Shukriya hasti ka lekin tumne ye kyaa kar diyaa
Posted by: Atul on: September 8, 2011
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this topic.
The actor in the persona of Saigal Saab, has mostly been overshadowed by the magical qualities of his voice and the music this voice has rendered. And yet, the directors who have worked with him, and directed his roles, acknowledge that Saigal Saab had this innate capability to create and to express any singular emotion, with an intensity and control of facial features and mannerism.
This ability was pronounced to the extent that even when the dialogue delivery is in hands of another character on the screen, many a times the directors would continue to focus the camera on Saigal Saab, and capture his expressions, his mood and his body language, that used to be responsive and commensurate with the emotional content of the scene. There are specific instances of picturization of certain scenes, where Saigal Saab preferred to provide live rendition of the scene without rehearsals, or perform a song live without recordings. The famous scene from Street Singer (1938), where Saigal Saab is walking holding his broken harmonium close to his chest, and singing ‘Baabul Moraa . . .”. This song is captured alive on film, with the song being performed live, without background singing and lip syncing. Another song that was picturized live on Saigal Saab, is the drunkard’s elegy, “Piye Jaa Aur Piye Jaa . . . “ from the film ‘Pujaarin’ (1936). A consummate actor besides possessing a voice bordering the divine, Saigal Saab is a complete performer, par excellence.
Saigal Saab’s selection of ghazals (sung for non-film recordings) is exceptional. His voice is such that he has the ability to transform even commonplace lyrics into great renditions. But still, the ghazals he has picked for recording, are no less gems of masterful creations by many poets with huge talents. There are two poets that Saigal Saab has sung most often. One of them is Ghalib, and the second is Seemaab Akbarabaadi. The kalaam of Seemaab are wondrous creations of a poetical genius, that are a gift of pleasure and emotion for the music lovers. This here is another superb piece of poetry by Seemaab, that has been rendered wonderfully by Saigal Saab.
shukriya hasti ka lekin tum ne ye kyaa kar diya
parde hi parde mein apna raaz afzaa kar diya
I express gratitude for the opportunity to life, an yet the mystery of existence is still beyond my reach.
The poet is expressing his gratitude for being given the opportunity of being, and also being aware, but acknowledges his inability to understand the mysteries of life and existence. In the process to bestow an existence, and the awareness of that existence, the secret mystery of life has actually been deepened and made more secretive.
shukriya = thanks, gratitude
hasti = existence, being, life
ka = of
lekin = however, but
tum ne = you have
kyaa= what
kar diyaa = did
pardah = curtain, secrecy
mein = in
parde hi parde mein = (do something) in secrecy, (do something) behind the scenes, under cover
apna = your own
raaz = secret, mystery
afzaah = increase, add, deepen, augment
maang kar hum laaye thhe Allaah se ik dard-e-ishq
wo bhi ab taqdeer ne auron kaa hissaa kar diyaa
When being sent into this existence, I had asked to be given and was bestowed the singular compassion of love. Alas, the providence ordained to bestow this compassion on others, leaving me bereft of this treasure even.
maang = demand, ask for
kar = to do
hum = I, or we
laanaa = to bring
laaye thhe = had brought
se = from
ik = one
dard = pain, anguish
ishq = love
dard-e-ishq = pain of love, heartache
wo = that
bhi = also
ab = now
taqdeer = fate, destiny, providence
auron = others
kaa = of
hissaa = share, part, portion
kar diyaa = did
do hi angaarey thhe haathon mein khudaa-e-ishq ke
ek ko dil, ek ko mera kalejaa kar diyaa
The God of love had two burning embers with him; He crafted my heart from one burning ember, and used the second to craft my being, my inner self.
The poet is alluding to the fires that consume the heart and the self of a human being, as he/she courses through this life. These fires are accorded unto the human beings by the creator Himself.
do = two
hi = only
angaarey = a burning piece (of coal or wood)
thhe = were
haathon = hands
mein = in
khudaa = God
ishq = love
khudaa-e-ishq = God of love; beloved
ek = one
dil = heart
kalejaa = literal meaning is liver; self, courage, magnanimity, beloved
kar diyaa = did
main to apni bekhudi-e-shawq ka mamnoon hoon
baarhaa mujhko bhari mehfil mein tanhaa kar diyaa
I am singularly obliged to my craving, my quest for the One that is beyond my self, beyond my ego. This craving time and again takes me away from the crowded world, to the solace of isolation.
The poet is expressing his preference for the contentment of being alone within one self, away from the crowd and hustle bustle of this world. And for that he is expressing gratitude to his desire, to pursue that which is beyond the material self.
main = I, me
main to = I am
apni = mine
bekhudi = alienation of mind, ecstasy, unconsciousness, beyond ego, alienation from self
shauq = interest, pursuit, desire
bekhudi-e-shawq = desire / pursuit of that which is beyond ego, beyond self
ka = of
mamnoon = obliged, grateful, indebted
hoon = I am
baarhaa = often, time and again
mujhko = to me
bhari = full, crowded, busy, congested
mehfil = get-together, gathering, social event
mein = in
tanhaa = alone, isolated, solitary
kar diyaa = did
marhamat farmaa ke ae ‘seemaab’ gham ki lazzaten
zeest ki talkhi ko fitrat ne gawaaraa kar diyaa
The enjoyment of sadness is a salve that enables the temperament (of self) to tolerate the unkind severities of life.
The poet has generated an interesting play of words – the joy of sadness. If ever one is able to enjoy the delicious tastes of sorrow, then the harshness of life becomes tolerable.
More than just a play of words, it is a very profound concept, and a very potent method on how to learn to tolerate the severities of life. The life is what it is, full of unkind ruggedness, which has to be navigated. Only if one could learn to enjoy the sorrows, then the passages of life become endurable.
marhamat = plural for marham; ointment, balm
farmaa = literal meaning is to say; in context it implies rubbing or applying the ointment
ae ‘seemaab’ = poet addressing himself; ‘o seemaab’; seemaab is the poet’s signature, takhallus
gham = sadness, sorrow
ki = of
lazzaten = plural of lazzat
lazzat = enjoyment, gratification, tasteful, delicious
zeest = life, existence
ki = of
talkhi = bitterness, harshness
ko = (preposition, applied to the word talkhi)
fitrat = nature, personality, temperament
ne = (preposition, applied to word fitrat)
gawaaraa = acceptable, tolerable
kar diyaa = did
Song-Shukriya hasti ka lekin tum ne ye kyaa kar diya (Saigal NFS) (1940) Singer-K L Saigal, Lyrics-Seemab Akbarabadi
Lyrics
shukriya hasti ka lekin tum ne ye kyaa kar diya
shukriya hasti ka lekin tum ne ye kyaa kar diya
arre parde hi parde mein apna raaz afzaa kar diya
parde hi parde mein apna raaz afzaa kar diya
shukriya hasti ka
maang kar hum laaye thhe Allaah se ik dard-e-ishq
maang kar hum laaye thhe Allaah se ik dard-e-ishq
wo bhi ab taqdeer ne auron kaa hissaa kar diyaa
wo bhi ab taqdeer ne auron kaa hissaa kar diyaa
shukriya hasti ka
do hi angaarey thhe haathon mein khudaa-e-ishq ke
do hi angaarey thhe haathon mein khudaa-e-ishq ke
ek ko dil, ek ko mera kalejaa kar diyaa
ek ko dil, ek ko mera kalejaa kar diyaa
shukriya hasti ka
main to apni bekhudi-e-shawq ka mamnoon hoon
main to apni bekhudi-e-shawq ka mamnoon hoon
baarhaa mujhko bhari mehfil mein tanhaa kar diyaa
baarhaa mujhko bhari mehfil mein tanhaa kar diyaa
shukriya hasti ka
marhamat farmaa ke ae ‘seemaab’ gham ki lazzaten
marhamat farmaa ke ae ‘seemaab’ gham ki lazzaten
zeest ki talkhi ko fitrat ne gawaaraa kar diyaa
zeest ki talkhi ko fitrat ne gawaaraa kar diyaa
shukriya hasti ka
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
August 29, 2013 at 11:03 pm
Raaz e afshaan
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