A VERY WARM WELCOME VISITORS

Thursday, November 27, 2008

NO POSTS FOR A WEEK.

27.11.2008.



DEAR VISITORS,

There will be no post for a week or so, since I'm leaving for Ajmer for the Ziyaarah at the Shrine of Hazrat Khwaja Moinuddin Chishti Ajmeri Sanjari.

ALLAH HAAFIZ.

Wednesday, November 26, 2008

201. Translation of Sad Songs of Rafi: Dil Tadpe Tadpaaye...


Movie: POONAM KI RAAT (1965)
Music: Salil Chaudhary.
Lyrics: Shailendra


Rafi Sahaab’s sings the woes of the haunted lover in Dil Ta.dpe Ta.dpaaye....

Roman Transliteration/English Translation of the original lyrics:


Dil ta.dpe ta.dpaaye...
THE HEART WRITHES, CAUSES RESTLESSNESS,

Jin ke milan ko tarse, woh toh naa aaye,
SHE, WHOM WE YEARN TO MEET, JUST WONT COME,

Mausam aaye jaaye,
THE SEASONS COME AND GO,

Dil ta.dpe ta.dpaaye...
THE HEART WRITHES, CAUSES RESTLESSNESS,

Jin ke milan ko tarse, woh toh naa aaye,
SHE, WHOM WE YEARN TO MEET, JUST WON’T COME

Mausam aaye jaaye,
SEASONS COME AND GO,

Dil ta.dpe ta.dpaaye...
THE HEART WRITHES, CAUSES RESTLESSNESS


Sapne.n toh kho gaye,Kar ke deewaana mujhe,
DREAMS GOT LOST AFTER MAKING ME CRAZY,

Karni pe apne dil ki, pa.daa pachhtaanaa mujhe,
I’D TO REPENT OVER WHAT MY HEART DID,

Sapne.n toh kho gaye,Kar ke deewaana mujhe,
DREAMS GOT LOST AFTER MAKING ME CRAZY,

Karni pe apne dil ki, pa.daa pachhtaanaa mujhe,
I’D TO REPENT OVER WHAT MY HEART DID,

Khud ko manaa loo.n, dukh.de chhupaa loo.n mai.n,
I’D APPEASE MYSELF, HIDE MY SORROWS,

Khud ko manaa loo.n dukh.de chhupaa loo.n,
I’D APPEASE MYSELF, HIDE MY SORROWS,

Dil ki lagi haaye, kaun bujhaaye,
ALAS! WHO’LL EXTINGUISH THE FIRE OF THE HEART?

Dil ta.dpe ta.dpaaye....
THE HEART WRITHES, CAUSES RESTLESSNESS...

Sapno.n ke saathee mere, damm bhar ko aaja,
O MY DREAM COMPANION, COME FOR A WHILE,

Ghaayal mere dil ko, dheeraj bandhaa jaa,
CONSOLE MY WOUNDED HEART,

Sapno.n ke saathee mere, damm bhar ko aaja,
O MY DREAM COMPANION, COME FOR A WHILE,

Ghaayal mere dil ko dheeraj bandhaa jaa,
CONSOLE MY WOUNDED HEART,

Teree hee yaade.n....
JUST YOUR MEMORIES....

Teree hee yaade.n, Teree hee baate.n....
JUST YOUR MEMORIES, JUST YOUR WORDS,

Teree hee yaade.n, Teree hee baate.n,
JUST YOUR MEMORIES, JUST YOUR WORDS,

Behle naa ab meraa, jee behlaaye,
MY MIND DIVERTS NOT, DESPITE DIVERSION.

Dil ta.dpe ta.dpaaye....
THE HEART WRITHES, CAUSES RESTLESSNESS...


Rastaa naa soojhe koee, naa koi manzil,
NEITHER THE WAY IS PERCEPTIBLE, NOR IS THE DESTINATION,

Saathee bechaara mera, toota huwa dil
MY POOR BROKEN HEART IS THE COMPANION,

Rastaa naa soojhe koee, naa koi manzil,
NEITHER THE WAY IS PERCEPTIBLE, NOR IS THE DESTINATION,

Saathee bechaara mera toota huwa dil,
MY POOR BROKEN HEART IS THE COMPANION,

Kis ko sadaa doo.n,....
WHOM SHOULD I CALL OUT?

Kis ko sadaa doon, kis ko pukaaroo.n mai.n,
WHOM SHOULD I CALL OUT? WHOM SHOULD I INVOKE?

Kis ko sadaa doon, kis ko pukaaroo.n,
WHOM SHOULD I CALL OUT? WHOM SHOULD I INVOKE?

Daste hai.n mere dil ko, raato.n ke saaye,
STUNG AS I AM BY THE THE SHADOW OF THE NIGHTS,

Dil ta.dpe ta.dpaaye...
THE HEART WRITHES, CAUSES RESTLESSNESS,

Jin ke milan ko tarse, woh toh naa aaye,
SHE, WHOM WE YEARN TO MEET, JUST WON’T COME,

Mausam aaye jaaye,
SEASONS COME AND GO,

Dil ta.dpe ta.dpaaye...
THE HEART WRITHES, CAUSES RESTLESSNESS.

NASIR.


We suffer primarily not from our vices or our weaknesses, but from our illusions. We are haunted, not by reality, but by those images we have put in their place.”
Daniel J. Boorstin quotes

Tuesday, November 25, 2008

200. Translation of Sad Songs of Rafi: Din Dhal Jaaye...


Movie: GUIDE (1965)
Lyrics: Shailendra
Music: S.D. Burman


When Nalini's (Waheeda Rehman)'s P.A., sees the lonely Raju Guide (Dev Anand) sitting all alone drinking whisky, little does he realise that the lovers have come to a crossroad. To his question, KYA SAAB AAJ AKELA HE PEE RAHE HO, the crestfallen hero replies something like this: ZINDAGI BHI AJEEB NASHA HAI DOST, JAB CHARTA HAI TOH MAT POOCHHIYE KYA 'AALAM HOTA HAI.......AUR JAB UTARTA HAI.......
At this stage we have the soft song of lament, crooned by the Great Rafi Sahaab, couching the words with suitale expressions to enhance the loneliness of our hero. One of the best of Rafi Sahaab’s songs.

Roman Transliteration/English Translation of the original lyrics:

Aa aa aa~~~~

din Dhal jaaye haaye, raat naa jaaye,
THE DAY PASSES BY BUT THE NIGHT DOESN’T,

tuu toh na aaye teree, yaad sataaye,
YOU WON’T COME, YOUR MEMORY DOES, WITH A VENGEANCE,

din Dhal jaaye haaye, raat naa jaaye,
THE DAY PASSES BY BUT THE NIGHT DOESN’T,

tuu toh na aaye teree, yaad sataaye,
YOU WON’T COME, YOUR MEMORY DOES, WITH A VENGEANCE,

din Dhal jaaye..
THE DAY PASSES BY...


pyaar me.n jin ke, sab jag chho.daa,
FOR THE LOVE OF WHOM I ABANDONED THE WHOLE WORLD

aur huwe badnaam,
AND GOT A BAD NAME,

un ke hee haatho.n, haal huwaa yeh,
AT HER HANDS, I SUFFFERED SUCH DESERTION THAT

baiThe hai.n, dil ko thaam,
I SIT CLUTCHNG AT MY HEART,

apne kabhee theh, ab hai.n paraaye,
ONCE SHE WAS MINE, NOW SHE BELONGS TO ANOTHER,

din Dhal jaaye haaye, raat naa jaaye,
THE DAY PASSES BY, BUT THE NIGHT DOESN’T,

tuu toh na aaye teree, yaad sataaye,
YOU WON’T COME, YOUR MEMORY DOES, WITH A VENGEANCE,

din Dhal jaaye haaye ...
THE DAY PASSES BY...

aisee hee rim-jhim, aisee phuhaare.n, ,
THE SAME PITTER-PATTER, THE SAME SHOWERS,

aisee hee theeh, barsaat,
SIMILAR WAS THE RAIN,

khud se judaa aur, jag se paraaye,
SEPARATED FROM OUR OWN SELVES, STRANGERS TO THE WORLD,

hamm dono.n theh saath,
BOTH OF US WERE TOGETHER,

phir se voh saavan, ab kyu.n naa aaye
O WHY WONT THAT CLIME COME BACK NOW?

din Dhal jaaye haaye, raat naa jaaye,
THE DAY PASSES BY BUT THE NIGHT DOESN’T,

tuu toh na aaye teree, yaad sataaye,
YOU WON’T COME, YOUR MEMORY DOES, WITH A VENGEANCE,

din Dhal jaaye haaye ...
THE DAY PASSES BY...


dil ke mere, paas ho itnee,
SO MUCH NEARER MY HEART YOU’RE,

phir bhee ho kitnee duur,
YET HOW FAR YOU’RE!

tum mujh se mai.n, dil se pareshaa.n,
EMBARASSED AS YOU’RE WITH ME, SO AM I WITH THE HEART,

dono.n hai.n majboor,
BOTH OF US ARE CONSTRAINED,

aise me.n kis ko, kaun manaaye
IN SUCH A STATE, WHO WILL CONCILIATE WHOM?

din Dhal jaaye haaye, raat naa jaaye,
THE DAY PASSES BY BUT THE NIGHT DOESN’T,

tuu toh na aaye teree, yaad sataaye,
YOU WON’T COME, YOUR MEMORY DOES, WITH A VENGEANCE,

din Dhal jaaye haaye ...
THE DAY PASSES BY...

NASIR.

To be happy with a man you must understand him a lot and love him a little. To be happy with a woman you must love her a lot and not try to understand her at all.
Helen Rowland

Friday, November 21, 2008

199. Translation of Sad Songs of Rafi: Zindagi Ke Mod Par...


Movie: BEDAAG (1965)
Lyrics: Shakeel Badayuni
Music: Roshan


Rafi Sahaab singing the woes of a repentant lover: Zindagi Ke Mod Par....

Roman Transliteration/English Translation of the original lyrics:



zindagi ke mo.D par, jo koyee raastaa milaa,
AT THE TURN OF EVENTS, WHATEVER PATH WAS FOUND

teree galee se jaa milaa,
IT RAN UP TO YOUR LANE

zindagi ke mo.D par, jo koyee raastaa milaa,
AT THE TURN OF EVENTS, WHATEVER PATH WAS FOUND

teree, galee se jaa milaa...
IT RAN UP TO YOUR LANE...


khaate hai.n aaj Thokre.n, sheher me.n zindagee ke hamm,
TODAY, LIFE KNOCKS US ABOUT IN TOWN,

tujhse chale theh duur-duur, gham kee sharaab pee ke hamm,
WE HAD DRIFTED FAR AWAY FROM YOU, HAVING DRUNK THE WINE OF SORROW,

gham ki sharaab pee ke hamm,
HAVING DRUNK THE WINE OF SORROW,

teree taraf behek gaye,
WE STRAYED TOWARDS YOU,

teree taraf behek gaye,
WE STRAYED TOWARDS YOU,

aisaa hame.n, nashaa milaa
SUCH INTOXICATION WE FOUND,

hmmmm nashaa milaa.
HMMM, INTOXICATION WE FOUND,

teraa khyaal chho.d ke, ba.dh gayee.n aur uljhane.n,
AFTER WE GAVE UP THINKING ABOUT YOU, THE COMPLICATIONS HAVE FURTHER INCREASED,

tere hee naam kee sadaa, detee hai.n dil kee dha.dkane.n,
‘TIS YOUR NAME THAT THE HEARTBEATS ARE CRYING OUT FOR ,

detee hai.n dil kee dha.dkane.n,
THE HEARTBEATS ARE CRYING OUT FOR...

ab yeh hee sochate hai.n hamm....,
NOW, THINKING ABOUT IT...

ab yeh hee sochate hai.n hamm, rooTh ke tujhse kyaa milaa,
NOW, THINKING ABOUT IT, WHAT DID WE ACHIEVE BY BEING VEXED WITH YOU,

rooTh ke tujh se kyaa milaa..
WHAT DID WE ACHIEVE BY BEING VEXED WITH YOU?


tujhse koyee gharaz nahee.n, phir bhee hai teree aarzoo,
THERE’S NO SELFISH-NEED FOR YOU, EVEN THEN WE LONG FOR YOU,

dil ne tujhe bhulaa diyaa, phir bhee hai dil me.n tuu hee tuu
OBLIVIOUS OF YOU IS THE HEART, EVEN THEN IN THE HEART ‘TIS YOU AND ONLY YOU,

phir bhee hai dil me.n tuu hee tuu,
EVEN THEN IN THE HEART ‘TIS YOU AND ONLY YOU,

tujhse bichha.d gaye toh ab...,
NOW THAT WE SPLIT WITH YOU....

tujhse bichha.d gaye toh ab, teraa hame.n pataa milaa
NOW THAT WE SPLIT WITH YOU, WE FOUND YOUR WHEREABOUTS,

teraa hame.n pataa milaa,
WE FOUND YOUR WHEREABOUTS,

teree galee se jaa milaa.
IT RAN UP TO YOUR LANE,

zindagi ke mo.D par, jo koyee raastaa milaa,
AT THE TURN OF EVENTS, WHATEVER PATH WAS FOUND,

teree galee se jaa milaa.
IT RAN UP TO YOUR LANE.

NASIR.

Sydney J. Harris
Regret for the things we did can be tempered by time; it is regret for the things we did not do that is inconsolable
.

Thursday, November 20, 2008

198. Translation of Sad Songs of Rafi: Yahaan Main Ajnabee Hoon...


Movie: Jab Jab Phool Khile (1965)
Lyrics: Anand Bakshi
Music: Kalyanji-Anandji


Feel the feel of Rafi Sahaab’s voice in Yahaa.n Mai.n Ajnabee Hoo.n......

Roman Transliteration/English Translation of the original lyrics:


kabhee pehle, dekhaa nahee.n, yeh samaa.n,
NEVER BEFORE HAVE I SEEN SUCH AMBIENCE,

yeh mai.n bhool se, aa gayaa hoo.n kahaa.n.
OH! WHERE HAVE I LANDED LIKE A BLUNDER-BUSS!

yahaa.n mai.n, ajnabee hoo.n,
I’M A STRANGER HERE,

yahaa.n mai.n, ajnabee hoo.n,
I’M A STRANGER HERE,

mai.n jo hoo.n, bas wohee hoo.n
WHATEVER I’M, THAT’S ENOUGH FOR ME,

mai.n jo hoo.n, bas wohee hoo.n
WHATEVER I’M, THAT’S ENOUGH FOR ME,

yahaa.n mai.n ajnabee hoo.n,
I’M A STRANGER HERE,

yahaa.n mai.n ajnabee hoo.n....
I’M A STRANGER HERE...


kahaa.n shaam-o-sahar yeh,
THESE EVENINGS AND MORNINGS, HOW INCONSISTENT

kahaa.n din-raat mere,
WITH THE DAYS AND NIGHTS OF MINE!

bahut ruswaa huwe hai.n,
MUCH HUMILIATION HAS BEEN HEAPED

yahaa.n jazbaat mere,
UPON MY FEELINGS HERE,

nayee tehzeeb hai yeh,
‘TIS A NEW CULTURE,

nayaa hai yeh zamaanaa,
‘TIS A NEW WORLD,

magar mai.n aadmee hoo.n,
BUT I AM A MAN

woh hee sadiyo.n puraanaa,
AS ANCIENT AS THE RIP WAN WINKLE,

mai.n kyaa jaanoo.n yeh baate.n,
WHAT DO I KNOW OF THESE AFFAIRS,

zaraa insaaf karnaa,
PRAY DO SOME JUSTICE,

meree ghustaakhiyo.n ko, khudaaraa maaf karnaa.
FORGIVE MY ERRORS FOR GOD’S SAKE


yahaa.n mai.n ajnabee hoo.n,
I’M A STRANGER HERE,

yahaa.n mai.n ajnabee hoo.n ...
I’M A STRANGER HERE...


teree baa.nho.n me.n dekhoo.n,
I NOTICE IN YOUR YOU ARMS

sanam ghairo.n kee baa.he.n,
THE ARMS OF STRANGERS, SWEETHEART,

mai.n laaoo.ngaa kahaa.n se,
WHENCE WILL I BRING -

bhalaa aisee nigaahe.n,
SUCH SIGHT PRAY!

yeh koee raqs hogaa,
MAYBE, IT’S A KIND OF SOME DANCE,

koee dastoor hogaa,
MAYBE IT’S SOME CUSTOM,

mujhe dastoor aisaa, kahaa.n ma.nzoor hogaa,
HOW WILL SUCH CUSTOM BE ACCEPTABLE TO ME,

bhalaa kaise yeh meraa, lahoo ho jaay paanee
WELL! HOW WILL I NOT FEEL A SENSE OF SHAME?

mai.n kaise bhool jaaoo.n, mai.n hoo.n hindostaanee.
HOW CAN I FORGET THAT I’M AN INDIAN?

yahaa.n mai.n ajnabee hoo.n,
I’M A STRANGER HERE,

yahaa.n main ajnabee hoo.n ...
I’M A STRANGER HERE...


mujhe bhee hai shikaayat,
I, TOO, HAVE A COMPLAINT,

tujhe bhee toh gilaa hai,
YOU TOO HAVE SOMETHING TO MOAN ABOUT,

yahee shikve hamaaree, mohabbat kaa silaa hai,
THESE VERY COMPLAINTS ARE THE REWARDS OF OUR LOVE,

kabhee maghrib se mashriq, milaa hai jo milegaa,
HAS THE WEST EVER MET THE EAST, THAT IT SHOULD MEET?

jahaa.n kaa phool hai jo, vahee.n pe voh khilegaa,
THE PLACE WHERE THE FLOWER BELONGS, THERE WILL IT BLOSSOM,

tere oo.nche mahal me.n, nahee.n meraa guzaaraa,
YOUR PALATIAL MANSION IS NOT THE PLACE FOR ME,

mujhe yaad aa rahaa hai, voh chhoTaa saa shikaaraa.
I KEEP REMEMBERING THAT SMALL BOATHOUSE.

yahaa.n mai.n ajnabee hoo.n,
I’M A STRANGER HERE,

yahaa.n mai.n ajnabee hoo.n...
I’M A STRANGER HERE...

mai.n jo hoo.n, bas wohee hoo.n
WHATEVER I’M, THAT’S ENOUGH FOR ME,

mai.n jo hoo.n, bas wohee hoo.n
WHATEVER I’M, THAT’S ENOUGH FOR ME,

yahaa.n mai.n ajnabee hoo.n,
I’M A STRANGER HERE,

yahaa.n mai.n ajnabee hoo.n.
I’M A STRANGER HERE.

NASIR

East is East, West is West
Never the Twain shall meet
Rudyard Kipling

Wednesday, November 19, 2008

197. Translation of Sad Songs of Rafi: Waqt Se Din Aur Raat...


Movie: WAQT (1965)
Lyrics: Sahir Ludhianvi
Music: Ravi


Rafi sings on the vicissitudes of time: Waqt Se Din Aur Raat...

Roman Transliteration/English Translation of the original Urdu lyrics:


Kal jahaan basti thi.n khushiyaa.n,
YESTERDAY WHERE HAPPINESS HAD DWELT,

Aaj hai maatam wahaan,
TODAY THERE IS MOURNING,

Waqt laaya thaa bahaare.n,
TIME HAD BROUGHT SPRING,

Waqt laaya hai khizaa.n
TIME HAS BROUGHT THE DECAYING-AUTUMN


Waqt se din aur raat,
THE NIGHT AND THE DAY EXIST BECAUSE OF TIME

Waqt se kal aur aaj,
THE FUTURE AND THE PRESENT ADHERES TO TIME,

Waqt ki har shay ghulaam,
ALL THINGS ARE SUBSERVIENT TO TIME,

Waqt ka har shay par raaj.
THAT WHICH GOVERNS ALL THINGS IS TIME.

Waqt se din aur raat,
THE NIGHT AND THE DAY EXIST BECAUSE OF TIME

Waqt se kal aur aaj,
THE FUTURE AND THE PRESENT ADHERES TO TIME,

Waqt ki har shay ghulaam,
ALL THINGS ARE SUBSERVIENT TO TIME,

Waqt ka har shay par raaj.
THAT WHICH GOVERNS ALL THINGS IS TIME.


Waqt ki gardish se hai
WITH THE REVOLUTION OF TIME

Chaand taaron ka nizaam,
LIES THE ADMINISTRATION OF CELESTIAL BODIES,

Waqt ki gardish se hai
WITH THE REVOLUTION TIME

Chaand taaron ka nizaam,
LIES THE ADMINISTRATION OF CELESTIAL BODIES,

Waqt ki thokar men. hai,
TIME HAS ALL AT ITS FEET:

Kya huqumat kya samaaj,
WHETHER THE KINGDOM OR THE SOCIETY,

Kya huqumt kya samaaj.
WHETHER THE KINGDOM OR THE SOCIETY.


Waqt se din aur raat,
THE NIGHT AND THE DAY EXIST BECAUSE OF TIME

Waqt se kal aur aaj,
THE FUTURE AND THE PRESENT ADHERES TO TIME,

Waqt ki har shay ghulaam,
ALL THINGS ARE SUBSERVIENT TO TIME,

Waqt ka har shay par raaj.
THAT WHICH GOVERNS ALL THINGS IS TIME.


Waqt ki paaband hai.n
TO THE TIME IS SUBJUGATED

Aati jaati raunaqe.n
THE EPHEMERAL SPLENDOURS,

Waqt hai phoolon ki sej,
TIME IS A BED OF FLOWERS,

Waqt hai kaanto ka taaj,
TIME IS A CROWN OF THORNS,

Waqt hai kaanto ka taaj.
TIME IS A CROWN OF THORNS.


Waqt se din aur raat,
THE NIGHT AND THE DAY EXIST BECAUSE OF TIME

Waqt se kal aur aaj,
THE FUTURE AND THE PRESENT ADHERES TO TIME,

Waqt ki har shay ghulaam,
ALL THINGS ARE SUBSERVIENT TO TIME,

Waqt ka har shay par raaj.
THAT WHICH GOVERNS ALL THINGS IS TIME.


Aadmi ko chaahiye,
MAN MUST MAKE IT A POINT

Waqt se dar kar rahe…
TO BE AFRAID OF TIME,

Aadmi ko chaahiye,
MAN MUST MAKE IT A POINT

Waqt se dar kar rahe
TO BE AFRAID OF TIME,

Kaun jaane kis gha.di,
WHO KNOWS AT WHAT MOMENT

Waqt ka badle mizaaj,
TIME WILL CHANGE ITS TEMPERAMENT,

Waqt ka badle mizaaj.
TIME WILL CHANGE ITS TEMPERAMENT.


Waqt se din aur raat,
THE NIGHT AND THE DAY EXIST BECAUSE OF TIME

Waqt se kal aur aaj,
THE FUTURE AND THE PRESENT ADHERES TO TIME,

Waqt ki har shay ghulaam,
ALL THINGS ARE SUBSERVIENT TO TIME,

Waqt ka har shay par raaj.
THAT WHICH GOVERNS ALL THINGS IS TIME.

NASIR.


Quotes: It is authentically reported on the authority of Abu Hurairah (ra ) that the Prophet (saas ) said: "Allah (swt ), Most Blessed, Most High, says: "The son of Adam wrongs Me: He curses time, though I am time: In My Hands are all things and I cause the night to follow the day." 2 In another narration, He (saas ) says: "Do not curse time, , for verily time is Allah (swt )."

Tuesday, November 18, 2008

196. Sad Songs of Rafi: Dil Jo Naa Keh Sakaa...


Movie: BHEEGI RAAT (1965)
Lyrics: Majrooh Sultanpuri
Music: Roshan


Rafi Sahaab sings in his glorious voice: Dil Jo Naa Keh Sakaa...

Roman Transliteration/English Translation of the original Urdu lyrics:

dil jo naa keh sakaa,
WHAT THE HEART COULDN’T TELL,

vohee raaz-e-dil, kehne kee raat, aayee,
THE NIGHT OF REVEALING THE HEART’S SECRET HAS ARRIVED,

dil jo naa keh sakaa,
WHAT THE HEART COULDN’T TELL,

vohee raaz-e-dil, kehne kee raat, aayee,
THE NIGHT OF REVEALING THE HEART’S SECRET, HAS ARRIVED,

dil jo naa keh sakaa....
WHAT THE HEART COULDN’T TELL...


naGhma saa koi, jaag uThaa badan me.n,
SOMETHING OF SONG HAS BEEN AROUSED IN THE BODY,

jhankaar ki see, thartharee hai tann me.n,
MUSIC-LIKE RESONANCE SHAKES THE FRAME,

jhankaar ki see hartharee hai tann me.n,
MUSIC-LIKE RESONANCE SHAKES THE FRAME,

oh~~mubaarak tumeh kisee ki, larazti see baaho.n me.n, rehne ki raat, aayee,
CONGRATULATIONS! THE NIGHT OF STAYING IN SOMEONE’S TREMBLING ARMS HAS ARRIVED.

dil jo na keh sakaa.....
WHAT THE HEART COULDN’T TELL....


taubaa yeh kis ne, a.njuman sajaa ke,
GOOD HEAVENS! BY DECORATING THIS GARDEN, WHO HAS

Tuk.de kiye hai.n, ghu.ncha-e-wafaa ke,
MADE PIECES OF THE BLOOMING FLOWERS OF FIDELITY?

Tuk.de kiye hai.n Ghu.ncha-e-wafaa ke,
MADE PIECES OF THE BLOOMING FLOWERS OF FIDELITY....

Oh~~~ uchhaalo gulo.n ke Tuk.de,
TOSS UP THE FLOWER PIECES

ke ra.ngee.n fizaao.n me.n, rehne kee raat, aayee,
AS THE NIGHT TO STAY IN THE SPLENDID AMBIENCE HAS ARRIVED!

dil jo naa keh sakaa...
WHAT THE HEART COULDN’T TELL...


chaliye mubaarak, jashn dostee kaa,
OKAY,  CONGRATULATIONS, FOR THE JUBILATION OF FRIENDSHIP!

daaman toh thaamaa, aap ne kisee kaa
AT LEAST YOU’VE TAKEN SOMEONE’S REFUGE,

daaman toh thaamaa  aap ne kisee kaa,
AT LEAST YOU’VE TAKEN SOMEONE’S REFUGE!

Oh~~~hame.n toh Khushee yahee hai,
OH~~~WE’RE GLAD AT LEAST THAT  

tumeh bhee kisee ko apnaa, kehne kee raat,  aayee,
THE NIGHT, WHEN YOU TOO CAN CALL SOMEONE YOUR OWN, HAS ARRIVED,

dil jo naa keh sakaa...
WHAT THE HEART COULDN’T TELL...

saaGhar uThaao, dil kaa kis ko Gham hai,
PICK UP THE GOBLET!  WHY FEEL SORRY FOR THE HEART?

aaj dil kee qeemat, jaam se bhee kam hai
THE VALUE OF THE HEART TODAY IS LESS THAN THE GOBLET’S,

aaj dil kee qeemat jaam se bhee kam hai,
THE VALUE OF THE HEART TODAY IS LESS THAN THE GOBLET’S,

oh~~~piyo chaahe Khoon-e-dil ho,
OH~~~DRINK! THOUGH THE HEART MAY BREAK,

ke peete pilaate hee -
AS (THE NIGHT OF )DRINKING AND REVELLING (HAS ARRIVED!)

vohee raaz-e-dil, kehne kee raat, aayee,
THE NIGHT OF REVEALING THE HEART’S SECRET HAS ARRIVED,

dil jo naa keh sakaa.
WHAT THE HEART COULDN’T TELL.

NASIR.
Don't you think I've had enough excitement for one evening, without the additional thrill of a strange man making love to me? John L. Balderston.

Sunday, November 16, 2008

195. Translation of Sad Songs of Rafi: Swapn Jhare Phool Se...


Movie: Nai Umr Ki Nai Fasal - (1965)
Lyrics: Neeraj
Music: Roshan


Rafi Sahaab sings in his lovely voice about unfulfilled dreams, missed opportunies, squandered youth, and the nemesis, in Swapn Jhare Phool Se....

Roman Transliteration/English Translation of the original lyrics:



swapn jhare phool se, meeth chubhe shool se,
DREAMS SHED LIKE THE FLOWERS, FRIENDS PIERCED LIKE THE LANCES,

luT gaye singaar sabhee baagh ke babool se,
THE WEEDS ROBBED THE GARDEN OF ALL THE ADORNMENTS,

aur hamm kha.de kha.de, bahaar dekhte rahe,
AND THE SPRING, WE STOOD WATCHING,

kaarvaa.n guzar gayaa, ghubaar dekhte rahe...
THE CARAVAN PASSED BY, THE DUST WE KEPT WATCHING..


neend bhee khulee na theeh, ki haay dhoop Dhal gayee,
THE SLEEP WASN’T EVEN OVER WHEN, ALAS, THE DAY DECLINED,

paa.nv jab talaq uThe, ke zi.ndagii fisal gayee,
BY THE TIME WE TOOK A STEP, THE LIFE SLIPPED BY,

paat paat jhar gaye, ke shaakh-shaakh jal gayee,
EVERY LEAF FELL OFF, AS EVERY BOUGH WAS DRIED,

chaah toh nikal sakee na par umar nikal gayee,
THE DESIRES COULDN’T BE REALISED, BUT THE LIFETIME PASSED BY,

par umar nikal gayee,
BUT THE LIFETIME PASSED BY,

geet ashq ban gaye, Sapn ho dafan gaye,
SONGS CHANGED INTO TEARS, GOT BURIED LIKE REVERIES,

saath ke sabhee diye, dhuaa.n pehan-pehan gaye,
ALL THE ACCOMPANYING LAMPS ENDED UP IN SMOKE,

aur hamm jhuke-jhuke, mo.d par ruke-ruke,
AND OURSELF BOWED DOWN, FALTERING AT THE TURN,

umr ke cha.dhaav kaa, utaar dekhte rahe.
THE DESCENT OF THE LIFE’S ASCENDENCE, WE KEPT WATCHING.

kyaa shabaab thaa ke phool phool pyaar kar uThaa,
WHAT YOUTH IT WAS THAT EVERY FLOWER BEGAN TO LOVE,

kyaa kamaal thaa ke dekh aainaa sihar uThaa,
WHAT A MARVEL IT WAS THAT THE MIRROR SHUDDERED ON WATCHING,

is taraf zameen aur aasmaa. n udhar uThaa,
THIS SIDE, THE EARTH, AND THERE THE SKY ROSE UP,

thaam kar jigar uThaa, ke jo milaa nazar uThaa,
WITH BATED BREATH IT WAS, AS WHOEVER MET WAS AN OGLER,

ke jo milaa nazar uThaa,
AS WHOEVER MET WAS AN OGLER,

ek din magar yahaa.n, aisee kuchh havaa chalee
BUT HERE ONE DAY, SOME SUCH WIND BLEW,

luT gayee kalee kalee ke ghuT gayee galee galee,
EVERY FLOWER-BUD WAS LOOTED, SUFFOCATED WAS EVERY LANE,

aur ham luTe-luTe, vaqt se piTe-piTe,
AND OURSELF WAYLAID, BEATEN BY TIME,

saanjh kee sharaab kaa, khummaar dekhte rahe,
THE LANGUOR OF THE EVENING’S DRINK, WE KEPT WATCHING.

kaaravaa.n guzar gaya, ghubaar dekhte rahe....
THE CARAVAN PASSED BY, THE DUST WE KEPT WATCHING...


haath theh mile ke zulf chaa.nd kee sa.nvaar doo.n ,
HANDS WERE ACQUIRED SO AS TO EMBELLISH THE TRESSES OF THE MOON,

ho.nT theh khule ke har, bahaar ko pukaar doo.n
THE LIPS WERE OPENED SUCH, THAT I COULD CALL EVERY SPRING,

dard thaa diyaa gayaa, ke har dukhee ko pyaar doo.n
COMPASSION HAD BEEN GIVEN, FOR ME TO BESTOW LOVE ON EVERY AFFLICTED PERSON,

aur saa.ns yoo.n ke swarg bhoomi par utaar doo.n,
AND SUCH BREATH, THAT THE PARADISE I MAY BRING DOWN ON THE EARTH,

bhoomi par utaar doo.n,
BRING DOWN ON THE EARTH,

ho sakaa na kuchh magar, shaam ban gayee sahar
BUT NOTHING COULD BE DONE, THE DUSK TURNED TO DAWN,

voh uThee lehar ke Dheh gaye, kile bikhar bikhar,
SUCH A WAVE ROSE THAT FORTRESSES CRUMBLED DOWN, SCATTERING ALL OVER,

aur hamm Dare Dare, neer nayn me.n bhare
AND OURSELF FRIGHTENED, WITH TEARS IN THE EYES,

o.dh kar kafan pa.de, mazaar dekhte rahe.
LAYING DOWN IN A SHROUD, THE TOMB WE KEPT WATCHING.

maa.ng bhar chalee ke ek jab nayee nayee kiran,
AS A NEW BEAM FILLED THE PARTED HAIR

Dholke.n dhunak uThee.n, Thumak uThe charan charan,
THE DRUMS RESOUNDED, EVERY FEET DANCED TO A RHYTHM,

shor mach gayaa ke lo chalee, dulhan chalee dulhan,
CAME THE CRY THAT “THERE GOES THE BRIDE, THERE GOES THE BRIDE”,

gaa.nv sab uma.d pa.daa, behak uThe nayan nayan,
THE ENTIRE VILLAGE GOT TOGETHER, EVERY SIGHT STRAYED,

behak uThe nayan nayan,
EVERY SIGHT STRAYED,

par tabhee zehar bharee gaaj ek veh giree,
BUT THEN A POISONOUS THUNDER-BOLT STRUCK THERE,

pu.nchh gayaa si.ndoor taar taar huwee chunree,
THE ROUGE WAS WIPED OUT, THE GARMENT TORN TO RIBBONS,

aur hamm ajaan se, duur ke makaan se,
AND OURSELF LIKE AN IGNORANT ONE, FROM THE FAR OFF HOUSE,

paalkee liye huwe kahaar dekhte rahe.
THE PALANQUIN-BEARERS, WE KEPT WATCHING.

swapn jhare phool se, meeth chubhe shool se,
DREAMS SHED LIKE THE FLOWERS, FRIENDS PIERCED LIKE THE LANCES,

luT gaye singaar sabhee baagh ke babool se,
THE WEEDS ROBBED THE GARDEN OF ALL THE ADORNMENTS,

aur hamm kha.de kha.de, bahaar dekhte rahe,
AND THE SPRING WE STOOD WATCHING,

kaarvaa.n guzar gayaa, ghubaar dekhte rahe...
THE CARAVAN PASSED BY, THE DUST WE KEPT WATCHING...

kaarvaa.n guzar gayaa, ghubaar dekhte rahe...
THE CARAVAN PASSED BY, THE DUST WE KEPT WATCHING...

kaarvaa.n guzar gayaa, ghubaar dekhte rahe...
THE CARAVAN PASSED BY, THE DUST WE KEPT WATCHING.

NASIR.


If Life is a waste of Time, and Time is a Waste of Life, lets all get wasted and have the time of our lives.

Saturday, November 15, 2008

194. Translation of Sad Songs of Rafi: Mujhe Dard-e-Dil Ka Pataa Na thaa


Movie: Akashdeep (1965)
Music: Chitragupt
Lyrics: Majrooh Sultanpuri


Rafi Sahaab weaving a magic spell with his song: Mujhe Dard-e-Dil Ka Pataa na thaah....

Roman Transliteration/English Translation of the original lyrics:




mujhe dard-e-dil kaa pataa na thaah,
OF THE HEARTACHES I KNEW NOT,

mujhe aap kis liye mil gaye,
O WHY DID YOU RUN INTO ME?

mai.n akele yoo.n hee maze me.n thaah,
I WAS ENJOYING ALL BY MYSELF,

mujhe aap kis liye mil gaye,
O WHY DID YOU RUN INTO ME?

mujhe dard-e-dil kaa pataa na thaah,
OF THE HEARTACHES I KNEW NOT,

mujhe aap kis liye mil gaye...
O WHY DID YOU RUN INTO ME?...

yoo.n hee apne apne safar me.n gum,
ADRIFT ON THE VOYAGE OF OUR OWN THUS

kahee.n duur mai.n,
SOMEWHERE FAR AWAY WAS I,

kahee.n duur tum,
SOMEWHERE FAR AWAY WERE YOU,

yoo.n hee apne apne safar me.n gum,
ADRIFT ON THE VOYAGE OF OUR OWN THUS

kahee.n duur mai.n,
SOMEWHERE FAR AWAY WAS I,

kahee.n duur tum,
SOMEWHERE FAR AWAY WERE YOU,

kahee.n duur tum,
SOMEWHERE FAR AWAY WERE YOU...

chale jaa rahe theh judaa judaa
GOING ABOUT OUR OWN SEPARATE WAYS,

mujhe aap kis liye mil gaye,
O WHY DID YOU RUN INTO ME?

mai.n akele yoo.n hee maze me.n thaah,
I WAS ENJOYING ALL BY MYSELF,

mujhe aap kis liye mil gaye...
O WHY DID YOU RUN INTO ME?...

mai.n ghareeb haath badhaa toh doo.n,
THOUGH I MIGHT REACH OUT WITH MY POOR HANDS,

tumeh paa sakoo.n, ke naa paa sakoo.n,
MAYBE I’LL FIND YOU, MAYBE I WON’T FIND YOU,

mai.n ghareeb haath badhaa toh doo.n,
THOUGH I MIGHT REACH OUT WITH MY POOR HANDS,

tumeh paa sakoo.n, ke naa paa sakoo.n,
MAYBE I’LL FIND YOU, MAYBE I WON’T FIND YOU,

tumeh paa sakoo.n,
MAYBE I’LL FIND YOU....

meree jaa.n bahot hai yeh faaslaa,
O SWEETHEART, THIS DISTANCE IS VAST,

mujhe aap kis liye mil gaye,
O WHY DID YOU RUN INTO ME?,

mai.n akele yoo.n hee maze me.n thaah,
I WAS ENJOYING ALL BY MYSELF,

mujhe aap kis liye mil gaye...
O WHY DID YOU RUN INTO ME?....

naa mai.n chaa.nd hoo.n kisee shaam kaa,
NEITHER AM I A MOON OF ANY EVENING,

naa chiraagh hoo.n kisee baam kaa,
NOR AM I A LAMP OF SOME LOFTY BALCONY,

naa mai.n chaa.nd hoo.n kisee shaam kaa,
NEITHER AM I A MOON OF ANY EVENING,

na chiraagh hoo.n, kisee baam kaa,
NOR AM I A LAMP OF SOME LOFTY BALCONY,

kisee baam kaa,
OF SOME LOFTY BALCONY...

mai.n toh raaste kaa hoo.n ek diyaa,
I AM JUST A STREET LIGHT,

mujhe aap kis liye mil gaye,
O WHY DID YOU RUN INTO ME?

mai.n akele yoo.n hee maze me.n thaah,
I WAS ENJOYING ALL BY MYSELF,

mujhe aap kis liye mil gaye,
O WHY DID YOU RUN INTO ME?

mujhe dard-e-dil kaa pataa na thaah,
OF THE HEARTACHES I KNEW NOT,

mujhe aap kis liye mil gaye...
O WHY DID YOU RUN INTO ME?...

NASIR.


If you love something, set it free; if it comes backs it's yours,
if it doesn't, it never was
--Richard Bach

Friday, November 14, 2008

193. Translation of Sad Songs of Rafi: Aakhri Geet Muhabbat Ka Sunaa Loon...


Movie: Neela Akash (1965)
Lyrics: Raja Mehdi Ali Khan
Music: Madan Mohan

Rafi Sahaab sings the swan song of a lover: Aakhri Geet Muhabbat ka Sunaa Loo.n...

Roman Transliteration/English Translation of the original lyrics:





aakhree geet, muhabbat kaa sunaa loo.n, toh chaloo.n,
ONCE I RELATE THE LAST LOVE-SONG I’LL MAKE A MOVE,

aakhree geet, muhabbat kaa sunaa loo.n, toh chaloo.n,
ONCE I RELATE THE LAST LOVE-SONG I’LL MAKE A MOVE,

mai.n chalaa jaaoo.ngaa,
I’LL GO AWAY,

mai.n chalaa jaaoo.ngaa,
I’LL GO AWAY

doh ashq bahaa loo.n, toh chaloo.n
ONCE I SHED A COUPLE OF TEARS, I’LL MAKE A MOVE,

mai.n chalaa jaaoo.ngaa
I’LL GO AWAY....


aaj woh din hai, ke toone mujhe, Thukraayaa hai
TODAY IS THE DAY THAT YOU’VE REJECTED ME,

aaj woh din hai, ke toone mujhe Thukraayaa hai,
TODAY IS THE DAY THAT YOU’VE REJECTED ME,

apnaa anjaam inn aankho.n ko, nazar aayaa hai
MY FATE, THESE EYES HAVE WITNESSED,

wahshat-e-dil, mai.n zaraa hosh me.n aa loo.n, toh chaloo.n,
O PASSIONATE HEART, ONCE I COME TO SENSES, I’LL MAKE A MOVE,

mai.n chalaa jaaoo.ngaa...
I’LL GO AWAY...


aaj mai.n ghair hoo.n,
TODAY I’M AN OUTSIDER,

kuchh din huwe mai.n ghair na thaah,
A FEW DAYS AGO I WASN’T A STRANGER,

aaj mai.n ghair hoo.n,
TODAY I’M AN OUTSIDER,

kuchh din huwe mai.n ghair na thaah,
A FEW DAYS AGO I WASN’T A STRANGER,


meree chaahat meree ulfat se, tujhe bair na thaah
WITH MY DESIRE, MY INTIMACY, YOU HAD NO DIFFERENCES,

mai.n hoo.n ab ghair, yaqee.n dil ko dilaa loo.n, toh chaloo.n,
ONCE I CONVINCE MY HEART THAT I’M A STRANGER NOW, I'LL MAKE A MOVE,

mai.n chalaa jaaoo.ngaa...
I’LL GO AWAY...


teree duniyaa se, mai.n ek roz chalaa jaaoo.ngaa,
I’LL GO AWAY FROM YOUR WORLD ONE DAY,

teree duniyaa se, mai.n ek roz chalaa jaaoo.ngaa ,
I’LL GO AWAY FROM YOUR WORLD ONE DAY,

aur gaye waqt ki, maanind nahee.n aaoo.ngaa,
AND LIKE THE TIME THAT’S PAST, I’LL NEVER RETURN,

phir na aane ki, qasam aaj mai.n khaa loo.n, toh chaloo.n,
ONCE I TAKE THE OATH OF NEVER-TO-RETURN, I’LL MAKE A MOVE,

aakhree geet, muhabbat kaa sunaa loo.n, toh chaloo.n,
ONCE I RELATE THE LAST LOVE-SONG, I’LL MAKE A MOVE,

mai.n chalaa jaaoo.ngaa,
I’LL GO AWAY,

mai.n chalaa jaaoo.ngaa
I’LL GO AWAY,

doh ashq bahaa loo.n, toh chaloo.n.
ONCE I SHED A COUPLE OF TEARS, I’LL MAKE A MOVE,

Mai.n chalaa jaaoo.ngaa
I’LL GO AWAY.

NASIR.

All love that has not friendship for its base,
is like a mansion built upon the sand.
-Ella Wheeler Wilcox

Tuesday, November 11, 2008

THE PHILANTHROPIC SIDE OF RAFI - PART 2.



THE PHILANTHROPIC SIDE OF RAFI SAHAAB – PART 2.
By Nasir.

One need not be a Warren Buffett, or a Billy Gate, or a Rockefeller, or a even Carnegie, in order to be a philanthropist – a term that is sometimes used interchangeably with Charity. What matters is the spirit of goodwill towards others and malice towards none and can be used for any private action done for betterment of friends, neighbours, and fellow-humans at large. Rafi Sahaab was a family man with many responsibilities of his kith and kin. Yet within the limited framework of his own time and income, he was moved with simple compassion and made sincere efforts to bring joy, happiness and self-esteem to one and all with whom he interacted professionally as well as those who were strangers to him. It’s this aspect of Rafi Sahaab that makes him a great philanthropist.

In Part I, we have already noted the incident highlighting the philanthropical disposition of Rafi Sahaab. Many such instances we shall never know for he never publicised his good deeds but on the contrary insisted that they should be kept a secret. He never believed in giving for media attention.

Rafi Sahaab would always help the needy, but would ensure that the money was handed over by his secretary, Zaheer. Naushad Ali, the late Legendary music composer once asked him once why he made donations or charities through his secretary. The answer he received was not in the least expected. Raf Sahaab replied, “Main denewala kaun hoon? Denewala toh Allah hai!” (“Who am I to give? God is the Giver.”) The attribute of giving he did not assign to himself but to God. For him, “the deed was everything; the glory naught”. Such humility and lofty ideals put Rafi Sahaab on a saintly pedestal, looking to the fact that he worked in the world’s largest film industry where usury is rampant, cut-throat competition and backbiting a fact, bitching and gossiping a norm, wining, dining and womanising a convenience. Rafi Sahaab himself never gave in to those temptations of the film industry, but devoted himself to ‘Riyaaz’ and ‘Namaaz’. Attributing his fame and success to Allah, Rafi Sahaaab used his hard-earned money for not only fulfilling his family obligations but also for the good cause of helping out his friends and the needy.

A singer (name suppressed) who was out of job most of the time during that period, was picked up by Rafi Sahaab in his car outside the Mehboob Studio. He knew that the singer was going through a financial crisis. Rafi Sahaab had with him Ten Thousand Rupees that he had received as his fees. Without much ado, he quietly put that amount in the carry-bag of that singer. A third person who was also in the car then asked Rafi Sahaab why did he not put that amount directly in the hand of that singer. Rafi Sahaab replied: “I didn’t want to embarrass him by giving money in the presence of a third person.” Such was the way that Rafi Sahaab gave.

Rafi Sahaab was never a person who would turn down the offer to sing, just because the music director could not afford to pay him. Neither was he a person who would not give his hundred percent just because he had received a smaller amount or no amount at all from his music directors. This sterling fact is borne out by the many songs of Rafi Sahaab that have pushed the names of many lesser-known music directors into the Hall of Fame for posterity.

Do you remember the Jalgaon-born Nisar Bazmi? Despite his talents as a music composer of nearly 40 Indian films, his life was a struggle. For 15 long years he could never make it to the “A Grade movies” in Bollywood. Willy-nilly he had to migrate to Pakistan in 1962 where, finally, he made his fortune and career, winning many Nigar Awards as the best composer. But during those initial years when even Laxmikant-Pyarelal used to be his musicians, there were times when he was hard-up for money and did not have any money to pay to his musicians and singers. On one such occasion, rather than turning him down, Rafi Sahaab just charged him only One Rupee (i.e. about one-fiftieth of a U.S. Dollar) and sang his musical composition. In India, Nisar Bazmi is best remembered for his composition of Rafi Sahaab’s song: TOOT GAYA HAICHANDA KA DIL in a 1953 flick, Khoj.

Unlike Nisar Bazmi who was a veteran music composer, there were many new music directors who were trying their luck in Bollywood film industry. They would approach Rafi Sahaab and request him to sing for them, as in their opinion, if he sang for them they would get a firm foot-hold in the film industry. Rafi Sahaab would not only oblige them but to top it, he would gift to them his own earnings that he received from producers for such songs. In fact, he would send anonymous cheques to music directors who were going through bad times. This fact was divulged only after the sudden demise of Rafi Sahaab, when the cheques stopped coming.

Similarly, had it not been for Rafi Sahaab’s generosity in reducing his fee to a ludicruous extent, or even “adjustments” that he made for some of the music directors, we would have missed many of his gems of a song. Check out some of the following golden nuggets he sang for the music directors who could never make it into the big league:

• MAIN TOH TERE HASEEN KHAYAALON MEIN KHO GAYA from Sangram (1965) from the trio of Lala-Assad-Sattar;
• the peppy - O GORI ZULM KARE from Main Aur Mera Bhai (1961) or the ghazal a la Madan Mohan - PAAS BAITHO TABIYAT BEHEL JAAYEGI from Punarmilan (1964) to name just two of C.Arjun’s compositions;
• the chartbuster - DAULAT KE JHOOTE NASHE MEIN HO CHOOR from Oonchi Haveli (1955) – Music Pandit Shivram;
• the philosophical - TUM POOCHHTE HO ISHQ BALA HAI KE NAHIN HAI from Naqli Nawab (1962) –Music Babul;
• or the other philosophical – ALLAH HI ALLAH KAR PYAARE from Pavitra Papi (1969), Music Prem Dhawan;
• the waltz-style - YEH BAMBAI SHEHAR KA BADA NAAM HAI from Yeh Bambai Hai – Music Bipin Datta (of Bipin-Babul);
• the patriotic - PYAAR KI RAAH DIKHAA DUNIYA KO from Lambe Haath (1960) and the romantic - MAANA MERE HASEEN SANAM from Adventures of Robin Hood (1965) to name just two of G.S. Kohli’s breezy compositions;
• the thunderous, DONO NE KIYA THAAH PYAAR MAGAR from Mahua (1969) – music Sonik-Omi;
• the sad - NIGAAHEN NA PHERO from Black Prince(unreleased) –Music Dulal Sen;
• the romantic - MUJHE TUMSE MUHABBAT HAI from Bachpan (1963) - Sardar Mallik;
• or the melodious songs of Rafi Sahaab from CHA CHA CHA (1964) – all great hits, that had Iqbal Qureshi as the music director, and so on.

Mohammed Rafi, the playback singer who has been imitated the most, would often agree to sing for the producers who couldn’t afford him. As recounted by Sapan-Jagmohan over the Vividh Bharti Radio Station, one producer who was a die-hard fan of Rafi Sahaab had given the assignment of musical direction of his film to Sapan-Jagmohan who, on their part, wanted to record a solo song in the voice of some male singer other than Rafi, since they felt the producer would not be able to afford Rafi Sahaab’s fees. The producer, however, assured them that he would somehow manage to arrange for the payment. So Rafi Sahaab was booked by them. When Rafi Sahaab came promptly on the day and the time of recording he noticed a worried look on the faces both the Music Directors and the Producer. It took some time and some courage to tell Rafi Sahaab that they were not in a position to pay him after recording. They wanted to postpone the recording till such time as they could get the amount to pay him. Hearing this, Rafi Sahaab said: “Is that it? No problem”. As a rejoinder he added in a jest: “It wouldn’t be me the other way around who would do the paying Na?” Thus making light of the situation for both producer and music directors, Rafi Sahaab recorded the song. He wished them good luck for the film and departed without taking any fee but “the eternal gratitude of the producer” and leaving behind another great song: TERI AAWAAZ KI JADUGIRI... from Teri Talash Mein (1968). Much earlier, Rafi Sahaab had recorded the duo’s best composition, PHIR WOH BHOOLI SI YAAD AAYI HAI.. (Begaana – 1963) for a ludicrously lower amount. But the way he sang that composition made it better than their best, with the heart-rending emotions and pain of an unrequited lover, thus making their names unforgettable.

Once O.P. Nayyar asked Rafi Sahaab that as he was singing for the new and upcoming music directors were they paying him as much as he did. Rafi Sahaab informed him that such music directors told him that even if he sang one song for them their careers would be made. He further added: “Now, if just by one song of mine their careers take off, what remuneration can be greater this!”

It cannot be contradicted that Rafi Sahaab rendered great support to Laxmikant-Pyarelal during their initial struggling days and when he himself was at the zenith in the film industry. Pyarelal dispels the notion that they got their first break as the music directors because of Lata Mangeshkar. She never recommended their names to any Producer or Director according to him. Laxmikant-Pyarelal, who made their mark as music directors with Parasmani (1963) had in fact recorded their first song with Rafi Sahaab, earlier than that, for Chhaila Babu (which was released years later than Parasmani). The song was: TERE PYAAR ME.N MUJHE GHAM MILAA.... Rafi Sahaab was so much moved by this compostion that he refused any payment for the song. It is also said that Rafi Sahaab did not charge for his songs in Parasmani. Even for those great songs of Dosti (1964), it is said that Rafi Sahaab did not accept payment. But in keeping with the traditions of accepting payment for professional singing, he just charged them One Rupee only.

In passing, it’s said that the tune for one of the Dosti songs, CHAAHUNGA MAIN TUJHE.. was first made with a female singer in mind but the musical duo was told that it would be Rafi Sahaab who would be singing their tune. The duo even contemplated scrapping this composition but for Rafi Sahaab who prophesised its success. How right he was when the same song won Rafi Sahaab the Filmfare Best Playback Singer award, while the best music director award went to this musical duo. On the aside, having witnessed the musical trends of the Sixties, I would like to reiterate that the “Dosti Mania” or the craze was singularly due to the great voice and pathos of Rafi Sahaab who had rendered five of the six solo songs. Laxmikant-Pyarelal never looked back after this. In any case, the movie, Dosti, was not the usual run- of- the- mill type of story involving a hero and a heroine and there is no situation as such in the movie where a female voice is required for that song. As for the other story that the lyrics sounded to be more of Aashiq and Maashooq (Lover and his Lass) type and therefore needed to be scrapped, well, I wouldn’t like to comment on that since this is not our subject here. If there would have been no CHAAHUNGA MAIN TUJHE..., the Sangam song, YEH MERA PREM PATRA PADHKAR...which was also by Rafi Sahaab under the baton of Shankar-Jaikishen, would have easily won the Filmfare award. For Pyarelal, there was never a greater male singer than Rafi Sahaab. True. But it was also the innate charitable desire, efforts, and good wishes of Rafi Sahaab for the new team of music directors that led to their triumph. It was this song that put Laxmikant-Pyarelal in the big league of music directors. The bond of ‘Dosti’ (friendship) that was created between them and Rafi Sahaab lasted till the last breath of Rafi Sahaab when they recorded the Aas Paas song in 1980. No doubt, then, that the duo considered Rafi Sahaab “Pita Samaan” or a father-figure with whose passing away the very life went out of their music. In their words: “Laxmikant-Pyarelal ke Sangeet Se Jaan hee Chali Gayi Hai.”

The musical duo of Laxmikant-Pyarelal had rightly observed that Rafi Sahaab gave without thinking of returns. According to them: “Rafi Sahaab Ne Har Dukh Mein Hamara Saath Diya.” That is, he helped them at every stage of grief. Pyarelal recollects how once during their bad patch his father had taken him to Rafi Sahaab’s house for some monetary help. Pyarelal also recollects that he owed Rs.500 to Rafi Sahaab and when during the recording of Rafi-Lata duet, Yeh Dil Tum Bin Lagta Nahin (from Izzat – 1968) he reminded him about it, Rafi Sahaab did not “recall” giving any money to him. Giving without thinking was indeed the hallmark of Rafi Sahaab’s generosity and large-heartedness.

There were also times when Rafi Sahaab did not charge any money not because of the inability of the music director to pay, but because of a long- standing friendship. Therefore, when the producer-director-music director, Kishore Kumar (the popular singer,too) approached Rafi Sahaab for a song or two in his Chalti Ka Naam Zindagi (1981 release). Rafi Sahaab refused to take any payment. He just charged a token of One Rupee.

Rafi Sahaab had always considered Ashok Kumar, the veteran actor of Hindi silver screen, as his elder brother. Ashok Kumar, too, as a producer of his 1958 movie, Ragini, never took any objection when O.P. Nayyar made Rafi Sahaab playback the semi-classically-based song, MAN MORA BAAWRA..., for Kishore Kumar, the actor-singer brother of the producer. A decade later, Ashok Kumar’s son- in-law produced a movie called Yakeen (1969), for which Rafi Sahaab was the chosen male singer under the batons of Shankar-Jaikishen. When the time came for recording the songs, Devan Varma said In a jeu d’ spirit: “Rafi jee, I’m like your son-in-law. I won’t pay for the songs.” Taking a cue from this Rafi Sahaab said: “You’ve revealed my mind, my friend. I verily consider you my son-in-law.” On this note he recorded the songs. What romantic numbers were they, too! Can we forget, ‘GAR TUM BHULA NA DOGE and the catchy BAHAARON KI BAARAAT AA GAYEE? These were not the only instances of Rafi Sahaab’s cheerful acquiescence.

Whenever Rafi Sahaab liked any musical compostion which he rendered in his rich voice, he would refuse payment. Habba Khaatun is an unreleased film where Naushad Ali composed music. This film also happens to be the last film where both Naushad and Rafi Sahaab worked together. So much was Rafi Sahaab moved by the musical composition, that he refused any payment for his work. The song happened to be: JIS RAAT KE KHAWAAB AAYE.

Naushad Ali recounts how S.U. Sunny the Producer of Kohinoor (1960 release) wanted MADHUBAN ME.N RADHIKA NAACHE RE, composed in Raga Hamir, scrapped on the ground that it was a difficult composition. Rafi Sahaab picked up the gauntlet, prophesying that the song would be a hit. Rafi Sahaab was ready to forgo his singing fee, but stated that he would charge double the amount if the song proved a hit. S.U. Sunny agreed. However, the latter lost the best when that song indeed proved a great hit and is still a very well-known number despite being nearly 50 years old. But true to his nature, Rafi Sahaab refused the remuneration by saying that he had received the payment by way of rewards from the music lovers who had made this song a great hit.

The father of Hrithik Roshan, Rakesh Roshan who besides being an actor had started out as producer-director with Aap ke Deewaane. Rafi Sahaab sang the title song of this movie. But he did not charge Rakesh Roshan anything since Rafi Sahaab liked the song and it was a one-liner anyway. Tell us, how many singers are there who just dole out their songs for free?


Rafi Sahaab was the only man in the film industry who did not remind the film producers but rather “forgot” about his dues when their films did not do well. He even returned his fee-amount or earnings in such instances.

Once, it appears that a film-producer named S.P. Solanki had the gumption of using Rafi Sahaab’s voice for the songs in his movie. But when it came to paying, he played the truant. Several years later, this very producer happened to be in the same recording-room as Rafi Sahaab. On seeing him, the producer tried to make good his escape. Rafi Sahaab, however, asked him why he wanted to flee. The producer felt trapped. Blushing, he told Rafi Sahaab: “I owe you some money.” With his usual characteristic smile, Rafi Sahaab replied: “So what? You’re way behind in the line. There are many other producers before you in the line. “ So kind and charitable was Rafi Sahaab.

Again, a producer called Malkeit Thakur had produced a film called Aulad ki Khaatir. (1990 release) It appears that he had Rafi Sahaab sing two songs for this movie for a fee of Four Thousand Rupees. After the recording, Rafi Sahaab left the studio, and was moving towards his car when he saw the producer waiting for him. He had wrapped some currency notes, meant for Rafi Sahaab, in a handkerchief. The amount, which had some torn notes, however, was just Fifteen Hundred Rupees. Rafi Sahaab was not angry, for anger seldom touched him. Nor did he ask him why he was paying less than half the amount. On the contrary, he was moved by seeing those torn notes and the gesture of the producer. Treating him to a cup of tea, he told him: “Consider these Fifteen Hundred Rupees as my gift to your children.” Rafi Sahaab was well-known for giving gifts out of generosity.

Joy Mukherjee had produced and directed a movie called Humsaya which was released at the Maratha Mandir Cinema in 1968. It had great music by O.P. Nayyar. One song especially stood out from the rest: DIL KI AWAAZ BHI SUNN... It was a chartbuster from Rafi Sahaab. Unfortunately, the film bombed at the box-office and Joy Mukherjee who was also the hero of that movie, ran short of money. On learning about the shortfall of Joy Mukherjee, Rafi Sahaab discreetly visited his home to refund the amount that he had got for his singing assignment. The former, however, refused to take the money when Rafi Sahaab said: “DIL KI AWAAZ BHI SUNN”. So overwhelmed was Joy Mukherjee that he took the money. We learn that later on he did refund this amount to Rafi Sahaab. But how many of us can come forward to give unstintingly out of conviction to help others in times of need?

He used to help producers in completing their shelved films. Once such movie was Pandit Aur Pathan which was released in 1977.

Once the famous all-round and respected personality of Telegu films and the maker of Tyagaiah, Mr. C.V. Nagaiah, invited Rafi Sahaab to sing the songs for a character of Sant Kabir in his venture, Bhakta Ramdas. Bhakta Ramdas, by the way, had been many years in the making since the producer was in financial problems which was simply due to his own benevolence which used to exceed the limits. Rafi Sahaab recorded DIL KO HAMARE DARSHAN DENA, KAAHE KA RONA and RAM NAAM SE for this movie. When his fee was given, Rafi Sahaab not only returned the amount to Mr. Nagaiah, but also asked him if the latter needed any financial help for completion of the movie. He had also paid for his own air-fare from Madras to Bombay. Such was Rafi Sahaab’s unselfish concern for Mr. Nagaiah whom he knew only through the Hindi screen version of Meera.

How Rafi Sahaab was propelled more towards the general good rather than seeking his own benefit finds echoes in his stand on the question of “royalty” for the songs. This is the well-known issue that led to the rift between Rafi Sahaab and Lata Mangeshkar in the early Sixties. This was not on a personal matter but was based on principles alone. The view of Rafi Sahaab was that once the singers were paid their remuneration there was no need for any royalty. Lata Mangeshkar was of the view that royalty must be earned by the singers in addition to their remuneration, backed as she was with all the other playback singers. At that time, Music Directors used to get royalty for their musical compositions, based on the number of records sold. Both the views were right; only their perspectives were opposing: One was from a spiritual point of view; the other was from the materialistic point of view. The relevance of this is that no matter what, Rafi Sahaab was always a giving person. Otherwise, too, there was a positive outcome of this rift which lasted for about three years: This period saw the emergence of Suman Kalyanpur on the one hand; and recordings of more duets of Lata with Mukesh and Mahendra Kapoor, on the other. Asha Bhonsle, too, stood to gain as she got to sing still more duets with Rafi Sahaab. Above all, no dent had been made in the career of Rafi Sahaab.

Rafi Sahaab made lots of donations to various institutions. It was he who imported and donated the first dialysis machine to the Bombay Hospital at Marine Lines. But most of the stories about his charity will never be known since he practised the maxim of donating with right hand in such a manner that even his left hand wouldn’t know about.

Rafi Sahaab’s acts of altruism, charity, kindliness, and benevolence are evident not only from his financial help that he used to render so off and on, but are also further evident from his interaction and concerns for the people within the film industry and without. But then, that’s another story.

.

Saturday, November 8, 2008

192. Translation of Sad Songs of Rafi: Tukde Hain Mere Dilk Ke...


Movie: MERE SANAM (1965)
Lyrics: Majrooh Sultanpuri
Music: O.P. Nayyar.


Rafi Sahaab’s popular number: Tuk.de hain mere dil ke.....

Roman Transliteration/English Translation of the original lyrics:





Tuk.de hai.n mere dil ke,
PIECES OF MY HEART ARE

Ay yaar tere aa.nsoo,
YOUR TEARS O FRIEND,

dekhe nahee.n jaate hai.n,
IT’S DIFFICULT TO WATCH

dildaar tere aa.nsoo
YOUR TEARS O SWEETHEART,

Tuk.de hai.n mere dil ke,
PIECES OF MY HEART ARE

Ay yaar tere aa.nsoo,
YOUR TEARS O FRIEND...

qatre nahee.n chhalke yeh,
THEY AREN’T THE DROPS THAT BRIMMED OVER

aa.nkho.n ke piyaalo.n se,
FROM THE BOWL OF YOUR EYES,

mothee hai.n mohobbat ke,
THE PEARLS OF LOVE ARE THEY

inn phool se gaalo.n pe,
ON THE FLOWER-LIKE CHEEKS,

inn phool se gaalo.n pe,
ON THE FLOWER-LIKE CHEEKS,

behne nahee.n doo.ngaa mai.n
I WON’T ALLOW THE FLOW OF

bekaar tere aa.nsuu,
YOUR TEARS IN VAIN,

dekhe nahee.n jaate hai.n,
IT’S DIFFICULT TO WATCH

Dildaar tere aa.nsoo....
YOUR TEARS O SWEETHEART,

Tuk.de hai.n mere dil ke,
PIECES OF MY HEART ARE

Ay yaar tere aa.nsoo,
YOUR TEARS O FRIEND...


ashqo.n se bharaa dekhoo.n
WATCH THE TEARS BURSTING IN

kaise teree aa.nkho.n ko,
YOUR EYES – HOW CAN I?

ay jaa.n yeh sulagtaa gham,
O BELOVED, THIS SMOULDERING SORROW:

de de meree aa.nkho.n ko,
GIVE IT TO MY EYES,

de de meree aa.nkho.n ko,
GIVE IT TO MY EYES,

palko.n pe uThaa loo.ngaa,
ON THE EYE-LASHES WILL I LIFT UP

sau baar tere aa.nsuu
YOUR TEARS A HUNDRED TIMES,

dekhe nahee.n jaate hai.n,
IT’S DIFFICULT TO WATCH

dildaar tere aa.nsoo
YOUR TEARS O SWEETHEART,

Tuk.de hai.n mere dil ke,
PIECES OF MY HEART ARE

Ay yaar tere aa.nsoo,
YOUR TEARS O FRIEND.

NASIR.

“So hold her closer when she cries, hold her closer when she feels. She needs a hand to hold, someone who will never let her go again. And hold him closer when he tries to hold the tears back from his eyes. Don't say goodbye.”
Song: Hold Her Closer
Blessid Union of Souls quotes

Wednesday, November 5, 2008

191. Translation of Sad Songs of Rafi: Woh Ham naa Theh...


Movie: CHA,CHA, CHA (1964)
Lyrics: Neeraj
Music: Iqbal Qureshi


Rafi Sahaab's popular number: Voh Hamm Na Theh...

Roman Transliteration/English Translation of the original number:



voh hamm na theh, voh tum na theh,
THAT WAS NOT ME, THAT WAS NOT YOU,

voh hamm na theh, voh tum na theh,
THAT WAS NOT ME, THAT WAS NOT YOU,

voh rehguzar theeh pyaar kee,
THAT WAS THE PATH OF LOVE

lutee jahaa.n pe bevajaah, paalkee, bahaar kee,
WHERE BLOOMING PALANQUIN GOT LOOTED WANTONLY,

paalkee bahaar kee
THE BLOOMING PALANQUIN,

voh hamm na theh, voh tum na theh.
THAT WAS NOT ME, THAT WAS NOT YOU...


yeh khel thaah naseeb kaa
THIS WAS THE GAME OF FATE,

yeh khel thaah naseeb kaa
THIS WAS THE GAME OF FATE,

na ha.ns sakke, na ro sakke,
WE COULD NEITHER LAUGH NOR CRY,

na toor par, pahu.nch sake,
NOR COULD WE REACH THE SUMMIT OF MOUNT SINAI,

na daar par hee so sakke,
NOR COULD WE SLEEP AT THE GALLOWS,

kahaanee kis se yeh kahe.n,
WHOM TO RELATE THIS STORY...

Kahaanee kis se yeh kahe.n, utaar kee, cha.daav ki utaar ki,
WHOM TO RELATE THIS STORY OF VICISSITUDES,

lutee jahaa.n pe bevajaah, paalkee, bahaar kee,
WHERE BLOOMING PALANQUIN GOT LOOTED WANTONLY,

paalkee bahaar kee
THE BLOOMING PALANQUIN,

voh hamm na theh, voh tum na theh,
THAT WAS NOT ME, THAT WAS NOT YOU...


tumhee.n theh mere rehnumaa,
YOU ALONE WERE MY GUIDE,

tumhee.n theh mere hamsafar,
YOU ALONE WERE MY CO-TRAVELLER,

tumhee.n theh mere raushnee,
YOU ALONE WERE MY LIGHT,

tumhee.n ne mujhko dee nazar
YOU ALONE GAVE ME THE SIGHT,

dee nazar
GAVE THE SIGHT,

binaa tumhaare zindagee
WITHOUT YOU, THE LIFE ....

binaa tumhaare zindagee
WITHOUT YOU THE LIFE

shamaa hai ik mazaar kee,
IS A LAMP OF A TOMB,

lutee jahaa.n pe bevajaah, paalkee, bahaar kee,
WHERE BLOOMING PALANQUIN GOT LOOTED WANTONLY,

paalkee bahaar kee
THE BLOOMING PALANQUIN,

voh hamm na theh, voh tum na theh,
THAT WAS NOT ME, THAT WAS NOT YOU...


yeh kaun saa muqaam hai,
WHAT’S THIS PLACE?

yeh kaun saa muqaam hai,
WHAT’S THIS PLACE?

falak nahee.n, zamee.n nahee.n,
NO SKY, NO EARTH,

ke shab nahee.n, sahar nahee.n,
WITH NO NIGHT, NO MORNING,

ke Gham nahee.n, Kushee nahee.n,
WITH NO SORROW, NO JOY,

kahaa.n yeh leke aa gayee,
WHERE HAVE I BEEN BROUGHT

havaa tere dayaar kee,
BY THE BREEZE OF YOUR THRESHOLD,

lutee jahaa.n pe bevajaah, paalkee, bahaar kee,
WHERE BLOOMING PALANQUIN GOT LOOTED WANTONLY,

paalkee bahaar kee
THE BLOOMING PALANQUIN,

voh hamm na theh, voh tum na theh,
THAT WAS NOT ME, THAT WAS NOT YOU...


guzar rahee hai tum pe kyaa,
WHAT YOU’VE BEEN SUFFERING

banaake hamm ko dar-ba-dar,
BY EXPELLING US,

yeh soch kar udaas hoo.n,
THINKING ABOUT THIS I’M SAD,

yeh soch kar, hai chashm tarr,
THINKING ABOUT THIS, THE EYES ARE WET,

chashm tarr,
THE EYES ARE WET,

na choT hai yeh phool kee,
‘TIS NEITHER THE WOUND OF A FLOWER,

na choT hai yeh phool kee,
‘TIS NEITHER THE WOUND OF A FLOWER,

na hai khalish yeh khaar kee
NOR THE PRICKLE OF A THORN,

lutee jahaa.n pe bevajaah, paalkee, bahaar kee,
WHERE BLOOMING PALANQUIN GOT LOOTED WANTONLY,

paalkee bahaar kee
THE BLOOMING PALANQUIN,

paalkee bahaar kee
THE BLOOMING PALANQUIN,

paalkee bahaar kee.
THE BLOOMING PALANQUIN....


NASIR.

There are only two ways to live your life. One is as though nothing is a miracle. The other is as though everything is a miracle. -- Albert Einstein

190. Translation of Sad Songs of Rafi: Shama Bujhne Ko Chali...


Movie: GANGA KI LEHREN (1964)
Music: Chitragupt
Lyrics: Majrooh Sultanpuri


A Rare Gem of Rafi Sahaab: Shama Bujhne ko chalee....

Roman Transliteration/English Translation of the original lyrics:





O O O~~~

shamaa bujhne ko chalee,
THE LIGHT IS GOING TO BE EXTINGUISHED,

shamaa bujhne ko chalee,
THE LIGHT IS GOING TO BE EXTINGUISHED,

shamaa bujhne ko chalee,
THE LIGHT IS GOING TO BE EXTINGUISHED,

shamaa bujhne ko chalee.
THE LIGHT IS GOING TO BE EXTINGUISHED...


hai yahee dard ke, jal jaaye pata.ngaa na kahee.n,
THE ONLY PITY IS, LEST THE MOTH BE BURNT UP,

shamaa bujhne ko chalee,
THE LIGHT IS GOING TO BE EXTINGUISHED,

shamaa bujhne ko chalee ...
THE LIGHT IS GOING TO BE EXTINGUISHED...

uss ne chaahaa ke meraa, chaahane waalaa toh rahe,
SHE DESIRED THAT AT LEAST HER LOVER MAY LIVE,

uss ne chaahaa ke meraa, chaahane waalaa toh rahe,
SHE DESIRED THAT AT LEAST HER LOVER MAY LIVE,

mai.n rahoo.n yaa na rahoo.n, ghar kaa ujaalaa toh rahe,
“I MAY OR MAY NOT REMAIN, AT LEAST THE LIGHT OF THE HOUSE MAY REMAIN,”

apne preetam ke liye, chho.d dee preetam ki galee,
FOR HER LOVER, SHE ABANDONED HER LOVER’S LANE,

shamaa bujh ne ko chalee,
THE LIGHT IS GOING TO BE EXTINGUISHED,

shamaa bujhne ko chalee...
THE LIGHT IS GOING TO BE EXTINGUISHED..


bhool kar sab ko bas ik apnee, wafaa saath liye,
FORGETTING ALL, JUST TAKING HER OWN FAITHFULNESS WITH HER,

bhool kar sab ko bas ik apnee, wafaa saath liye,
FORGETTING ALL, JUST TAKING HER OWN FAITHFULNESS WITH HER,

apne hee ashqo.n me.n, bheegee huwee ik raat liye,
DRENCHED IN HER OWN TEARS DURING A NIGHT

gham ke toofaa.n me.n ghiree, Thokare.n khaatee niklee,
SURROUNDED WITH STORM OF SORROW, SHE SET OUT STUMBLING,

shamaa bujhne ko chalee,
THE LIGHT IS GOING TO BE EXTINGUISHED,

shamaa bujhne ko chalee...
THE LIGHT IS GOING TO BE EXTINGUISHED...


apne begaane chhooTe, Laqt-e-Jigar chhooT gayaa,
RELATIONS AND STRANGERS SEVERED, SHE LOST THE DEAR SON

apne begaane chhooTe, Laqt-e-Jigar chhooT gayaa,
RELATIONS AND STRANGERS SEVERED, SHE LOST HER DEAR SON,

gham ke sholo.n me.n chhupee, aisi ke ghar chhoot gayaa,
HIDDEN AS SHE WAS IN SORROW’S FLAMES, SHE LOST HER HOME,

doobne aayee hai paani me.n naseebo.n ki jalee,
SCORCHED BY THE FATE, SHE’S COME TO DROWN IN WATER.

shamaa bujhne ko chalee.
THE LIGHT IS GOING TO BE EXTINGUISHED.

NASIR.

Women have got to make the world safe for men since men have made it so darned unsafe for women to live.
Nancy Astor
.


Comments: It's ironic that the above song so nearly reflects the personal tribulations of Savitri whose last days were spent away from fame, glory and wealth.

Monday, November 3, 2008

189. Translation of Sad Songs of Rafi: Kahin Qaraar Na Ho...


Movie: CHANDI KI DEEWAR (1964)
Lyrics: Sahir Ludhianvi
Music: N. Dutta


Yet another Rare Gem of Rafi Sahaab: Kahee.n Qaraar Na Ho...

Roman Transliteration/English Translation of the original lyrics:




kahee.n qaraar na ho aur, kahee.n khushee na meele,
WITH NO REPOSE IN PLACE, AND WITH NO JOY TO BE FOUND ANYWHERE,

hamaare baad kisee ko, yeh zindagi na meele,
AFTER US, LET NO ONE GET SUCH LIFE.

kahee.n qaraar na ho.
WITH NO REPOSE IN PLACE...

siyaah naseeb koee, un se ba.dh ke kyaa hogaa,
WHOSE LOT CAN BE MORE EVIL THAN HIS,

siyaah naseeb koee, un se ba.dh ke kyaa hogaa,
WHOSE LOT CAN BE MORE EVIL THAN HIS

jo apnaa ghar bhee jalaa de, toh raushnee na meele,
WHO, EVEN ON BURNING HIS OWN HOME, DOES NOT FIND LIGHT,

hamaare baad kisee ko, yeh zindagi na meele,
AFTER US, LET NO ONE GET SUCH LIFE.

kahee.n qaraar na ho.
WITH NO REPOSE IN PLACE...


yahee sulook hai ‘gar, aadmee se duniyaa kaa
IF SUCH IS THE CONDUCT OF THE WORLD TOWARDS MAN,

Yahee, sulook hai ‘gar, aadmee se duniyaa kaa,
IF SUCH IS THE CONDUCT OF THE WORLD TOWARDS MAN,

toh kuchh ajab, nahee.n duniyaa me.n aadmee na meele,
THEN IT WON’T BE ASTONISHING TO FIND THE WORLD DESTITUTE OF MAN,

hamaare baad kisee ko, yeh zindagi na meele,
AFTER US, LET NO ONE GET SUCH LIFE,

kahee.n qaraar na ho.
WITH NO REPOSE IN PLACE...


yeh bebasi bhee kisee, bad-duaa se kam to nahee.n,
NOT LESS THAN SOME CURSE, IS ALSO THIS HELPLESSNES...

yeh bebasi bhee kisee, bad-duaa se kam to nahee.n,
NOT LESS THAN SOME CURSE, IS ALSO THIS HELPLESSNESS

ke khul ke jee, naa sakke aur maut bhee na meele,
OF NOT HAVING LIVED WITH FREEDOM, AND NOT EVEN FINDING DEATH,

hamaare baad kisee ko, yeh zindagi na meele,
AFTER US, LET NO ONE GET SUCH LIFE.

kahee.n qaraar na ho.
WITH NO REPOSE IN PLACE....


NASIR.

“Life is full of misery, loneliness, and suffering - and it’s all over much too soon.”
-Woody Allen.

Sunday, November 2, 2008

188. Translation of Sad Songs of Rafi: Kahin Se Maut Ko Laao...


Movie: MERA QUSOOR KYA HAI (1964)
Lyrics: Rajinder Krishan
Music: Chitragupt

A rare gem of Rafi Sahaab: Kahee.n Se Maut Ko Laao...
Roman Transliteration/English Translation of the original lyrics:



kaa.nTo.n pe chal ke, paa.nv ke chhaalo.n se kyaa gilaa,
AFTER WALKING ON THORNS, WHY COMPLAIN ABOUT BLISTERS IN FEET,

maa.ngee theeh khud hee raat, ujaalo.n se kyaa gilaa...
I HAD MYSELF ASKED FOR THE NIGHT, WHY COMPLAIN ABOUT DAY-LIGHT,


kahee.n se maut ko laao, ke gham kee raat kaTe,
BRING DEATH FROM SOMEWHERE, SO THAT THE NIGHT OF SORROW MAY PASS,

kahee.n se maut ko laao, ke gham kee raat kaTe,
BRING DEATH FROM SOMEWHERE, SO THAT THE NIGHT OF SORROW MAY PASS,

meraa hee sog manaao, ke gham kee raat kaTe,
MOURN FOR MYSELF, SO THAT THE NIGHT OF SORROW MAY PASS,

kahee.n se maut ko laao, ke gham kee raat kaTe...
BRING DEATH FROM SOMEWHERE, SO THAT THE NIGHT OF SORROW MAY PASS...


kare na peechhaa meraa, zindagee ko samjhaa doh,
NOT TO PURSUE ME, IMPRESS IT ON LIFE,

kare na peechhaa meraa, zindagee ko samjhaa doh,
NOT TO PURSUE ME, IMPRESS IT ON LIFE

zindagee ko samjhaa doh,
IMPRESS IT ON LIFE...

yeh raah uss ko bhulaao, ke gham kee raat kaTe,
MAKE IT OBLIVIOUS OF THIS PATH, SO THAT THE NIGHT OF SORROW MAY PASS,

Kahee.n se maut ko laao, ke gham kee raat kaTe...
BRING DEATH FROM SOMEWHERE, SO THAT THE NIGHT OF SORROW MAY PASS...


kaho bahaaro.n se ab, shaakh- e-dil na hogee haree,
TELL THE BLOSSOM-TIMES NOW, THE HEART’S BOUGH WON’T BLOOM,

kaho bahaaro.n se ab, shaakh- e-dil na hogee haree,
TELL THE BLOSSOM-TIMES NOW, THE HEART’S BOUGH WON’T BLOOM,

shaakh-e-dil, na hogee haree,
THE HEART’S BOUGH WON’T BLOOM,

khizaa.n ke geet sunaao, ke gham kee raat kaTe
NARRATE THE SONGS OF AUTUMN, SO THAT THE NIGHT OF SORROW MAY PASS,

kahee.n se maut ko laao, ke gham kee raat kaTe...
BRING DEATH FROM SOMEWHERE, SO THAT THE NIGHT OF SORROW MAY PASS,

na chaaraagar kee zaroorat, na kuchh dawaa kee hai,
THERE’S NO NEED FOR A HEALER, NOR FOR ANY MEDICINES,

na chaaraagar kee zaroorat, na kuchh dawaa kee hai,
THERE’S NO NEED FOR A HEALER, NOR FOR ANY MEDICINES,

na kuchh dawaa kee hai,
NOR FOR ANY MEDICINES,

dua ko haath uThaao, ke gham kee raat kaTe,
RAISE THE HANDS IN SUPPLICATION, SO THAT THE NIGHT OF SORROW MAY PASS,

kahee.n se maut ko laao, ke gham kee raat kaTe.
BRING DEATH FROM SOMEWHERE, SO THAT THE NIGHT OF SORROW MAY PASS,

NASIR.


“Death has a thousand doors to let out life: I shall find one”
-Phillip Massinger.

Saturday, November 1, 2008

187. Translation of Sad Songs of Rafi: Tumne Kisi ki Jaan ko...


Movie: Rajkumar (1964)
Music: Shankar-Jaikishan
Lyrics: Hasrat Jaipuri

When parting of beloved is equated with parting of life, romance turns somewhat into sadness in the song of Rafi Sahaab: Tumne Kisee Ki Jaan ko...

Roman Transliteration/English Translation of the original lyrics:



tum ne kisee ki jaan ko, jaate huye dekhaa hai,
YOU’VE SEEN SOMEONE’S LIFE DEPARTING,

voh dekho mujhse rooTh kar, meri jaan jaa rahee ha,
LOOK THERE! MY BELOVED IS LEAVING IN A HUFF,

voh dekho mujhse rooTh kar, meri jaan jaa rahee ha,
LOOK THERE! MY BELOVED IS LEAVING IN A HUFF,

tum ne kisee ki jaan ko, jaate huye dekhaa hai,
YOU’VE SEEN SOMEONE’S LIFE DEPARTING,

voh dekho mujhse rooTh kar, meri jaan jaa rahee hai,
LOOK THERE! MY BELOVED IS LEAVING IN A HUFF,

voh dekho mujhse rooTh kar, meri jaan jaa rahee hai,
LOOK THERE! MY BELOVED IS LEAVING IN A HUFF.


kyaa jaane kis qusoor ki, dee hai.n mujhe sazaaye.n,
DON’T KNOW FOR WHAT OFFENCE I’VE BEEN PUNISHED,

deewaana kar rahee hai.n, taubaa shikan adaaye.n,
THE VOW-BREAKING ELEGANCE IS DRIVING ME CRAZY,

zulfo.n me.n moo.nh chhupaakar,
HIDING HER FACE BEHIND THE TRESSES....

zulfo.n me.n moo.nh chhupaakar, mujhko lubhaa rahee hai
HIDING HER FACE BEHIND THE TRESSES, SHE’S SEDUCING ME,

voh dekho mujhse rooTh kar, meri jaan jaa rahee hai,
LOOK THERE! MY BELOVED IS LEAVING IN A HUFF.

tum ne kisee ki jaan ko jaate huye dekhaa hai,
YOU’VE SEEN SOMEONE’S LIFE DEPARTING,

voh dekho mujhse rooTh kar, meri jaan jaa rahee hai,
LOOK THERE! MY BELOVED IS LEAVING IN A HUFF,

voh dekho mujhse rooTh kar, meri jaan jaa rahee hai,
LOOK THERE! MY BELOVED IS LEAVING IN A HUFF.


ghabraa rahee hai khud bhee, bechain ho rahee hai,
BEING JITTERY HERSELF, SHE’S BEING RESTLESS,

ghabraa rahee hai khud bhee, bechain ho rahee hai,
BEING JITTERY HERSELF, SHE’S BEING RESTLESS,

apne hee khoon-e-dil me.n, daaman Dubo rahee hai,
WITH HER OWN BLEEDING HEART SHE’S RUINING HER GARMENT,

bejaan reh gaye hamm,
LIFELESS WE REMAIN....

bejaan reh gaye hamm, voh muskuraa rahee hai
LIFELESS WE REMAIN, SHE’S SMILING,

voh dekho mujhse rooTh kar, meri jaan jaa rahee hai,
LOOK THERE! MY BELOVED IS LEAVING IN A HUFF.


tum ne kisee ki jaan ko, jaate huye dekhaa hai,
YOU’VE SEEN SOMEONE’S LIFE DEPARTING,

voh dekho mujhse rooTh kar, meri jaan jaa rahee hai,
LOOK THERE! MY BELOVED IS LEAVING IN A HUFF,

voh dekho mujhse rooTh kar, meri jaan jaa rahee hai.
LOOK THERE! MY BELOVED IS LEAVING IN A HUFF...


mastee bharee ghaTaao.n, ab jaake rok lo tum,
O INTOXICATED CLOUDS, GO AND STOP HER NOW,

mastee bharee ghaTaao.n, ab jaake rok lo tum,
O INTOXICATED CLOUDS GO AND STOP HER NOW,

tum ko meri qasam hai, samjhaa ke rok lo tum
UPON MY OATH, REASON WITH HER TO STOP,

Uss kee judaaee dil par,
HER DEPARTURE, ON THE HEART...

uss kee judaaee dil par, nashtar chalaa rahee hai
HER DEPARTURE, ON THE HEART, IS STRIKING WITH A LANCET.

voh dekho mujhse rooTh kar, meri jaan jaa rahee hai,
LOOK THERE! MY BELOVED IS LEAVING IN A HUFF.

tum ne kisee ki jaan ko jaate huye dekhaa hai
YOU’VE SEEN SOMEONE’S LIFE DEPARTING,

voh dekho mujhse rooTh kar, meri jaan jaa rahee hai,
LOOK THERE! MY BELOVED IS LEAVING IN A HUFF,

voh dekho mujhse rooTh kar, meri jaan jaa rahee hai,
LOOK THERE! MY BELOVED IS LEAVING IN A HUFF,

Meri jaan jaa rahee hai
MY BELOVED IS LEAVING...

Meri jaan jaa rahee hai
MY BELOVED IS LEAVING....

NASIR.


Love is not finding someone to live with, It's finding someone you can't live without. ~Rafael Ortiz