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

Wo aa ke khwaab mein taskeen e iztiraab to de

Posted on: August 20, 2011


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

The mellifluous voice of Saigal Saab has an enrapturing power that always casts a spell over the listeners. The range of his voice has a span that goes from the very base notes – ‘Bina Pankh Panchhi Hoon Mein’ (Tansen) all way to the higher octaves as in ‘Prem Ka Hai Is Jag Mein Panth Niraala’ (President). Saigal Saab’s voice as the rare ability to effortlessly accord the right expressions to each word, and make it glow distinctly. All his renditions leave a lasting impression in the mind, whether it be a love song ‘Baalam Aaye Baso Morey Mann Mein’ (Devdas), or a lullaby ‘So Jaa Raajkumari So Jaa’ (Zindagi), or an inspirational song ‘Hat Gayee Lo Kaari Ghataa’ (Lagan), a bhajan ‘Suno Suno Hey Kishan Kaalaa’ (non-film), a children’s song ‘Ek Raja Ka Beta Le Kar’ (President), or a song full of melancholy and pathos ‘Bina Pankh Panchhi Hoon Mein’ (Tansen).

Over time, many of his songs and ghazals have been rendered by other singers also, but none have been able to even come close to the expressive power of his voice. ‘Baabul Mora. . .’, a song that has become the brand identity of Saigal Saab, has been sung by other singers over the decades, but none comes even close in the expression and rendition. And to think that this song was not filmed as a playback. Saigal Saab was said to be so moved by the words and the music of this thumri, that he insisted on singing it live in front of the camera. A truly remarkable feat, considering the way film shots are structured, and then pulled together to create a whole. Just view the video clip of this thumri, with this awareness that the recording is live in front of the camera, and you will appreciate the grand quality of this musical genius.

Presenting another wonderful piece of poetry from Ghalib. Here is a very dainty and delicate creation, with a wonderful play of words. The poet is attempting to somehow catch the attention of saaqi/beloved (or God), to somehow have her/Him be involved in an interaction. He is lamenting that the saaqi/beloved is unmindful, and maybe even dislikes him. And yet, he writes in the closing verse, as soon as she offered/requested an interaction, the poet became so nervous, he is unable to even respond. A very lovely short ghazal, that will surely steal into your heart.

wo aa ke khwaab mein taskeen-e-iztiraab to de
walay mujhe tapish-e-dil majaal-e-khwaab to de

I wait for her to appear in my dreams and lay my anxieties and restlessness to comfort. If only I had the passion in my heart that would give me the ability to dream.

The poet is lamenting that he does not yet have the passion of love strong enough in his heart to give him courage and ability to dream, for if he could find the courage to dream, then there would be a chance that she may appear in the dream put to rest my restless agitations.

And so he wishes for her to visit in his dreams, but before that he is wishing for having enough passion for to enable dreams.

wo = pronoun reference to a third person; in context refers to the beloved
aa ke = come, and then
khwaab = dream
mein = in
taskeen = comfort, relaxation
iztiraab = restlessness, agitation, disturbance
to de = and then, give
walay = shortened walekin, for lekin; closest corresponding word is ‘but’; in context, the intent is ‘but for that’, or ‘but before that’
mujhe = me
tapish = warmth, passion, ardour
dil = heart
tapish-e-dil = passion in the heart
majaal = strength, ability, courage
majaal-e-khwaab = courage / ability to dream

karey hai qatl lagaawat mein, tera ro dena
teri tarah koi teg-e-nigaah ko aab to de

Your tears are the end of me; your weeping slays my heart with affection. No one knows the knack/technique to convert the daggers in your eyes into tears.

karey hai = does, accomplish
qatl = murder, slay, put to death
lagaawat = affection, fondness, friendliness
mein = in
tera = yours
ro dena = act of crying
teri = your
tarah = like, as in compare
teri tarah = like you, or like you doi
koi = someone, in context, the use here is to imply that ‘no one’
teg = sword, dagger
nigaah = eyes, glance
ko = to
aab = water, in context refers to tears
to de = request to give

pilaa de oak se saaqi gar hum se nafrat hai
piyaalaa gar nahin detaa, na de, sharaab to de

O bearer of wine, may it be so that you dislike me, and may want not to give me wine, but I implore you, give me some wine in my cupped hands, even if you would not give a cup from your treasures.

In this verse, one can interpret it as an addressal to saaqi or an addressal to GOD. Give me not the additional distractions i.e. piyaalaa; yet give me some wine, even if I have to partake it in my cupped hands. In other words, the appeal to God is to take away the material things and possession and bestow a taste of the ultimate truth.

pilaa de = provide for drink
oak = cupped hands
pilaa de oak se = provide wine for drinking, in cupped hands
gar = if
hum = me, I
hum se = directed towards me
nafrat = dislike, hatred, aversion
hai = is
hum se nafrat hai = have an emotion of aversion towards me
piyaalaa = cup, cup in which wine is served
nahin = no
nahin detaa = do not give; do not consider suitable for giving to
na de = don’t give; in context – ok, so don’t give
sharaab = wine
to de = request to give

‘asad’ khushi se mere haath paaon phool gaye
kahaa jo us ne zaraa mere paaon daab to de

That she (saaqi, beloved) requested me to massage her feet for relaxation, my nervousness knew no bounds.

So far the poet had been imploring to catch the attention of saaqi/beloved; that she should visit in dreams, that she should give the wine, even in cupped hands etc. And now, when she actually turned to him, and presented an opportunity to interact, the poet became nervous and unable to respond.

‘asad’ = name of poet (Asad-ullah Khan Ghalib), poet’s signature in this verse; in literal terms, asad means a lion
khushi = happiness
khushi se = with happiness
mere = mine
haath = hands
paaon = feet
phool gaye = literal meaning is to become swollen
haath paaon phool gaye = colloquial usage, to become nervous, become unable to do/perform anything; literal usage is that nothing can be done if the hands and feet become swollen.
kahaa = to say; in context – to request
jo = thence
us ne = (reference here it to ‘her’; saaqi, beloved)
zaraa = little bit
mere = mine; in context it is ‘- of the saaqi, ‘- of the beloved’
paaon = feet
daab = to press; in context – to massage for giving relaxation
to de = request to do


Song-Wo aa ke khwaab mein taskeen e iztiraab to de (Saigal NFS) (1940) Singer-K L Saigal,Lyrics-Ghalib

Lyrics

aaa aaaaa
wo aa ke khwaab mein taskeen-e-iztiraab to de
walay mujhe tapish-e-dil majaal-e-khwaab to de
walay mujhe tapish-e-dil majaal-e-khwaab to de
walay mujhe tapish-e-dil majaal-e-khwaab to de

karey hai qatl lagaawat mein
karey hai qatl lagaawat mein, tera ro dena
arre tera ro dena
teri tarah koi teg-e-nigaah ko aab to de
teri tarah koi teg-e-nigaah ko aab to de
wo aa ke khwaab mein

ayyy
pila de oak se saaqi gar hum se nafrat hai
pila de oak se saaqi gar hum se nafrat hai
piyaalaa gar nahin deta, na de, sharaab to de
piyaalaa gar nahin deta, na de, sharaab to de
wo aa ke khwaab mein

‘asad’ khushi se mere haath paaon phool gaye
‘asad’ khushi se mere haath paaon phool gaye
kahaa jo us ne zaraa mere paaon daab to de
kahaa jo us ne zaraa mere paaon daab to de
wo aa ke khwaab mein taskeen-e-iztiraab to de
wo aa ke khwaab mein taskeen

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

This site uses Akismet to reduce spam. Learn how your comment data is processed.

What is this blog all about

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 TWELVE years. This blog has over 16000 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

16067

Number of movies covered in the blog

Movies with all their songs covered =1234
Total Number of movies covered =4388

Total visits so far

  • 13,994,435 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,922 other followers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

Archives

Stumble

visitors whereabouts

blogadda

blogcatalog

Music Blogs - BlogCatalog Blog Directory
%d bloggers like this: