo na baadaakhaar hota ”

Lo, the profoundity of your philosophy (masaai-e-tassawuf), and the quality of your assertions (bayaan); we would consider you a learned teacher (wali), if only you were not a drunkard (baadakhaar).

The poet and the drunkard are somewhat similar in this respect – the poet fancies himself to be or wants to be, what a drunkard already is.

ye tasarruf allaah allaah tere mai-khaane mein hai
aql ki sab pukhtaa-kaaree tere deewaane mein hai

The poet is addressing the saaqee; saqee who is the provider of the intoxicant, the one who is the cause of the joy of intoxication, the one who brings about the stupor in the life of the lovers of wine.

I can swear upon the Almighty – there is a certain magic, an enchantment that your tavern imbues;
Being here infuses in me, the wisdom of the strongest, the most intense experiences of life

ye = this
tasarruf = wonder; wondrous phenomenon
mai-khaana = tavern; a place where wine is served
aql = intelligence; wisdom
pukhtaa = strong; firm; unyielding
aql ki pukhtaa-kaaree = strength of wisdom born of intense experiences of life
deewaanaa = besotted; smitten; infatuated
tera deewaana = poet is referring to himself; he is smitten with the saaqee for she is the provider of the wine, of the blessed euphoria that the poet seeks

mai parastee ka mazaa jab hai ke saaqee keh utthe
mai mein wo masti kahaan to mere mastaane mein hai

The actual, true delight of drinking wine, of being intoxicated is when the saaqee, who is the bestower of the wine, would say – that even wine itself does not have the quality of thrill that is there in the state of ecstasy and happiness possessed by the drunkard himself.

The word ‘mere mastaane’ is used by the poet to refer to himself. The poet says that the pinnacle of being intoxicated is when even the provider of wine herself would exclaim that the state and quality of elation of the poet is more than that of the wine itself.

mai = wine; intoxicant
parastee = the act of being; or of using; or of doing something
mai-parastee = the act of consuming, of savoring wine
mazaa = joy; delight
saaqee = the provider of the wine
keh utthhe = speak up; say
masti = the state of ecstasy, of thrill
mastaana = one who is in the joyous state of ecstasy, of bliss

saaqee-e-roz-e-azal ki wo nigaahen mast mast
aaj hum rindon ke is toote se paimaane mein hai

That there is nothing better, nothing more consequential than the primordial glance of the saaqee. Today, my cup may be old and battered, yet one glance from the saaqee is the divine glimpse of eternity, a vision of the day of creation.

Here, there is another interpretation; the “toota paimaana” is the old and battered physical self (body) of the poet. Yet with a single glance, the saaqee has made the poet experience the eternity.

saaqee = the provider of the wine
roz = day
azal = the first moment of creation, eternity
nigaah = glance
mast = joyful, ecstatic, divine
aaj = today
rind = a free spirit; a free thinker; a habitual drinker
toote = broken
paimaana = the cup in which wine is served

tal-sabeel-o-kausar-o-tasneem ki mauj-o-bahaar
yaa khiraame yaar mein yaa apne paimaane mein hai

All the bliss and joy that one may get by drinking the dew drops from the lakes and rivers of heaven; today that joy is either in my cup, or in the graceful gait of my beloved.

tal = dew drops
sabeel = a place to quench thirst; a place where one may find water during a long journey
kausar = the lakes of heaven
tanseem = the rivers of heaven
mauj = joy, delight
bahaar = spring season
khiraamaa = the graceful walk, the gait; the poet is simply enamored by the sensuality, the physical attraction of the manner of walking of his beloved
yaar = beloved; the reference here is to saaqee
apne = mine
paimaana = the cup in which wine is served


Song-Ye tasarruf Allah Allah (Yahudi Ki Ladki) (1933) Singer-K L Saigal, Lyrics-Agha Hashra Kashmiri, MD-Pankaj Mullick

Lyrics

ye tasarruf allah allaah
tere maikhaane mein hai
ye tasarruf allah allaah
tere maikhaane mein hai
aql ki sab pukhtaa-kaaree
tere deewaane mein hai
aql ki sab pukhtaa-kaaree
tere deewaane mein hai

mai parasti kaa mazaa
aa aa aa aa
jab hai ki saaqi kah utthhe
mai parasti kaa mazaa
jab hai ki saaqi kah utthhe
haan
mai mein wo masti kahaan
jo mere mastaane mein hai
mai mein wo masti kahaan
jo mere mastaane mein hai

saaqi-e-roz-e-azal ki
aaa aaa
saaqi-e-roz-e-azal ki
wo nigaahen mast mast
aaj ham rindon ke iss
toote se paimaane mein hai
aaj ham rindon ke iss
toote se paimaane mein hai

ye tasarruf allah allaah
tere maikhaane mein hai

aa
tal-sabeel-o-qausar-o-tasneem ki mauj-o-bahaar
yaa khiraam-e-yaar mein
yaa apne paimaane mein hai
yaa khiraam-e-yaar mein
yaa apne paimaane mein hai
ye tasarruf allah allaah
tere maikhaane mein hai

18 Responses to "Ye tasarruf allah allah tere maikhaane mein hai"

Dear Atul:

I notice your deep interest in the music of KL Saigal. I am myself very deeply interested in the same, and have been listening to him since early 1940s. I would like to refer you to a publication called “Jab Dil Hi Toot Gaya”. This takes a look at Saigal’s life, but more important, contains the lyrics of all songs (in all languages) rendered by Saigal, and occasionally translations as well. The book has been put together by Mr Har Mandir Singh ‘Humraaz’ and Harish Raghuvanshi.

dk

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I am also a worshipper of Saigal. I already have a book on saigal. I would apprecite if you help me in finding the Humraz.
N. Parihar
Canada

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Narendra ji,

Email contact for Harmandir Singh ji ‘Hamraaz’ is hamraaz18@yahoo.com.

His website is http://www.hamraaz.org/.

Rgds
Sudhir

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hey people what does tasarruf mean?
something spiritual perhaps????

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Tasarruf= Authority

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Here is an attempt at the lyrics :

ye tasarruf allah allaah tere maikhaane mein hai
aql ki ‘sabaq-o-taqaarir’ tere deewaane mein hai

Tarsa dil-o-qausar-o-tasneem ki mauj-o-bahaar
yaa khiraam-e-yaar mein yaa apne paimaane mein hai

Meanings:

Tasarruf : A state of being totally occupied or engrossed

Sabaq-o-taqaarir : Lesson and speeches / ability to impart the lessons

Qausar-o-tasneem : Rivers of milk and honey or water in Heaven

Khiraam – e- yaar : Gracefulness / dignity of one personality/serenity

Rindon : Though who prefer to stay drunk(Spiritual)

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Rindon : Those who prefer to stay drunk(Spiritual)

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Atul ji,

A brief on this ghazal.
=====================================================
What a fantastic piece of poetry this is – almost divine. It is a pity that the lyricist of this wonderful verses is as yet unknown.

An epitome of a drunkard’s emotions, a tippler’s heaven, a ballad of an inebriated sot – that is what this ghazal endeavors to showcase. A drunkard’s universe is a floating mishmash of carefree philosophy, spirituality, bawdy humor, desirous raunchiness, built around segments of life’s truths and its ephermal experiences. In a manner of shining visions beyond the apparent twaddle and noise, the utterances of a drunkard drive home the true realities and the futilities of human existence.

A verse from Ghalib on similar lines, goes as follows:
” ye masaai-e-tassawuf, ye teraa bayaan ghalib ”
” tujhe hum wali samajhte, jo na baadaakhaar hota ”
Lo, the profoundity of your philosophy (masaai-e-tassawuf), and the quality of your assertions (bayaan); we would consider you a learned teacher (wali), if only you were not a drunkard (baadakhaar).

The poet and the drunkard are somewhat similar in this respect – the poet fancies himself to be or wants to be, what a drunkard already is.

ye tasarruf allaah allaah tere mai-khaane mein hai
aql ki sab pukhtaa-kaaree tere deewaane mein hai

The poet is addressing the saaqee; saqee who is the provider of the intoxicant, the one who is the cause of the joy of intoxication, the one who brings about the stupor in the life of the lovers of wine.

I can swear upon the Almighty – there is a certain magic, an enchantment that your tavern imbues;
Being here infuses in me, the wisdom of the strongest, the most intense experiences of life

ye = this
tasarruf = wonder; wondrous phenomenon
mai-khaana = tavern; a place where wine is served
aql = intelligence; wisdom
pukhtaa = strong; firm; unyielding
aql ki pukhtaa-kaaree = strength of wisdom born of intense experiences of life
deewaanaa = besotted; smitten; infatuated
tera deewaana = poet is referring to himself; he is smitten with the saaqee for she is the provider of the wine, of the blessed euphoria that the poet seeks

mai parastee ka mazaa jab hai ke saaqee keh utthe
mai mein wo masti kahaan to mere mastaane mein hai

The actual, true delight of drinking wine, of being intoxicated is when the saaqee, who is the bestower of the wine, would say – that even wine itself does not have the quality of thrill that is there in the state of ecstasy and happiness possessed by the drunkard himself.

The word ‘mere mastaane’ is used by the poet to refer to himself. The poet says that the pinnacle of being intoxicated is when even the provider of wine herself would exclaim that the state and quality of elation of the poet is more than that of the wine itself.

mai = wine; intoxicant
parastee = the act of being; or of using; or of doing something
mai-parastee = the act of consuming, of savoring wine
mazaa = joy; delight
saaqee = the provider of the wine
keh utthe = speak up; say
masti = the state of ecstasy, of thrill
mastaana = one who is in the joyous state of ecstasy, of bliss

saaqee-e-roz-e-azal ki wo nigaahen mast mast
aaj hum rindon ke is toote se paimaane mein hai

That there is nothing better, nothing more consequential than the primordial glance of the saaqee. Today, my cup may be old and battered, yet one glance from the saaqee is the divine glimpse of eternity, a vision of the day of creation.
Here, there is another interpretation; the “toota paimaan” is the old and battered physical self (body) of the poet. Yet with a single glance, the saaqee has made the poet experience the eternity.

saaqee = the provider of the wine
roz = day
azal = the first moment of creation, eternity
nigaah = glance
mast = joyful, ecstatic, divine
aaj = today
rind = a free spirit; a free thinker; a habitual drinker
toote = broken
paimaana = the cup in which wine is served

tal-sabeel-o-kausar-o-tasneem ki mauj-o-bahaar
yaa khiraame yaar mein yaa apne paimaane mein hai

All the bliss and joy that one may get by drinking the dew drops from the lakes and rivers of heaven; today that joy is either in my cup, or in the graceful gait of my beloved.

tal = dew drops
sabeel = a place to quench thirst; a place where one may find water during a long journey
kausar = the lakes of heaven
tanseem = the rivers of heaven
mauj = joy, delight
bahaar = spring season
khiraamaa = the graceful walk, the gait; the poet is simply enamored by the sensuality, the physical attraction of the manner of walking of his beloved
yaar = beloved; the reference here is to saaqee
apne = mine
paimaana = the cup in which wine is served

=============================================

Rgds
Sudhir

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Great post, Sudhir-ji. May I dare to point out a tiny error? The correct word in Ghalib’s se’r is the word ”masaail” in the line ”yeh massail-e-tassaruf”. ”Masaail” is the plural of ”masla” or ”topic”, and therefore means ”topics”.
Thank you.

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Ghalib’s SHE’R. not ”s’er” 😛

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Sudhir Sir,

I beg to differ in the sense that the Ghalib shair is self deriding in typical ghalib fashion :

” ye masaai-e-tassawwuf, ye teraa bayaan ghalib ”
” tujhe hum wali samajhte, jo na baadaakhaar hota ”

Interpretation:
The Poet is berating himself for being a drunkard, despite being so capable of such fine/clear thinking and poetic expression. In his own eyes he would be a learned/reliable/honest person, but for his slavery to intoxication.

Tassawwuf : clear religious outlook
wali : A person with the qualities of the prophet.

In the ghazal under consideration, the opening shair is a direct address to God.

ye tasarruf allaah allaah tere mai-khaane mein hai
aql ki sab pukhtaa-kaaree tere deewaane mein hai

I had looked up the word “tasarruf” . It means “masroofiyat” or being totally engrossed. The implication again is more spiritual.

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The shair as per Deewan-e-ghalib is as follows :

ye ‘masayil-e-tassawwuf’, ye teraa bayaan ghalib
tujhe hum wali samajhte, jo na ‘baadaakhwaar’ hota

Btw, is there any progress in the matter of poet’s name of “ye tasarruf allah allah”.

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Nahm Bhai,

Thanks for your inputs. As I see it, we are both saying the same things, in both the above comments by yourself.

In the sher by Ghalib, indeed he is berating himself. I simply stated the same thing as if Ghalib is talking to himself as a second person. Within the human mind, there is always a dichotomy of two states of mind – on that is the doer of the action, and the one that is the observer. In our daily lives and routine, most of us are not even conscious of this dichotomy within the mind. In case of elevated souls like Ghalib, he is very much aware of both these states within himself. He acknowledges his own ‘slavery to intoxication’, and the observer self is expounding this couplet to the doer self.

Regarding the sher from the ghazal under discussion – let me share my interpretation of ‘tasarruf’; I did refer to an Urdu-English dictionary, and also discussed this word with two dear friends whose native language is Urdu and both have a deep love for poetry and music. Yes, ‘tasarruf’ is related to ‘masroofiyat’. In the sense that ‘tasarruf’ is that quality of an entity that causes ‘masroofiyat’ in the mind of another. In our discussions we brought out the interpretation that ‘tasarruf’ is an enchanting attraction that will cause the mind to be engrossed / engaged / involved / absorbed, holding the mind’s complete attention. So the line, ‘ye tasarruf allaah allaah, tere maikhaane mein hai’ – the tavern has this quality to keep me completely absorbed and engrossed. So one correction I agree we should make to my write up is that ‘tasarruf’ is not simply the wondrous phenomena, but it is the quality of the wondrous phenomena to attract and to engross within itself. In some sense, I think we are both leading to the same emotion.

Regarding the addressal of the first couplet to God. Once again, I would agree to your input, in the sense that in the poetical sentiment, and especially in the Sufi tradition, there are many instances where God and Saaqee are equated to be the same person. In many ghazals, the Almighty has been addressed as Saaqee. In that sense, the ‘Maikhaana’ is this entire ‘kayenaat’, His entire creation with which the poet is so enamoured and engrossed. I would believe that both interpretations are complementary, and both are leading to the same emotion; whether we address this to a person which is Saaqee, and say I swear upon the Almighty, or we address it to the Almighty, and consider Him to be my Saaqee.

And one more point that I will completely agree with you. The undercurrent of the this entire emotion is very spiritual, although the external representation is of a tavern, and a drunkard, and wine, and the bearer of wine. That is the beauty of the shaayari that presents this utterly spiritual experience through another very improper (almost dishonorable) manifestation, that is of a drunkard. The poetry of Khalil Gibran, Rumi, Omar Khayyaam and Ghalib revolves around the wine and all its trappings, and yet the spiritual intent that emerges on closer examination is absolutely mind blowing and incredible. That is how I explained it in the very first para of this write up, of what the poet is intending to express. I reproduce two sentences from the first para, and draw your attention to them.

“A drunkard’s universe is a floating mishmash of carefree philosophy, spirituality, bawdy humor, desirous raunchiness, built around segments of life’s truths and its ephermal experiences. In a manner of shining visions beyond the apparent twaddle and noise, the utterances of a drunkard drive home the true realities and the futilities of human existence.”

In the above sentences, replace the word “drunkard” with “poet” and then think of Ghalib or Rumi or Omar Khayyaam. The spiritual content will start to converse with you automatically.

I again state that it is a pity that I have not been able to locate the name of the poet who wrote this piece. One of my friends with whom I discussed this, presented the opinion that this could be a creation of Ghalib. I will have to research this lead some more.

And I would love to hear more from you. 🙂

Rgds
Sudhir

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Sir,

I am grateful that u have taken my comment in the spirit it was made. It is magnanimous of you to make such an effort to explain the similarities in both interpretations. I shall also look forward to more such enlightening exchanges.

Also, the write up of this song and the tags of credits is mentioning Agha Hashr Kashmiri as the lyricist of this Ghazal. Is there some mix-up ? If it is indeed Ghalib’s then i shall find it in “Deewan-e-Ghalib”.

Regards.

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I had originally mentioned the lyricist as Agha Hashra Kashmiri. But apparently the lyricist of this song is not known, or it could be Ghalib. Some research is definitely required to settle it.

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Nahm Bhai,

Thanks again for your re-post. I too, am glad we are able to have such exchange of ideas.

Regarding the author of this ghazal – I have not been able to track down any specific and definitive information. I am also in a separate communication with Atul ji on this topic. In fact, a friend of mine has the original vinyl record of this ghazal, and I specially went to see it. Even the original record contains no name of the lyricist. My friends opinion is that this could be Ghalib. The indication is that on the vinyl record, on the other side, the ghazal ‘Nukta cheen hai gam e dil’ is published. That ghazal is definitely from Ghalib. But the answer is not yet clear, and will need some more digging and research. We should check the Deewaan-e-Ghalib.

Rgds
Sudhir

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Sudhir ji / Nahm ji ,

I have checked DEEWAN-E-GHALIB,but this gazal is not there.I also tried very hard to unearth the real author,but it seems that no one knows the answer.That is the position NOW,but who knows…….some day……..
-AD

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It is not Ghalib. May be it is by Agha Hashra Kashmiri. He wrote lyrics for Yahudi ki larki, all of them. Those who are not aware of his contribution to Urdu poetry and his stature as an Urdu poet, may doubt Hashra’s ability to write such a profound ghazal. His being a towering personality of Parsi drama and later film has undermined his stature as an Urdu poet. In fact he was one of the eminent Urdu poets in the pre- jigar era who has influenced other poets of his own and later generations. So far this particular ghazal is concerned, one is reminded of a very famous ghazal by Akbar Allahabadi, the doyen of Urdu humour which has the following opening couplet: Kis bala ka josh janaan tere deewane mein hai Kal zamanat par chhuta tha aaj phir thane mein hai. The relationship between these two ghazals is worth exploring.May be the song became so popular that a poet of Akbar’s stature felt tempted to write a parody of the same. I am not sure about the year of Akbar’s death. It was most certainly before 1936 when Premchand died who wrote an admirable obituary to his contemporary writer. In that case, may be Aghaji was tempted to write a serious ghazal on Akbar’s humorous zamin. I may try to explore it myself but it would take time.

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