Bahut us gali ke kiye here phere
Posted on: August 27, 2011
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
In her memoirs, Kaanan Devi, the premier leading lady of the films in the 1930s, recounts her times and experiences of working with Saigal Saab. As a singer-actor team, this duo has worked together in many Hindi and Bangla films produced by New Theatres, Calcutta, and there is treasure of memorable music these two have created together. Kaanan Devi writes about his simplicity and a childlike disposition that endeared him to one and all. She tells about his unmindful and forgetful nature, especially when engrossed in music. There would be times when the shooting is to start, the preparations are all in place, the unit is ready, and people are waiting for Saigal Saab to come. Sometimes he would be very late, and there was no information where he is. Then someone would come and tell that Saigal Saab has been in the studio for a long time, but away from the hustle bustle of the shooting location, he is sitting in some lonely corner, or alone in a room, with a harmonium, and is simply singing away to his hearts fulfillment. Then someone or the director would find courage to go and remind him about the schedule, and then he would come running, profusely apologetic, and in good humor trying to get the schedule move forward.
With the amount of songs that are available today with us, I wonder what would have been the treasure that never did get recorded. The singing alone in rooms, song after song, singing at musical functions etc. May that it could have been recorded and preserved somehow, the treasure we have access to, could have been manifold. Alas.
This ghazal by Aarzoo Lucknawi, is one more expression about the realities of life, as he poet sees it, and its articulation in romantic terms. The pleasantness of life is compared with the season of spring and the energy of youth, and with the sensations of being in love, when everything seems affable, everything seems possible. This sensation of spring, of youth is what sustains all of us through life. And yet, there is regret; we do not always achieve what we want. The realities are different. In our urge and enthusiasm of being alive, being young, and being in love, we forget that alas, the life is short. We will not be here forever. We will leave one day, and who knows whether we return again to this place. Even if we do, we may never return to the same circumstance and to the same experiences. This is the reality of existence.
bahut us gali ke kiye here-phere
ye jin ke liye thhaa huye wo na mere
So many times, I passed back and forth through the alley where she lives. Alas, the one to whom I presented this heart, did not consent to be mine,
The poet is also referring to the progression and the course of life. The poet bemoans that all this life we try to maintain and preserve it, and also try to do so much for others, but eventually, neither this life nor this world is going to be with us forever, I cannot take it to be mine, for it will be taken away from me.
bahut = many, multiple
us = that
gali = street, alley; in context also referring to this world
ke = of
kiye = did
here-phere = back and forth
ye = this; in context refers to heart, and to this life
jin ke = for whom
liye = for
thhaa = was
huye = happened, became
wo = they, them; 3rd person pronoun
na = not
mere = mine
pahunchanaa unhen dekhne ki lalak mein
kabhi din dhalaa kar, kisi din savere
The longing just to see her, and catch a glimpse of her, brought me to her alley, sometimes in the morning, sometimes in the evening. The desire to just to get a glimpse of her was/is so intense that I would go to where she was, anytime; morning or evening. Or that I lost a sense of time in my desire to just see her, it would be any time of the day that I would go to see her.
On the second level, the poet is alluding to the fact that we do so much in this world, to please ourselves, and to please others, and we make such efforts regardless of the time of the day.
pahunchanaa = to reach, to arrive
unhen = they, them;
dekhne = to see, to view
ki = of
lalak = desire, longing
mein = in
kabhi = sometimes
din = day
dhalaa = bring something to closure;
din dhalaa kar = evening time; as the day comes to a close
kisi = some
savere = morning
kisi din savere = in the morning on some days
phir is desh mein hoga kaahe ko aanaa
jahaan chaar din ko lagaaye hain derey
This place where I have set up my camp to stay, alas is for a short period; once I leave from here, it is uncertain whether, and for what reason, would I return here again.
The poet is highlighting the ephemeral characteristic of life. The life will last, not forever. The phrase ‘four days’ is a poetic implication of the duration of life. And we set up encampments, abodes as if we were to be here forever. We don’t even know whether we will ever return to this place. (i.e. even if one thinks of the cycle of rebirth, there is no reason that we shall return to the same circumstance).
The use of the phrase ‘kaahe ko’, ‘for what reason’ has another implication; the poet is alluding that all this set up does not belong to me, so then why should I return again to this place. The poet is almost indicating that after this four days of encampment, I will go to a place which is mine, my permanent abode. Why should I return to something that is not mine, not meant for me.
phir = then again
is = this
desh = country, realm; in context, also used to represent this world
mein = in
hoga = being
kaahe ko = for what reason
aanaa = to come
hoga kaahe ko aanaa = for what reason would I return again
jahaan = where
chaar din = four days; the phrase is a popular usage to represent the course and duration of life
ko = for
lagaaye = set up, establish
derey = encampment, place to stay; generally refers to a temporary place to stay, as opposed to ghar (home) which is a permanent place to stay
sahaaraa nai rut kaa hai kyaa suhaanaa
is ik daal par hain sabhi ke baserey
Being young is such a wonderful sensation. Everything appears to be possible, every happiness seems to be within reach. This sensation of being young, of being able, is the sustenance of all beings.
The poet is alluding to the theme that when one is young, is able, and romantic, the world and this life feels like spring. Everything is pleasant and satisfying, everything is possible. And the urge to be, to be alive is sustained through this energy of youth and its fulfillment.
Once this young age will pass, one will be left with only regrets and memories, and the life and the world would no longer seem attractive.
sahaaraa = support, sustenance
nai = new
rut = season
nai rut = poetical reference is to spring, which is the season of new things; also refers to new life, or youth
kaa = of
hai = is
kyaa = what
suhaanaa = pleasant, affable
is = this
ik = one
daal = literally means a branch of a tree; poetically the reference is to this world and this life
par = on
sabhi = everyone
ke = of
baserey = abode, place to stay, dwelling
lagi jab se aankh ‘aarzoo’ ki ye gat hai
na sonaa saverey, na utthnaa saverey
Since the day our eyes have me, my longing for you is in such an abject state; there is no proper time to sleep and wake up; I am living in a trance thinking of you, not aware whether I am asleep or awake.
The poet is describing the state of being enamored and smitten, when the longings in the heart makes one lose the sense of time and regular cycle of activity for the day, when one loses the capacity and need to sleep, and really one loses awareness of where one is and whether one is asleep or awake. A condition that is described as being in love.
On the second level, this also describes the human condition of being involved and lost in this world. One is so fascinated by the attractions and temptations of this world, that one forgets the true nature and purpose of self.
lagi = literally, to touch, to be close
jab se = since then
aankh = eyes
lagi jab se aankh = a poetic phrase used for falling in love; “since the day I have seen you”; “since the day our eyes have met”
‘aarzoo’ = desire, longing; also the poet’s signature, takhallus
ki = of
ye = this
gat = condition, circumstance, outcome
na = no, not
sonaa = sleep
saverey = dawn, sunrise
uthhnaa = wake up, get up
Song-Bahut us gali ke kiye here phere (Saigal NFS) (1940) Singer-K L Saigal, Lyrics-Aarzoo Lucknowi
Lyrics
aaaa aaaa
aaaa aaaa
bahut us gali ke kiye here-phere
bahut us gali ke kiye here-phere
ye jin ke liye thhaa huye wo na mere
ye jin ke liye thhaa huye wo na mere
bahut us gali ke
pahunchnaa unhen dekhne ki lalak mein
pahunchnaa unhen dekhne ki lalak mein
kabhi din dhalaa kar, kisi din savere
kabhi din dhalaa kar, kisi din savere
phir is desh mein kaahe
phir is desh mein hoga kaahe ko aanaa
haaan
phir is desh mein hoga kaahe ko aanaa
jahaan chaar din ko lagaaye hain derey
jahaan chaar din ko lagaaye hain derey
jahaan chaar din ko lagaaye hain derey
sahaaraa nai rut kaa
haaaan
sahaaraa nai rut kaa hai kyaa suhaanaa
haan
is ik daal par hain
is ik daal par hain sabhi ke baserey
is ik daal par hain sabhi ke baserey
lagi jab se aankh ‘aarzoo’ ki ye gat hai
lagi jab se aankh ‘aarzoo’ ki ye gat hai
na sonaa saverey, na uthhnaa saverey
heyyy
na sonaa saverey, na uthhnaa saverey
na sonaa saverey, na uthhnaa saverey
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
February 10, 2019 at 9:28 am
Amazing explanation of this beautiful gazal by Sudhir Sahib. It’s a miracle that I found it while searching for a word ‘gat’ that I was not able to understand. If you have a blog, please direct me to that.
Sultan Khan
Atlanta, USA
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February 10, 2019 at 9:29 am
Ghazal by Arzoo Lucknawi
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