Ishq mujhko nahin vehshat hi sahi
Posted on: September 16, 2011
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
The mystery of Saigal Saab’s mastery over music and singing will probably never be fully understood. Without a formal training regime from a dedicated master, the fact that he has accomplished what we know, one has to, but acknowledge an inner illumination and a divine gift.
There is anecdotal references to the bhajan singing by his mother, Kesar Kaur, and listening to the folk singers and mujras when he was a child. The blessings and the discipline he received as a child from Peer Salman Yusuf, in Jammu. His fondness for music, that was resented by his father, Amir Chand Sehgal. As a child of 10, Kundan played the role of Sita in Ramlila during the the local annual celebration of Dussehra, in which his singing made him a darling of the audience. His father would come to see the performance, since the drama was of religious nature. Outside of that his opinion of music and singers was very low. The child, Kundan, would be enamored by anyone singing, be it a wandering jogi, dancing girls, a music festival, or even the sellers of wares who tour the streets, making a living.
When he became older, in his late teens, there is more than one episode mentioned about his going away from home for extended periods of time, spending time may be with sufi saints or friends who enjoyed music, or maybe even wandering alone, with his own secret discipline given to him by the Pir Baba. This discipline was his own personal training of the ‘swara’, a spiritual quest directed inwards. This quest enabled him to develop the magical content of emotions blended with his voice, that gave his singing an unusual magic and a remarkable power to charm and fascinate those who listen to him. Many singers of note, especially in the film industry in India, acknowledge his influence and his ‘sar-parasti’ (superiority). Ghulam Ali, the famous ghazal singer from Pakistan, has also expressed his indebtedness to Saigal Saab for his own singing.
Saigal Saab’s voice has a nasal tone, which is normally considered undesirable with serious singers, especially classical singers. But in his case, this proves to be an asset, combined with his crystal clear diction, the powerful control over the movement between the octaves, and a remarkable range. Saigal Saab appears to be especially fond of Ghalib. He has rendered some of the choicest ghazals of the Master in his inimitable style an flawless articulation, that set the tone for an entire tradition of ghazal singing in the sub continent. His voice has the power to infuse music into the words. In his ‘gaayaki’ (style of singing), the word reigns supreme, and there no interference felt from the music, which is minimal. Almost all his non film performances are simply done with a harmonium, and accompaniment by tabla. (A name that appears on one or two records is Subal Dasgupta on tabla; possibly his companion for most of his non film recordings.) As one listens to his songs, especially ghazals, one can feel the strength of focus he brings to bear on the line and the words being rendered. One can feel that the singer himself is deciphering and savoring the meaning of the words as he is singing, not letting the attention waver away from the central theme of the words.
It may not be an overstatement to say that Saigal Saab brought Ghalib to the masses. Commentators of his time have noted that common people like paanwaalas, coolies, clerks, grocers, rickshawallas, petty shopkeepers et al would be humming Ghalib’s ghazals, as sung by him. A deeply philosophical poet and a difficult one to decipher, Ghalib has become a popular poet of our times, thanks to the singing of Saigal Saab.
Today’s post discusses the ninth, and the last ghazal of Ghalib, whose recording is available in Saigal Saab’s voice. There must be more ghazals Saigal Saab may have rendered, but unrecorded. This ghazal is a masterpiece of poetry, that has been also rendered very sensitively by Talat Mehmood under the baton of Ghulam Mohammed for the film ‘Mirza Ghalib’ (1954).
The ghazal is a subdued but heart rending protest, covertly addressed to the beloved, complaining about her indifference, and possible fancy for another. The poet is pleading to let him have his emotion, and his regrets, and that he would not try to influence her pleasures in any way. And desiring just so little from her in return – ‘gar nahin vasl to hasrat hi sahi’.
ishq mujhko nahin vehshat hi sahi
meri vehshat teri shohrat hi sahi
If not love, then let frenzy be. Let this madness of mine be the reason for your eminent reputation.
The poet is addressing his beloved – you may not think of my expressions of love as love, but maybe as a madness, so let it be madness. May you be known to the people of this world because of my madness, so let it be so. That the people would see you and be reminded that ‘oh so she is the one in whose pursuit (that poet) had become mad’.
ishq = love, passion
mujhko = for me or to me; in context, (is) for/to me or (means) for/to me
nahin = not
vehshat = frenzy, madness, tumultuous emotions
hi = (preposition)
sahi = in context – let it be
meri = mine
teri = yours
shohrat = fame, glory
qat’aa keejey na t’aalluq hum se
kuchh nahin hai to adaawat hi sahi
Do not sever this connection between us; if nothing else, then even rancor and hostility from your side is acceptable to me. Even in acrimony that is directed towards me from you, there is something for me; at least you have an intent that is about me, so let it be so.
The poet is content that the beloved has a thought about him, no matter the thought is to keep him away, but the thought is about him. That is solace enough. There is a connected-ness even in rejection, there is a relationship even with the enemy; and so the poet is content, let it be so. At least it made her think of him.
qat’aa = cut, break into pieces or segments
keejey = do, to do
na = no, not
t’alluq = friendship, acquaintance
hum se = with me
kuchh = something
nahin = no, not
kuchh nahin = if nothing
hai = is
to = hence, then
a-daawat = the intent to not invite; the intent to not associate
hi = (preposition)
sahi = in context – let it be
hum bhi dushman to nahin hain apne
gair ko tujh se mohabbat hi sahi
Maybe there is another who professes his love for you, and maybe you fancy his expression, then let it be so. But I emphasize that I too, am not an enemy of yours.
There is a curious usage of the word ‘apne’. In normal sense, it refers to self. However, Urdu is a very polite language. In conversation, a query about the other person is many times referred to in the first person, for self. E.g. enquiring about someone’s profession, more often than not, the query is placed as “aur phir, apna kya kaarobaar chalta hai?”. Here the word used is ‘apna’ which is first person, but is directed to the other person.
Another implication is that the poet has a conclusive identification with his beloved. And instead of saying that he is a not her enemy, he is saying that he is not his own enemy. The intent is the former, but the words are the latter, showing how strongly he identifies himself with herself.
hum = me, I
bhi = also, too
dushman = enemy; one who does not think well of me
to = (presposition)
nahin = no, not
hain = is, to be
apne = my own; in context – the reference is to the beloved herself
gair = stranger, unknown person; in context, another suitor for the beloved, competitor
ko = (preposition)
tujh se = unto you, for you
mohabbat = love, emotional fancy
hi = (preposition)
sahi = in context – let it be
hum koi tark-e-wafaa karte hain
na sahi ishq museebat hi sahi
Maybe that my pursuit of passion for you is a path full of difficulties and hardships; yet be assured I will keep my own promises, and will not leave and go away.
The tone of the verse is actually presented as a question in form of a complaint. Do I not keep my own promise? I will. This pursuit is more a calamity for me, yet do you see me not keeping my promises?
(In the film Mirza Ghalib (1954), this ghazal is composed by Ghulam Mohammed and rendered by Talat Mehmood. The starting of the ghazal is very soft and slow, but as the rendition approaches this verse, both the tempo and the crescendo begin to rise sharply, and the tone of Talat’s voice takes on an expression of increasing exasperation. And of course, beyond this, for the next two verses in that version, the emotions continue to rise, till the last verse, where one can actually feel Talat’s voice straining with frustration and remonstration to the beloved.)
hum = I, me
koi = any; in context – an emphatic question, “do I?”
tark = to leave, give up, omit
wafaa = faithfulness, keeping a promise
tark-e-wafaa = to give up (or break) a promise; separate; leave and go
karte hain = to do
na = not
na sahi = in context – may not be; may it not be
ishq = love, passion
museebat = difficulty, misfortune, calamity
hi = (preposition)
sahi = in context – let it be
kuchh to de ae falq-e-na-insaaf
aah-o-faryaad ki rukhsat hi sahi
O the most unjust and unfair, grant me something, even that it only be the permission to complaint, and to express my sadness and regret.
In an extreme expression, the poet is wanting to get something from the beloved. Even if that something is just a permission to express his complaints to her, if nothing else.
kuchh = something
to = (presposition)
de = give
ae = O; to address (someone)
falak = sky, heaven, epitome
insaaf = justice, righteousness
na-insaaf = unjust, not righteous
ae falak-e-na-insaaf = o, the epitome of unjust (actions/words/expressions)
aah = sigh; expressions of regret
faryaad = complaint, pleading, cry for help
ki = of
rukhsat = permission, leave
hi = (preposition)
sahi = in context – let it be
hum bhi tasleem ki khoo dalengey
be-niaazee teri aadat his sahi
No matter that being careless and unconcerned about me has become a second nature to you; yet I will continue to cultivate my habit of being obedient, and continue to express my acknowledgements towards you.
hum = I, me
bhi = also; in context – emphasis for ‘hum’
tasleem = obedience; to acknowledge
ki = of
khoo = habit, nature
dalengey = literal meaning is to put in (something); in context, to cultivate, to sustain
niyaz = care, concern
be-niyazi = quality of carelessness, dis-concern
teri = yours
aadat = habit, nature
hi = (preposition)
sahi = in context – let it be
yaar se chhed chali jaaye ‘asad’
gar nahin vasl to hasrat hi sahi
I would dare not annoy you or touch you; let my regrets and unfulfilled desires remain with me, if it is not possible to meet you and see you.
yaar = beloved
se = from
chhed = to trouble, annoy, tease, irritate; touch, lay the hand on;
chali jaaye = to go
‘asad’ = poet’s signature, takhallus
gar = if
nahin = not
vasl = meeting, connecting
to = (preposition)
hasrat = unfulfilled desire; unfulfilled desires with regrets
hi = (preposition)
sahi = in context – let it be
Song-Ishq mujhko nahin vehshat hi sahi (Saigal NFS)(1940) Singer-K L Saigal, Lyrics-Ghalib
Lyrics
haaaaa haaaa
ishq mujhko nahin vehshat hi sahi
ishq mujhko nahin vehshat hi sahi
meri vehshat teri shohrat hi sahi
meri vehshat teri shohrat hi sahi
meri vehshat teri shohrat hi sahi
qat’aa keejey na t’aalluq hum se
qat’aa keejey na t’aalluq hum se
kuchh nahin hai to adaawat hi sahi
haan kuchh nahin hai to adaawat hi sahi
hum bhi dushman to nahin hain apne
hum bhi dushman to nahin hain apne
gair ko tujh se mohabbat hi sahi
gair ko tujh se mohabbat hi sahi
hum koi tark-e-wafaa karte hain
hum koi tark-e-wafaa karte hain
na sahi ishq museebat hi sahi
haan na sahi ishq museebat hi sahi
na sahi ishq museebat hi sahi
kuchh to de ae falak-e-na-insaaf
haan
kuchh to de ae falak-e-na-insaaf
aah-o-faryaad ki rukhsat hi sahi
haan aah-o-faryaad ki rukhsat hi sahi
hum bhi tasleem ki
hum bhi tasleem ki khoo dalengey
hum bhi tasleem ki khoo dalengey
be-niyazee teri aadat hi sahi
haan be-niyazee teri aadat hi sahi
yaar se chhed chali jaaye ‘asad’
haaa
ayy yaar se chhed chali jaaye ‘asad’
gar nahin vasl to hasrat hi sahi
gar nahin vasl to hasrat hi sahi
ishq mujhko nahin vehshat hi sahi
7 Responses to "Ishq mujhko nahin vehshat hi sahi"
September 16, 2011 at 10:15 pm
Thanks for such a knowledgeable and beautiful explained post to accompany this fabulous rendering!
Note: use of “apna”. This form is also widely used in Punjabi, due to influence of Urdu I guess. You might ask a guest “Pher apaaN ne kinne din rehna” (So how many days are we going to be staying?), etc.
I tried saying the same in Hindi but it just did not sound right!
LikeLike
September 17, 2011 at 12:14 am
Sir,
Both articles on “phir mujhe deeda-e-tar” and “ishq mujh ko nahin” are wonderful and enlightening.
Indeed, Ghalib’s ghazals are intriguing , are marked by usage of words in novel contexts.
‘hum bhi dushman to nahin hain ‘apne’
gair ko tujh se mohabbat hi sahi’
kuchh to de ae falq-e-na-insaaf
aah-o-faryaad ki ‘rukhsat’ hi sahi
Reg. Rukhsat : Here rukhsat is used in lieu of “ijaazat”. I find the some usage of words almost western in style, or may be it was persian influence.
Another instance of western concept is in :
‘Nukta-cheen hai gham-e-dil us ko sunaaye na bane’
Nukta cheeni – criticize or be critical. Now critical is also ‘serious health condition’ or “Sangeen haalat” . The usage here is “critical condition”.
There is a little bit of discrepency is this shair :
“Qat’aa” keejey na t’aalluq hum se
kuchh nahin hai to “adaawat” hi sahi
The word is “Adaawat” meaning “Dushmani” . “Qat’aa” means “to break” or “discontinue” or “annexe” . Here the usage is definitely “Break-up”.
Interpretation :
Please do not break away totally and be out of reach, it is enough that there is is bit of animosity among us.
Second para in the explanation of the above shair is the same as mine. So there is no correction required. Only the meaning of the words “Adaawat” and “Qataa” need be rectified.
Regards.
LikeLike
September 17, 2011 at 1:54 am
Nahm ji,
Thanks for your diligent help in correctly pointing out the meaning of these two words, qat’a and adaawat. The meanings applied by you are correct. I will make necessary changes to the explanation of this verse and update the write up.
Thanks again 🙂
Rgds
Sudhir
LikeLike
July 1, 2015 at 10:46 am
Sudhir and Atul ji, once again, cannot thank you enough for opening up these treasures for us!
LikeLike
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
September 16, 2011 at 6:54 pm
Wah! What a great lesson in Urdu language, vocabulary and grammar 😀 I have copied it for my own personal reference, thank you so much Sudhir! Beautiful.
LikeLike
September 16, 2011 at 7:13 pm
He has provided similar lessons for several other ghazals sung by K L Saigal. And they are great lessons for everyone who is not an Urdu Scholar. And that means 99 % of music lovers.
LikeLike
September 16, 2011 at 11:50 pm
Indeed, I have spent much of the day looking at his back posts and compiling an Urdu dictionary for myself (as well as enjoying his sensitive translations of poetry) 🙂
LikeLike