Ye jag hai pardes bande
Posted on: June 4, 2025
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Today’s song is from the Mythological film Maya Machhindra-1951.
Made by Super Pictures, it was directed by the owner of the banner, Aspy Irani. The MD was Premnath and the songs were written by Manohar Khanna (father of Music Director Usha Khanna), Neelkanth Tiwari and Ram Murthy. The cast included Surendra, Nirupa Roy, Trilok Kapoor, Usha kiran, Parshuram, Rajni, Ameerbai, Child artiste Master Vinod (who became a Hero in his adulthood, known as Vinod Mehra) and others.
The 50’s decade was famous for two things. One – Melodious songs and Two – Mythological films – 124 in 10 years, from 1951 to 1960. Mythological film is nothing new to Hindi films, but besides the Hindu Deities, films on other religions or sects were very few. Films on Christians, Muslims, Sikhs, Parsis, Jains, Boudhs and Jews etc could be counted on fingers.
India is called ” Unity in Diversity” not for nothing. It has 28 states and 8 UTs (each speaking different language ), 22 Major Languages and 1500 other languages and dialects spoken by a sizable population. Every religion has several sects ( Sampradaya-संप्रदाय ) including the major religions (Hindu, Muslim, Christians, Sikhs etc) with millions of followers. Among Hindus, there are 2 major sects- Shaiva and Vaishnav, followers of Shiva and Vishnu respectively. Even these sects have sub-sects. Even Gods are victims of divisions in India !
When I was about 6 to 7 year old, during the visits to my Naani’s (maternal grandmother’s) home in a village in Marathwada, I used to hear a typical call, ‘ Alakh Niranjan ‘ every morning, from the gossain, who stood outside the door. Someone from the house used to give uncooked food material like rice, wheat or jowar. Even wheat atta was given. These gossains had a jholi (a spacious carrying bag made of cloth), having 4-5 compartments and they would expertly add the bhiksha to the appropriate compartment. They never took money. These people were the disciples of Nath Sampraday and used to visit a fixed number of houses for Bhiksha. They were also called by the name avadhoot (अवधूत) (a mystic or a saint who is beyond ego-consciousness, duality and common worldly concerns).
A brief description of the Nath Sampradaya . It is likely that some of our readers may not be familiar with the details behind these names. In the Hindu Sanaatan traditions the worship of Lord Shiva is called Shaivism and the worshippers and followers of Lord Shiva are called Shaivs. Nath Sampradaya is a sub tradition within Shaivism. The followers of this tradition consider Adinath or Lord Shiva as their first Lord. The word Nath implies Master. In this tradition, there is a lineage of nine Gurus or Teachers. The form of sadhna practiced by the followers of this tradition is called Hatha Yoga (हठ योग).
The first Guru in this lineage is Matsyendra Nath, who is better known as Machhindra Nath (मच्छिंद्रनाथ). The traditional history recounts that Matsyendra was born under an inauspicious star. This warranted his parents to throw the baby into the ocean. In the ocean the baby was swallowed by a large fish, and he lived and grew up inside the belly of the fish, for many years. The fish swam to the bottom of the ocean where Lord Shiva was imparting the secrets of yoga to Mata Parvati. Matsyendra overheard this discourse and learnt the secrets of yoga. He began to practice this yog sadhana inside the fish’s belly. After twelve years he finally emerged as an enlightened Siddha.
There is a list of Nine Nath Gurus, who are called Navnath. The first Nath Guru is Machhindra. The complete list is as follows
Machhindranath
Gorakhnath
Jalandhar Nath
Kanif Nath (Kanhoba)
Gahini Nath
Raja Bhartrihari Nath (Bharthari)
Revan Sidha Nath
Charpati Nath and
Naag Nath.
The stories surrounding every Nath Guru, especially the earlier ones, are very exciting, thrilling and entertaining. One must read them from the original Nath Puraan or NavNath Pothi. I have read all of them. These stories are in no way less than any Arabian Night stories. Due to their entertainment value, several films in several languages have been made on the early Gurus like Machhindranath and Gorakhnath. Films on Machhindranath were made as ‘Maaya Machhindra’ in Hindi, in 1932, 1951, 1960 and 1975. Films on Gorakhnath as ‘Alakh Niranjan’, were made in 1940, 1950 and 1975. Films on Bharthari were made in 1932 and 1944. Films on other Naths were made as ‘Raja Gopichand’ in 1933, 1938 and 1950. Same way films on Naths in Telugu, Tamil, Gujarati and other languages were also made. There could be some more films also on this subject.
Maaya Machhindra was a favourite story with film makers. Films with the same title were made in 1932, 1951, 1960 and 1975. Not only in Hindi, but this theme was used by almost all other Language films-particularly in southern languages. It is curious to note that Movies made on this story in Telugu and Tamil saw all major and top class actors of these language movies acting in them. But the Top actors of Hindi movies considered it below their dignity to act in Religious or Mythological films. In South Mythological films are also ‘A’ grade, while in Hindi such films are regarded as ‘B’ or ‘C class films.
Maaya Machhindra was a Super pictures presentation, directed by Aspy Irani. The music was by Music Director Premnath. Now,Premnath is different from actor Premnath. But many writers and sites mention them as one. This is a case of ” Same Name Confusion”. Here is information about Music Director Premnath for our readers.
PREMNATH the Music Director was born on 5-7-1918 in Gujranwala, Punjab. He learnt music from experts in Amritsar, Multan and Lahore. He acted in films like Shahr-e-khamoshi and also sang in Sohni Mahiwal-1938.
After marriage, he moved to Bombay. His first film as a Music Director was Rangbhoomi-1946. In this film ,a novice Mohd. Rafi sang many songs for him. His other films were Dharti-47, Chandrahas-47, Sagar’s Pehla pyar-47. He then produced a film “Chand sitare”-48 under the banner of Ravindra Art productions. Mukesh, Lata and Geeta Roy sang in it. In the film ‘Alakh Niranjan’-50, he used Mohd. Farooqi, Sulochana Kadam and Rajkumari.
Premnath gave music to many films of Super pictures of Aspy irani like Bade Bhaiya-51 and Maya Machhindra-51, in which Surendra, Geeta, Rafi and Shamshad sang. Another of his films ‘Qatil kaun’ in late 50s was not released. Rafi, Asha, Manna Dey, Mubarak Begum and Shamshad had sung songs for this movie.
With time, numbers of his films diminished. Sati vaishalini-59, Main hoon jadugar-65 and Tarzan in Fairyland-68 were his last films. After he stopped work as a Music Director, he devoted his time for the welfare of Cine Artists as a trade union leader. He served as Secretary of the music directors association for 30 years. He died in the first week of may-1993 at the age of 75 years.
The mention of NATH SAMPRADAYA is available in Shiv Puran, Bhagwat puran, Mahabharat and some Upanishads too. It combined Bhakti, Gyan and Yoga. Only the Yoga part was understood by the common people and all the Naths were revered as great Yogis with special powers.
The story of MAAYA MACHHINDER was that Saraswati, a rich woman without issues goes to Machhindranath and begs for his blessings. He gives her BHASMA(Magic Powder). Not happy with this ,the lady keeps the Bhasma in an empty dust Bin. In due course a child is born in the dust bin. It is named as GORAKHNATH (born from Raksha-Bhasma-Powder).
After 12 years Machhindranath comes there with a loud call” Chalo Gorakh, Machhinder Aaya “. He takes him away as his disciple and teaches him bhakti. Time comes to give him the Gyan. Machhindranath tells him that he will go to the STREE RAJYA (Women’s Kingdom) to Tilottama, to convert her. But once he goes there, he is swayed by her beauty and marries her forgetting his vows of celibacy.
When Gorakhnath learns about this he decides to bring his Guru back. He secures entry into the kingdom through a dancer called Kalinga. Instead of meeting Guru directly he waits till the celebrations of VASANTOTSAV begins. Then Gorakh changes himself as a woman and goes to the darbaar along with Kalinga-the dancer. While she dances Gorakhnath plays the Mridung in such a way that the call of “CHALO MACHINDRA GORAKH AAYA” is produced loudly. Machhindranath hears it and suddenly comes to his senses.
When both try to leave, Tilottama captures them and beheads Gorakhnath. His head tumbles down far off. After this Machhindranath restores his head-it comes flying and sits on his shoulders.(all the audience in the theatre would clap and whistle loudly in joy). Then he explains to Gorakhnath that nothing is real and all this is his Maaya jaal to teach Gorakhnath the Gyan of the truth………
The trick scenes of this film were superb and people must have seen the film several times in 1951. I saw this film almost 2 years later but I remember I was thrilled to see the scenes. After this film the dialogue of CHALO MACHHINDER GORAKH AAYA became very popular and was used by people for fun.
The hero of the film was Surendra. It was a coincidence that he had also acted in another film on Nath Sampraday- Bharthari-1944. Surendranath Sharma was one of those rare artistes who did not have to struggle for entry into films as a Hero. On the contrary,he had to be cajoled and convinced to join films. As a lucky person,he had those 3 things with him,which the Industry was looking for in every entrant to the films. ONE- He was very handsome. TWO-He was a singer. And THREE- He was educated and from a respectable family.
Surendranath Sharma was born on 11.11.1910 to Shri Reliaram and Ratan Devi Sharma of Punjab. He and his sister Sheela, both were fond of singing. When he was just 8 years old, his mother died and he was put into a Boarding school. Surendranath did his B.A. and was completing his LL.B. He used to sing in private parties and functions as well as college shows.he considered singing as his Hobby.
Those were the days when every studio in Bombay was worried as to how to counter the assault from the films made in Calcutta, with K L Saigal singing in them. Saigal was becoming a national favourite. These studios from the west were looking for an answer to Saigal, and were desperately searching for a singer of calibre. One of the scouts, Alopi Prasad,heard Surendra singing in a private party. He was impressed with the handsome personality of Surendra. He contacted Surendra and persuaded him to come to Bombay with him.
After his LL.B.,Surendra came to Bombay. Bombay was ecstatic with his looks and singing and immediately Sagar Movietone signed him on a princely salary of Rs. 400/- pm on their rolls.In those days this was a fabulous salary.(consider, Ashok kumar had started on Rs.100 and after 3 Hits in Bombay Talkies, was mad with joy when his salary increased to Rs.250/-p.m. ! He did not know where to keep this ‘huge’ amount, till his friend Manto suggested he keep it in the Post Office.).
Director Mehboob Khan took him as Hero in his film ” Deccan Queen “-released in 1936. Aruna devi was his Heroine. In this film itself,he was made to sing a song ” Birha ki aag lagi more man mein”,on the tune of Saigal’s famous song from Devdas-35,” Balam aye baso more man mein”. The composer Pransukh Nayak ( a ‘Dada’ in Gujarat stage and film field) tried his best to make Surendra’s singing style as Saigal’s copy.
But Surendra was an astute artiste. He soon realised that copying Saigal was not going to take him anywhere and so from his next film-Manmohan itself, he tried to develop his own style. Lo and Behold ! The songs of Manmohan-36, particularly,” Tumhi ne mujh ko prem sikhaya”-with Bibbo, became an instant Hit. All songs composed by Ashok Ghosh were popular. SURENDRA had arrived ! Then there was no looking back. Surendranath became one of the major singers of Indian Films. The period of 1936 to 1948 was his Golden Period in singing.
After 1948, he got many competitors like Rafi, Mukesh, Talat, Batish etc. By 1954, his singing diminished to a great extent. Actually Naushad-who once, patronised him so much, did not give even a single song to Surendra in the film Baiju Bawra-52. On the contrary, he was made to lip sync his songs in this movie !
In 1954, he did his last Hero’s role in ‘Mahatma Kabir’. he continued doing character roles till ‘Kunwara Baap’-73. He was last heard in a song with Manna Dey and Mehmood in the film-Pati Patni-1966. . He acted in 73 films in all. His first film as an actor was Deccan Queen-1936 and the last film was Kirayedar-1986….a long period of 50 years ! He also sang 152 songs in 40 films. His first song was in the film Deccan Queen-1936 and the last song was in the film Pati Patni-1966….a long period of 30 Years ! After films, he wisely established a Short films and Ad films production company, which soon prospered after the advent of Television in India. Surendranath Sharma died on 11-9-1987 at Bombay. His son Kailashnath continued with Ad films and soon became a very successful producer.(His company had produced ‘Mile sur mera Tumhara’ and other national integration films.) .
Enjoy today’s 74 year old song by 41 year old Surendra….
Song- Ye jag hai pardes bande(Maaya Machhindra)(1951) Singer- Surendra, Lyricist- Neelkanth Tiwari, MD- Premnath
Lyrics
ye jag hai pardes bande ae ae ae
ye jag hai pardes
jaana hai pee ke des bande ae ae ae
ye jag hai pardes
jhoothhee hai is jag kee maaya
jhoothhee hai is jag kee maaya
teree kaaya baadal chhaaya
teree kaaya baadal chhaaya
kaal lutera lootey umariya aa haay
kaal lutera lootey umariya
?? ka bhed bande ae ae
ye jag hai pardes
jaana hai pee ke des bande ae ae
ye jag hai pardes
teree nagree chor kee nagree
kapat bharee haay dagree dagree
sar pe gathhdee laade laade
sar pe gathhdee laade laade
pake hain tere kesh bande ae ae
ye jag hai pardes
jaana hai pee ke des bande ae ae
ye jag hai pardes
tootee naav pe tu hai baithha
tootee naav pe tu hai baithha
bhavsaagar mein ainthha ainthha
bhavsaagar mein ainthha ainthha
sun koyee door kinaare se hai ae ae
sun koyee door kinaare se hai
bhej raha sandes bande ae ae ae
ye jag hai pardes
jaana hai pee ke des bande ae ae
ye jag hai pardes
ye jag hai pardes
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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