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

Aankhon ko ashqbaar kiye jaa raha hoon main

Posted on: April 11, 2013


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

Traditionally, ghazals are supposed to be rendered in a soft voice and in a slow tempo to make the listeners understand the deep meaning behind each words. Ghazals rendered in an appropriate mood can awaken emotional feelings even in a stone-hearted person. Perhaps it was in these context that ghazals were sung in thumri style in the early 20th century, creating a melancholic mood and offering the opportunity for singers to emphasise on some specific words in the ghazals which were important in understanding the meaning in the ghazals. Singers like Begum Akhtar, Kamala Jharia, Master Madan, K C Dey, K L Saigal etc sang ghazals mostly in thumri style.

The thumri style of ghazal singing was being slowly replaced with by geet, qawwali and other light classical forms of ghazal singing from early 1940s. Famous ghazal singers like C H Atma, Mahesh Chander, Jagjit Singh, Ghulam Ali, Rajkumar Rizvi, Vinod Sehgal and most of the playback singers of the golden era of Hindi film music fall in this category.

A few days back, I came across on YT a couple of ghazals sung by Vidyanath Seth in a geet ( light classical) style. I was not aware of his name as a singer. It is stated that he was a regular singer of ghazals, bhajans, geets and Punjabi non-filmy songs on All India Radio, Lahore before partition. After partition, he was posted to All India Radio Jullundhar and later in Delhi. As per myswar.com, he gave playback in only one film ‘Roop Rekha’ (1948) in which he sang five songs. I have no idea about his background but a comment on one of his Punjabi NFSs uploaded on YT says that the commentator saw Vidyanath Seth attending a programme in New Delhi in May 2012 when he was 97. I also saw a couple of his pictures taken in July 2011 when some of his well wishers met him in his residence in New Delhi. He looked physically fit in these pictures.

The ghazal I have referred to above is ‘aankhon ko ashqbaar kiye jaa rahaa hoon main’ (C. 1945). Despite vigorous searching on the internet, I could not get the names of the poet and the composer. Probably a composer from All India Radio may have been associated with this ghazal. From the style of his singing, it appears to me that he may have recorded this ghazal some time before partition. It was mentioned that most of his ghazals were issued on the records of Columbia Gramophone Company.

I have also heard Vidyanath Seth’s other renditions in Punjabi and a bhajan on internet and I can say that his singing style is unique. But when he sings ‘waadaa wafaa karen na karen aap ki razaa’ of the ghazal under discussion at a higher pitch, it sounds close to the voice of K L Saigal to me.

Listen to this beautiful ghazal which I feel was one of the ghazals sung during the transitional period – from thumri style to geet or light classical styles.


Song-Aankhon ko ashqbaar kiye jaa rahaa hoon main (Vidyanath Seth NFS)(1945) Singer-Vidyanath Seth

Lyrics

aa aa aa aa aa
aankhon ko ashq-baar kiye jaa rahaa hoon main
aankhon ko ashq-baar kiye jaa rahaa hoon main
raaz un pe aashiqaar kiye jaa rahaa hoon main

waada wafaa kare na karen aap ki razaa aa
waada wafaa kare na karen aap ki razaa aa
waade pe aitbaar kiye jaa rahaa hoon main
waade pe aitbaar kiye jaa rahaa hoon main

aankhon mein ghoomne lagi ee ee ee ee ee
aankhon mein ghoomne lagi daar-o-rasan ki aas
zulfon pe jaan nissaar kiye jaa rahaa hoon main
zulfon pe jaan nissaar kiye jaa rahaa hoon main

ye kisne mast nazron se dekhaa hai mujh ko aaj
ye kisne mast nazron se dekhaa hai mujh ko aaj
rag rag ko mai-gusaar kiye jaa rahaa hoon main
rag rag ko mai-gusaar kiye jaa rahaa hoon main

imaan ka hashr dekhiye hotaa hai jal ke kya
imaan ka hashr dekhiye hotaa hai jal ke kya aa
ik but ko raazdaar kiye jaa rahaa hoon main
ik but ko raazdaar kiye jaa rahaa hoon main

—————————————————-
Hindi script lyrics (Provided by Sudhir
—————————————————-
आ आ आ आ आ

आँखों को अश्क-बार किए जा रहा हूँ मैं
आँखों को अश्क-बार किए जा रहा हूँ मैं
राज़ उन पे आशीक़ार किए जा रहा हूँ मैं

वादा वफा करें न करें आप की रज़ा
वादा वफा करें न करें आप की रज़ा
वादे पे एतबार किए जा रहा हूँ मैं
वादे पे एतबार किए जा रहा हूँ मैं

आँखों में घूमने लगी ssss
आँखों में घूमने लगी दार-ओ-रसन की आस
ज़ुल्फों पे जान निसार किए जा रहा हूँ मैं
ज़ुल्फों पे जान निसार किए जा रहा हूँ मैं

ये किसने मस्त नज़रों से देखा है मुझको आज
ये किसने मस्त नज़रों से देखा है मुझको आज
रग रग को मय-गुसार किए जा रहा हूँ मैं
रग रग को मय-गुसार किए जा रहा हूँ मैं

इमाँ का हश्र देखिये होता है जल के क्या
इमाँ का हश्र देखिये होता है जल के क्या
इक बुत को राज़दार किए जा रहा हूँ मैं
इक बुत को राज़दार किए जा रहा हूँ मैं

———————————–
Translation (Provided by Sudhir)
———————————–

aankhon ko ashq-baar kiye jaa rahaa hoon main
raaz un pe aashiqaar kiye jaa rahaa hoon main

My eyes keep flowing
With tears (of unhappiness and regret)
An unwittingly
I am revealing my furtive emotions
My secrets to her

(NOTE: Aashiqaar = to reveal

waada wafaa kare na karen aap ki razaa aa
waade pe aitbaar kiye jaa rahaa hoon main

It is a privilege for you
Whether you make me
Any pledges of love, or not
It is an obligation for me
To put my faith in your promises
Made or not made

(NOTE: Razaa = privilege, right, a benefit to enjoy)

aankhon mein ghoomne lagi daar-o-rasan ki aas
zulfon pe jaan nissaar kiye jaa rahaa hoon main

These entwining tresses of yours
Give me visions of a hangman’s noose
Such is my fascination
That I may give up forfeit my being
My existence
For the sake of your curly locks

(NOTE: Daar-o-rasan = the rope of the hangman’s noose

Nissaar = to sacrifice, to give up

ye kisne mast nazron se dekhaa hai mujh ko aaj
rag rag ko mai-gusaar kiye jaa rahaa hoon main

These glances coming my way today
From someone’s eyes full of stupor
Every pore, every vessel in my being
Seems to be getting intoxicated
With this wine (of passionate obsessions)

(NOTE: Mai = wine

Mai-gusaar = soaked in wine, intoxicated

imaan ka hashr dekhiye hotaa hai jal ke kya
ik but ko raazdaar kiye jaa rahaa hoon main

(The obsessions are such
That my creed, my faith
Is losing any meaning for me)
The impudence of the mind says
Lets see what consequences come
Of abandoning my faith
For I am putting my beliefs
In that which is forbidden

(NOTE: A very interesting play on words. The faith (of Islam) prescribes that the mortal remains be interred into the ground. The poet says, let me find out what happens to my faith, if I am burnt, and not interred. The poetic indication is that I am revolting against my own faith, let me see what are the consequences. The idea is built upon further in the second line. ‘but’ is an image, a sculpted figure – a concept that is prohibited in the faith (of Islam). The poet says that he is getting obsessed with a ‘but’, a sculpted figure, flouting the accepted norms of the faith. And once again the concept is the defiance of the accepted norms of the faith, to see what the consequences could be.)

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13 Responses to "Aankhon ko ashqbaar kiye jaa raha hoon main"

I think the words are like these :

aankhon ko ashkbaar kiye jaa rahaa hoon main
‘ raaz unn pe aashikaar ‘ kiye jaa rahaa hoon main

aashikar = to reveal, open

ye kisne mast nazron se dekhaa hai mujh ko aaj
‘ rag rag ‘ ko main gusaar kiye jaa rahaa hoon main

imaan ka hashr dekhiye hotaa hai ‘ jal ke ‘ kya aa
ik but ko raazdaar kiye jaa rahaa hoon main

Thanks for going through the ghazal.
You may be correct about the words ‘raaz unn pe aashikaar’.
and ‘rag rag’. In fact the latter was more a mistake of spelling urdu word in roman like ‘ham’ to ‘hum’.

I however get to hear ‘jal ke’ as ‘kal ke’.

‘rasal(?)’ or ‘rasaal’ may be correct..

The word ‘ daar-o-rasal ‘, appears to be correct, but I am not sure what it means.

aankhon mein ghoomne lagi daar-o-rasal ki aas
zulfon pe jaan nissaar kiye jaa rahaa hoon main

‘daar-o-rasal’ = ways of greater contact or communication, or various level of contact.

Kamathji, your this post has inspired me to write to you about an NFS I have been looking for since many years. Everybody has heard the song MUJHKO IS RAAT KI TANHAAI MEN AWAAZ NA DO by Mukesh from the film Dil bhi…….penned by Shamim Jaipuri and composed by KA. But this very song, prior to it was used for the film, was sung by,if I mistake not, Talat Mahmood. We did not have even a radio at that time in 1960 but I have heard it many times on the Gram Panchayat radio and to this day I remember its tune which was quite different from from the film song. Sadly, nobody knows this song now, not even Khalid Mahmood or Harmandirsingh Hamraj. Both Talat Saab and Shamimji have left the world. I therefore request you and the very very knowledgeable readers of the blog to please unearth this NFSong and post it here. I will be more than obliged, sir.

Mujhko is raat ki tanhaai main was sung by Vidyanath Seth and not by Talat Maehmood

Aasi is papi so how come aasikar is to reveal which is a verb but aashikar is noun. Ashka> ashqa.

Sadanand ji,

I have added the translations, best as I can decipher, plus using some of the inputs that Nahm ji has already posted.

Please see.

Rgds
Sudhir

Dear Sudhir,
Thanks a lot for English translation of the ghazal and also some corrections in the lyrics while translating them.

Now I am enjoying this ghazal much more than when I heard for the first time before the start of the write-up. I was confused in understanding the last she’r because of the use of words like ‘jal’ and ‘but’. The translation makes it very clear the contexts in which these words have been used.

I get very disappointed when I do not get to know the name of poets of ghazals and geets which I like. The same is with this ghazal which must have been penned by a shaayar of high stature.

Warm regards,

Sadanand ji

Thanks for your message of appreciation. Let me try to see if I can locate the original record of this song with any of my collector friends. I will let you and Atul ji know if I find more information.

An additional comment, about Vaidyanath ji attending a program in Delhi in May 2012. I also was at this very program, and I had the good fortune of being introduced very briefly to him. I paid him my respects by touching his feet, and he happily blessed me. The program was ‘Yaadon Ka Safar’ presented by Nalin ji Shah of Bombay. It was organized by Shri Amarjit Singh Kohli of Delhi.

Rgds
Sudhir

The words are ‘daar-o-rasan’ not ‘daar or rasal’. ‘Daar’ means the hangman’s scaffolding and ‘rasan’ means the hanging rope.

I would like to listen to this singer’s following songs:
‘Main lagi dil ki bujha loon to chale jaaiyega’ (Ghazal) and ‘Balama, balama, balama, chori chupke aana koyi dekhe naa.’ Can your enthusiasts find these very good songs?

RIP to singer Vidya Nath Seth (Feb 29, 1916 – Jun 17, 1999)

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