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Saturday, February 28, 2009

259. Translation of Sad Songs of Rafi: Tum Mujhe Yoon....


Movie: Pagla Kahin ka (1970)
Music: Shankar-Jaikishen
Lyrics: Hasrat Jaipuri

Main Theatrical Release in Mumbai: Maratha Mandir Cinema


Rafi Sahaab’s poignant classic song: Tum Mujhe Yoon Bhulaa Na Paaoge...
The song version that’s in a different league altogether!

Roman Transliteration/English Translation of the original lyrics:



Tum mujhe yoo.n, bhulaa na paaoge,
YOU WON’T BE ABLE TO FORGET ME THAT EASILY,


haa.n tum mujhe yoo.n, bhulaa na paaoge,
YES, YOU WON’T BE ABLE TO FORGET ME THAT EASILY,

Jab kabhee bhee, sunoge geet mere,
WHENEVER YOU HEAR MY SONGS

Sanng sanng tum, bhee gun-gunaaoge,
YOU’LL ALSO HUM ALL ALONG,

haa.n tum mujhe yoo.n, bhulaa na paaoge,
YES, YOU WON’T BE ABLE TO FORGET ME THAT EASILY,

Oh tum mujhe yoo.n....
OH, YOU...ME .... THAT EASILY!


Woh bahaare.n woh chaandnee raate.n,
THOSE BLOSSOM-TIMES, THOSE MOONLIT NIGHTS

Hamne ki theeh.n, jo pyaar kee baate.n,
THOSE LOVELY TALKS THAT WE’D,

Woh bahaare.n woh chaandnee raate.n,
THOSE BLOSSOM-TIMES, THOSE MOONLIT NIGHTS

Hamne ki theeh.n, jo pyaar kee baate.n,
THOSE LOVELY TALKS THAT WE’D,

Unn nazaaro.n kee yaad aayegee,
THOSE SIGHTS YOU’LL RECOLLECT

Jab khayaalo.n, me.n mujhko laaoge,
WHEN YOU BRING ME TO YOUR MIND,

haa.n tum mujhe yoo.n, bhulaa na paaoge,
YES, YOU WON’T BE ABLE TO FORGET ME THAT EASILY,

oh tum mujhe yoo.n...
OH, YOU...ME .... THAT EASILY!


Mere haatho.n me.n teraa chehraa thaah,
CLASPED ’TWEEN MY HANDS WAS YOUR FACE,

Jaise koee, gulaab hotaa hai,
AS IF IT WERE A ROSE,

Mere haatho.n me.n teraa chehraa thaah,
CLASPED ‘TWEEN MY HANDS WAS YOUR FACE,

Jaise koee, gulaab hotaa hai,
AS IF IT WERE A ROSE,

Aur sahaara liya thaah baaho.n kaa,
AND, YOU’D SOUGHT THE SUPPORT OF MY ARMS,

Woh samaa kis, taraah bhulaaaoge,
HOW’LL YOU BE ABLE TO FORGET THAT AMBIENCE?

haa.n tum mujhe yoo.n, bhulaa na paaoge,
YES, YOU WON’T BE ABLE TO FORGET ME THAT EASILY,

oh tum mujhe yoo.n...
OH, YOU...ME .... THAT EASILY!


Mujhko dekhe binaa qaraar na thaah,
UNLESS YOU SAW ME, YOU’D NO REST,

Ek aysaa bhee daur guzraa hai,
SUCH A PHASE HAS ALSO COME TO PASS,

Mujhko dekhe binaa qaraar na thaah,
UNLESS YOU SAW ME, YOU’D NO REST,

Ek aysaa bhee daur guzraa hai,
SUCH A PHASE HAS ALSO COME TO PASS

JhooTh maano toh pooch lo dil se,
IF THIS BE A LIE, THEN ENQUIRE FROM YOUR HEART,

Mai.n kahoo.ngaa, toh rooTh jaaoge,
IF I WERE TO TELL YOU, YOU MIGHT BECOME UPSET,

haa.n tum mujhe yoo.n, bhulaa na paaoge,
YES, YOU WON’T BE ABLE TO FORGET ME THAT EASILY,

Jab kabhee bhee, sunoge geet mere,
WHENEVER YOU HEAR MY SONGS

Sanng sanng tum, bhee gun-gunaaoge,
YOU’LL ALSO HUM ALL ALONG,

Haa.n tum mujhe yoo.n, bhulaa na paaoge,
YES, YOU WON’T BE ABLE TO FORGET ME THAT EASILY,

Oh tum mujhe yoo.n...
OH, YOU...ME .... THAT EASILY!


NASIR.

The crime of loving is forgetting.
Maurice Chevalier

258. Translation of Sad Songs of Rafi: Kaise Kategee Zindagee...


Music: Madan Mohan



Rafi Sahaab's Unreleased Song of Sadness and Sweetness: Kaise Kategee Zindagee...

Roman Transliteration/English Translation of the original lyrics:



Kaise Kategee Zindagee, tere baghair,
HOW WILL THE LIFE GO ON IN YOUR ABSENCE,

Tere baghair,
IN YOUR ABSENCE,

Kaise, kategee zindagee, tere baghair,
HOW WILL THE LIFE GO ON IN YOUR ABSENCE,

Tere baghair,
IN YOUR ABSENCE,

Paaoo.nga har shay me.n kamee, tere baghair,
IN EVERYTHING WILL I FIND DEFICIENCY, IN YOUR ABSENCE,

Tere baghair,
IN YOUR ABSENCE,

Kaise, kategee zindagee, tere baghair
HOW WILL THE LIFE GO ON IN YOUR ABSENCE,

Tere baghair....
IN YOUR ABSENCE...


phool khile.n tau yoo.n lage,
WHEN THE FLOWERS BLOOM, IT APPEARS AS IF

phool nahee.n, yeh daagh hai.n,
THEY AREN’T THE FLOWERS, THEY’RE STAINS,

phool khile.n tau yoo.n lage,
WHEN THE FLOWERS BLOOM, IT APPEARS AS IF

phool nahee.n, yeh daagh hai.n,
THEY AREN’T THE FLOWERS, THEY ARE STAINS,

taare falak pe yoo.n lage.n,
THE STARS IN THE SKY APPEAR AS IF

jaise bujhe chiraagh hai.n,
THEY’RE THE LAMPS EXTINGUISHED,

Aag lagaaye chaandnee, tere baghair,
THE MOON BEAM IGNITES THE FIRE, IN YOUR ABSENCE,

Tere baghair,
IN YOUR ABSENCE,

Kaise, kategee zindagee, tere baghair,
HOW WILL THE LIFE GO ON IN YOUR ABSENCE,

Tere baghair.
IN YOUR ABSENCE.


NASIR

Absence is to Love as Wind is to Fire: It extinguishes the small and kindles the great. - Roger De Bussy-Rabutin

Wednesday, February 25, 2009

WITNESSING RAFI SAHAAB'S LIVE RECORDING


WITNESSING THE LIVE RECORDING OF RAFI SAHAAB’S SONG: "TUMSE IZHAAR-E-HAAL KAR BAITHE.. AT THE MEHBOOB STUDIOS, BANDRA, MUMBAI.

It was in 1954 that Mehboob Studios was built near Hill Road, Bandra, Mumbai, by the legendary Mehboob Khan who had founded his own production house in 1942. The plot was in fact purchased as early as 1951 from one Jafferbhai, a Bohri Muslim. Spreading over 4.2 acres of land, Mehboob Studios features five huge shooting stages and a recoding theatre. It was a very popular venue for the leading film-makers of the golden age that was the Bombay Film Industry which is now commonly called the Bollywood. After Mehboob Khan’s death in 1964, the Mehboob Studios has seen ups and downs and was even rumoured that it was offered for sale. According to an insider information, it appears that the Khoja Jamaat Khana had offered to purchase the Studios at the price of Rs.220 crores, a decade and a half ago when money had much greater value then it has today. Of late, the Studio has been used by the film-makers of Saawariya and Bhootnath – to name just a couple.

Coming to our subject, a friend of mine, Mr. Sayyad, came to Bombay from Bhopal in early 1962-1963. He had a relative who used to look after and supervise the lighting arrangements at the Mehboob Studios. One day, having nothing better to do, he set out to meet him there. It was late morning. He noticed that the Studio was a very busy place. The two landscape gardens were full of people. Strangely, he noticed that one garden was full of women only. The other garden was occupied by men. All were talking gaily about something or the other. Perhaps they were the junior artistes who waiting for their daily chores. The canteen was jam-packed too. In the hallway, he recognised some seasoned artistes such as Jayant, Anwar Hussein, Mukri and others who were discussing the shoots they had done recently.
Thereafter, Mr. Sayyad walked up the flight of stairs and happened to enter the Recording Studio.

Little did he anticipate that he was about to witness the live recording session of one of the beautiful songs from H.S. Rawail’s romantic-musical movie called “Mere Mehboob”. It may be remembered that the Music Director Naushad had recorded the title track of Mere Mehboob with just six instruments. Mr. Sayyad saw some twenty-five people occupying the visitors chairs in the hall. He recognized one of them as the famous Bollywood villain, Hiralal. The visitors were sitting just at a distance of 15-20 feet from the musicians and were keenly watching the on-goings of the musicians who were located at one end of the hall. There were sections of musical instrument, notably violins and others. A lone, swarthy Tabla player was conspicuous by his white ‘Kurta” and Pajama. He was sitting sort of aloof from the other musicians. Naushad Saab was not around. His Assistant, Mohammed Shafi, stood facing the musicians. He used to point his baton at each section of musician in turn, which then played their piece of music. While the arrangement and embellishments were being tested by Mohammed Shafi, the sound quality was being supervised by the eminent Sound Recordist, Kaushik at the other end.

As Mr. Sayyad began to wonder who the singer would be, in walked Mohammed Rafi Sahaab with his ingratiating smile, and making Salaams to those present there. He wore a white pants and a white short-sleeves shirt. On seeing him, the entire Recording Studio came to life with happy anticipation. Rafi Sahaab had his Song- Diary with him. Mohammed Shafi asked him whether he needed a rehearsal. Rafi Sahaab said that it was not necessary and pulled up a chair to sit.

Thereafter Mohammed Shafi turned towards the visitors and began to ask who they were. He had this way of snapping his fingers and asking each visitor their business and then asking him to leave. He turned out at least six visitors out of the Recording Studio. Looking at Hiralal he asked him how did he find his way here. My friend sat motionless, fearing that he would be sent out. Finally, Mohammed Shafi snapped his finger at him. But before he could ask him the question, Mr. Sayyad himself got up and asked him, “Kyaa Main Bhee Baahar Jaaoon?” (“Whether I, too should go out?"). He, however, allowed him to sit. There were still last-minute instructions to be given. Looking towards the entrance, he signalled one watchman to go out and caution people against making any noise. Another watchman who got the signal picked up a stick to fend off the crows, if any, from the window sill and ledges. Clearly, there was a qualitative difference between the old and the modern Recording Studios.

At last Naushad Saab made an entry from the same entrance from where Rafi Sahaab had come. It looked as if there was a special entrance for the artistes and another common entrance for the visitors. He went up to Mohammed Shafi. Whispering something in his ears, he went out through the same entrance. My friend was not sure where he went, i.e. whether he had left the Recording Studio, or whether he had just gone to some other part of the recording studio.

Then there was a hush! Rafi Sahaab got up and went to up to the mike. In one hand he had his open Song-Diary. Looking into it, Rafi Sahaab began:
Aaj Furqat ka Khwaab Toot Gayaa...
Mil Gaye Tum Hijaab Toot Gayaa...
Tumse Izhaar-e-Haal Kar Baithe
Bekhudi me.n kamaal kar Baithe.


And so the song went on. Rafi Sahaab was singing so effortlessly, with one hand raised in gestures to indicate the nuances of the words such as “Yeh Adaayen,” “Yeh Shokhiyaa.n”. The beat of the Tabla was prominent among the harmony of the other musical instruments. The ecstasy was short-lived as the song came to an end. Thereafter, with the same niceties as before, Rafi Sahaab left the Recording Studio. Surely, he had another recording session somewhere since the early Sixties was the time when he was at the zenith of his singing career. The musicians collected their instruments.

The visitors began leaving the Recording Studio. Mr. Sayyad, too, came out with the pleasant experience that he would never forget - the experience that he would narrate to me some Forty-Five years later in details. After a few days he did get another opportunity to witness a live recording at the same place. This was the duet from Leader: “Teri Husn ki kya Taareef Karoo.n...” But that’s another story.

NASIR.

Tuesday, February 24, 2009

STORIES OF MYSTERIOUS ENCOUNTERS -1: Ghostly Experience in a National Highway Hotel.





STORIES OF MYSTERIOUS ENCOUNTERS- 1.

Since my childhood I’ve always been fascinated by the stories of the supernatural, spirits, ghosts and the Djinns. Here I'm narrating a story that I heard from my friend Aamir (name changed). This happened when he travelled from Mumbai, (dated 20th January, 2009) to Unava, in the Western Indian State of Gujarat. The purpose of the visit to Unjah was to pay homage at the 14th century holy shrine of Hazrat Sayyad Ali Mira Datar. This shrine is famous for healing mental illnesses, evil eye, black magic, demonic possession, and the like.

The background to this journey is also interesting:

Sometimes in July-August 2007, Aamir’s wife, Fiza (name changed), had a dream. She saw some tomb and a renovation of a structure going on around the tomb. When she related this dream to Aamir, he began inquiring about the location of such a shrine. Later, he was told that the said shrine was of Hazrat Sayyad Ali Mira Daataa (Radi Allahu anhu). Following this, discussions began about visiting the shrine. But Amir’s business engagements prevented the immediate travel plans. All of a sudden, one fine evening in September 2007, Aamir made a decision to undertake the journey along with his family by road. Having made the preparations, Aamir, his wife Fiza, mother, and uncle sat in their newly purchased Maruti Swift VDI the next evening around 5.30 p.m. and started for the said shrine which is around 660 km away by road from Mumbai.

They reached Amdavad (Ahmedabad) by 9 the next morning safe and sound. While proceeding further towards Unjah, they reached a junction where one road leads to Unjah and the other to Ajmer (Rajashthan State). At this spot, my friend changed his mind and opted to travel further on to Ajmer, thinking that he would visit Unjah, later while returning from Ajmer. They reached Ajmer safely, but dead tired, around 11 O’clock at night. There they stayed for a week and paid homage at the famous shrine of Hazrat Khwaja Moinuddin Hasan Chishti (R.A.). However, on their return journey, they did not visit Unjah but straightaway came back home. My friend was full of guilty conscience at not having visited Unjah. His wife, however, used to remind him daily that they must visit Unjah the soonest and that they should not have come home directly. Meanwhile, my friend lost heavily in business, and had to even sell off his car.

In September 2008, Fiza suffered from a deep cut on her hand and the wound had to be sutured. Also she began keeping unwell. The same month Fiza had the same dream about the Unjah shrine. It was finally decided that they should visit the shrine. In the absence of their car, they decided to use the Western Railways and travel up to the Unjah Station. Unfortunately, no seats were available on the train as the route is very busy as always. Hence they were disheartened. They cried, they prayed that somehow they should be able to visit the shrine as early as possible.

All of sudden things started looking for better and Aamir was able to buy a new car. One evening their home was filled with some pleasant rose fragrance at Maghrib (evening prayer time). Fiza persuaded her “Saaheb” (for that’s how she used to address her husband, Aamir) that they should begin the journey to Unjah immediately. At around 11:30 p.m., Aamir and Fiza drove off in their car with the aim of finally visiting the Dargah at Unjah.

Crossing the Maharashtra State, they entered the Gujarat State of India. They reached the highway near the city of Surat after about four hours. It was four in the morning. Therefore, Aamir and Fiza decided to lodge in some hotel along the highway. They went from one hotel to another but did not find any vacant room. They were forced to continue their journey without a break, till they reached Ankleshwar. Here they were fully exhausted and were unable to proceed further.

The reasons for their extreme exhaustion was not just the journey, but what they had gone through in Surat where they had stopped for refuelling at a Petrol Pump or Gas Station. After the attendant had filled the car’s tank, Aamir realised that he had no cash in hand. The security guard who was carrying a gun with him, however, allowed them to go when both husband and wife pleaded with him and showed him the ATM (Any Time Money) Debit Card. He told them that the Automated Teller Machine was around somewhere where they could get the cash. After a search of a good 10 km stretch, they finally found the ATM near the same Petrol Pump itself. The job done, they proceeded further onwards and came to a bridge which is ominously called the “Jhoolta Pool.”

Now, a word about this bridge. This bridge, I’m told, is used by all those who want to travel beyond Surat by road. The bridge appears to be ancient because it literally shakes when the vehicles pass over it. Right on the bridge was a truck that had met with an accident and had turned turtle. After losing a good one hour in the traffic snarl, they had finally covered more than 60 km towards Ankleshwar, still looking for a hotel along the highway.

They found a hotel which was located at the end of a desolate road at right angle, off the highway. This hotel is a one-storied structure and we shall just call it Samadhan (name changed). It was 7 A.M., in the morning. On the ground floor there are about ten to twelve shops that had their shutters down. There was also a restaurant that has a capacity of hundred tables or so. The restaurant counter also serves as the reception desk for the lodge. The restaurant was completely empty. Only a 12 year old boy and a man of about 32 years were standing near the doorway. It took Aamir some fifteen minutes to get the man open his mouth for a “Yes” or a “No” to his enquiries. The man finally opened his mouth to say that there was only one room available. The boy lifted the baggage and led Aamir and Fiza to the first floor. He opened a room for them. After Aamir had washed himself he came out of the bathroom and went near the bed. To his astonishment, he saw that the bedsheet had ugly dried-up red stains. In their eagerness to snatch some rest and sleep, they put their own bedsheet over the stained sheets and lay themselves down on the bed.

Hardly five minutes had elapsed, when Aamir heard some noises from the adjacent rooms. The noises were very disturbing. Aamir then recollected that he had seen pad-locks on the doors of all the others rooms on this floor. In other words, they had been misled into believing that all the other rooms were occupied. Aamir also realised that they were the only occupants in the hotel. This sent a shiver down his spine. At this moment, someone began to bang the door very hard. On opening the door, Aamir saw the same boy. He had a strange bewildered looks about him. The boy asked him if they had pressed the service bell. Aamir shook his head in the negative and told him that they should not be disturbed. Aamir was unaware that disturbances would nevertheless come from other quarters. Aamir went back to bed. Since he saw Fiza was motionless, he too lay down by her side. After a little while, he heard the same kind of noises from the adjacent rooms. This time the noises were louder. As Aamir was about to get up, the noises began to subside. An eerie silence then prevailed in the room. But by then, sleep had fled away from Aamir who was gripped by restlessness and anxiety.

After twenty minutes or so, Aamir heard his nickname, “Saaheb,” being called out in a strange, long-drawn, shrill voice. Now, as stated before, it was the practice of Fiza to address her husband, Aamir, by that nickname. No one else called him by that name. Aamir felt that since Fiza had dozed off, how could she address him thus. At that moment, a chilling fear seized Aamir who felt immobile. He and Fiza were lying side by side. Both were facing the same direction towards the door. The bed was by the window. Out of the corner of his eye, Aamir saw a blood-soaked lady, with dishevelled long hair, standing at the foot of Fiza, staring down at them. She was taller than the average woman and had a manly personality, with wide shoulders. As Aamir looked towards the door, he noticed blood-stains on the walls which appeared to have big cracks all over them. Again he looked out of the corner of his eyes towards Fiza’s feet, he found the same lady standing with a determined posture, staring at them. At that time he looked towards the wall of the bathroom, where stood a centre-table. He saw blood-stained broken glasses. The glasses were scattered on the floor of the room. All over the floor there were blood stains. He also felt as if there were mutilated bodies lying in the bathroom. To his horror, he got the feeling that a quarrel would ensue between him and Fiza, that she would smash that broken bottle on his head and both of them would kill each other. In this desperate moment, Aamir blurted out: “Yaa Sayyid Ali Mira Dataar Assalaam Alaykum. I’m on my way to your shrine and I’m your guest. Please help us out of this situation.”

It appeared as if Time had come to a standstill. Fiza got up yelling at Aamir: “Why are you making so much noise? Why are you shaking the bed so much? Are you not happy with me on this trip?” Unknown to her, Aamir was passing through a different feeling. He told her not to yell at him but go to the bathroom to clean up. The moment Fiza went to the bathroom and opened the water-tap, Aamir came out of the trance. He jumped out of the bed, and opened the latch of the main-door, stepping out of the room. There was no sound in the corridor, not even of the birds. Aamir stood outside the door, waiting for Fiza to come out of the bathroom which she did after a while. She saw Aamir standing outside the door and this angered her. However, seeing the fear writ large on the face of Aamir, she calmed down a little and rang the service bell. Five or six times she must have rung the bell but no one appeared. Aamir pulled Fiza out of the room and both of them then went down near the reception desk. There they found a different boy of fourteen years who had a clean white shirt on his person. No one else was around. Since the payment had been made in advance, they told the boy to bring down their luggage.
Thereafter, they left the hotel for the highway.

Surprisingly, this road had not appeared longer when they had first made for their hotel than it was now. After travelling some 40 km on the highway, Aamir stopped his car and narrated to Fiza all that he had seen and gone through in that short spell of three hours. She, too, had been experiencing horrid moments in the hotel. Then they invoked the name of Hazrat Sayyad Ali Mira Dataar and proceeded with their onward journey, reaching the Dargah safely.

When the above story was narrated to me by my friend Aamir, I asked him time and again whether the account was true. He vehemently said that every word was true. He further confided that he had not told me anything about how two butterflies had accompanied them, fluttering against the car’s windshield despite the speed of the car, all the way to Unava. Seeing my amazement, he stopped short, got up and just went away without a word. I yelled after him that I would be publishing his story in my Blog. “By all means, Go Ahead,” were his last words.

NASIR

Monday, February 23, 2009

257. Translation of Sad Songs of Rafi: Yaaron Meraa Saath Nibhaao...


Movie: PYASI SHAAM (1969)
Music: Laxmikant-Pyarelal
Lyrics: Majrooh Sultanpuri


Rafi Sahaab’s song that camouflages sadness with happiness: Yaaro.n Mera Saath Nibhaao....

Roman Transliteration/English Translation of the original lyrics:


Yaaro.n mera saath nibhaao,
FRIENDS, KEEP ME COMPANY TO THE END!

Roz aysee mehfil kahaa.n,
‘TIS NOT EVERYDAY THAT ONE FINDS SUCH A PARTY,

Bheeg jaaye.n, aaj palke.n,
THAT THE TEARS MAY RUSH TO THE EYE

Aao hanse.n itnaa,
LET’S HAVE SO MUCH FUN!

Yaaro.n mera saath nibhaao,
FRIENDS, KEEP ME COMPANY TO THE END!

Roz aysee mehfil kahaa.n,
‘TIS NOT EVERYDAY THAT ONE FINDS SUCH A PARTY,

Bheeg jaaye.n, aaj palke.n,
THAT THE TEARS MAY RUSH TO THE EYE

Aao hanse.n itnaa,
LET’S HAVE SO MUCH FUN!

OOO~~AAAA~~


Rahe naa kuch aaj sab lutaa doh,
SQUANDER IT ALL TODAY, SO THAT NOTHING REMAINS

Dilo.n me.n jitnaa hai pyaar baaqee,
OF WHATEV’R LOVE THAT LINGERS IN THE HEARTS,

Rahe naa kuch aaj sab lutaa doh,
SQUANDER IT ALL TODAY, SO THAT NOTHING REMAINS

Dilo.n me.n jitnaa hai pyaar baaqee,
OF WHATEV’R LOVE THAT LINGERS IN THE HEARTS,

Rangg ho jitney bhee yahee.n sajaa doh,
WHATEVER COLOURS ARE THERE, SPLASH THEM HERE ITSELF,

Hogee naa kal yeh bahaar baaqee,
THE SPRING MAY NOT LAST TILL TOMORROW,

Ha.nsee ke charaagh jalaao,
LIGHT THE LAMPS OF LAUGHTER,

Ho gayee raat jawaa.n,
THE NIGHT HAS GROWN YOUNG,

Bheeg jaaye.n, aaj palke.n,
THAT THE TEARS MAY RUSH TO THE EYE

Aao hanse.n itnaa,
LET’S HAVE SO MUCH FUN!


Yaaro.n mera saath nibhaao,
FRIENDS, KEEP ME COMPANY TO THE END!

Roz aysee mehfil kahaa.n,
‘TIS NOT EVERYDAY THAT ONE FINDS SUCH A PARTY,

Bheeg jaaye.n, aaj palke.n,
THAT THE TEARS MAY RUSH TO THE EYE

Aao hanse.n itnaa,
LET’S HAVE SO MUCH FUN!


Kisee ke liye koee lutaa toh gham kya,
WHY WORRY IF ONE HAS LOST HIS ALL FOR SOMEONE!

Jeene ko ek yeh khushee bahot hai,
ENOUGH IS THIS HAPPINESS TO LIVE BYE,

Kisee ke liye koee lutaa toh gham kya,
WHY WORRY IF ONE HAS LOST HIS ALL FOR SOMEONE!

Jeene ko ek yeh khushee bahot hai,
ENOUGH IS THIS HAPPINESS TO LIVE BYE,

Mile na mile ek sanam ki baahe.n,
I MAY OR MAY NOT GET THE BELOVED’S HAND,

Mujhe tumhaaree dostee bahot hai,
ENOUGH FOR ME IS YOUR FRIENDSHIP!

Dekho ayse duur naa jaao,
LOOK, SO DON’T DRIFT FAR!

Pyaar ka yahee hai samaa,
‘TIS THE TIME FOR LOVE,

Bheeg jaaye.n, aaj palke.n,
THAT THE TEARS MAY RUSH TO THE EYE

Aao hanse.n itnaa,
LET’S HAVE SO MUCH FUN!


O Yaaro.n mera saath nibhaao,
O FRIENDS, KEEP ME COMPANY TO THE END!

Roz aysee mehfil kahaa.n,
‘TIS NOT EVERYDAY THAT ONE FINDS SUCH A PARTY,

Bheeg jaaye.n, aaj palke.n,
THAT THE TEARS MAY RUSH TO THE EYE

Aao hanse.n itnaa,
LET’S HAVE SO MUCH FUN!

Aao ha.nse itnaa,
LET’S HAVE SO MUCH FUN!

Aao ha.nse itnaa.
LET’S HAVE SO MUCH FUN!

NASIR.



The love we give away is the only love we keep.
- Elbert Hubbard.

Sunday, February 22, 2009

256. Translation of Sad Songs of Rafi: O Nanneh Se Farishte...


Movie: EK PHOOL DO MALI (1969)
Music: Ravi
Lyrics: Prem Dhawan
Main Theatrical Release in Bombay: Roxy Cinema

Rafi Sahaab’s popular hit: O Nanneh Se Farishte....

Roman Transliteration/English Translation of the original lyrics:



o nanneh se farishte,
O LITTLE ANGEL,

tujh se yeh kaisaa naataa,
WHAT SORT OF ASSOCIATION IS THIS WITH YOU,

kaise yeh dil ke rishte,
WHAT ARE THESE RELATIONS OF THE HEART!

o nanneh se farishte,
O LITTLE ANGEL,

tujh se yeh kaisaa naataa,
WHAT SORT OF ASSOCIATION IS THIS WITH YOU,

kaise yeh dil ke rishte,
WHAT ARE THESE RELATIONS OF THE HEART!

o nanneh se farishte....
O LITTLE ANGEL...


happy birthday to you...

Chorus: happy birthday to you...
happy birthday to you...


tujhe dekhne ko tarse.n, kyoo.n har gha.dee nigaahe.n,
WHY DO MY EYES LONG TO SEE YOU EVERY MOMENT?

tujhe dekhne ko tarse.n, kyoo.n har gha.dee nigaahe.n,
WHY DO MY EYES LONG TO SEE YOU EVERY MOMENT?

bechayn see rehtee hai.n, tere liye yeh baahe.n,
ANXIOUS ARE THESE ARMS TO HOLD YOU,

mujhe khud pataa nahee.n hai, mujhe tujh se pyaar kyoo.n hai,
I DON’T KNOW MYSELF WHY I LOVE YOU SO,

o nanneh se farishte,
O LITTLE ANGEL,

tujh se yeh kaisaa naataa,
WHAT SORT OF ASSOCIATION IS THIS WITH YOU,

kaise yeh dil ke rishte,
WHAT ARE THESE RELATIONS OF THE HEART!

o nanneh se farishte...
O LITTLE ANGEL...


chorus: happy birthday to you...

happy birthday to you...

chorus: happy birthday to you...


naazuk saa phool hai tuu, kisee aur ke chaman kaa,
A DELICATE FLOWER YOU’RE FROM SOMEONE ELSE’S GARDEN,

naazuk saa phool hai tuu, kisee aur ke chaman kaa,
A DELICATE FLOWER YOU’RE FROM SOMEONE ELSE’S GARDEN,

khushboo se teree mehke, kyoo.n baagh mere mann kaa,
WHY DOES YOUR FRAGRANCE EMANATE FROM MY HEART’S GARDEN?

mere zindagee me.n chhaayee, tujh se bahaar kyoo.n hai,
HOW IS IT THAT SPRINGTIME PERVADES MY LIFE ‘CAUSE OF YOU?

o nanneh se farishte,
O LITTLE ANGEL,

tujh se yeh kaisaa naataa,
WHAT SORT OF ASSOCIATION IS THIS WITH YOU,

kaise yeh dil ke rishte,
WHAT ARE THESE RELATIONS OF THE HEART!

o nanneh se farishte...
O LITTLE ANGEL...

Chorus: happy birthday to you ...

Rafi & chorus: happy birthday to you...

Chorus: happy birthday to you...


tuu kuchh nahee.n hai meraa, phir bhee yeh ta.dap kaisee,
THOUGH YOU’RE NOT OF ME, HOW COME THIS YEARNING?

tujhe dekhte hee khoo.n me.n, uThtee hai kyoo.n lehar see,
HOW IS THAT JUST LOOKING AT YOU CAUSES THE BLOOD TO SURGE?

har waqt mujh ko rehtaa, teraa intezaar kyoo.n hai,
WHY DO I HANG AROUND EVERY TIME FOR YOU?


o nanneh se farishte,
O LITTLE ANGEL,

tujh se yeh kaisaa naataa,
WHAT SORT OF ASSOCIATION IS THIS WITH YOU,

kaise yeh dil ke rishte,
WHAT ARE THESE RELATIONS OF THE HEART!

o nanneh se farishte,
O LITTLE ANGEL,

Rafi & chorus: happy birthday to you ...

happy birthday to you...
happy birthday to you...
happy birthday to you.


NASIR.

Real love is when you become selfless and you are more concerned about your mate's or children's egos than your own. You're now a giver instead of a taker.”
Sylvester Stallone quotes

Friday, February 20, 2009

255. Translation of Sad Songs of Rafi: Agar Bewafaa Tujhko...


Movie: RAAT KE ANDHERE MEIN (1969)
Lyrics: Prem Dhawan
Music: Prem Dhawan

Rafi Sahaab’s perennially popular: Agar Bewafaa Tujhko Pehchaan Jaate..

Roman Transliteration/English Translation of the original lyrics:



agar bewafaa tujh ko...pehchaan jaate...
IF WE’D SEEN THROUGH YOU, O FAITHLESS ONE,

Khudaa kee qasam, hamm muhabbat na karte,
BY GOD, WE’D NE’ER HAVE LOVED!

jo maaloom hotaa yeh, anjaam-e-ulfat toh,
IF WE’D KNOWN THE OUTCOME LOVE, THEN

dil ko lagaane kee, jurrat na karte.
WE’D NOT HAVE DARED TO FALL IN LOVE!

agar bewafaa tujh ko, pehchaan jaate,
IF WE’D SEEN THROUGH YOU, O FAITHLESS ONE,

Khudaa kee qasam, ham muhabbat na karte.
BY GOD, WE’D NE’ER HAVE LOVED!


jinhe.n tumne samjhaa, meree bewafaayee ,
WHAT YOU’D PRESUMED TO BE MY ABANDONMENT,

mere zindagee kee voh, majbooriyaa.n thee.n
THEY WERE MY LIFE’S COMPULSIONS,

jinhe.n, tumne samjhaa...
WHAT YOU’D PRESUMED...

hamaaree muhabbat ka, ik imtihaa.n thaah,
A TEST OF OUR LOVE IT WAS,

yeh doh din kee tho.dee see, jo dooriyaa.n thee.n,
THE ESTRANGEMENT THAT WAS JUST FOR A COUPLE OF DAYS,

jo dooriyaa.n thee.n,
THE ESTRANGMENT THAT WAS...

agar sachchee hotee, muhabbat tumhaaree tau,
IF YOU’D TRULY LOVED, THEN

ghabraa ke tum yoo.n, shikaayat na karte.
YOU’D NOT HAVE JUMPED TO COMPLAIN.

agar bewafaa tujh ko, pehchaan jaate,
IF WE’D SEEN THROUGH YOU, O FAITHLESS ONE,

Khudaa kee qasam, hamm muhabbat na karte....
BY GOD, WE’D NE’ER HAVE LOVED!


jo hamm pe hai guzree, hamee.n jaante hai.n,
WHAT WE’VE SUFFERED IS KNOWN ONLY TO US,

sitam kaun saa hai, nahee.n jo uThaayaa
WHAT MISERY HAVE WE NOT ENDURED!

jo hamm, pe hai guzree...
WHAT WE’VE SUFFERED...

nigaaho.n me.n phir bhee, rahee teree soorat,
DESPITE THAT, YOUR FACE REMAINED IN SIGHT,

har ek saa.ns me.n teraa, paighaam aayaa,
YOUR MESSAGE CAME WITH EACH AN’ EVERY BREATH,

paigham aayaa...
YOUR MESSAGE CAME...

agar jaante tum hee, ilzaam doge tau,
IF WE’D KNOWN THAT Y0U’D ACCUSE US YOURSELF, THEN

bhoole se bhee hamm toh, ulfat na karte,
EVEN BY OVERSIGHT WE’D NOT HAVE CULTIVATED INTIMACY,

agar bewafaa tujh ko, pehchaan jaate,
IF WE’D SEEN THROUGH YOU, O FAITHLESS ONE,

Khudaa kee qasam, hamm muhabbat na karte.
BY GOD, WE’D NE’ER HAVE LOVED!

NASIR.

Where misunderstanding serves others as an advantage, one is helpless to make oneself understood.
Lionel Trilling

Wednesday, February 18, 2009

254. Translation of Sad Songs of Rafi: Jo Unkee Tamanna Hai...


Movie: INTEQAM (1969)
Music: Laxmikant-Pyarelal
Lyrics: Rajinder Krishan

Rafi Sahaab passionately singing about the extreme dejection of a jilted lover: Jo Unki Tamanna Hai....

Roman Transliteration/English Translation of the original lyrics:




jo unkee, tamannaa hai barbaad ho jaa
IF IT’S HER DESIRE, RUIN YOURSELF,

jo unkee, tamannaa hai barbaad ho jaa
IF IT’S HER DESIRE, RUIN YOURSELF,

tau ay dil muhabbat kee qismat banaa de,
O HEART! SO MAKE THE LOVE FORTUNATE,

ta.dap aur ta.dap kar, abhee jaan de de,
WRITHING IN AGONY, LAY DOWN THE LIFE NOW,

yoo.n marte hai.n mar jaane waale dikhaa de,
DISPLAY THAT THOSE WHO ARE ABOUT TO DIE, PERISH THUS,

jo un kee, tamannaa hai barabaad ho jaa ...
IF IT’S HER DESIRE, RUIN YOURSELF...


naa un kaa, tabassum, tere waaste hai,
HER SMILE ISN’T MEANT FOR YOU,

naa unkaa tabassum, tere waaste hai,
HER SMILE ISN’T MEANT FOR YOU,

naa tere liye unkee zulfo.n ke saaye,
NOR FOR YOU ARE THE SHADES OF HER TRESSES,

tu be-aas phir kyu.n, jiye jaa rahaa hai,
THEN WHY DO YOU CONTINUE LIVING HOPELESSLY?

tu be-aas phir kyu.n, jiye jaa rahaa hai,
THEN WHY DO YOU CONTINUE LIVING HOPELESSLY?

jawaani me.n yeh zindagaanee luTaa de,
SQUANDER THIS LIFE IN THE YOUTH,

jo unkee, tamannaa hai barbaad ho jaa ...
IF IT’S HER DESIRE, RUIN YOURSELF..


sitam yaa, karam, husn waalo.n kee marzee,
CRUELTY OR KINDNESS? AS PER BEAUTIFUL WOMEN'S WHIMS!

sitam yaa karam, husn waalo.n kee marzee,
CRUELTY OR KINDNESS? AS PER BEAUTIFUL WOMEN'S WHIMS!

yahee soch kar koi shikvaa naa karnaa,
CONSIDERING THIS, DON’T MAKE ANY GRIEVANCE,

sitamagar salaamat, rahe husn teraa,
O OPPRESSOR! MAY YOUR BEAUTY ABIDE,

sitamagar, salaamat rahe husn teraa,
O OPPRESSOR! MAY YOUR BEAUTY ABIDE,

yahee uss ko miTne se pehle duaa de,
SUPPLICATE THUS FOR HER, BEFORE ANNIHILATION,


jo unkee, tamannaa hai barbaad ho jaa
IF IT’S HER DESIRE, RUIN YOURSELF,

tau ay dil muhabbat kee qismat banaa de,
O HEART! SO MAKE THE LOVE FORTUNATE,

ta.dap aur ta.dap kar, abhee jaan de de,
WRITHING IN AGONY, LAY DOWN THE LIFE NOW,

yoo.n marte hai.n mar jaane waale dikhaa de,
DISPLAY THAT THOSE WHO ARE ABOUT TO PERISH, DIE THUS,

jo un kee, tamannaa hai barabaad ho jaa ...
IF IT’S HER DESIRE, RUIN YOURSELF...

NASIR.

Sidney Madwed
You can choose to be happy or sad and whichever you choose that is what you get. No one is really responsible to make someone else happy, no matter what most people have been taught and accept as true.

Tuesday, February 17, 2009

253. Translation of Sad Songs of Rafi: Duur Hai Woh Aanchal..


Movie: WAPAS (1969)
Music: Laxmikant-Pyarelal
Lyrics: Majrooh Sultanpuri

Rafi Sahaab’s sad, but soothing lullaby: Duur Hai Voh Aanchal...

Roman Transliteration/English Translation of the original lyrics:



Duur hai voh aa.nchal, jo po.nche tere aa.nsoo,
FAR AWAY IS THAT GARMENT THAT WOULD WIPE YOUR TEARS,

Sojaa sojaa, sojaa sojaa,
GO TO SLEEP, GO TO SLEEP, GO TO SLEEP, GO TO SLEEP,

Duur hai voh aa.nchal, jo po.nche tere aa.nsoo,
FAR AWAY IS THAT GARMENT THAT WOULD WIPE YOUR TEARS,

Sojaa sojaa, sojaa sojaa,
GO TO SLEEP, GO TO SLEEP, GO TO SLEEP, GO TO SLEEP,

tuu toh ro bhee sake,
YOU CAN AT LEAST WEEP,

mai.n ro bhee naa sakoo.n,
I CAN’T EVEN WEEP,

Sojaa sojaa, sojaa sojaa...
GO TO SLEEP, GO TO SLEEP, GO TO SLEEP, GO TO SLEEP...


Jo bahaar aayee theeh ek din, armaa.n ki taraah,
THE SPRING, THAT HAD ARRIVED ONE DAY LIKE THE HOPE,

Jo bahaar aayee theeh ek din, armaa.n ki taraah,
THE SPRING, THAT HAD ARRIVED ONE DAY LIKE THE HOPE,

Woh gayee apne aangan se, mehmaa.n ki taraah
SHE LEFT OUR COURT-YARD LIKE THE GUEST,

Saathee, woh bhee nahee.n,
SHE ISN’T THE COMPANION,

Saathee tuu bhee nahee.n,
YOU, TOO AREN’T THE COMPANION,

Sojaa sojaa, sojaa, sojaa...
GO TO SLEEP, GO TO SLEEP, GO TO SLEEP, GO TO SLEEP,


Aake reh jaata hai shikwa, honto.n ke tale,
THE RISING COMPLAINTS REMAIN UNUTTERED AT THE LIPS,

Aake reh jaata hai shikwa, honto.n ke tale,
THE RISING COMPLAINTS REMAIN UNUTTERED AT THE LIPS,

Jis ko loota ho apne ne, kis ka naam le,
WHEN ONE IS ROBBED BY ONE’S OWN, WHOM SHOULD ONE BLAME?

Viraa.n, kar ke gaya, ghar ko ghar ka diya,
THE LIGHT OF THE HOUSE HAS GONE AWAY, RUINING THE HOME,

Sojaa sojaa, sojaa sojaa,
GO TO SLEEP, GO TO SLEEP, GO TO SLEEP, GO TO SLEEP,

Duur hai voh aa.nchal, jo po.nche tere aa.nsoo,
FAR AWAY IS THAT GARMENT THAT WOULD WIPE YOUR TEARS,

Sojaa sojaa, sojaa sojaa,
GO TO SLEEP, GO TO SLEEP, GO TO SLEEP, GO TO SLEEP,

tuu toh ro bhee sake,
YOU CAN AT LEAST WEEP,

mai.n ro bhee naa sakoo.n,
I CAN’T EVEN WEEP,

Sojaa sojaa, sojaa sojaa,
GO TO SLEEP, GO TO SLEEP, GO TO SLEEP, GO TO SLEEP,

Hmmm, hmmm....

NASIR.


“Golden slumbers kiss your eyes, / Smiles awake you when you rise. / Sleep, pretty wantons, do not cry, / And I will sing a lullaby.”
Thomas Dekker quotes

Monday, February 16, 2009

252. Translation of Sad Songs of Rafi: Raju ka Thaah Ek Khwaab...


RAJA SAAB (1969)
Lyrics: Anand Bakshi
Music: Kalyanji-Anandji.
Main Theatrical release in Bombay: Imperial Cinema

Rafi Sahaab’s singing about the Dream that is surrendered to Reality: Raju ka Thaah Ek Khwaab....

Roman Transliteration/English Translation of the original lyrics:



Jin kee qismat me.n kaa.nTe,
THOSE WHO ARE DESTINED FOR THORNS

voh khwaab naa dekhe.n, kaliyo.n ke,
THEY SHOULDN’T DREAM ABOUT FLOWER-BUDS,

kaliyaa.n mahalo.n kee raunaq,
FLOWER-BUDS ARE THE SPLENDOURS OF PALACES,

aur kaa.nTe raahee, galiyo.n ke.
AND THE THORNS ARE THE TRAVELLERS OF LANES.


raaju kaa thaa ek khwaab,
RAJU HAD ONE DREAM:

raaju raajaa raajaa saab
RAJU - RAJA - LORD RAJA,

raaju kaa thaa ek khwaab,
RAJU HAD ONE DREAM:

raaju raajaa raajaa saab,
RAJU – RAJA - LORD RAJA,

raaj thaah naa taaj thaah,
NO KINGDOM NOR CROWN THERE WAS,

phir bhee mai.n thaah raajaa saab,
EVEN THEN I WAS LORD RAJA,

raaju kaa thaa ek khwaab,
RAJU HAD ONE DREAM:

raaju raajaa raajaa saab
RAJU - RAJA - LORD RAJA,

raaju kaa thaa ek khwaab,
RAJU HAD ONE DREAM:

raaju raajaa raajaa saab.
RAJU – RAJA - LORD RAJA.


mai.n ba.daa naadaan thaah,
I WAS VERY NAIVE,

mai.n ba.daa thaah be-khabar,
I WAS VERY IGNORANT,

maine dekhee.n soorte.n,
I LOOKED AT THE FACES,

maine naa dekhee.n magar...
BUT I FAILED TO SEE...

maine naa dekhee.n magar
BUT I FAILED TO SEE

bewafaaee kee naqaab.
THE MASK OF INFIDELITY.


raaju kaa thaa ek khwaab,
RAJU HAD ONE DREAM:

raaju raajaa raajaa saab
RAJU - RAJA - LORD RAJA,

raaju kaa thaa ek khwaab,
RAJU HAD ONE DREAM:

raaju raajaa raajaa saab.
RAJU – RAJA - LORD RAJA.


Chhoo naa paaoo.n mai.n kabhee,
I WOULDN’T EVER DARE TO TOUCH

Jis ke qadmo.n kee bhee dhool,
EVEN THE DUST BENEATH HER FEET,

Maine kyoo.n chaahaa usse,
WHY DID I LOVE HER?

Mai.n khizaa.n kaa ek phool,
AN AUTUMN FLOWER THAT I’M!

Mai.n khizaa.n kaa ek phool,
AN AUTUMN FLOWER THAT I’M,

Woh bahaaro.n ka gulaab,
SHE, A ROSE BLOSSOM!


raaju kaa thaa ek khwaab,
RAJU HAD ONE DREAM:

raaju raajaa raajaa saab
RAJU - RAJA - LORD RAJA,

raaju kaa thaa ek khwaab,
RAJU HAD ONE DREAM:

raaju raajaa raajaa saab.
RAJU – RAJA - LORD RAJA.


Ho mubaarak aap ke,
CONGRATULATIONS! AT YOUR

ghar baraate.n aa gayee.n
HOME, THE MARRIAGE PROCESSIONS HAVE COME,

Mere labb pe bhool se,
THOUGHTLESSLY, ON MY LIPS

gham kee baate.n aa gayee.n
THE SORROWFUL ACCOUNTS HAVE COME,

Gham kee baate.n aa gayee.n,
THE SORROWFUL ACCOUNTS HAVE COME,

Maaf kar denaa janaab.
FORGIVE ME, LADY.

raaju kaa thaa ek khwaab,
RAJU HAD ONE DREAM:


raaju raajaa raajaa saab
RAJU - RAJA - LORD RAJA,

raaju kaa thaa ek khwaab,
RAJU HAD ONE DREAM:

raaju raajaa raajaa saab,
RAJU – RAJA - LORD RAJA,

raaj thaah naa taaj thaah,
NO KINGDOM NOR CROWN THERE WAS,

phir bhee mai.n thaah raajaa saab,
EVEN THEN I WAS LORD RAJA,

raaju kaa thaa ek khwaab,
RAJU HAD ONE DREAM:

raaju raajaa raajaa saab
RAJU - RAJA - LORD RAJA,

raaju kaa thaa ek khwaab,
RAJU HAD ONE DREAM:

raaju raajaa raajaa saab,
RAJU – RAJA - LORD RAJA,

NASIR.

You told me you'd never make me cry. Now I'm slipping on the tears you've made me cry. Why does it come as a surprise? To think I was so naive. Maybe it didn't mean so much to you, but it meant the world to me.”

Trent Reznor quotes

Sunday, February 15, 2009

251. Translation of Sad Songs of Rafi: Kisee Mehrbaan Ki Nazar Dhoondhte Hain...


Movie: Raja Saab.
Music: Kalyanji-Anandji
Lyrics: Anand Bakshi

Main Theatrical Release in Bombay: Imperial Cinema.

Rafi Sahaab’s plaintive cry on behalf of the orphans and deprived: Kisee Mehrbaa.n Kee Nazar Dhoondhte Hain.....

Roman Transliteration/English Translation of the original lyrics:



kisee mehrbaa.n kee, nazar Dhoo.nDhte hai.n,
A GLANCE OF SOME BENEVOLENT PERSON WE SEEK,

chorus: kisee mehrbaa.n kee, nazar Dhoo.nDhte hai.n,
A GLANCE OF SOME BENEVOLENT PERSON WE SEEK,

jo de-de sahaaraa, voh dar Dhoo.nDhte hai.n,
THAT WHICH WILL GIVE SUPPORT, THAT DOOR WE SEEK,

chorus: jo de-de sahaaraa, voh dar Dhoo.nDhte hai.n,
THAT WHICH WILL GIVE SUPPORT, THAT DOOR WE SEEK,

kisee mehrbaa.n kee, nazar Dhoo.nDhte hai.n,
A GLANCE OF SOME BENEVOLENT PERSON WE SEEK,

chorus: kisee mehrbaa.n kee, nazar Dhoo.nDhte hai.n,
A GLANCE OF SOME BENEVOLENT PERSON WE SEEK,


tumhaaree galee me.n, sadaa hammne dee hai
IN YOUR LANE WE HAVE GIVEN A CALL,

chorus: tumhaaree galee me.n, sadaa hammne dee hai
IN YOUR LANE WE HAVE GIVEN A CALL,

tumhe.n zindagee bhar, duaa hammne dee hai,
YOU, WE’VE BLESSED LIFE LONG,

chorus: tumhe.n zindagee bhar, duaa hammne dee hai,
YOU, WE’VE BLESSED LIFE LONG,

duaao.n kaa apnee, asar Dhoo.nDhte hai.n,
THE EFFECT OF OUR BLESSINGS, WE SEEK,

chorus: duaao.n kaa apnee, asar Dhoo.nDhte hai.n,
THE EFFECT OF OUR BLESSINGS, WE SEEK,

kisee mehrbaa.n kee, nazar Dhoo.nDhte hai.n,
A GLANCE OF SOME BENEVOLENT PERSON WE SEEK,

chorus: kisee mehrbaa.n kee, nazar Dhoo.nDhte hai.n,
A GLANCE OF SOME BENEVOLENT PERSON WE SEEK,

AAA~~ AAA~~~AAA

naseebo.n ke gulshan, me.n khiltee hai.n khushiyaa.n,
JOYS BLOSSOM IN FORTUNES’ FLORID GARDEN,

chorus: naseebo.n ke gulshan, me.n khiltee hai.n khushiyaa.n,
JOYS BLOSSOM IN FORTUNES’ FLORID GARDEN,

kahee.n Dhoo.nDhne se bhee, miltee hai.n khushiyaa.n
ARE JOYS FOUND MERELY BY SEEKING?

chorus: kahee.n Dhoo.nDhne se, bhee miltee hai.n khushiyaa.n
ARE JOYS FOUND MERELY BY SEEKING?

magar hamm toh hai.n, be-khabar Dhoo.nDhte hai.n,
BUT AS FOR US, HEEDLESSLY WE SEEK.

chorus: magar hamm toh hai.n, be-khabar Dhoo.nDhte hai.n,
BUT AS FOR US, HEEDLESSLY WE SEEK.

kisee mehrbaa.n kee, nazar Dhoo.nDhte hai.n,
A GLANCE OF SOME BENEVOLENT PERSON WE SEEK,

chorus: kisee mehrbaa.n kee, nazar Dhoo.nDhte hai.n,
A GLANCE OF SOME BENEVOLENT PERSON WE SEEK,

jo de-de sahaaraa, voh dar Dhoo.nDhte hai.n,
THAT WHICH WILL GIVE SUPPORT, THAT DOOR WE SEEK,

chorus: jo de-de sahaaraa, voh dar Dhoo.nDhte hai.n,
THAT WHICH WILL GIVE SUPPORT, THAT DOOR WE SEEK,

Rafi & chorus: kisee mehrbaa.n kee, nazar Dhoo.nDhte hai.n,
A GLANCE OF SOME BENEVOLENT PERSON WE SEEK,

Rafi & chorus: kisee mehrbaa.n kee, nazar Dhoo.nDhte hai.n,
A GLANCE OF SOME BENEVOLENT PERSON WE SEEK,


NASIR.

Ask, and it will be given you; Seek, and you will find; Knock, and it will be opened to you. - Jesus Quote

Friday, February 13, 2009

250. Translation of Sad Songs of Rafi: Dono Ne Kiyaa Thaah Pyaar Magar...


Movie: MAHUA (1969)
Lyrics: Qamar Jalalabadi
Music: Sonik-Omi

Rafi Sahaab’s thunderous song of conjugal love conquering death: Dono ne Kiyaa thaah pyaar magar...

Roman Transliteration/English Translation of the original lyrics:



dono.n ne kiyaa, thaah pyaar magar,
WE’D LOVED EACH OTHER

mujhe yaad rahaa, tuu bhool gayee
I REMEMBERED ALL ALONG, YOU FORGOT,

maine tere, liye re jag chho.daa,
I RENOUNCED THE WORLD FOR YOU,

tuu mujh ko chho.d chalee
YOU WENT AWAY ABANDONING ME,

maine tere, liye re jag chho.daa,
I RENOUNCED THE WORLD FOR YOU,

tuu mujh ko chho.d chalee...
YOU WENT AWAY, ABANDONING ME...


tuune mujh se kiyaa thaah kabhee vaadaa,
SOMETIMES BACK YOU’D MADE ME A PROMISE:

meree taan pe tuu dau.dee chalee aayegee,
YOU’D COME RUNNING TO MY TUNE,

Aisaa ba.ndhan hai pyaar kaa yeh ba.ndhan,
SUCH IS THE BOND OF LOVE, THIS BOND

isse to.d ke tuu kaise chalee jaayegee,
HOW WILL YOU GO AWAY BREAKING IT?

kyaa yahee hai vafaa,
IS THIS ALL THE LOYALTY?

mujhe yeh toh bataa,
TELL ME ABOUT IT,

meree mahuaa voh tere vaade kyaa huwe,
O MY MAHUA, WHAT HAPPENED TO YOUR PROMISES?

kyaa yahee hai vafaa,
IS THIS ALL THE LOYALTY?

mujhe yeh toh bataa, meree mahuaa,
TELL ME ABOUT IT O MY MAHUA

o ~~~meree jaanaa,
O MY SOUL-MATE...

dono ne kiyaa, iqraar magar ...
BOTH OF US MADE A COVENANT, BUT

mujhe yaad rahaa, tuu bhool gayee,
I REMEMBERED ALL ALONG, YOU FORGOT,

maine tere, liye re jag chho.daa,
I RENOUNCED THE WORLD FOR YOU,

tuu mujh ko chho.d chalee
YOU WENT AWAY, ABANDONING ME,

maine tere, liye re jag chho.daa,
I RENOUNCED THE WORLD FOR YOU,

tuu mujh ko chho.d chalee....
YOU WENT AWAY, ABANDONING ME...


aaj mai.n apne dil kee sadaa se,
WITH THE CRY FROM MY HEART TODAY

aasmaa.n ko hilaa ke rahoo.ngaa,
I’LL STIR UP THE HEAVEN,

maut kee nee.nd me.n sone waalee,
O THOU WHO SLEEPEST THE ETERNAL SLEEP!

aaj tujh ko jagaa ke rahoo.ngaa,
I’LL SURELY RAISE YOU UP TODAY,

tuu na jaagee toh mai.n aa.nsuuo.n me.n,
IF YOU WON’T WAKE UP, THEN WITH THE TEARS

saare jag ko bahaa ke rahoo.ngaa,
I’LL FLOOD THE ENTIRE WORLD,

tuu agar uss jahaa.n se, na aayee,
IF YOU WON’T RETURN FROM THAT WORLD,

iss jahaa.n ko jalaa ke rahoo.ngaa,
I’LL BLOW UP THIS WORLD,

tu hai meraa badan
YOU’RE MY BODY,

mai.n badan kaa, roop waapas bulaa ke rahoo.ngaa,
I’LL HAVE THE FORM OF THE SELF BROUGHT BACK,

o meree aatmaa aatmaa ko, aasmaa.n se milaa ke rahoo.ngaa,
O MY SOUL, I’LL MINGLE THE SOUL WITH THE UNIVERSAL SOUL,

tuu hai meree dulhan,
YOU’RE MY BRIDE,

aaj hogaa milan, meree mahuaa ...
TODAY, THERE’LL BE A UNITING O MY MAHUA,

O tere waade kyaa huwe,
O WHAT HAPPENED TO YOUR PROMISES?

tuu hai meree dulhan,
YOU’RE MY BRIDE,

aaj hogaa milan, meree mahuaa ...
TODAY, THERE’LL BE A UNITING O MY MAHUA...

O~~~ mereee jaanaa,
O MY SOUL,

Dono ne kiyaa, izhaar magar,
BOTH OF US MADE A REVEALMENT, BUT

Mujhe yaad rahaa, tuu bhool gayee
I REMEMBERED ALL ALONG, YOU FORGOT,

maine tere, liye re jag chho.daa,
I RENOUNCED THE WORLD FOR YOU,

tuu mujh ko chho.d chalee,
YOU WENT AWAY, ABANDONING ME,

maine tere, liye re jag chho.daa,
I RENOUNCED THE WORLD FOR YOU,

tuu mujh ko chho.d chalee.
YOU WENT AWAY, ABANDONING ME.

NASIR

For in the march of all-fulfilling Time
The hour must come of the Transcendent's will:
All turns and winds towards his predestined ends
In Nature's fixed inevitable course
Decreed since the beginning of the worlds
In the deep essence of created things:
Even there shall come as a high crown of all
The end of Death, the death of Ignorance.
•INEVITABLE• Savitri, CWSA Vol. 33/34, p. 708

Thursday, February 12, 2009

249. Translation of Sad Songs of Rafi: Mere Gunaah Maaf Kar...


Movie: SACHCHAI (1969)
Lyrics: Rajinder Krishan
Music: Shankar-Jaikishen
Main Theatrical Release in Bombay: Naaz Cinema


Rafi Sahaab’s cry of the repentant soul, an absolute Gem: Mere Gunaah Maaf Kar....

Roman Transliteration/English Translation of the original lyrics:




mere gunaah maaf kar,
FORGIVE MY SINS,

mera zameer saaf kar
CLEAR MY CONSCIENCE,

mere, gunaah maaf kar,
FORGIVE MY SINS,

meraa zameer saaf kar,
CLEAR MY CONSCIENCE,

mere yasoo, mere khudaa, o mere parmaatmaa.
O JESUS! O GOD! O THE ONE AND ONLY!


dekhe jo husne zindagee,
THAT WHICH SEES EXCELLENCE OF LIFE,

aysee mujhe nigaah de,
GIVE ME SUCH SIGHT,

aayaa hoo.n sharmsaar mai.n,
I’VE COME STRICKEN WITH SHAME,

ab toh mujhe panaah de,
SHELTER ME FOR NOW AT LEAST,

ab toh mujhe panaah de.
SHELTER ME FOR NOW AT LEAST.

mere, gunaah maaf kar,
FORGIVE MY SINS,

meraa zameer saaf kar,
CLEAR MY CONSCIENCE,

mere yasoo, mere khudaa, o mere parmaatmaa.
O JESUS, O GOD, O THE ONE AND ONLY!

"OM Na-Ma-See-Vaa-Ya".
"OM Na-Ma-See-Vaa-Ya".
"OM Na-Ma-See-Vaa-Ya".
"OM Na-Ma-See-Vaa-Ya".
"OM Na-Ma-See-Vaa-Ya".
"OM Na-Ma-See-Vaa-Ya".

koi bhee imtihaan le,
PUT ME TO ANY TRIAL,

kaise bhee mujh ko aazmaa,
TEST ME IN WHATEVER WAY,

apne karam se ab magar,
BUT BY YOUR (divine) FAVOUR

apnaa hee raastaa dikhaa,
LEAD ME ONLY TO YOUR WAY,

apnaa hee raastaa dikhaa,
LEAD ME ONLY TO YOUR WAY,

mere, gunaah maaf kar,
FORGIVE MY SINS,

meraa zameer saaf kar,
CLEAR MY CONSCIENCE,

mere yasoo mere khudaa, o mere parmaatmaa,
O JESUS, O GOD, O THE ONE AND ONLY!


auro.n ke waaste jeeoo.n,
THAT I MAY LIVE FOR OTHERS

apne liye toh jee chukaa,
ENOUGH WITH MY LIFE OF SELF-INDULGENCE,

khoone jigar bhee ab piyoo.n,
NOW TO DRINK DEEP OF THE SELF-RESTRAINT,TOO,

khushiyo.n ke jaam pee chukaa,
ENOUGH WITH DRINKING THE WINE OF PLEASURES,

khushiyo.n ke jaam pee chukaa,
ENOUGH WITH DRINKING THE WINE OF PLEASURES,

mere gunaah maaf kar,
FORGIVE MY SINS,

meraa zameer saaf kar,
CLEAR MY CONSCIENCE,

mere yasoo, mere khudaa, o mere parmaatmaa,
O JESUS, O GOD, O THE ONE AND ONLY,

o mere parmaatmaa,
O THE ONE AND ONLY!

o mere parmaatmaa.
O THE ONE AND ONLY!

o mere parmaatmaa.
O THE ONE AND ONLY!

NASIR.


Whoever approaches Me walking, I will come to him running; and he who meets Me with sins equivalent to the whole world, I will greet him with forgiveness equal to it.
Mishkat Al-Massabaih.

Tuesday, February 10, 2009

248. Translation of Sad Songs of Rafi: Chiraagh Dil Ka Jalaao....


Movie: Chirag (1969)
Music: Madan Mohan
Lyrics: Majrooh Sultanpuri


Rafi Sahaab’s notable number: Chiraagh Dil Ka Jalaao....

Roman Transliteration/English Translation of the original lyrics:


chiraagh dil ka jalaao,
LIGHT THE LAMP OF THE HEART,

bahot andheraa hai,
'TIS VERY DARK,

chiraagh dil ka jalaao,
LIGHT THE LAMP OF THE HEART,

bahot andheraa hai,
‘TIS VERY DARK,

Kahee.n se lauT ke aao,
COME BACK FROM SOMEWHERE,

bahot andheraa hai,
‘TIS VERY DARK,

chiraagh dil ka jalaao,
LIGHT THE LAMP OF THE HEART,

bahot andheraa hai...
‘TIS VERY DARK...


kahaa.n se laaoo.n...
WHENCE SHOULD I BRING...

kahaan se laaoo.n,
WHENCE SHOULD I BRING

woh rangat, gayee bahaaro.n ki
THAT COLOUR OF THE BLOSSOMS THAT’S PAST,

kahaan, se laaoo.n,
WHENCE SHOULD I BRING

woh rangat, gayee bahaaron ki,
THAT COLOUR OF THE BLOSSOMS THAT’S PAST,

tumhaare saath gayee raushnee, nazaaro.n ki
GONE WITH YOU IS THE BRIGHTNESS OF THE SIGHTS,

mujhe bhee paas bulaao,
CALL ME BY YOUR SIDE,

bahot andheraa hai,
‘TIS VERY DARK,

chiraagh dil ka jalaao,
LIGHT THE LAMP OF THE HEART,

bahot andheraa hai...
‘TIS VERY DARK...


sitaaro.n tumse, andhere, kahaa.n sambhalte hai.n,
O STARS! UNABLE YOU’RE TO TAKE CARE OF THE DARKNESSES,

sitaaro. n tumse, andhere, kahaa.n sambhalte hai.n,
O STARS! UNABLE YOU’RE TO TAKE CARE OF THE DARKNESSES,

unhee ke naqshe, qadam se, chiraagh jalte hai.n,
ONLY BY HER FOOT-PRINTS DO THE LAMPS GLOW,

unhee ko dhoondh ke laao,
LOOK FOR HER ALONE AND BRING HER ALONG,

bahot andheraa hai,
‘TIS VERY DARK,


chiraagh dil ka jalaao,
LIGHT THE LAMP OF THE HEART,

bahot andheraa hai,
‘TIS VERY DARK,

kahee.n se lauT ke aao,
COME BACK FROM SOMEWHERE,

bahot andheraa hai,
‘TIS VERY DARK,

chiraagh dil ka jalaao,
LIGHT THE LAMP OF THE HEART,

bahot andheraa hai,
‘TIS VERY DARK,

bahot andheraa hai...
‘TIS VERY DARK,

bahot andheraa hai...
‘TIS VERY DARK,

bahot andheraa hai.
‘TIS VERY DARK.


NASIR.

“Love cannot endure indifference. It needs to be wanted. Like a lamp, it needs to be fed out of the oil of another's heart, or its flame burns low.”
- Henry Ward Beecher

Monday, February 9, 2009

HAZRAT SAYYAD ALI MIRAn DATAR OF UNAVA, INDIA.


HAZRAT SAYYAD ALI MIRAn  DATAR

Before we speak of the martyr saint, it will be relevant to give at least a sketchy glimpse about Jinns and demonic possessions. It is not unknown that in the Islamic world Djinns and demons and their possession are commonly accepted. The Holy Quran has a whole chapter named after The Jinn who have been created out of the searing fire. Some of them are Muslims and some are deviated who follow different paths. In fact various Surahs of the Holy Qur’an have some verse or another about the Jinn. The prophetic traditions of the Holy Prophet (s) are also replete about the knowledge of Jinn and their kinds and about the ways to seek protection from them. Satan or Iblis was from among the Djinns.

Ibn Taimiyah also confirmed the position of the majority scholars stating that the existence of the jinn was an established fact according to the Qur’an and the Sunnah and the agreement of the early scholars. The Jinn too are accountable for their good and bad deeds before Allah. Scholars have categorised the Jinn into a resident Jinn called Amaar, a malicious and wicked Jinn called Shaytan; the jinn stronger than shaytan is called Ifreet, while genie is one type of Jinn; and those antagonising young boys are called arwaah. There are various types such as those who fly in the air with wings, those who are in the shapes of creatures such as snakes, dogs, scorpions, lizards, etc. and those who rest in one place and then resume their journey.

Regarding possession of a human body by a Jinn, scholars inform us that there is a consensus among Sunni Muslims that Jinn can dwell inside a human body. Ahmed Ibn Hanbal has categorically stated that those who deny that a Jinn can enter into the body of a human being are lying. Not only the human but also other objects, things, trees can be possessed by a Jinn. Demonic possession should, however, not be confused with medical ailments like epilepsy. However, again, all fits of madness may not be epilepsy but simply seizures by evil earthly spirits . It is in this state that the afflicted person may do things which are not normally done by a normal person. The person may, for example, speak a strange language, or lift a very heavy object, may remain motionless or may go on shaking the head, or keep running to and fro, or hurling abuses and screaming and so on for hours on end.
If a person becomes possessed then the name of Allah is to be invoked on him and supplications need to be made to heal that person. Some of the well-known Quranic verses that are ordinarily used by general Muslims for protection from or repelling of mischievous Djinns are the Ayat-al-Kursi or the Throne Verse (2:254-255) and the last two Surahs, namely, Surah Falak and Surah Naas. There have been recorded instances of professional exorcisms and many have just gone unrecorded. The Holy Prophet (S) used to only say: “Get out enemy of Allah. I’m the Messenger of Allah”.

Now, Hazrat Sayyad Ali Mira Datar (Radi Allahu anhu) was born on or about Sunday, 4th August 1426 C.E. Coming from Bokhara (Uzbekistan), the motherland of thousands of Islamic scholars and Muslim Saints, he joined the army of Sultan Nasir al-Din Ahmed Shah (reign 1411-1442 C.E.) who had founded the city of Ahmedabad. He died as a martyr, defending Islam at a very young age.

The shrine of Hazrat Sayyad Ali Mira Datar’s (Radi Allahu anhu) is located in a fort-like structure in Unava Village on the banks of River Pushpavati in Sidhpur Taluka of Mehsana District of the Western Indian State of Gujarat. Unava is about 5km from the Unjha Railway Station of the Western Railways. It is about 70 km from the City of Ahmedabad and it takes about three hours to reach Unava by a bus or a cab from there.

Owing to the miraculous powers of healing, the honorific of “Mira Datar” came to be added to the name of Hazrat Sayyad Ali. The word, “Mira” means “The Brave One, ” and “Datar” (or Daata) means “Giver” or “Bestower”. This shrine is known for driving off evil forces and healing the ones, especially the women who are possessed by demons and evil Djinns. The possessed ones would generally try to run away rather than approach the shrine out of fear. It has been reported that once the possessed woman nears the silver crypt, the clash between the saint and the demon throws the woman into a trance. Over the centuries, the mentally affected or "possessed" Indian women have found a sanctuary here. The fame of this Dargah is spread far and wide and people of all religions, caste and creed visit the shrine round the year with offerings of ‘Chaadar’ and for fulfilment of their vows. Fragrance of roses and incense greet the visitors' nostrils. Roses, too, are offered at the shrine. The annual ‘Urs’ is held on 29th of Muharram every year.

In the by-lanes of Mumbai’s Reay Road, there is the ‘Chilla’ (replica) of the said Dargah and is thronged by all sort of people for various purposes, especially for getting cured of psychiatric, socio-genic and mental diseases and for exorcising the resident evil spirits in the bodies.

NASIR.



“Think not of those, who are slain in the way of Allah, as dead. Nay, they are living. With their Lord they have provision.” (3: 169).

“And call not those who are slain in the way of Allah ‘Dead.’ Nay, there are living, only ye perceive not.” (2:154).
- The Holy Quran

Saturday, February 7, 2009

247. Translation of Sad Songs of Rafi: Baabul ki Duaayen Leti Jaa....


Movie: NEEL KAMAL (1968)
Lyrics: Sahir Ludhianvi
Music: Ravi
Main Theatrical Release in Bombay: Apsara Cinema.


Rafi Sahaab’s tender song that transcends the time barrier: Baabul ki Duaaye.n Leti Jaa...

Winner of National Film Award for Best Playback Singer, 1968.
Nominated for Filmfare Best Male Playback Award, 1968.


Roman Transliteration/English Translation of the original lyrics:



Baabul ki duaaye.n, leti jaa,
TAKE THE FATHER’S BLESSINGS AS YOU GO,

Jaa tujh ko sukhee sansaar mile,
MAY YOU FIND A HAPPY (WEDDED) LIFE,

Baabul ki duaaye.n leti jaa,
TAKE THE FATHER’S BLESSINGS AS YOU GO,

Jaa tujh ko sukhee sansaar mile,
MAY YOU FIND A HAPPY (WEDDED) LIFE,

Maike ki kabhee na yaad aaye,
MAY YOU NEVER REMEMBER YOUR MATERNAL HOME,

Sasuraal me.n itnaa pyaar mile,
MAY YOU GET SO MUCH LOVE AT YOUR NUPTIAL HOME,

Baabul ki duaaye.n leti jaa,
TAKE THE FATHER’S BLESSINGS AS YOU GO,

Jaa tujh ko sukhee sansaar mile,
MAY YOU FIND A HAPPY (WEDDED) LIFE...


Naazo.n se tujhe paala maine,
WITH CARING TENDERNESS I RAISED YOU,

Kaliyo.n ki taraah phoolon ki taraah,
LIKE THE BUDS, LIKE THE FLOWERS,

Bachpan me.n jhulaaya hai tujh ko,
IN CHILDHOOD YOU’VE BEEN ROCKED

Baaho.n ne meri jhoolo.n ki taraah,
BY MY ARMS LIKE THE SWINGS,

Mere baagh ki, ay naazuk daali,
O DELICATE BOUGH OF MY GARDEN,

Tujhe harpal nayee bahaar mile,
MAY YOU FIND SPRING EVERY MOMENT,

Maike ki kabhee na yaad aaye,
MAY YOU NEVER REMEMBER YOUR MATERNAL HOME,

Sasuraal me.n itnaa pyaar mile,
MAY YOU GET SO MUCH LOVE AT YOUR NUPTIAL HOME....


Jis ghar se bandhe hai.n bhaag tere,
THE HOUSE TO WHICH YOUR DESTINY IS TIED

Uss ghar me.n sadaa tera raaj rahe,
MAY YOUR REIGN IN THAT HOUSE ALWAYS ABIDE,

Honto.n pe hansi ki dhoop khile,
ON THE LIPS MAY THE LAUGHTER’S SUNSHINE BLOOM,

Maathe pe khushee ka taaj rahe,
ON THE HEAD MAY THE CROWN OF HAPPINESS REMAIN,

Kabhee jis ki jyot na ho pheeki,
THAT WHOSE LIGHT WILL NEVER BE DIMMED,

Tujhe aisa roop singaar mile.
MAY YOU RECEIVE SUCH ORNAMENTATIONS OF BEAUTY.

Maike ki kabhee na yaad aaye,
MAY YOU NEVER REMEMBER YOUR MATERNAL HOME,

Sasuraal me.n itnaa pyaar mile,
MAY YOU GET SO MUCH LOVE AT YOUR NUPTIAL HOME...


Beete tere jeevan ki gha.diyaa.n,
MAY THE MOMENTS OF YOUR LIFE PASS

Aaraam ki Thandi chhaao.n me.n,
UNDER THE COOL SHADE OF COMFORT,

Kaanta bhee na chubhne paaye kabhee,
NOT EVEN A THORN MAY EVER PRICK

Meree laa.dlee tere paao.n me.n,
YOUR FEET, O MY PET,

Uss dwaar se bhee dukh duur rahe
MAY THE SORROW REMAIN FAR FROM THAT THRESHOLD

Jis dwaar se tera dwaar mile.
WITH WHOSE PASSAGE YOUR GATE MEETS.

Maike ki kabhee na yaad aaye,
MAY YOU NEVER REMEMBER YOUR MATERNAL HOME,

Sasuraal me.n itnaa pyaar mile,
MAY YOU GET SO MUCH LOVE AT YOUR NUPTIAL HOME,

Baabul ki duaaye.n leti jaa,
TAKE THE FATHER’S BLESSINGS AS YOU GO,

Jaa tujh ko sukhee sansaar mile,
MAY YOU FIND A HAPPY (WEDDED) LIFE,

Baabul ki duaaye.n leti jaa,
TAKE THE FATHER’S BLESSINGS AS YOU GO.

NASIR.


And may her bridegroom bring her to a house
Where all's accustomed, ceremonious;
For arrogance and hatred are the wares
Peddled in the thoroughfares.
How but in custom and in ceremony
Are innocence and beauty born?
Ceremony's a name for the rich horn,
And custom for the spreading laurel tree.
W.B. Yeats. - A Prayer for my Daughter

Friday, February 6, 2009

246. Translation of Sad Songs of Rafi: Log Toh Mar Kar Jalte Honge...


Movie: Gauri (1968)
Music: Ravi
Lyrics: Rajinder Krishnan
Main Theatrical Release in Bombay: Novelty Cinema.

Rafi Sahaab’s rare song: Log Toh Mar Kar Jalte Honge...

Roman Transliteration/English Translation of the original lyrics:


ga.ngaa bhee beh rahee hai, chitaao.n ke saath-saath,
GANGA’S FLOWING TOO, ALONG WITH THE FUNERAL PILES,

shole bhee chal rahe hai.n, hawaao.n ke saath-saath,
FLAMES ARE MOVING TOO, ALONG WITH THE WINDS,

shole bhee chal rahe hai.n, hawaao.n ke saath-saath.
FLAMES ARE MOVING TOO, ALONG WITH THE WINDS.

log toh mar kar, jalte ho.nge,
PEOPLE ARE CREMATED AFTER DEATH,

mai.n jeete jee jaltaa hoo.n
I’M BEING CONSUMED WHILE LIVING,

log toh mar kar, jalte ho.nge,
PEOPLE ARE CREMATED AFTER DEATH,

mai.n jeete jee jaltaa hoo.n
I’M BEING CONSUMED WHILE LIVING,

aa.nkh me.n sapne phoolo.n ke aur,
IN THE EYES THE DREAMS OF FLOWERS - AND

a.ngaaro.n par chaltaa hoo.n,
I WALK ON EMBERS,

log toh mar kar, jalte ho.nge,
PEOPLE ARE CREMATED AFTER DEATH,

mai.n jeete jee jaltaa hoo.n
I’M BEING CONSUMED WHILE LIVING..


Sooraj toh din bhar chal-chal kar,
MOVING ALL DAY LONG, THE SUN

shaam ko thak kar Dhal jaataa hai,
BEING TIRED, SETS IN THE EVENING,

Sooraj toh din bhar chal-chal kar,
MOVING ALL DAY LONG, THE SUN

shaam ko thak kar Dhal jaataa hai,
BEING TIRED, SETS IN THE EVENING,

mai.n woh sooraj hoo.n jo nikal kar,
I’M THAT SUN WHICH, AFTER RISING,

pal bhar hee me.n Dhaltaa hoo.n,
SETS ONLY IN A MOMENT.


log toh mar kar, jalte ho.nge,
PEOPLE ARE CREMATED AFTER DEATH,

mai.n jeete jee jaltaa hoo.n,
I’M BEING CONSUMED WHILE LIVING,

aa.nkh me.n sapne phoolo.n ke aur,
IN THE EYES THE DREAMS OF FLOWERS, AND

a.ngaaro.n par chaltaa hoo.n,
I WALK ON EMBERS,

log toh mar kar, jalte ho.nge,
PEOPLE ARE CREMATED AFTER DEATH,

mai.n jeete jee jaltaa hoo.n
I’M BEING CONSUMED WHILE LIVING..


mar kar waapas kaun aayaa hai,
HAS ANYONE COME BACK AFTER DEATH?

mai.n mar kar waapas aayaa,
I’VE COME BACK AFTER DEATH,

mar kar waapas kaun aayaa hai,
HAS ANYONE COME BACK AFTER DEATH?

mai.n mar kar waapas aayaa,
I’VE COME BACK AFTER DEATH,

jab yeh jeenaa raas na aayaa,
WHENEVER THIS LIFE’S NOT AGREEABLE,

phir marne ko chaltaa hoo.n,
THEN I MOVE TOWARDS DEATH,


log toh mar kar, jalte ho.nge,
PEOPLE ARE CREMATED AFTER DEATH,

mai.n jeete jee jaltaa hoo.n
I’M BEING CONSUMED WHILE LIVING..

aa.nkh me.n sapne phoolo.n ke aur,
IN THE EYES THE DREAMS OF FLOWERS, AND

a.ngaaro.n par chaltaa hoo.n,
I WALK ON EMBERS,

log toh mar kar, jalte ho.nge,
PEOPLE ARE CREMATED AFTER DEATH,

mai.n jeete jee jaltaa hoo.n,
I’M BEING CONSUMED WHILE LIVING,

log toh mar kar, jalte ho.nge,
PEOPLE ARE CREMATED AFTER DEATH,

mai.n jeete jee jaltaa hoo.n
I’M BEING CONSUMED WHILE LIVING.

NASIR

Life contains but two tragedies. One is not to get your heart's desire; the other is to get it.
Socrates

Thursday, February 5, 2009

245. Translation of Sad Songs of Rafi: Na Aadmi Kaa Koi Bharosaa...


Movie: AADMI (1968)
Lyrics: Shakeel Badayuni
Music: Naushad
Main Theatrical Release in Bombay: Roxy Cinema.


Rafi Sahaab singing for Thespian Dilip Kumar on infidelity and treachery: Naa Aadmi Kaa Koee Bharosa...

Roman Transliteration/English Translation of the original lyrics:



teree mohabbat, pe shaq naheen hai,
THERE’S NO DOUBTING YOUR LOVE,

teree wafaao.n, ko maantaa hoo.n,
YOUR LOYALTIES, I ADMIT,

Magar, tujhe kis kee, aarzoo hai,
BUT WHO IS IT WHOM YOU DESIRE,

mai.n yeh haqeeqat, bhee jaantaa hoo.n.
THIS FACT, TOO, I’M AWARE OF.


naa aadmee kaa, koee bharosaa,
NO MAN IS TO BE TRUSTED,

naa dostee kaa, koee Thikaanaa,
NOR FRIENDSHIP HAS ANY CONSISTENCY,

wafaa kaa badlaa, hai bewafaaee,
FIDELITY IS REQUITED WITH INFIDELITY,

ajab zamaanaa, hai yeh zamaanaa,
A STRANGE WORLD IS THIS WORLD,

naa aadmee kaa, koee bharosaa....
NO MAN IS TO BE TRUSTED...


naa husn me.n ab woh dil-kashee hai,
NO MORE THE BEAUTY HAS THAT KIND OF ALLURE,

naa ishq me.n, ab woh zindagee hai,
NOR LOVE HAS THAT KIND OF VERVE NOW,

jidhar nigaahe.n, uThaa ke dekho,
WHEREVER YOU SURVEY WITH YOUR EYES

sitam hai dhokaa, hai berukhee hai,
THERE’S OPPRESSION, FRAUD, CALLOUSNESS,

badal gaye zindagee ke naghme.n,
THE SONGS OF LIFE ARE NO LONGER THE SAME,

bikhar gayaa pyaar kaa taraanaa,
LOVE’S MELODY HAS FRITTERED AWAY,

badal gaye zindagee ke naghme.n,
THE SONGS OF LIFE ARE NO LONGER THE SAME,

bikhar gayaa pyaar kaa taraanaa.
LOVE’S MELODY HAS FRITTERED AWAY.


naa aadmee kaa, koee bharosaa,
NO MAN IS TO BE TRUSTED,


dawaa ke badle me.n zehar de do,
ADMINISTER POISON IN PLACE OF MEDICINE,

utaar doh, mere dil me.n khanjar,
SINK THE DAGGER DEEP DOWN MY HEART,

lahoo se see.nchaa, thaa jis chaman ko,
THE GARDEN THAT I’D NURTURED WITH (MY) BLOOD

uge hai.n shole, ussee ke andar,
THE FLAMES HAVE SPRUNG UP THEREIN,

mere hee ghar ke charaagh ne khud,
THE APPLE OF MY EYES HAS HIMSELF

jalaa diyaa meraa aashiyaanaa,
SET MY HOME ON FIRE,

mere hee ghar ke, charaagh ne khud,
THE APPLE OF MY EYES HAS HIMSELF

jalaa diyaa meraa aashiyaanaa.
SET MY HOME ON FIRE.


naa aadmee kaa, koee bharosaa,
NO MAN IS TO BE TRUSTED,

naa dostee kaa, koee Thikaanaa,
NOR FRIENDSHIP HAS ANY CONSISTENCY,

wafaa kaa badlaa, hai bewafaaee,
FIDELITY IS REQUITED WITH INFIDELITY,

ajab zamaanaa hai yeh zamaanaa.
A STRANGE WORLD IS THIS WORLD.

NASIR

Men and women are not born inconstant: they are made so by their early amorous experiences.
Andre Maurois

Wednesday, February 4, 2009

244. Translation of Sad Songs of Rafi: Dil Ki Aawaaz bhi Sun...


Movie: Humsaya (1968)
Lyrics: Shevan Rizvi
Music: O.P. Nayyar
Main Theatrical Release in Bombay: Maratha Mandir.


Rafi Sahaab’s touching song: Dil kee Aawaaz bhee Sun...

Roman Transliteration/English Translation of the original lyrics:


dil kee aawaaz bhee sun...
LISTEN TO THE VOICE OF THE HEART....

dil kee aawaaz bhee sun,
LISTEN TO THE VOICE OF THE HEART,

mere fasaane pe naa jaa,
DON’T BE FOOLED BY THE STORY ABOUT ME,

meree nazro.n kee taraf dekh,
LOOK TO MY EYES,

zamaane pe naa jaa,
DON’T BE FOOLED BY THE WORLD,

dil kee aawaaz bhee sun,
LISTEN TO THE VOICE OF THE HEART,

mere fasaane pe naa jaa,
DON’T BE FOOLED BY THE STORY ABOUT ME,

meree nazro.n kee taraf dekh,
LOOK TO MY EYES,

zamaane pe naa jaa,
DON’T BE FOOLED BY THE WORLD,

dil ki aawaaz bhee sun....
LISTEN TO THE VOICE OF THE HEART...


ik nazar dekh le...
LOOK AT ME FOR ONCE,

ik nazar dekh le jeene kee, ijaazat de de,
LOOK AT ME FOR ONCE, PERMIT ME TO LIVE,

roothne waale woh pehlee see, mohabbat de de,
O ANGRY ONE, LOVE ME THE WAY YOU USED TO,

ik nazar dekh le jeene kee, ijaazat de de,
LOOK AT ME FOR ONCE, PERMIT ME TO LIVE,

roothne waale woh pehlee see, mohabbat de de,
O ANGRY ONE, LOVE ME THE WAY YOU USED TO,

ishq maasoom hai...
LOVE IS INNOCENT...

ishq maasoom hai, ilzaam lagaane pe naa jaa,
LOVE IS INNOCENT, DON’T GO ABOUT ACCUSING IT,

meree nazro.n kee taraf dekh,
LOOK TO MY EYES,

zamaane pe naa jaa,
DON’T BE FOOLED BY THE WORLD,

dil ki aawaaz bhee sun....
LISTEN TO THE VOICE OF THE HEART,


waqt insaan pe....
THE HOUR WORKS ON MAN...

waqt insaan pe aiesaa bhee, kabhee aataa hai,
THE HOUR WORKS ON MAN IN SUCH A MANNER SOMETIMES,

raah mein chhod ke, saayaa bhee chalaa jaataa hai,
HIS VERY SHADOW DESERTS HIM ON THE WAY,

waqt insaan pe aiesaa bhee kabhee aataa hai,
THE HOUR WORKS ON MAN IN SUCH A MANNER SOMETIMES,

raah mein chhod ke, saayaa bhee chalaa jaataa hai,
HIS VERY SHADOW DESERTS HIM ON THE WAY,

din bhee niklegaa kabhee...
THE DAY WILL SURELY DAWN....

din bhee niklegaa kabhee raat ke aane pe naa jaa,
THE DAY WILL SURELY DAWN, DON’T GO BY THE ONSET OF DARKNESS,

meree nazro.n kee taraf dekh,
LOOK TO MY EYES

zamaane pe naa jaa,
DON’T BE FOOLED BY THE WORLD,

dil kee aawaaz bhee sun....
LISTEN TO THE VOICE OF THE HEART....


main haqeeqat hoon...
I’M FOR REAL...

Main haqeeqat hoon yeh ik roz, dikhaaoo.ngaa tujhe,
I’M FOR REAL, THIS I’LL PROVE ONE DAY,

begunaahee pe mohabbat kee, rulaaoongaa tujhe,
AS FOR THE INNOCENCE OF LOVE, I’LL MAKE YOU WEEP,

Main haqeeqat hoon yeh ik roz, dikhaaoo.ngaa tujhe,
I’M FOR REAL, THIS I’LL PROVE ONE DAY,

begunaahee pe mohabbat kee, rulaaoongaa tujhe,
AS FOR THE INNOCENCE OF LOVE, I’LL MAKE YOU WEEP,

daagh dil ke naheen....
BLEMISHES OF THE HEART WON’T....

daagh dil ke naheen miTte hai.n, miTaane pe naa jaa,
BLEMISHES OF THE HEART WON’T ERASE, DON’T GO ABOUT EFFACING THEM,

meree nazro.n kee taraf dekh,
LOOK TO MY EYES,

zamaane pe naa jaa,
DON’T BE FOOLED BY THE WORLD,

dil kee aawaaz bhee sun,
LISTEN TO THE VOICE OF THE HEART,

mere fasaane pe naa jaa,
DON’T BE FOOLED BY THE STORY ABOUT ME,

meree nazro.n kee taraf dekh,
LOOK TO MY EYES,

zamaane pe naa jaa,
DON’T BE FOOLED BY THE WORLD,

dil kee aawaaz bhee sun.
LISTEN TO THE VOICE OF THE HEART.

NASIR.

If some guy tells you I don't care
And tells you lies while I'm not there
Don't talk to him

And if he tells you I'm untrue
Then darling here's what you must do
Don't talk to him
- from Cliff Richard songs.