This article is written by Sudhir,a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
The psychology of this genius mind continues to be a matter of analysis, just for the phenomena this person has become. A comparatively short life and a short film career that lasted barely 15 years. A voice that was apparently nurtured by the drink, and a life that was equally tormented by the same devil. Was it a romantic’s mind that compelled him to exist, as the poets described, a romantic. Was it the lead role in Devdaas (1935) that tampered with the mind and the existence of this prodigious phenomenon.
There are those who have indicated Saigal Saab to be a psychologically a weak and insecure person, for whom the refuge was in wine and an escape from facing a world that could not love. The drink was the release, and the way to attain an unparalleled elevation beyond the reach of this world, where the emotion was free and not a slave of the daily skullduggery. Naushad Saab once stated in an interview – “there was a stage in Saigal Saab’s career when the recording was done with a bottle within reach all the time”. His acting and movements in the last 2 or 3 films of his career seemed labored, and slow. But that the end would be so near, was a thought that probably never crossed his mind, or at least not enough to take any remedial action. His last visit to Jalandhar, his home town, was just around the same time as his last film Parwaana was getting completed. The purpose of this visit was to recuperate and come back with new strength to continue working. That is what he shared with his friend KN Singh, who had come to see him off on this last train journey. Little knowing that he would not be coming back.
Although anything sung by Saigal Saab is delight for the senses, but still, the ghazals rendered by him are simply out of this world. There is a fairly large number of ghazals that have been recorded in his voice, and each one is a masterpiece. This ghazal by Seemab Akbarabaadi, is another masterful piece of poetry, equally sensitively rendered by Saigal Saab.
The poet is writing about the disappointments and regrets of the pursuit of love. In one context, the verses talk about the disenchantment that accompanies the emotion of love, for it is a rare thing to find perfection in love, in an imperfect world. And yet a poet’s mind does not reconcile with the imperfection. Seeking the perfection is an exercise in dissatisfaction, and that is what the poet is writing about.
ba-qadr-e-shauk iqraar-e-wafaa kyaa
hamaare shauk ki hai intehaa kyaa
What may be deemed as the ultimate limit in this pursuit of love; so what if this pursuit is valued and appreciated, and so what if the love is accepted and reciprocated.
In this verse, the poet is asking the allegorical question; what alas is ultimate destiny of the pursuit of love. Is it enough for the emotions to be recognized, to be acknowledged, to be valued and appreciated? Is it enough that the beloved accepts and reciprocates this emotion? By raising this question, the poet is indicating that no, this appreciation and this reciprocation is not enough, not the objective. Then what is? The poet has no answer, except to say that this is not it.
qadr = value, appreciation shauk = hobby, interest, pursuit, pastime ba-qadr-e-shauk = that my pursuit is valued and appreciated iqraar = affirmation, acceptance wafaa = love, loyalty in love, steadfastness in love, iqraar-e-wafaa = an affirmation and reciprocation of the emotion of love intehaa = ultimate limit, last point, terminal
dil-e-aafat-zadaa kaa mudda’aa kyaa
shikastaa-saaz kyaa, us ki sadaa kyaa
After all what is the purpose, the core intention of this turbulent, miserable heart? Who can say? What music can be played on an instrument that is broken.
Once again, the rhetorical questioning continues. The self is likened to a broken musical instrument, which cannot create any music. If that be the presumed situation, then please reveal what after all is the core idea, what is the purpose, the claim of this miserable heart.
dil = heart aafat = calamity, misery zadaa = one possessing the [said] quality, e.g. aafat-zadaa = one who is miserable, one who is in trouble dil-e-aafat-zadaa = a miserable, sorrowful heart mudda’aa = object, claim, central theme, key point shikast = defeat saaz = musical instrument; in this context also refer to self shikastaa-saaz = a musical instrument that is broken (defeated) us ki = it’s sadaa = sound, music, call
mohabbat ka yehi jab shagl tthehraa
to phir aah-e-rasaa kyaa na rasaa kyaa
If it is customary that this is what the routine endeavor of the emotion of love is, then what if one may be sad and cried, or if one did not; it would make no difference.
If the disappointments and frustrations are the routine experiences in love, then it does not matter that one may be sad and cried, or even if one didn’t.
mohabbat = love yehi = this jab = when; in this context the use is as ‘if’ shagl = occupation, routine
thheharaa = is so to phir = then aah = a long breath of regret, disappointment rasaa = adept at, having reached a certain level of understanding aah-e-rasaa = proficient in being sad or disappointed aah-e-rasaa kya na rasaa kya = whether one be adept at managing disillusionments, or one may be not.
duaa dil se jo nikle kaargar ho
yahaan dil hi nahin dil se duaa kyaa
It is said that the cry (or blessing) that emanates from the heart is always effective. But here, no heart remains, where lies the question of raising a cry (or give a blessing).
The poet says that the heart is so burdened with sorrow and disillusionments that it has lost its ability to call out (or give a blessing).
duaa = a blessing, a cry for help dil = heart se = from jo = which nikle = emanates, comes from kaargar = effective, operative, active yahaan = here kyaa = what; wherefrom; how can the question arise
salaamat daaman-e-ummeed-e-‘seemaab’
mohabbat mein kisi ka aasraa kyaa
May one be hanging on to the hope, and may that tenuous hope persist; do not have any hope or expectation from another person, your expectations are bound to be belied.
The poet is advising against staking hope on another person, no matter the other person is the beloved. Just hang on to the strings of hope, and pray that the strings of hope remain, are not broken.
salaamat = secure, safe daaman = the flowing part of a garment ummeed = hope, anticipation mohabbat = love mein = in kisi = anyone; or any person ka = of aasraa = support, sustenance
Song-Ba qadr e shauk iqraar e wafaa kyaa (Saigal NFS) (1940) Singer-K L Saigal,Lyrics-Seemab Akbarabadi
Lyrics
aaaa haaa
ba-qadr-e-shauk iqraar-e-wafaa kyaa
ba-qadr-e-shauk iqraar-e-wafaa kyaa
hamaare shauk ki hai intehaa kyaa
haan hamaare shauk ki hai intehaa kyaa
dil-e-aafat-zadaa kaa mudda’aa kyaa
haan
dil-e-aafat-zadaa kaa mudda’aa kyaa
shikastaa-saaz kyaa, us ki sadaa kyaa
shikastaa-saaz kyaa, us ki sadaa kyaa
mohabbat ka yehi jab shagl thhehraa
mohabbat ka yehi jab shagl thhehraa
to phir aah-e-rasaa kyaa na rasaa kyaa
to phir aah-e-rasaa kyaa na rasaa kyaa
ba-qadr-e-shauk iqraar-e-wafaa kyaa
duaa dil se jo nikle kaargar ho
duaa dil se jo nikle kaargar ho
yahaan dil hi nahin dil se duaa kyaa
yahaan dil hi nahin dil se duaa kyaa
ba-qadr-e-shauk iqraar-e-wafaa kyaa
ba-qadr-e-shauk iqraar-e-wafaa kyaa
salaamat daaman-e-ummeed-e-‘seemaab’
salaamat daaman-e-ummeed-e-‘seemaab’
mohabbat mein kisi ka aasraa kyaa
mohabbat mein kisi ka aasraa kyaa
ba-qadr-e-shauk iqraar-e-wafaa kyaa
Sudhir ji,
SEEMAB AKBARABADI (1852-1951),was born in Agra as Ashiq Hussain Siddiqui,to a poet father.He was a direct descendent of Abu Bakr,the First Khalifa of Islam.
He was educated in Agra and served the Railways for few years for livelyhood.He was a follower of Daagh School of poetry.He wrote short stiries,Novels,Dramas,Biographies and was a master of Urdu,Persian and Arabic languages and its Grammer.He wrote 12 books,including one titled KRISHNA GITA in 1942.
He began writing Gazals from 1892,and had founded few weeklies and monthlies like,Qasr-ul-adab,Paimana,Taj and Shayar.The last one was edited by his son and got the Hijra Award of Pak Govt.
In 1948,he went to Lahore and Karachi to get a publisher for his books,but got a stroke and could not reurn to India.Though his family(4 sons and 2 daughters) were in Pakistan,he never wanted to leave India.He died in Lahore on 31-1-1951.
Many of his Gazals are put to music by noted singers,including Saigal.
-AD
Thanks for the additional details about Seemab Akbrarabadi.
Most references for Saigal Saab’s non-film ghazals do not identify a composer. Your comment indicates that Saigal Saab may himself have composed music for some of these ghazals. Is it possible to identify which compositions may be Saigal Saab’s own.
Sudhir ji,
What I meant by the last line was that many singers have used these
gazals for singing purpose.Your point,however merits thinking about giving music and tune too for these Gazals by the singers themselves.
It is difficult to identify the composers in absence of any clue whatsoever.
Normally,the singers may not be selecting the Gazals for singing.They may be asked to sing them by somebody who may be interested in composing the music,and marketing the records.
-AD
I fully appreciate Arun Saheb’s detailed information on Seemab Akberabadi! And Sudhirbhai, your translation is unique in itself.
How nicely has Seemab inserted himself in “salaamat daaman-e-ummeed-e-‘seemaab’”! Urdu shayars liked and still like to do this. I have not found the same trend with Hindi kavis but I may be wrong.
This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song. This is a labour of love, where “new” songs are added every day, and that has been the case for over SEVENTEEN years. This blog has more than 19700 song posts by now. This blog is active and online for over 6000 days since its beginning on 19 July 2008.
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
August 12, 2011 at 11:00 am
Sudhir ji,
SEEMAB AKBARABADI (1852-1951),was born in Agra as Ashiq Hussain Siddiqui,to a poet father.He was a direct descendent of Abu Bakr,the First Khalifa of Islam.
He was educated in Agra and served the Railways for few years for livelyhood.He was a follower of Daagh School of poetry.He wrote short stiries,Novels,Dramas,Biographies and was a master of Urdu,Persian and Arabic languages and its Grammer.He wrote 12 books,including one titled KRISHNA GITA in 1942.
He began writing Gazals from 1892,and had founded few weeklies and monthlies like,Qasr-ul-adab,Paimana,Taj and Shayar.The last one was edited by his son and got the Hijra Award of Pak Govt.
In 1948,he went to Lahore and Karachi to get a publisher for his books,but got a stroke and could not reurn to India.Though his family(4 sons and 2 daughters) were in Pakistan,he never wanted to leave India.He died in Lahore on 31-1-1951.
Many of his Gazals are put to music by noted singers,including Saigal.
-AD
LikeLike