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

Muraaden leke sab aaye hain

Posted on: October 4, 2011


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

A qawwaali that is true to its art form, a naatiyaa kalaam, presented in the honor of an un-named saint. Apparently, it is a some celebration at the dargaah of a departed saint. The words tell about the divine powers of just being there, and requesting in humble supplication, and the desires and aspirations will be fulfilled.

The words of this qawwali are just so wonderful. They tell of the power of “ibaadat” (divine worship) and love for Him. Everytime that I listen to these words, this music, and such a soulful rendering by the two stalwarts of the high-note singing, Manna Dey and Mahendra Kapoor, I am moved to tears, especially as the second antaraa comes to a close, and the poet says, that if his heart would be considered suitable at His feet, that is the only thing he really has to offer. The verses are such a manifestation of the love for God, and is equally pertinent as an entreaty to a beloved. In the Sufi thinking, these two sentiments are inseparable in any case.

Johar In Kashmir (1966) is an archetypical production by IS Johar. Produced and directed by him under the banner of Johar Films, Bombay, the film is a social drama set in an unspecified period, just after the partition of the Indian sub continent, and the problem of Kashmir is just starting to rear up. The star cast includes IS Johar and Sonia Sahni in lead roles plus an impressive array of character actors – Ulhas, Mukri, Kamal Kapoor, Mumtaz Begum, Sulochana, Manmohan Krishan,Ratanmala, Tiwari, Sapru, Rajan Haksar, Manorama, Shahid, Baazid Khan, Narbada Shankar, Haroon, Shetty, Jagdish Kanwal, Pal Sharma etc. Lyrics are by Indeewar, and the music is composed by the duo, Kalyan ji Anand ji.

Tensions have always been high in Kashmir after the partition. Aslam (IS Johar) and Salma (Sonia Sahni) are attracted to each other. But Aslam is a bad character, and Salma wants him to mend his ways. He heeds her advise, and joins the army. He is posted in Kashmir with a Home Guard unit. His mother Zainab (Ratnamala) then goes to Salma’s father, Hakim Mohammed Hussien (Sapru) to talk about their marriage. Providence (or the script writer) has it such that Hakim Hussein’s house is attacked by infiltrators from Pakistan. In the attack, Aslam’s mother and all of Salma’s family are killed, and Salma is abducted. Aslam resolves to track down the killers and bring them to justice. What he is not prepared for is that one of the persons in this group of infiltrators is his own cousin, Maula Khan (Kamal Kapoor) from across the border. The rest of the story is about this discovery and rejuvenation of relationships, of the conflict between Aslam and the band of infiltrators, a showdown between brothers, and reconciliation.

The pictruization of this qawwaali is set in a dargaah, where a group of qawwaali singers are presenting this prayer to the saint and to Allaah, the Almighty. The entrance of the two primary characters, Salma (in a veil), and Aslam is tied very appropriately with the verses. Notice that both characters enter the dargaah, when the word ‘dar’ (doorstep) is present in the verse. When Salma enters, the line being sung is “tera is dar pe aa jaanaa hi kaafi hai”. When Aslam enters, the line being sung is ” maseehaa dar pe tere, tera bismill le ke aayaa hoon”. The verses that follow, while they are together in the dargaah, unbeknownst to each other, are simply sublime. Although the singers are address Him, yet the interpretation with reference to Aslam and Salma is very appropriate also. Both are face to face and unaware of the presence of the other. And the lines being sung are “kyaa nazar aaye magar, nazar pe parda padaa, haaye nazar ke saamne hi, tera mehboob khadaa”.

A very emotional and moving appeal in the name of love. Be that love for Him or be it for an ordinary mortal, the sentiment of love is the same in its elemental form. Enjoy this lovely qawwaali that has been performed so emphatically by Manna Da and Mahendra Kapoor.

One comment, though. I have not been able to track down the identity of the two main singers who have presented this qawwaali on screen, although I hard tried to search for some information. I think this pair has presented qawwaalis in some other films also. I would request other knowledgeable readers to please add more information.

badal jaayenge tere ashq gauhar mein
yahaan daaman ka phailaanaa hi kaafi hai

The tears of sorrow will be transformed into flowers
Just spread the raiment of your apparels, in supplication at His feet

zubaan se kuchh bhi kehne ki zaroorat kyaa
tera is dar pe aa jaanaa hi kaafi hai

No words need to be uttered from the lips
Just reaching here at His doorstep is enough

muraaden le ke sab aaye hain
mein dil le ke aayaa hoon

All else are here with aspirations and desires
But I am here with just my heart with me

aur is dil mein tere
jalwon ki mehfil le ke aayaa hoon

And in this heart, I have brought with me
A treasure of Your splendor and Your magnificent manifestations

tujh ko dhoonda hi kiyaa, dil-e-barbaad liye
des pardes phiraa, mein teri yaad liye

I was wandering astray in many lands, carrying Your benevolent memories with me
And searched for You in foreign lands, with a heart torn asunder

roothhi taqdeer meri, kaise tadbeer chaley
ho ghamon ke teer chaley, kalejaa cheer chaley

My destiny had turned its face away from me, my own deliberations and efforts coming to a naught
My inner self is pierced with arrows of sorrow and anguish

judaaee mujhse teri, sahi jaati hi nahin
ashq aahon se bhi ye, kahi jaati hi nahin

I am no longer able to bear the agony of separation from You
An agony that cannot be narrated even with tears and sighs

tera deedaar ho jaaye, to phir se jaan pad jaaye
maseehaa dar pe tere, tera bismill le ke aayaa hoon

A glimpse of You, and my fading life may be restored once more
O my savior, I have come to Your doorstep, with the wounds of your separation in my heart

dil se nikli jo duaa, kabhi khaali na gayee
us ki sarkaar se wo, kabhi taali na gayee

The prayers that emanate from the heart, never go unanswered
He does never pass over such appeals

uthhaa tu haath utthaa, qabool hogi duaa
sar jhuke ya na jhuke, dil ko sajde mein jhukaa

Raise. . . raise your hands in prayer, it will be heard
Even if your forehead is not bowed in courtesy to Him, do bow your heart at His feet

kyaa nazar aaye magar, nazar pe parda padaa
nazar ke saamne hi, tera mehboob khadaa

Alas, the veil of ignorance hangs in front of the eyes, and thus you cannot see
But see, your Beloved is standing just in front of your eyes

na to phoolon ki chaadar hai, na koi aur nazraanaa
agar dil ho tere kadmon ke qaabil, le ke aayaa hoon

I am here in Your presence, empty handed and bereft of any offerings
Neither do I have a spray of flowers, or any other gift
If You think it measures up to Your feet, my humble heart is my offering to You.


Song-Muraade leke sab aaye hain (Johar in Kashmir) (1966) Singers-Manna Dey, Mahendra Kapoor, Lyrics-Indeewar, MD-Kalyanji Anandji
Manna Dey + Mahendra Kapoor + Chorus

Lyrics

aaaaaa
aaaaaaaa
haaaaaan aaaa
aaaaaa
badal jaayenge tere ashq gauhar mein
yahaan daaman ka phailaanaa hi kaafi hai
haaaaa
zubaan se kuchh bhi kehne ki zaroorat kyaa
tera is dar pe aa jaanaa hi kaafi hai

is liye
muraaden le ke sab aaye hain
main dil le ke aayaa hoon
muraaden le ke sab aaye hain
main dil le ke aayaa hoon
aur is dil mein tere jalwon
tere jalwon
aur is dil mein tere jalwon ki mehfil
le ke aayaa hoon

muraaden le ke sab aaye hain
main dil le ke aayaa hoon

tujh ko dhoonda hi kiyaa
dil-e-barbaad liye
des pardes phiraa
main teri yaad liye
roothhi taqdeer meri
kaise tadbeer chaley
haan ghamon ke teer chaley
kalejaa cheer chaley

aaahey judaaee mujhse teri
sahi jaati hi nahin
haaye ashq aahon se bhi ye
kahi jaati hi nahin
ashq aahon se bhi ye
kahi jaati hi nahin

aaaaaaaa aaaaaaa aaaaaaa
tera deedaar ho jaaye
to phir se jaan pad jaaye
maseehaa dar pe tere
tera bismill le ke aayaa hoon
maseehaa
maseehaa haan haan maseehaaa
maseehaa dar pe tere
tera bismill le ke aayaa hoon

muraaden le ke sab aaye hain
main dil le ke aayaa hoon

dil se nikli jo duaa
kabhi khaali na gayee
us ki sarkaar se wo
kabhi taali na gayee
uthhaa tu haath uthhaa
qabool hogi duaa
sar jhuke ya na jhuke
dil ko sajde mein jhukaa

aahey kyaa nazar aaye magar
nazar pe parda padaa
haaye nazar ke saamne hi
tera mehboob khadaa
nazar ke saamne hi
tera mehboob khadaa

aaaaaaa aaaaaaa aaaaaaaaa
na to phoolon ki chaadar hai
na koi aur nazraanaa
agar dil ho tere kadmon ke qaabil
le ke aayaa hoon
agar dil
agar dil haan haan agar dil
agar dil ho tere kadmon ke qaabil
le ke aayaa hoon

muraaden le ke sab aaye hain
main dil le ke aayaa hoon
aur is dil mein tere
jalwon ki mehfil le ke aayaa hoon

6 Responses to "Muraaden leke sab aaye hain"

Your translations are so elegant Sudhir, and I so appreciate them. I know how hard it is to do!

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Thanks Mem Didi,

These kind words of appreciation coming from you mean a lot to me.
🙂

Rgds
Sudhir

Like

Sir,

kyaa nazar aaye magar, nazar pe parda padaa
nazar ke saamne hi, tera mehboob khadaa

This is inspired poetry from Indeever. In Dr. Iqbal’s peoms many such references. can be found. For e.g.
mehroom-e-tamaasha ko phir deeda-e-beena de
dekhaa hai jo kuch main ne auron ko bhi dikhlaa de

Actually, there is one qawwali in film “Dulhan ek raat ki” composed by Madan Mohan, using a few shair’s of Iqbal. I tried to translate them, but found difficult to go on. You are the one who can do justice to it. Atul ji is having the lyrics. This is my humble request to you Sir, if you would like to do a write up on that qawwali.

Regards.

Like

TERI CHOKHAT PE ME DIL LEKE AAYA HAU
VERY NICE

Like

I am not a great fan of Qawaali songs though I liked ‘Na kaarvaan ki talaash hai’ from BARSAAT KI RAAT (1960). May be that I was unable to appreciate the meaning of lyrics and nuances of Qawaali songs. But after going through your some posts here on Qawaali songs, I have now started liking them.

Thanks for your efforts.

Like

This qawwali was also used in the Sagar Sarhadi film Bazaar to great effect.

It is one of my most favorite qawwalies. On the whole I am very fond of Qawwalies. Here of course, the voice of Manna Dey is like Kohinoor in a beautiful crown.

Muraden le ke sab aaye hain main dil le ke aaya hoon, is one of the purest forms of ibadat.

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