Archive for the ‘Translation by Sudhir’ Category
Janaab e Naaseh Samajhte Hain Hum
Posted on: August 23, 2018
- In: Biography of Actor-Singer | Biography of artists | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lover's Complaint | Lyrics contributed by readers | Master Fida Hussain Solo Song | Master Fida Hussain Songs | Post by Sadanand Kamath | Rare song | Songs of 1940s (1941 to 1950) | Songs of 1941 | Translation by Sudhir | Translations by readers | Vagaries Of Love | Yearwise breakup of songs
- 4 Comments
This article is written by Sadanand Kamath, 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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3688 | Post No. : | 14595 |
In the sphere of Parsi Theatres, there were many artists who had contributed in the growth of Indian theatres. But there were few personalities and artists associated with Parsi Theatres whose contributions led to its strong foundation. Some theatre scholars whose specialisation is in South Asian theatres, regard Agha Hashr Kashmiri (Writer-Director), Pandit Narayan Prasad ‘Betab’ (Writer-Director), Radheshyam Katha Vachak (Writer-Director), Master Fida Hussain (Actor-Singer) and Jaishankar Bhojak, popularly known as Jaishankar Sundari (Actor-Singer) as the pioneers in developing the Parsi Theatres.
I have already covered in our blog, the life sketches of Pandit Narayan Prasad ‘Betaab’ in the post, “Abroo Ki Kamaanon Mein”, of Agha Hashr Kashmiri in “Yaad Mein Teri Jahaan Ko Bhoolta Jaata Hoon Main” and Pandit Radhe Shyam Katha Vachak in “Ye Suna Hai Maine Jaadu Hai”. In this article, I am presenting a brief biography of the fourth artist, Master Fida Hussain, the actor-singer.
Before I embark upon covering Fida Hussain’s biography, I wish to share with the readers that his biography was an oral history of his association of 50 years with Parsi Theatres as told to Pratibha Agrawal, a theatre scholar and connected with the Natya Shodh Sansthan, Calcutta (Kolkata). The oral history she collected from Fida Hussain during their sitting of 15 days was published verbatim in Hindi in 1986 with comments from her. There is no sequencing of the events spread over 50 years of his theatre days.
The English translation of his biography ‘Parsi Theatre Main 50 Varsh’ (1986) was published as one of the chapters in a book ‘Stages of Life’ (2011) by Kathryn Hansen, a leading scholar of South Asian theatre history. What I have done is more like an abstract writing of the biography sourced from this book with my comments wherever necessary. There are many interesting trivia and anecdotes revealed by Fida Hussain during his oral submission which I have avoided in my write-up to make the presentation of the biography as short as possible.
Fida Hussain (11/03/1899 -1999) was born in Muradabad (UP) in an conservative family. Right from childhood, Fida Hussain was fond of singing. It is quite likely that he got interested in singing because of the travelling theatres and nautanki groups that visited his town. Fida Hussain’s father and uncle did not like his interest in singing. Almost every day, the young Fida Hussain used to get beatings from his uncle for singing, though his father despite the dislike for the singing and music, spared him from beating.
But the more beatings he got, his fondness for singing increased. He also started watching the free shows of nautanki (folk theatre) which culminated into his love for the acting as well. This enraged his married elder brother who instigated his wife to do something to affect his voice. One day, she served him paan with vermilion powder which resulted in loss of his voice for nearly six months. After getting his voice back thanks to a visiting Sadhu who gave him some prescriptions, Fida Hussain started attending nautanki shows with a greater vigour than before.
In 1917, Fida Hussain joined a local drama club and got training for six months before being given a female role in the drama ‘Shahi Faqeer’. In this way, the path toward theatre opened for him. Soon, with the recommendation of his local drama club’s President, he went on to join the New Alfred Theatrical Company which was touring around Delhi for staging ‘Veer Abhimanyu’. In January 1918, Fida Hussain ran away from his home in Muradabad for Delhi leaving his newly married wife at home.
The New Alfred company never employed female actors. Hence the female roles were performed by the male actors like Master Nissar. Fida Hussain also got mostly the female roles in New Alfred.
Once when New Alfred was staging a show in Meerut, one of the boys from his neighbourhood recognised Fida Hussain and promptly reported the matter to his father. His father-in-law promptly lodged a complaint with police and an arrest warrant was issued. This entire episode is too big to cover here. The conclusion of this episode was Fida Hussain got a reprieve from his father, who allowed him reluctantly to continue with his passion after getting assurances from him that he would never indulge in intoxication (of any form), gambling, always keep high morality and keep in touch with his family by visiting his home town.
With his domestic issues getting resolved amicably, Fida Hussain could now concentrate fully on theatres. His association with New Alfred continued until it closed down in 1930. His most popular dramas under New Alfred were ‘Parivartan’ (1922), ‘Veer Abhimanyu (c 1923), ‘Parambhakt Prahlad’ (c 1923), ‘Shri Krishna Avatar’ (1924-25), ‘Ishwar Bhakti’ (1928), ‘Laila Majnu’ (1930). Except for ‘Laila Majnu’, Fida Hussain played the female roles in all these plays.
In the 1930s and 1940s, Fida Hussain got associated with many theatre companies all over north, east and west India, the prominent being Alfred, Madan (pronounced as Maadon), Sahajahan, Narsi, Mohan and finally taking up the reins of Moonlight Theatre owned by Marwadi brothers in Calcutta (now Kolkata). During this period, Fida Hussain worked in ‘Nal Damyanti’, ‘Yahudi Ki Ladki’, Khoobsoorat Balaa’, ‘Seeta Banvas’, ‘Chalta Purza’, ‘Bhakta Narsi Mehta’, ‘Bharat Milap’, ‘ Krishna Leela’ and many more.
In 1939, he donned the title role of Narsi Mehta in the play ‘Bhakt Narsi Mehta’. The play became a hugely popular hit and it played for over 1000 nights. Because of this, Fida Hussain was honoured with the title ‘Narsi’ which he proudly used as suffix to his name as Fida Hussain ‘Narsi’.
With the advent of talkies, Fida Hussain, like many other artists from theatres, was associated with a few Hindi films during 1934-46 as an actor-singer. The first film he worked was ‘Ramayan’ (1934) followed by ‘Insaf Ki Tope’ (1934), ‘Kunwaari Ya Vidhwa’ (1935), ‘Diljaani’ (1935), ‘Dil Ki Pyaas’ (1935), ‘Daku Ka Ladka’ (1935), ‘Balidaan’ (1935), ‘Khudaai Kitmadgaar’ (1937), ‘Matwali Meera’ (1940), ‘Bambaiwaali’ (1941), ‘Arabian Nights’ (1946) and ‘Toote Sapne’ (1946, Unreleased).
Except for ‘Bambaiwaali’ (1941) which was produced in Bombay (Mumbai), rest of films in which Fida Hussain worked were produced in Calcutta (Kolkata) where he was associated with Moonlight Theatres. I find that barring one or two films, he had small roles in rest of his films. It is quite possible that due to his immense popularity on stage as an actor-singer, the producers of the films may have taken him in their films to attract his large fans to watch the films. My guess is that Fida Hussain did not have much interest for working in films as his heart was with the theatre.
Fida Hussain continued his association with Moonlight Theatres, Calcutta (Kolkata) where he was the boss. The owners (4 Marwadi brothers) did not interfere in any aspects of the Moonlight Theatre so long as they earned profit from this venture. I am surprised as to how Fida Hussain could successfully compete with Hindi films and ran the Moonlight Theatres profitably in the 1950s and 60s. In 1968 when Fida Hussain completed 50 years in Parsi Theatre, he decided to retire from the theatre activities and spend rest of his life with his extended family in Muradabad. With his retirement, the Moonlight Theatre was closed and with this the glorious years of Parsi Theatre came to an end.
However, Fida Hussain remained busy during most of his post-retirement years. Being the only living legend of Parsi theatres, his knowledge about the old theatrical styles were utilised for those interested in theatre. He became a regular visiting faculty for the National School of Drama, New Delhi until 90s. He also conducted workshops for students who were pursuing their interest in the theatre. He was often one of the invitees on symposium and seminars on Indian theatres. In 1985, Fida Hussain received the Central Sangeet Natak Akademi Award in recognition of his contributions to Indian theatres. In 1978, he had received the Uttar Pradesh Sangeet Natak Akademi Award for acting. Fida Hussain passed away in the year 1999.
Fida Hussain may be one of the few theatre personalities who commanded not only the respect but also kept his reputation high even during his poet-retirement years. He was also one of a few artists who judiciously used his earnings to create a bright future for his two sons and two daughters. At the time of his death, Fida Hussain was the owner of two brassware business firms in Muradabad which were run by his two sons.
During his theatre days, Fida Hussain recorded more than 200 songs with HMV. However, his filmy songs are few (may be less than 20) and it seems some of them were not issued on gramophone records. Very recently, I could get hold of his two songs from the film ‘Bambaiwaali’ (1941) which I have uploaded on the video sharing platform.
I am presenting here one of the songs. “Janaab e Naaseh Samajhte Hain Hum’ from ‘Bambaiwaali’ (1941) sung by Master Fida Hussain. There were 7 songs in the film, all written by Wahid Qureshi which were set to music by Madhulal Damodar Master.
‘Bambaiwaali’ (1941) was produced under the banner of Wadia Moveitone and was directed by Homi Wadia. The star cast included Nadia, John Cawas, Radha Rani, Sardar Mansoor, Boman Shroff, Dalpat, Fatima, Minoo Cooper, Nazira, Mithu Miyan, Gunboat (Dog) etc. The story of the film in short is as under:
A village is being exploited by a capitalist racketeer. The villagers are being convinced to sell their land to the capitalist. Everything seems to be going smooth for the capitalist until Nadia (Bambaiwaali) who returns to her village after completing her education in Bombay (Mumbai). She opposes selling land to the capitalist for which the women folks of the village support Nadia. Now the conflict turns between the greedy men of the village and their women folks who love their land more than the money.
Nadia with her two henchmen, a dog and even a rickety motor car became the part of thrilling and sometime hilarious situations to catch the racketeers. Women are trained to use laathis for self-defence. With this, Nadia establishes that village women have equal say in decision making. Capitalist’s game plan is defeated. (Source: Filmindia, September 1941).
Anyway, there is a subtle message in the film story about women’s emancipation in the guise of a wholesale entertainment.
Master Fida Hussain had a very deep voice probably due to his loud singing on the stage in the absence of microphone those days. This is reflected in his singing the filmy songs including the one under discussion. In this song, his singing style is a fusion of ghazal, qawwali and classic style of singing of 1930s.
With this song, ‘Bambaiwaali’ (1941) makes a debut in the Blog.
=================
Translation by Sudhir
janaab e naaseh samahjte hain hum
wo sangdil hain jafaa karenge
o learned advisors (please know)
that am aware they have hearts of stone
and will betray the trust in love
[naaseh = learned person, advisor;
sangdil = one with a heart of stone;
jafaa = betrayal of trust]
mithaa hi denge jahaan se hamko
aur iss se badkar wo kya karenge
they may destroy us
and banish us from this world of living
but alas, that is the utmost
that they can achieve
apni ye zulfen balaa karenge
apni ye zeben ada karenge
magar haseenon se ye to poochho
jo hum na honge to kya karenge
they may arrange their tresses
to afflict disaster on our hearts
they may present their graces and beauty
but hey, ask of these enchanting ladies
what use is this beauty and charm
if we are not there (to appreciate)
[balaa (बला) = calamity, adversity;
zeb (ज़ेब) = grace, beauty]
nazar alahda hai har bashar ki
khuda kasam hai apni
jo humko dete hain bad’duaaen
hum unke haq mein duaa karenge
every person has a different perspective
in the name of Allah, the Almighty
those who may curse us
we still will seek blessings for them
[alahda = different, separate;
bashar = person, individual;
duaa = blessing;
bad’duaa = curse]
Song – Janaabe Naaseh Samajhte Hain Hum (Bambaiwaali) (1941) Singer – Master Fida Hussain, Lyrics – Wahid Qureshi, MD – Madhulal Damodar Master
Lyrics
aaaa aa aa
aa aaaaa aaaaaaa
aaaa aaa aa aa
janaab e naaseh..ae
samahjte hain hum
janaa..aab e naaseh..ae
samahjte hain hum
wo sangdil hain jafaa karenge
wo sangdil hain jafaa karenge
mitaa hi denge..ae
jahaan se hamko
mitaa hi denge..ae
jahaan se hamko
aur iss se badkar wo kya karenge
aur iss se badkar wo kya karenge..ae
wo kya karenge
wo kya karenge
aur iss se badkar wo kya karenge..ae
apni ye zulfen balaa..aa..aa karenge
apni ye zeben ada karenge
magar haseenon se ye to poochho
aaaa aa
magar haseenon se ye to poochho
jo hum na honge to kya karenge
jo hum na honge to kya karenge
aa aa aa aaa
nazar alahda
hai har bashar ki..ee..ee
nazar alahda
haan nazar alahda..aa
haan nazar alahda
haan nazar alahda
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa
nazar alahda hai har bashar ki..ee
khuda
khuda aa aa aa
kasam hai apni
jo humko dete hain
bad’duaaen
jo humko dete hain bad’duaaen
hum unke haq mein duaa karenge
hum unke haq mein duaa karenge..ae
janaab e naaseh samahjte hain hum
wo sangdil hain jafaa karenge
wo sangdil hain jafaa karenge
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
आsss आ आ
आ आssss आssssss
आsss आss आ आ
जनाब ए नासेह॰॰
समझते हैं हम
जना॰॰आब ए नासेह॰॰ए
समझते हैं हम
वो संगदिल हैं जफा करेंगे
वो संगदिल हैं जफा करेंगे
मिटा ही देंगे॰॰ए
जहां से हमको
मिटा ही देंगे॰॰ए
जहां से हमको
और इस से बढ़ कर वो क्या करेंगे
और इस से बढ़ कर वो क्या करेंगे॰॰ए
वो क्या करेंगे
वो क्या करेंगे
और इस से बढ़ कर वो क्या करेंगे॰॰ए
अपनी ये ज़ुल्फें बला॰॰आ॰॰आ करेंगे
अपनी ये ज़ेबें अदा करेंगे
मगर हसीनों से ये तो पूछो
आss आ
मगर हसीनों से ये तो पूछो
जो हम ना होंगें तो क्या करेंगे
जो हम ना होंगें तो क्या करेंगे
आ आ आ आss
नज़र अल्हैदा
है हर बशर की॰॰ई॰॰ई
नज़र अल्हैदा
हाँ नज़र अल्हैदा॰॰आ
हाँ नज़र अल्हैदा
हाँ नज़र अल्हैदा
आ आ आ आ
आ आ आ आ
आ आ आ आ
आ आ आ
नज़र अल्हैदा है हर बशर की॰॰ई
खुदा
खुदा॰॰आ॰॰आ
कसम है अपनी
जो हमको देते हैं
बद्दुआयें
जो हमको देते हैं बद्दुआयें
हम उनके हक़ में दुआ करेंगे
हम उनके हक़ में दुआ करेंगे॰॰ए
जनाब ए नासेह समझते हैं हम
वो संगदिल हैं जफा करेंगे
वो संगदिल हैं जफा करेंगे
This article is written by Bharat Upadhyay, 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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3652 | Post No. : | 14504 |
ASAD 10th Anniversary Celebrations – 12
———————————————————————
For TEN year old ASAD, my hearty congratulations and happy B-Day to the Musically Singing Blog.
The lion’s share of the congratulations for this celebration goes to Atul ji, for starting and sustaining this blog, and words cannot describe our gratitude for that. The blog has also brought together many music lovers and I have found some real ‘gems’ of friends in them. Atul ji, thanks again for that too.
I wish to celebrate with the members who like real GOOD Music with this RARE jugalbandi of Talat Mehmood and Mukesh. It is an NFS Gazals and is one a rare set which are classified as ‘ham-radeef ghazalein‘; which means a pair of ghazals in which a phrase of couple or more words at the end of each she’er is the same, even in when the ghazals are written by different sha’ayars.
I strongly believe – “Hain Sab Se Madhur Wo Geet Jinhen Hum Dard Ke Sur Mein Gaate Hain“. And so I have included these two ham-radeef ghazals, in this celebration series. Some members may classify such songs as ‘melancholy‘. (By the way I hate to describe a song by that word. I prefer to call them ‘full of pathos’, instead). As my personal choice, I enjoy and prefer them to ‘chaalu’ songs. Recently Arunbhai mentioned on Facebook – “When you are happy, you enjoy the music. But, when you are sad, you understand the lyrics.” Since this is lyrics emphasising presentation, I am justified to present it for an Event Celebration.
Coming back to the ‘ham-radeef‘ ghazals presented today. It is from a really rare album bearing same name from Saregama (or was it ‘HMV’ and then ‘RPG’ as it was called in different periods of time). Great, but less heard music director Murli Manohar Swaroop not only searched out the ‘similar ending words’ ghazals, but also gave melodious and appropriate tunes to them. The extended play record (called EP, for the knowledge of younger generations) contains four pairs of such ‘ham-radeef’ ghazals.
On this EP, three such pairs are by Talat and Mukesh and one is by Talat and CH Atma. Shri Sadanand Kamath from our group has already presented one Talat-Mukesh ‘ham-radeef‘ pair of ghazals on our musical blog. This is the second one out of those four and ‘Prabhu krupa’ permitting, I shall present them, unless someone beats me in the race.
As you can see, the lyrics have all the she’ers ending with the words “kyun ho“. That is the beauty of ‘Ham-Radeef’ ghazals. Two poets, Ghalib and Daagh Dehlavi, in different time period have written them. Two sweetest voices of OUR music world, Talat Mehmood and Mukesh have rendered them in different tunes. I call it nothing less than the marvel of the composer Murli Manohar Swaroop.
Meanings and Translation (Provided by Sudhir)
————————————————————
kisi ko de ke dil koi nawah-sanj-e-fughaan kyun ho
na ho jab dil hi seene mein to phir munh mein zubaan kyun ho
nawah = lamentations, poems on tragedy of karbala
sanj- = serious, sad, gloomy, depressed; as in sanjeedah / संजीदा
fughaan = lamentations, cry of distress
Once the heart is given to someone else
Why then lament with regret and distress
For, when the heart is given over, and is not in your bosom
How then there be a tongue in your mouth
[The poet is emphasizing that when the heart is given to someone else, then we have lost the right to complain or be regretful. We gave over our heart by our own sweet will. Then where arises the question to be distressed, or to raise a voice of complain.]
jo dil qaaboo mein ho to koi ruswaa e jahaan kyun ho
khalish kyun ho, tapish kyun ho, qalaq kyun ho, fughaan kyun ho
qaaboo = in control; in possession
ruswaa = infamous, disgraced, having a bad reputation
ruswaa e jahaan = having a bad reputation in the society, amongst ones social circle
khalish = irritation, enmity, antagonism
tapish = heat, burning, agitation
qalaq = rgret, pain
fughaan = lamentations, cry of distress
If heart is safe within our own posession
There is no fear of being disgraced, disreputed within one’s social circle
There will be no irritation, no agitation, no regrets, no cries of distress
wafaa kaisi kahaan ka ishq jab sar phodna thehra
to phir ae sangdil tera hi sang e aastan kyun ho
wafaa = faithfulness, keeping a promise
sangdil = person with a heart of stone
sang = stone
aastan = abode, threshold (in context of an entrance), दर, दरवाज़ा
sang e aastan = stone step at entrance; an abode made of stone
What be that love, and what good being faithful to such love
If love means breaking one’s head against stone
And if love does mean breaking one’s head against stone
Then why, O stone hearted one
Be that stone of your abode, of the entrance where you be
[The poet’s indication is towards the heart of the person, which is itself being compared to stone; for the heart is where one’s living force is; where one lives.]
bahut niklenge roz e hashr tere jaur ke kwaahaan
sitam ka hausalah duniya mein shart e imtihaan kyun ho
roz = day
hashr = final outcome, the final judgement
roz e hashr = the Day of Judgment; qayaamat; End of the World
jaur = tyranny, oppression, evil deeds
khwaahaan = wishes, desires
sitam = tyranny, injustice
hausalah = courage, capacity
shart = condition
imtihaan = trial, test
On the Day of Judgment
All the mis-deeds and offences of injustice
That you desired, will be exposed
Why then your courage for being cruel and merciless
Be a condition for your trials (today)
[The poet lays his faith on the final Day of Judgment, that an evil doers deeds will be exposed and dealt with accordingly, so why the courage and the capacity of an evil doer to torment and persecute others be a matter of examination today.]
qafas mein mujhse roodaad e chaman kehte na darr humdum
giri hai jis pe kal bijli wo mera aashiaan kyun ho
qafas = cage, place of confinement
roodaad = narrative, story
chaman = garden
roodaad e chaman = a story about (my) garden
aashiaan = abode, nest, home
O my beloved
(I am in (your) imprisonment (confinement))
Fear not narrating to me the description of my garden
Even if that be my nest
The nest that was struck by lightning yesterday
unhen go ranjish e beja hai lekin hai to hum se hai
mohabbat gar na ho baaham shikaayat darmiyaan kyun ho
go = although
ranjish = complaint, unpleasantness
beja = unjustified, unfair
baaham= together, alongwith
shikaayat = complaint, grievance
darmiyaan = middle, in between
My beloved has unfair unjustified complaints of me
But then these complaints are to me and no one else
For complaints only come along with love
[The poet is expressing that because love is, therefore complaints are. One does not complain to them with whom there is no relation of love.]
nikaala chaahta hai kaam kya taanon se tu ghalib
tere be-mehr kehne se wo tujh par mehrbaan kyun ho
taanah (taanon) = taunt, sarcasm
be-mehr = heartless, one without compassion
If you think that by being sarcastic
You will be able to obtain any advantage for yourself
Whyfore will you be showered with favors and love
Just be calling someone heartless and without compassion
jigar se kam naheen ae chaarahgar daagh e jigar mujh ko
jo paidaa kee ho mar mar ke wo daulat raa’egaan kyon ho
chaarahgar = healer, curer
daagh = wounds, blisters
raa’egaan = useless, waste
O my healer, my curer
The blisters on my heart
Are as dear to me, as is my heart itself
It is a treasure I have accumulated
With great pain and sacrifices
Why then this treasure may allowed to be wasted in vain
Song: Kisi Ko Deke Dil Koi / Jo Dil Kaaboo Mein Ho (NFS) Singers: Talat Mehmood / Mukesh, Lyrics: Ghalib / Daagh Dehlavi, Music: Murli Manohar Swaroop
Lyrics
kisi ko de ke dil koi nawah-sanj-e-fughaan kyun ho
na ho jab dil hi seene mein to phir munh mein zubaan kyun ho
kisi ko de ke dil koi
jo dil qaaboo mein ho to koi ruswaa e jahaan kyun ho
khalish kyun ho, tapish kyun ho, qalaq kyun ho, fughaan kyun ho
khalish kyun ho, tapish kyun ho
wafaa kaisi kahaan ka ishq jab sar phodna thehra
to phir ae sangdil tera hi sang e aastan kyun ho
kisi ko de ke dil koi
haa..aan
bahut niklenge roz e hashr tere jaur ke khwaahaan
haa..aan
bahut niklenge roz e hashr tere jaur ke khwaahaan
sitam ka hausalah duniya mein shart e imtihaan kyun ho
khalish kyun ho, tapish kyun ho
qafas mein..ein..ein
haan
qafas mein mujhse roodaad e chaman kehte na darr humdum
giri hai jis pe kal bijli wo mera aashiaan kyun ho
kisi ko de ke dil koi
unhen go ranjish e beja hai lekin hai to hum se hai
unhen go ranjish e beja hai lekin hai to hum se hai
mohabbat gar na ho baaham shikaayat darmiyaan kyun ho
khalish kyun ho, tapish kyun ho
haan..aan..aan..aan
nikaala chaahta hai kaam kya taanon se tu ghalib
haan..aan..aan..aan
tere be-mehr kehne se wo tujh par mehrbaan kyun ho
kisi ko de ke dil koi
aan..aan..aan
jigar se kam naheen ae chaarahgar daagh e jigar mujh ko
jigar se kam naheen ae chaarahgar daagh e jigar mujh ko
jo paidaa kee ho mar mar ke wo daulat raa’egaan kyon ho
jo paidaa kee ho mar mar ke wo daulat raa’egaan kyon ho
khalish kyun ho, tapish kyun ho
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
किसी को दे के दिल कोई नौवा-संज ए फुगां क्यों हो
ना हो जब दिल ही सीने में तो फिर मुंह में ज़ुबान क्यों हो
किसी को दे के दिल कोई
जो दिल क़ाबू में हो तो कोई रुसवा ए जहां क्यों हो
ख़लिश क्यों हो तपिश क्यों हो क़लक़ क्यों हो फुगां क्यों हो
ख़लिश क्यों हो तपिश क्यों हो
वफा कैसी कहाँ का इश्क़ जब सर फोड़ना ठहरा
तो फिर ए संगदिल तेरा ही संग ए आस्तां क्यों हो
किसी को दे के दिल कोई
हाँ॰॰आँ॰॰आँ
बहुत निकलेंगे रोज़ ए हश्र तेरे जौर के ख्वाहाँ
हाँ॰॰आँ
बहुत निकलेंगे रोज़ ए हश्र तेरे जौर के ख्वाहाँ
सितम का हौसला दुनिया में शर्त ए इम्तिहान क्यों हो
ख़लिश क्यों हो तपिश क्यों हो
क़फ़स में॰॰एं॰॰एं
हाँ
क़फ़स में मुझसे रूदाद ए चमन कहते ना डर हमदम
गिरी है जिस पे कल बिजली वो मेरा आशियाँ क्यों हो
किसी को दे के दिल कोई
उन्हें गो रंजिश ए बेजा है लेकिन है तो हमसे है
उन्हें गो रंजिश ए बेजा है लेकिन है तो हमसे है
मोहब्बत गर ना हो बाहम शिकायत दरमियाँ क्यों हो
ख़लिश क्यों हो तपिश क्यों हो
हाँ॰॰आँ॰॰आँ॰॰आँ॰॰आँ
निकाला चाहता है काम क्या तानों से तू ग़ालिब
हाँ॰॰आँ॰॰आँ॰॰आँ
तेरे बे-महर कहने से वो तुझ पर महरबान क्यों हो
किसी को दे के दिल कोई
॰॰आँ॰॰आँ॰॰आँ
जिगर से कम नहीं हैं चारगर दाग़ ए जिगर मुझको
जिगर से कम नहीं हैं चारगर दाग़ ए जिगर मुझको
जो पैदा की है मर मर के वो दौलत रा’एगां क्यों हो
जो पैदा की है मर मर के वो दौलत रा’एगां क्यों हो
ख़लिश क्यों हो तपिश क्यों हो
- In: Ameerbai Karnataki songs | Devnagri script lyrics by Sudhir | Feelings of heart | Ghazal | Ghazal Presented as a Qawwaali | Lyrics contributed by readers | qawwali | Rare song | Songs of 1940s (1941 to 1950) | Songs of 1949 | Translation by Sudhir | Translations by readers | Yearwise breakup of songs
- 7 Comments
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
“Neki Aur Badi” (1949) was an Oriental Pictures presentation. It was directed by Kidar Sharma. The movie had Geeta Bali, Pesi Patel, Nazira, Madhubala, Kidar Sharma, Uma Dutt etc in it.
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- In: Actor singing his song | Actor-Singer song | Biography of actors | Biography of artists | Boat song | Devnagri script lyrics by Sudhir | Duet | Durga Khote - Vasanti Duet | Durga Khote Song | Free Spirit Song | Guest posts | Inspirational song | Lyrics by Sudhir | Lyrics contributed by readers | movie opening song | philosophical song | Pirate Ship Song | Post by Arunkumar Deshmukh | Song of 1936 | Song sung by three or more singers | Songs of 1930s (1931 to 1940) | Translation by Sudhir | Translations by readers | Uplifting song | Vasanti Song | Yearwise breakup of songs
- 6 Comments
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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Today’s song is from the landmark film ‘Amar Jyoti’ (1936), made by the Prabhat Film company, Poona. It was directed by V Shantaram. It was photographed by his elder brother V Avadhoot and the music was by Master Krishnarao Phulambrikar. All the songs were written by Pandit Narottam Vyas. Today’s song is sung by Vasanti and chorus. The song is also used as a background song few times in the movie since it conveys the essence of the film’s theme- fight against injustice.
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This article is written by Mahesh Mamadapur, 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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
zamaanaa bade shauq se sun raha tha
hameen so gaye daastaan kehte kehte
hameen so gaye
Today is the remembrance day of legendary singer Mukesh. (23 July 1922 to 27 August 1976).
“Each word from his lips was a pearl. No one could sing the way Mukesh did, with the right diction, inflexion and intonation. His vocal timbre was out of this world.”
These are the words of composer Salil Choudhary in praise of the voice of Mukesh.
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- In: Devnagri script lyrics by Sudhir | Feelings of heart | Ghazal | Guest posts | Lyrics contributed by readers | Neelam Sahani NFS | Neelam Sahani Solo Songs | Neelam Sahani Songs | NFS | philosophical song | Post by Bharat Upadhyay | Songs of 1980s (1981 to 1990) | Songs of 1981 | Translation by Sudhir | Translations by readers | Yearwise breakup of songs
- 6 Comments
This article is written by Bharat Upadhyay, 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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Jaidev Ki Non-Filmi Suraavali – 02
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I missed the birth anniversary of my dear Jaidev ji (3rd Aug), by not presenting a tribute to him. I also regretfully observed that same day on our blog, under to flood of songs of ‘KK’ by his fans, NO Atulite remembered Jaidev ji.
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Dheere Sameere Tatini Teere
Posted on: September 27, 2016
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
“Anand Math” (1952) was a Filmistan Production. It was directed by Hemen Gupta. This movie had Prithviraj Kapoor, Geeta Bali, Ajit, Pradip Kumar, Bharat Bhushan, S. L. Puri, Jankidas, Ranjana, Murad etc in it.
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- In: Century post by Guest poster | Century songs for the blog | Ghazal | Guest poster century song | Guest posts | Jagjit Singh NFS | Jagjit Singh solo | Jagjit Singh songs | NFS | Post by Sadanand Kamath | Songs of 1990s (1991 to 2000) | Songs of 1995 | Translation by Sudhir | Translations by readers | Yearwise breakup of songs
- 23 Comments
This article is written by Sadanand Kamath, 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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws. This is his 400th writeup in the blog
apni marzi se kahaan apne safar ke hum hain
rukh hawaaon kaa jidhar kaa hai udhar ke hum hain
-Nida Fazli
[There is no choice for us as to where we embark on the journey.
Where the direction of the wind is the place to which we belong].
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Hashr Mein Unka Jab Saamna Ho Gaya
Posted on: March 1, 2016
- In: Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Guest posts | Lyrics contributed by readers | Naatiyaa qawaali | Post by Avinash Scrapwala | qawwali | Songs of 1970s (1971 to 1980) | Songs of 1975 | Translation by Sudhir | Translations by readers | Yearwise breakup of songs
- 4 Comments
This article is written by Avinash Scrapwala, 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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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#the Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 33 # Qawwaalis – 2
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Talking about qawwaalis, I remember, in my childhood there used to be programs of Qawwali muqabla (competition) and mushairas, and in ‘quawwali muqablas’ the names that easily come to mind is the name of Shakila Bano Bhopali, Jaani Baabu Qawwaal and Aziz Nazaan.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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