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

Waaqif hoon khoob ishq ke tarz e bayaan se main

Posted on: October 15, 2011


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

Continuing the search for the qawwaali form of music in Hindi films, I come across two wonderful qawwaalis from the film Bahu Begum (1967). I present the first one in this write up.

Bahu Begum is a production from Sanamkadaa Films, Bombay, directed by M Sadiq. The songs of this film are written by Sahir Ludhianvi and the music composition is by Roshan. The name Roshan does spell a magical quality for this music form, after the stupendous popularity of the three qawwaalis from Barsaat Ki Raat (1960) (already discussed on this blog). The film has an impressive star line up and includes Ashok Kumar, Meena Kumari, Pradeep Kumar, Johnny Walker, Lalita Pawar, Helen, Sapru, Naaz, Zeb Rehman, Leela Misra besides others.The storyline is about love lost and love found. A lead pair in love with each other, get separated due to circumstances. The circumstances further conspire for the lady love to be betrothed to another gentleman. And then a reversal of fortunes happen, the original lovers meet again, and a situation of conflict arises, which is dealt with in many different ways in different films. Some films based on this or a variation of this theme come to mind immediately – Gumraah (1963), Ghazal (1964), Bheegi Raat (1965), Palki (1967), Hamraaz (1967), Mere Huzoor (1968), Ek Phool Do Mali (1969) etc. (and I am sure there are many more such films).

This qawwaali is being performed at a religious place, a dargaah. The intent and the theme of the qawwaali, as being presented by the singers is directed towards Allaah, the Almighty. But for the hearts in love, the meanings of these verses translate into romantic interpretations. The singers on screen are once again familiar supporting artists, but I am not able to place names to the faces. The senior partner in this pair seems to be Master Nisar, but I could be wrong. I request help from knowledgeable readers to help with the identification.As the performance starts, the lead pair of Pradeep Kumar and Meena Kumar enter the dargaah, and seat themselves in prayer. But as they are listening to the verses, they are also exchanging glances, as the words being sung are also expressing the emotions in their hearts. This qawwali is played close to the beginning of the film, as the two young lovers are getting to know each other, and the romantic emotions are getting serious.

Enjoy, this another wonderful composition by Roshan. The words by Sahir, as always are very measured, mature and carry a depth of meanings with them. The singing voices are those of Rafi Saab and Manna Da, a wonderful combination to render this lovely set of verses. As you may read the explanations below, you will be able to make out the two levels at which this declamation is occurring. In its original form, the verses express the love for and are addressed to Him, and His glory. And then, when a romantic heart is in the presence of the romantic interest, the very same verses and their meaning is also applied to the love between human hearts. I am sure these verses will tickle the romantic interest in your heart. 🙂
Enjoy.

arz-e-shauq aankhon mein haiarz-e-wafaa aankhon mein hai
tere aage baat kehne ka mazaa, aankhon mein hai

My aspirations are expressed in my eyes
My promises of faith are expressed in my eyes
My eyes express the relish of being able to speak my heart in Your presencearz = to express, to present, to render
(NOTES: The word ‘arz’ in Urdu literally means land, earth. Possibly, the usage has transformed to mean presentation / expression / rendering, likely through the phrase of greeting ‘aadaab arz hai’. ‘Aadaab’ is salutations with my head bowed in front of you. ‘Aadaab Arz Hai’ literally means I bow down to the ground in front of you to convey that I bow down to your feet. It appears that this phrase over time took on the connotation that ‘I present my salutations to you’. From there it went on to be equated with a very polite phrase ‘arz kiya hai’ (as in presenting a she’r), to mean that my humble presentation at your feet (literally on the ground in front of you). And then the usage further got transformed to say – I present or I express or I render. I would appreciate additional comments or thought on this note, from folks with better knowledge of Urdu)
shauq = desires, aspirations, interest
wafaa = faithful promise
mazaa = relish, enjoyment

aur waaqif hoon khoob ishq ke tarz-e-bayaan se mein
keh doonga dil ki baat nazar ki zubaan se mein

I am heartily familiar with the manner of declaring emotions of love
And I will speak my heart through the language of eyes
waaqif = familiar, acquainted
khoob = in good measure, greatly, highly, extremely
ishq = love, passion
tarz = manner, style
bayaan = declaration, statement
nazar = eyes
zubaan = tongue, language, speech

meri wafaa ka shauq se, tu imtihaan le
guzrungaa tere ishq mein, har imtihaan se mein

You are welcome to assess my faithfulness as You please
I promise I will successfully pass through all the trials You would apply to me

shauq = in the context of this verse, it is used to mean interest, rather to mean ‘as you please’imtihaan = test, trial, assessment
guzar = passage, path (as a noun); to walk or negotiate a path (as a verb)
guzrungaa = (I) will pass through

ae husn-e-aashnaa tere jalwon ki khair ho
begaanaah ho gayaa hoon gham-e-do-jahaan se main

O the most exalted, the most beautiful and elegant One,
I wish Your splendor to remain so foreverFor just by being in Your presence, I have become distant (become unaware) of all the sorrows of the two worlds (this world and afterworld)

husn = beauty, elegance
aashnaa = this word literally means a person, a known person, an acquaintance. But more often than not it is used more in the context of ‘someone who. . .’ in compound words. E.g. ‘dard-aashnaa’ meaning someone who understands the pain of others, ‘haqq-aashnaa’ means someone who knows / understands the truth (haqq).
husn-e-aashnaa = someone who is very beautiful and elegant
jalwaah = glimpse, splendor, manifestation
jalwon = (plural of jalwaah)khair = the usage as an adjective means good, nice, pleasant. In context, it is used as a good wish (for someone or something) “to remain so, to remain good, to remain pleasant”begaanaah = stranger, unknown, unaware
gham = grief, sorrow, unhappiness
jahaan = world
do-jahaan = world and afterworld; life and after-life. In context of theistic philosophies, there exists a belief in something after death, which is an ‘afterworld’. The phrase ‘do-jahaan’ is an inclusive expression for everything in this world AND afterworld
gham-e-do-jahaan = the entire gamut of all sorrows of this world and afterworld

Audio

Video

Song-Waaqif hoon khoob ishq ke tarz e bayaan se main (Bahu Begam) (1967) Singers-Rafi,Manna Dey, Lyrics-Sahir Ludhianvi, MD-Roshan
Rafi + Manna Dey + Chorus =Fuchsia

Lyrics

aaaaaaa aaaa
arz-e-shauk aankhon mein hai
arz-e-wafaa aankhon mein hai
tere aage baat kehne ka mazaa
aankhon mein hai
aur waaqif hoon khoob ishq ke
aahey tarz-e-bayaan se mein
waaqif hoon khoob ishq ke

aaaaaa aaaaaaaaaa
waaqif hoon khoob ishq ke
tarz-e-bayaan se main

hooo
waaqif hoon khoob ishq ke
tarz-e-bayaan se main

haaan
waaqif hoon khoob ishq ke
tarz-e-bayaan se mein
keh doonga dil ki baat

haaan
keh doonga dil ki baat

nazar ki zubaan se main
keh doonga dil ki baat
baat
keh doonga
keh doonga
keh doonga dil ki baat

aaaaaaa
meri wafaa ka shauq se
tu imtihaan le

oooooo
meri wafaa ka shauq se
tu imtihaan le

aaaaaaan
meri wafaa ka shauq se
tu imtihaan le
guzrungaa tere ishq

ishq mein
guzrungaa tere ishq mein

har imtihaan se main
guzrungaa tere ishq
ishq mein
guzrungaa tere
guzrungaa tere ishq

haaaan haaaan
haaan haaaaan
ae husn-e-aashnaa
tere jalwon ki khair ho

oooooo
ae husn-e-aashnaa

aaaaaaa
ae husn-e-aash

aaaaaaa aaaaaa aaaaaa
ae husn-e-aashnaa
tere jalwon ki khair ho

haaan
ae husn-e-aashnaa
tere jalwon ki khair ho
begaanaah ho gayaa

aaaaaaaaa
begaanaah ho gayaa hoon

gham-e-do-jahaan se main
begaanaah ho gayaa-aaaaa hoon
begaanaah ho gayaa hoon
gham-e-do-jahaan se main
gham-e-do-jahaan se main
begaanaah ho gayaa

aaaaaaaaa
begaanaah ho gayaa
aaaaaaaaa
begaanaah ho gayaa
aaaaaaaaa aaaaa aaaaa
begaanaah ho gayaa hoon

begaanaah ho gayaa hoon
gham-e-do-jahaan se main
waaqif hoon khoob ishq ke
tarz-e-bayaan se main
tarz-e-bayaan se main
waaqif hoon khoob ishq ke

10 Responses to "Waaqif hoon khoob ishq ke tarz e bayaan se main"

Sudhir ji,
BAHU BEGUM(1967) has an interesting story behind its making.
Jan Nissar Akhtar had a story written some years back,which,one day was read by his friend,one Mr.Sanam Kaada,who was a big businessman and a lover of urdu literature.He liked it very much and asked JNAkhtar why not he produce a film on this story and that he would provide the finance.If the film is a hit,then the profits will be shared by both.
Accordingly,Jan Nissar Akhtar developed the story further.The screen play was written by Mohd.Sadiq,who also took the responsibility to Direct the film and the Dialogues were written by another member of the group,
Tahish Sultanpuri.
Jan Nissar Akhtar produced the film but did not write any Lyrics and the task was given to Sahir Ludhiyanvi,whom they all respected.
The film was quite successful,specially in the UP and Northern circle and made handsome profits.
Note-This was,however the only film Mr.Sanam ever financed.
-AD

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When i read the writeup in the morning, the name Sanamkadaa films struck me as very poetic. Mr. Sanam kadaa must have used his pen name for producing the film.

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Fantastic! And your write-up too, Sudhirji.

I remember seeing this movie years ago. Lovely songs. The best-known song is “hum intezar karenge” but there’s a lovely Lata solo, “duniya kare sawaal”, which I really like a lot.

I’ve learnt a new word today “tarz”, i.e manner/style. I’m going to start using it now.

Aapka tar-e-kalaam lajawaab hai, Sudhirji. 😉

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Oops, that last line should have been “tarz-e-kalaam”.

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Raja ji,

Aap ki zarra-nawaazi ka bahut bahut shukriyaa 😉

Rgds
Sudhir

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Sudhir bhai

sorry, main aapke article ko chhodke, artiste identification mein laga hoon.!!!

The safed baalwala(the one who lip syncs for MANNADEYji`s voice)is the same actor who lip syncs( for Mohammed rafiji`s voice)the melodious song of LAAL PATTHAR(1971)”Unke khayaal aaye tho aate chale gaye,deewana aadmi ko banaathe chale gaye”

Name of actor with the help of imdb.com ->”DURRANI.

Including this song, all the songs are very meldious and especially atulji already posted my favourite “nikle the kahaan jaane ke liye,pahoonche hain kahaan maloom nahin”(ashaji via Helenji)

One more popular song sung by Lataji and ashaji is yet to be posted “Pad gaye jhoole saawan rut aayeere”

and another mujra song sung by ashaji(picturised on helenji “sirf apne khayaalon ki parchhayee hain”

I like all the 3 movie starring the trio(meena,pradeep and dadamoni) featured in this movie:
Aarthi (roshan-majrooh)(1962)
Bheegi raat(roshan-majrooh)(1965)
Chitralekha(roshan-sahir ludhiyanvi) (1964)
and this
Bahu begum(roshan-sahir ludhiyanvi) for the music,casting,acting and the aura around the legendery stars.

Only in Meri surat teri aankhein and Afsana(1966)
Raakhi(1962),we don`t find meenajii alongwith dadamoni and Pradeep kumar.

any name of the movie is there starring these 3 legends???just for my infromation.

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Prakash ji,

Thanks for the identification and reminder. This is a very important identification, because this person by name ‘Durrani’ who has presented the ghazal ‘Un Ke Khayaal Aaye To Aate Chaley Gaye’ in the film Lal Pathar, is none other than GM Durrani, the famous singer of the 40s and 50s.

As I looked for more details on the net, I came across an almost familiar tale about famous artists and crew members who have fallen on hard times once their assignments dry up or once they get to their senior years. And there is very little support available from industry that they have served. A time in the 40s was that GM Durrani was the idol of Rafi Saab, as the latter was just starting his career. And then in 1971, it is GM Durrani who is lip syncing on screen, a song from Rafi Saab. In his later years, GM Durrani was running a small ‘kiraana’ shop with loan from friends. He passed away in 1988.

Rgds
Sudhir

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sudhir ji,
you are right.There are umpteen number of stories in the industry where once popular actors and singers who rode high once,fell on bad days and were reduced to even begging.many examples come to mind like Master Nissar,Master Bhagwan, etc.
even the singers also faced the same fate.one example I remember is In Rafiq Gaznavi and Pt.Govindram’s Laila Majnu,the main singer was Khan Mastana and Mohd.Rafi was in the chorus.But when the times changed,in K.Asif’s Laila Majnu,Rafi was the main singer and Khan Mastana was in the Chorus !
-AD

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Arun ji,

The examples of this story are abundant in the Hindi film industry. Master Nissar, a hero from the silent films era, who went on to act in films like Indrasabha, Bilwa Mangal, Laila Majnu and Shakuntala in the 1940s, was reduced to being a junior artist by the time 50s came to a close. A singer in his own right, he also ended up lip syncing the qawwali “Aaj Kyun Hum Se Parda Hai” from film ‘Saadhna’ (1958). He was living in a chawl, when he passed away in 1980.

Then there is the actor Parshuram, in the song ‘Ketaki Gulaab Juhi Champa Ban Phoole’ in film ‘Basant Bahaar’ (1956) who lip synced for Bhimsen Joshi. A brilliant actor in Marathi films, he was also reduced to begging in his later years.

Rgds
Sudhir

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sudhirji ,arunji

Please give me some information about VIMMIji(Humraaz,Aabroo,Patanga,vachan) heroine,who died I think a similiar tragic death.

regards

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