ROMANCE OF A PUNJABI IN GOA - Nostalgic Recollections!

I had an opportunity to visit Goa in May-June 1965 for the first time. Goa had been liberated from the Portuguese rule only four years before. So it was still a ‘virgin’ in the sense that the “outsiders” had still not come in hordes to settle down here. What prompted me to visit this newly liberated colony was my daily interactions with my Goans friend whom I always found simple, frank, and friendly. Even during Christmas and the New Year I used to have a whale of a time with them and visited them at Byculla, Clare Road, Mazagaon, Nesbit Road, Mathar Pacadi, Rosary Church, and Dockyard areas of Bombay. What sent my heart aflutter was that it was so easy to make friends with the Goan young women who were charming, attractive, daring, and, at the same time, so unassuming. When my friend, Cajetan, offered to take me to Goa, I couldn’t refuse him.


As far as I remember now, there was no direct railway connection from Mumbai to Goa at that time. The popular route was by ship. So one early morning, Cajetan and I went to the Ferry Wharf, locally called “Bhaucha Dhakka”, which is located in the Dockyard-Mazagaon area. I think it was 10 a.m. when we boarded the S.S. Rohidas. This was a very small ship by today’s standard and nothing to marvel about. After the ship was full of passengers, the ship began its journey to Panjim or Ponje (Panaji), after a couple of hours, to the sound of hootings. We were so happy to be on board!


The ship began slowly and steadily, increasing its speed as it cut across the sea waves. To my dismay, I found that the ship was hardly steady most of the time during its course. My initial excitement of travelling by ship began to wane as I felt nauseated. I was not alone. The sea-sickness had gotten too many passengers. I avoided eating anything for the fear that I might vomit. Thus I was better off than those passengers who were vomiting unrestrained. It was a sickly sight. When the day was done, we slept on the deck under the summer skies of a starry night. Sleeping next to me was a very beautiful young woman who had just her granny for company. She was fairer than most Goan girls and I learnt that she was of Portuguese descent. We hardly talked much since she spoke no English. We had some conversations with the granny though, who spoke in Konkani which I could easily understand and even speak to a fair extent during those years – thanks to the Goan neighbours at home in Mazagaon.


My concern was to get off the ship as soon as we landed in Goa. I was counting on sleep to escape the sea-sickness. Gradually I drifted into the arms of Morpheus. I was woken up by my Goan friend who said we had arrived. I looked at my watch. It was only 4 a.m. Hurriedly I got up. There was no sign of the dock since it was dark. For some reason, the ship had anchored off-shore. The wait was excruciating. Finally, the darkness gave way to the rosy dawn and then the golden morn. I don’t remember whether it was another boat that took us all ashore. We had arrived at Panjim!

Our destination was Old Goa Velha where my friend’s aunt stayed. I don’t remember much of the travel details now. We got into a public motor vehicle, a kind of bus, called “caminhaao” and paid our fair to the ‘Klinder’ who acted as the conductor-cum-cleaner of the bus. The bus had a limited seating arrangement. My friend wanted to show me the kind of taxis that used to ply during the Portuguese rule some of which could still be spotted. He pointed out to a taxi. It was a black Chevrolet. “What?” I asked incredulously. We didn’t have that kind of a car let alone cabs in Bombay then. Well, after some ten passengers had boarded our motor vehicle, the driver switched on his ignition key and we set off. Even women travelled alone. The weather was pleasant and the air fresh. The roads were clean and tarred. Along the way, some people got down from the bus where they wanted to, while some more boarded it. I noticed that there were no bus stops and if anyone wanted to board the bus he would just call out “Rau Re” (Hey Wait!). As we progressed, I caught the whiff of fresh cashew-nuts wafting in the air. I still remember that heavenly smell. I could see miles of cashew gardens. “That’s Santacruz,” my friend pointed out. I was only aware of the Santacruz area of Mumbai. I just smiled at him. Finally, after some 10 kilometres, we arrived at Old Goa Velha.


I have no idea what’s Goa Velha like at present, but when I saw it was just a hamlet, not even a village. There were clusters of houses at different locations, each location removed from the other. There were paddy fields running by the side of some houses. There were also mangroves and palm trees. Across the field, I could see some villa - a rare sight those days - which evidently belonged to rich guy. This was the time when Goans had not migrated to the Gulf and elsewhere for jobs and money. The Portuguese had not built any industry there despite five centuries of their presence. While departing, they had even damaged the constructions they had built such as the bridges across the rivers. This Goa predominantly belonged to the poor and the middle-class. I knew many of the women who used to come from Goa to Bombay for jobs as Ayahs while the educated ones found themselves the jobs of a Governess or some office jobs. Men were mostly sailors or had jobs in the hotels of Mumbai. Some were musicians, advocates, stage actors, and sportsmen. A few were wealthy and we are not talking about the Goan industrialists. When men came for jobs, or even when some students came for higher studies to Bombay, they stayed in a club called “Kud”. I had an opportunity to visit some such Kuds in Dockyard area, Dhobi Talao, and Nesbit Road at Mazagaon way back in the early Sixties. Football is a very popular sport for the Goans. I used to play football with some of my Goan friends in the compound of St.Mary’s High School at Nesbit Road. I also knew a star player who used to play for some Goan Company called Dempo. Having broken his knee he was out of the game.

I remember that in Goa Velha I used to sojourn in the house of my friend’s aunt. The family and the people were extremely polite and friendly. In the morning I used to draw water from a well and have a bath there just in small shorts, right in the centre of the dwellings that surrounded the well. After the bath, I used to drink a glass of sweet and fresh nectar that had been extracted from the palm tree. The family was also deferential about my eating habits. I used to enjoy a typical Goan xitt-kodi, i.e. boiled rice and fish curry, for my meals. Sometimes I visited the neighbours who always welcomed me and were courteous to a stranger like me. Most of the time I sauntered through the countryside. On such occasions, I usually passed by a quaint structure which had an inscription “Casa De Pova” or some such thing, and the post office there which always seemed so quiet. There was a marketplace where the locals used to sell fish in the morning. Rest of the day there was no one in the market. This market abutted the road where I had got down from the bus. Sometimes I used to go visiting the nearby historical sites such as cathedrals and churches. I remember on one such occasion I had an opportunity to see the remains of the 16th-century missionary, St. Francis Xavier, which was kept in a crystal glass. My friend told me that such an exposition was rare and it happened once in 12 years. The evenings were usually dull for me since there was no electricity in the village at that time and so people tended to sleep early.

After a week, I had a chance to go to Vasco to visit another relative of my friend – this time the parents of my friend. Again, I am not aware of the current situation but the Vasco of 1965 was certainly different. The man of the house (one D’Cunha) lived with his wife, and two grown up children – a son and a daughter. He used to work in the docks there. My friend, Cajetan, was his eldest son who lived in Bombay as my father’s tenant.

Now, this house was a spacious single room but made of wood and dry leaves. The floor was nothing but sand. In fact, the entire area was sandy and interspersed with small palm trees. There was hardly any furniture. No radio to listen to. TV of course would take another ten years to come to India. Right next to the house were the walls of the Mazagaon Dock and I was pleasantly surprised for I had been under an impression that the Mazagaon Docks were only confined to Bombay. I liked my new sojourn. For one, there was electricity, and two, it was a big town though I never had an opportunity to explore it. I also liked this particular location because just about half a kilometer at the rear of the house there was the sea, and a part of it tapered into a sort of a U-shaped lagoon which was a secluded place. Hardly anyone came to this site. So my friend and I enjoyed swimming there in utter privacy in sparkling blue water.  

While walking down to this lagoon we had to pass by a villa which, my friend told me, belonged to a German engineer and his Goan wife and their four daughters. This was the only other house there. On one such occasion, we met those girls. One was very fair with blonde hair,  but no great shakes, and she was engaged to a boy. She had some airs about her. Younger to her was Celia or Cecilia (I don’t remember the exact name) who was a brunette, about 18 years old and had tanned skin. It was evident that she had taken after her Goan mother. The third one was Ruby who was 14 years old.  Ruby too was very fair to look at.  The youngest one was just ten years old.  These girls spoke English and Konkani too. With curiosity, they looked at me and wondered about my Konkani accent. The Konkani that I loved was the one spoken in the Bardes area of Goa since it was so easy to understand, but my accent could never match the local spoken dialect. They were glad to know that I was not a “Paklo”.  Very often owing to my fair complexion and my Konkani accent, I was taken to be a ‘Paklo’ (Portuguese white) in Goa. In short, the term “Paklo” was not a favourable one, especially where females were concerned and I used to be embarrassed when someone in a function came up with a song that had these wordings: “TUKA PAKLO POITA BURAKANT GHALUN TONDU…”

 I found Cecilia particularly attractive.  However, her tall young body was very much pronounced and shapely under the knee-length sleeveless frock that she wore. She was a picture of lusty and rustic youth, with longish black hair that fell over her shoulders and large black eyes that seemed to harbor some deep longings.  I would never have remembered these lasses if it were not for an incident. One evening it so happened that when I was near their villa, It was getting dark and there was no such thing as a streetlight in this patch. Ruby invited me to the jeep that was parked outside their house. I went and sat in the jeep. Cecilia and Ruby sat on either flank. Without any ado, they began to explore my body. I could feel their hands groping all over me.  All the time the girls were giggling as if they were indulging in some innocent fun. I understood that the girls wanted to have fun.  However, I was too dumbfounded. It had been too sudden and I was not ready for this. I made some excuses, jumped out of the jeep, and came back to my shack. All night I kept on thinking so much that I have never been able to erase this incident from my life. I never breathed a word about this to anyone ever, i.e. until now. The next day I decided to sleep outside the shack and told my friend so. So when the night drew nigh, my friend put some fresh palm leaves outside on the sand for me to sleep on.  I lay myself down for the night, fantasizing the girls would come up with a repeat performance of last evening.  Alas! This was not to be.  Days lingered on lazily while the nights were alive with the desire of budding romance.  

I did go round about the place sometimes crossing railway tracks to reach a public park there, but did not venture out too far. Sometimes, when I had nowhere to go and it became dull, I would sit under a palm tree that was just by the side of the road and belt out songs to while away the time.  Sometimes I would be emboldened to sing some Konkani songs that I knew such as from a hit Konkani film, Amchem Noxib, the lilting Molly number:


Mogaa assonk borem,
Jivit sukhi khorem,
Xitolkaichem varem,
Kalzan asta purem…..


I remember once that when I was singing KOI JAB RAAH NAA PAAYE – a Mohammed Rafi song from the 1964 movie, Dosti, a good motley crowd of passers-by gathered to listen and enjoy the song. His songs from Dosti were a nationwide hit at that time and are still popular.  Incidentally, Mohammed Rafi has given quite a number of Konkani songs too such as KITLEM SOBIT TU MARIA and BOM JESUCHEA CONVENTAN, both with Lorna, or the melodious KALZAC set to tune by Chris Perry, and other ‘cantaram’ including a mando and COMBEA SADARI, in the early Seventies.

At times there were wedding invitations to attend to, and these also provided me with fun and entertainment. At one such wedding, I remember to have picked up a young girl for a dance. When the band played a piece of slow fox-trot music, she just melted into my arms so that literally I had to carry her around the floor. We never spoke, strangers that we were to each other. But I have never been able to forget the warmth that the softness of her body exuded then.  At weddings and other functions I always joined the crowd to sing the sentimental TAMBDE ROSA TUZE POLE… or ANV SAIBA POLTEDI VETAM…the chorus of which was copied in the 1973 Bollywood movie, Bobby: GHE GHE GHE GHE RE SAIBA….These, I gather are folk songs that have passed into the rich Goan culture.

Another favourite of mine was the song MANDOVI, MANDOVI which was very popular then. Its singer, Alfred Rose, was a huge name in Konkani entertainment history whose stage shows and music were always great hits. Mandovi, by the way, is the river near Panjim, and the experience of crossing it was new to me what with so many people and even motor vehicles on the ferry.  
 
The early Sixties were also the decade when I was smitten by western singers such as Cliff Richard, Elvis Presley, Ricky Nelson, Connie Francis, Jim Reeves, The Cascades, The Echoes, The Everly Brothers, Pat Boone, Bobby Darin, and others. The soundtrack music of the movie, Come September, was an unending craze all over India.  I also had the good fortune of watching a new Konkani movie in some shanty theatre there. The movie was Nirmonn, which had a good storyline and excellent music. My favourite was a comedy song, CAZAR ZAUNC ASAA, which has meaningful lyrics meant for a person who wants to get married to anyone he can find – black or white, tall or short and is even ready to become a son-in-law who settles in his wife’s home; but unfortunately has no luck because NOXIBA MOJE BOSLA MAZOR (i.e. a cat sits on his fate, meaning “bad luck”). This movie was so popular that a Hindi version was made with the title of Taqdeer which had melodious songs of Mohammed Rafi. The heroine of Nirmonn, who happened to be Shalini, was once again given the heroine’s role in Taqdeer. A.A. Salaam of course was the director too. In the same theatre, I also chanced to see a Hindi film, Man Mauji, starring Kishore Kumar and Sadhna, which had a popular number of Kishore Kumar: ZAROORAT HAI ZAROORAT HAI…

A Look-Alike Young Woman

The vacation was nearing the end and soon it was time to bid goodbye to Vasco. I thanked my hosts and left for Old Goa Velha to spend the remainder of my holidays there. On the way, I was given a rude shock by my friend. He revealed to me that Cecilia used to come every night to the place where I slept soundly outside the shack. A cry escaped my lip. What courage she must have mustered to leave her villa just to see me, to be with me, by the shack in the darkness of the nights! I had missed the true romance of my lifetime - the starry nights, the balmy breeze and the waving fronds, the bedding of palm leaves on the cool sand, all this with Cecilia by my side! Alas, this was never to be! As I thought about this, I felt as if someone had stabbed my heart though the fact was that I had been stabbed in the back by the conniving circumstances for which I also blamed Cajetan rightly or wrongly.   I never forgave him for having concealed the fact. I also felt a deep pang of guilt so that I could never forgive myself!  I never had a chance to go back to her. I was not as courageous as her.  Now, whenever I hear about Goa, all those old memories come flooding in and  I remember Cecilia.  At such times I pray that may God keep Cecilia in good health and spirit wherever she is, Amen! 

NASIR

P.S. 4.2.2014:
It is rightly said that some truths are stranger than fiction. As if by some divine providence, I got the sad tidings through a reader of the above story that Cecilia died a few days ago.  She had been suffering from Cancer.  The news was not only painful and shocking but also astounding.  Astounding because after decades I was destined to know about her death. 

 I pray that may Cecilia's soul rests in everlasting peace, Amen!

NASIR.

460. Rafi's Romantic Song: Jawaaniyaan Yeh Mast Mast Bin Piye....

Movie: TUMSA NAHIN DEKHA (1957)
Lyrics: Majrooh Sultanpuri
Music: O.P. Nayyar
Main Theatrical Release in Bombay: Naaz Cinema.


Rafi’s Most Romantic Song of 1956-57: Jawaaniyaa.n Yeh Mast Mast Bin Piye…

Roman Transliteration/English Translation of the original Urdu-Hindi Lyrics:


jawaaniyaa.n yeh mast mast bin piye,
THESE LUSTY LASSES, DRUNK SANS DRINKING,

jalaatee chal rahee hai raah me.n diye,
LIGHTING UP THE LAMPS ON THE WAY,

na jaane in me.n kis ke vaaste hoo.n mai.n,
WHO KNOWS FOR WHOM AMONG THEM AM I MEANT,

na jaane in me.n kaun hai mere liye,
WHO KNOWS WHO AMONG THEM IS MEANT FOR ME,

jawaaniyaa.n yeh mast mast bin piye,
THESE LUSTY LASSES, DRUNK SANS DRINKING,


jalaatee chal rahee hai raah me.n diye,
LIGHTING UP THE LAMPS ON THE WAY,

naa jaane in me.n kis ke vaaste hoo.n mai.n,
WHO KNOWS FOR WHOM AMONG THEM AM I MEANT,

na jaane in me.n kaun hai mere liye,
WHO KNOWS WHO AMONG THEM IS MEANT FOR ME,

mere liye mere liye –
FOR ME, FOR ME,

mere liye mere liye…
FOR ME, FOR ME….


sabhee ha.nsee.n sabhee jawaa.n,
ALL OF ‘EM GORGEOUS, ALL OF EM, YOUNG!

kahaa.n pe dil ko haariye,
TO WHOM SHOULD I LOSE THE HEART?

sabhee ha.nsee.n sabhee jawaa.n,
ALL OF ‘EM GORGEOUS, ALL OF ‘EM YOUNG!

kahaa.n pe dil ko haariye,
TO WHOM SHOULD I LOSE THE HEART?

sabhee hai.n dil kee mehmaa.n,
ALL OF ‘EM ARE THE GUESTS OF THE HEART,

kise kise pukaariye,
WHO ALL SHOULD I CALL?

kise kise pukaariye,
WHO ALL SHOULD I CALL?


jawaaniyaa.n yeh mast mast bin piye,
THESE LUSTY LASSES, DRUNK SANS DRINKING,


jalaatee chal rahee hai raah me.n diye,
LIGHTING UP THE LAMPS ON THE WAY,

na jaane in me.n kis ke vaaste hoo.n mai.n,
WHO KNOWS FOR WHOM AMONG THEM AM I MEANT,

na jaane in me.n kaun hai mere liye,
WHO KNOWS WHO AMONG THEM IS MEANT FOR ME,

mere liye mere liye,
FOR ME, FOR ME,

mere liye mere liye…
FOR ME, FOR ME….


deewaane hamm theh chaah ke,
CRAZY WERE WE FOR LOVE,

toh beqaraar ho liye,
SO WE BECAME RESTLESS,

deewaane hamm theh chaah ke,
CRAZY WERE WE FOR LOVE,

toh beqaraar ho liye,
SO WE BECAME RESTLESS,

ke duur kee nigaah ke,
SIGHTING THEM FROM FAR

gunahagaar ho liye,
THE SINNER WE BECAME,

gunaahagaar ho liye,
THE SINNER WE BECAME,


jawaaniyaa.n yeh mast mast bin piye,
THESE LUSTY LASSES, DRUNK SANS DRINKING,


jalaatee chal rahee hai raah me.n diye,
LIGHTING UP THE LAMPS ON THE WAY,

na jaane in me.n kis ke vaaste hoo.n mai.n,
WHO KNOWS FOR WHOM AMONG THEM AM I MEANT,

na jaane in me.n kaun hai mere liye,
WHO KNOWS WHO AMONG THEM IS MEANT FOR ME,

mere liye mere liye –
FOR ME, FOR ME,

mere liye mere liye…
FOR ME, FOR ME….

NASIR

My life was fast - whisky and women were a compulsory part of my day after work.  O.P. Nayyar (as reported in http://www.screenindia.com/)




lyrics


translation

459. Rafi's Romantic Song: Jitnee Haseen Ho Tum...

Movie: MANGU DADA (1970)

Lyrics: Jaan Nisar Akhtar
Music: C. Arjun


When beauty is matched by infidelity, Romantic Rafi sings: Jitnee Haseen Ho Tum…


Roman Transliteration/English Translation of the original Urdu-Hindi Lyrics:

Jitnee haseen ho tum, haay, utnee hee bewafaa ho,
SO MUCH BEAUTIFUL AS YOU’RE, ALAS, AS MUCH FAITHLESS ARE YOU!


phir bhee mere liye tum
EVEN SO, FOR ME YOU’RE…


phir bhee mere liye tum, mai.n kyaa bataaoo.n kyaa ho
EVEN SO FOR ME, HOW SHOULD I REVEAL WHAT YOU ARE!


jitnee haseen ho tum…
SO MUCH BEAUTIFUL AS YOU ARE…


tum ko sajaa rakhaa hai,
YOU’VE BEEN KEPT ADORNED


palko.n kee chilmano.n ne,
BY THE CURTAINS OF YOUR EYELASHES,


tum saa.ns le rahee ho,
THE BREATH THAT YOU ARE TAKING IN,


jis dil kee dha.Dkano.n me.n,
FROM WHOSE HEARTBEATS,


itnee qareeb hokar,
DESPITE BEING SO NEAR…


itnee qareeb hokar,
DESPITE BEING SO NEAR


phir kyoo.n judaa judaa ho,
THEN WHY ARE YOU SO FAR APART?


jitnee haseen ho tum….
SO MUCH BEAUTIFUL AS YOU’RE…



mujh ko siwaa tumhaare,
BUT FOR YOU


kuchh bhee pataa nahee.n hai,
I KNOW NOTHING!


dunyaa me.n hai toh kyaa hai,
WHAT’S THERE IN THE WORLD, IF THERE IS,


dunyaa me.n kyaa nahee.n hai,
WHAT’S NOT IN THE WORLD,


tum phir bhee bad-gumaa.n ho,
EVEN THEN YOU’RE SUSPICIOUS,


tum phir bhee bad-gumaa.n ho,
EVEN THEN YOU’RE SUSPICIOUS,


naraaz ho khafaa ho,
ANGRY AND DISPLEASED,


jitnee haseen ho tum….
SO MUCH BEAUTIFUL AS YOU ARE…



iss bewafaa se hamne, saaze wafaa na payee
FROM THIS FAITHLESS, WE RECEIVED NO ORGAN OF LOYALTY,


apne liye tumhaaree, koyee adaa naa payee,
FOR ME, I FOUND NO AMOROUS SIGN FROM YOU,


lagtaa hai yoo. n ke mujhse…
IT APPEARS THAT WITH ME…


lagtaa hai yoo.n ke mujhse, rooTha mera Khuda ho,
IT APPEARS THAT WITH ME MY GOD IS DISPLEASED,


jitnee haseen ho tum, utnee hee bewafaa ho,
SO MUCH BEAUTIFUL AS YOU’RE,  AS MUCH FAITHLESS ARE YOU!


phir bhee mere liye tum,
EVEN SO, FOR ME YOU ARE….


phir bhee mere liye tum, mai.n kyaa bataaoo.n kyaa ho,
EVEN SO FOR ME, HOW SHOULD I REVEAL WHAT YOU ARE!


jitnee haseen ho tum, utnee hee bewafaa ho,
SO MUCH BEAUTIFUL AS YOU’RE, AS MUCH FAITHLESS ARE YOU!


jitnee haseen ho tum, utnee hee bewafaa ho,
SO MUCH BEAUTIFUL AS YOU’RE, AS MUCH FAITHLESS ARE YOU!


hmmm, lalalalala.


NASIR


You look like an angel
Walk like an angel
Talk like an angel
But I got wise
You're the devil in disguise
Oh yes you are
The devil in disguise
 - A number by Elvis.
lyrics


translation

458. Rafi's Romantic Song: Duur Rehkar Naa Karo Baat Qareeb Aa Jaao...

Movie: AMAANAT (1977)
Lyrics: Sahir Ludhianvi
Music: Ravi

Main Theatrical Release in Naaz Cinema.

Romantic Rafi at his mischievous best: Duur Rehkar Naa Karo Baat….

Roman Transliteration/English Translation of the original Urdu-Hindi Lyrics:


duur rehkar, naa karo baat,
SPEAK NOT FROM A DISTANCE,

qareeb aa jaao,
DRAW NIGH,

duur rehkar, naa karo baat,
SPEAK NOT FROM A DISTANCE,

qareeb aa jaao,
DRAW NIGH,

yaad reh jaayegee, yeh raat,
IT’LL BE A NIGHT TO REMEMBER,

qareeb aa jaao…
DRAW NIGH…


ek muddat se, tamanna theeh, tumeh chhoone kee,
FOR A LONG TIME I’D A DESIRE TO TOUCH YOU,

ek muddat se, tamanna theeh, tumeh chhoone kee,
FOR A LONG TIME I’D A DESIRE TO TOUCH YOU,

aaj bas me.n nahee.n, jazbaat,
TODAY, BEYOND CONTROL IS THE EMOTION,

qareeb aa jaao,
DRAW NIGH,

aaj bas me.n nahee.n, jazbaat,
TODAY, BEYOND CONTROL IS THE EMOTION,

qareeb aa jaao,
DRAW NIGH,

duur rehkar, naa karo baat,
SPEAK NOT FROM A DISTANCE,

qareeb aa jaao…
DRAW NIGH…


sard jho.nko.n se, bhadhakte hai.n, badan me.n shole,
THE COLD GUSTS STOKE UP FLAMES IN THE BODY,

sard jho.nko.n se, bhadhakte hai.n, badan me.n shole,
THE COLD GUSTS STOKE UP FLAMES IN THE BODY,

jaan le legee, yeh barsaat,
THIS RAIN IS OUT TO KILL,

qareeb aa jaao,
DRAW NIGH,

jaan le legee, yeh barsaat,
THIS RAIN IS OUT TO KILL,

qareeb aa jaao,
DRAW NIGH,

duur rehkar, naa karo baat,
SPEAK NOT FROM A DISTANCE,

qareeb aa jaao…
DRAW NIGH…


is qadar hamm se, jhijhakne kee zaroorat kyaa hai,
WHAT’S THE NEED TO BE SO RESERVED  WITH ME,

is qadar hamm se, jhijhakne, kee zaroorat kyaa hai,
WHAT’S NEED TO BE SO RESERVED  WITH ME,

zindagee bhar kaa hai, ab saath,
WE’VE A LIFETIME OF TOGETHERNESS NOW,

qareeb aa jaao,
DRAW NIGH,

zindagee bhar kaa hai, ab saath,
WE’VE A LIFETIME OF TOGETHERNESS NOW,

qareeb aa jaao,
DRAW NIGH,

yaad reh jaayegee, yeh raat,
IT’LL BE A NIGHT TO REMEMBER,

qareeb aa jaao,
DRAW NIGH,

duur rehkar, naa karo baat,
SPEAK NOT FROM A DISTANCE,

qareeb aa jaao.
DRAW NIGH.

NASIR

“Often the best way to overcome desire is to satisfy it.”  ~ W. Somerset Maugham

lyrics


translation

457. Rafi's Romantic Song: Salaam Aapki Meethi Nazar Ko Salaam...

Movie: BOY FRIEND (1961)
Lyrics: Hasrat Jaipuri
Music: Shankar Jaikishen

Main Theatrical Release in Mumbai: Liberty Cinema.

Romantic Rafi’s unforgettable number: Salaam Aap Kee MeeThee Nazar Ko Salaam….
Roman Transliteration/English Translation of the original Urdu-Hindi Lyrics:


salaam aap kee meeThee nazar ko salaam,
SALAAM TO YOUR SWEET EYES, SALAAM,

salaam aap kee meeThee nazar ko salaam,
SALAAM TO YOUR SWEET EYES, SALAAM,

kiyaa hamm pe jaaduu asar ko salaam,
A SPELL’S CAST ON US - TO THE IMPACT, SALAAM,

o salaam, o salaam, o salaam, o salaam,
O SALAAM, O SALAAM, O SALAAM, O SALAAM,

salaam aap kee meeThee nazar ko salaam...
SALAAM TO YOUR SWEET EYES, SALAAM…

Khudaa bhee Khyaalo.n me.n, laayaa hai tum ko,
EVEN GOD HAS FANCIED YOU,


Khud haatho.n se apne, banaayaa hai tum ko,
WITH HIS OWN HANDS HE’S CREATED YOU,

falaq ne bhee dil me.n, biThaayaa hai tum ko,
IN ITS HEART EVEN THE HEAVEN HAS PLACED YOU,

hamaaree zamee.n par bhee, laayaa hai tum ko,
TO OUR EARTH, IT’S ALSO BROUGHT YOU,

salaam o sunehree sahar ko salaam,
SALAAM O GOLDEN MORN, SALAAM,

kiyaa hamm pe jaaduu asar ko salaam,
A SPELL’S CAST ON US - TO THE IMPACT, SALAAM,

o salaam, o salaam, o salaam, o salaam,
O SALAAM, O SALAAM, O SALAAM, O SALAAM,

salaam aap kee meeThee nazar ko salaam...
SALAAM TO YOUR SWEET EYES, SALAAM,


yeh bheegaa saa mausam, fizaa jhoomtee hai,
WITH THIS MISTY-LIKE WEATHER, THE AMBIENCE IS ROCKING,

havaa mere dil ko, masalne lagee hai,
THE WIND HAS BEGUN TO STROKE MY HEART,

nazar kyaa milee, zindagee mil gayee hai,
AS THE EYES MET, I FOUND ALIVENESS,

meree raah me.n, chaa.ndnee khil gayee hai,
THE MOONBEAM HAS LIGHTED MY PATH,

kiyaa hamm pe jaaduu asar ko salaam,
A SPELL’S CAST ON US - TO THE IMPACT, SALAAM,

o salaam o salaam o salaam, o salaam,
O SALAAM, O SALAAM, O SALAAM, O SALAAM,

salaam aap kee meeThee nazar ko salaam...
SALAAM TO YOUR SWEET EYES, SALAAM,


yeh jee chaahtaa hai naa, jaaoo.n yahaa.n se,
THE HEART WISHES THIS: NOT TO GO AWAY FROM HERE,

yeh ghar aap kaa kam, nahee.n aasmaa.n se,
NOT TO THE HEAVEN IS THIS HOUSE INFERIOR,

huwaa mai.n tumhaaraa aur, aayaa kahaa.n se,
YOURS I’VE BECOME, AND FROM WHERE HAVE I COME!

mujhe toh mohabbat, milee hai yahaa.n se,
AS FOR ME, ‘TIS HERE I’VE FOUND LOVE,

salaam, aap ke sang-e-dar ko salaam,
SALAAM TO YOUR THRESHOLD’S STONE, SALAAM,

kiyaa hamm pe jaaduu asar ko salaam,
A SPELL’S CAST ON US - TO THE IMPACT, SALAAM,

o salaam o salaam o salaam, o salaam,
O SALAAM, O SALAAM, O SALAAM, O SALAAM,

salaam aap kee meeThee nazar ko salaam.
SALAAM TO YOUR SWEET EYES, SALAAM.


NASIR

Love Spell
Every time I look at you
my heart skips a beat
I wonder if you know, my love,
that my heart is at your feet
I leave it there for you to do
whatever that you wish
You could take my heart,
and love me,
Or just leave me in this bliss.
- Ana Martinez -

lyrics


translation

456. Rafi's Romantic Song: Koee Aur Dunyaa Me.n Tumsa Haseen.n Hai....

Movie: PYAR KI KAHANI (1971)
Lyrics: Anand Bakshi
Music: R.D. Burman.


Romantic Rafi singing the praise of beloved: Koee Aur Dunya me.n Tumsaa Haseen hai….


Roman Transliteration/English Translation of the original Urdu-Hindi Lyrics:



koee aur dunya me.n tumsaa hasee.n hai,
IS THERE ANYONE IN THE WORLD AS GORGEOUS AS YOU?


nahee.n hai, nahee.n hai, nahee.n hai nahee.n,
THERE’S NO ONE, NOT ANYONE, NONE, NO!


koee aur dunya me.n tumsaa hasee.n hai,
IS THERE ANYONE IN THE WORLD AS GORGEOUS AS YOU?


nahee.n hai, nahee.n hai, nahee.n hai nahee.n,
THERE’S NO ONE, NOT ANYONE, NONE, NO!


adaa yeh nazar yeh jahaa.n me.n kahee.n hai,
IS THERE ANYONE IN THE WORLD HAVING SUCH GRACE, SUCH LOOKS?


nahee.n hai, nahee.n hai, nahee.n hai nahee.n.
THERE’S NO ONE, NOT ANYONE, NONE, NO!




buraaee teree gar zamaana kare,
IF THE WORLD BACKBITES YOU,


bayaa.n koee jhoota fasaana kare,
IF SOMEONE CONCOCTS SOME FIB,


buraaee teree gar zamaana kare,
IF THE WORLD BACKBITES YOU,


bayaa.n koee jhooTa fasaana kare,
IF SOMEONE CONCOCTS SOME FIB,


uthaaye yeh qasme hazaaro.n magar,
IF HE SWEARS A THOUSAND TIMES,


yaqee.n kaise teraa deewaanaa kare,
HOW CAN THE ONE CRAZY ABOUT YOU BELIEVE IT!


bhalaa iss zamaane ka koee yaqee.n hai,
WELL, IS THERE ANYONE WHO WILL BELIEVE THE WORLD?


nahee.n hai, nahee.n hai, nahee.n hai nahee.n,
THERE’S NO ONE, NOT ANYONE, NONE, NO!


koee aur dunya me.n tumsaa hasee.n hai,
IS THERE ANYONE IN THE WORLD AS GORGEOUS AS YOU?


nahee.n hai, nahee.n hai, nahee.n hai nahee.n…
THERE’S NO ONE, NOT ANYONE, NONE, NO!



judaa hai sabhee se kahaanee teree,
DIFFERENT FROM THE REST IS YOUR STORY,


zaraa paas aa mehrbaanee teree,
AT LEAST COME CLOSER, DO ME A FAVOUR,


judaa hai sabhee se kahaanee teree,
DIFFERENT FROM THE REST IS YOUR STORY,


zaraa paas aa mehrbaanee teree,
AT LEAST COME CLOSER, DO ME A FAVOUR,


tujhe dekhtaa hai, ghaTaao se chaand,
THE MOON ESPIES YOU FROM BEHIND THE CLOUDS,


ke hai chaandnee bhee, deewaanee teree,
SINCE THE MOONBEAM,TOO, IS CRAZY ABOUT YOU,


kisee aur kaa naam kyaa mahjabee.n hai,
IS THERE ANYONE WHOSE NAME SPELLS “COUNTENANCE OF THE MOON”?


nahee.n hai, nahee.n hai, nahee.n hai nahee.n,
THERE’S NO ONE, NOT ANYONE, NONE, NO!


koee aur dunya me.n tumsaa hasee.n hai,
IS THERE ANYONE IN THE WORLD AS GORGEOUS AS YOU?


nahee.n hai, nahee.n hai, nahee.n hai nahee.n,
THERE’S NO ONE, NOT ANYONE, NONE, NO!


adaa yeh nazar yeh jahaa.n me.n kahee.n hai,
IS THERE ANYONE IN THE WORLD HAVING SUCH GRACE, SUCH LOOKS?


nahee.n hai, nahee.n hai, nahee.n hai nahee.n.
THERE’S NO ONE, NOT ANYONE, NONE, NO!


NASIR


“You don't love a woman because she is beautiful, but she is beautiful because you love her”



lyrics
translation

SHA'IRALLAH OR SYMBOLS OF ALLAH - BRIEF THOUGHTS!

From Layman’s Desk -2: SHA’IRALLAH or SYMBOLS OF ALLAH - Brief thoughts!


In The Name Of Allah The Most Beneficent, The Most Merciful.


When we talk of the symbols of Allah we don’t mean the kinds that people normally attach to a creed. In Islam, Allah is beyond any symbol for none is like Him. The symbols and anything within the Space, Time and Energy are in the realm of creations while Allah is the Creator. Creations can never be equated with the Creator. At the same time, when we speak of creation we don’t in the least mean animal procreation for Allah begets not, nor his begotten. We have to remember the Creator has no body but is self-subsistent, Eternal and One who is not governed by direction or location and only He is to be worshipped. The creations are not to be worshipped, not even when the creations are “Sha’ir Allah” or the Symbols of Allah. Prayers are accepted at the symbols of Allah, including those in Makkah during the Haj or Umrah, and in and around Madinah the Radiant. However, generally, these Symbols of Allah are to be respected and honoured and their sanctity is not to be violated. So what are the symbols of Allah? How does one honour them and why?


In Surah al-Baqara, verse 158, the hills of Safa and Marwa have been called as the symbols of Allah. The same verse recommends the encompassing between them:


Behold! Safa and Marwa are among the Symbols of God. So if those who visit the House in the Season or at other times, should compass them round, it is no sin in them. And if any one obeyeth his own impulse to good, - be sure that God is He Who recogniseth and knoweth. (2:158)


As every Muslim knows, it was between these two hills of Safa and Marwa that Hajrah (Hager) kept on walking and, at times, running in quest of water for her son, Isma’il (a.s.) (Ishmael). She climbed to the top of Mount Safa and prayed to Allah for help, and then she climbed Mount Marwa and again cried for help. Allah responded to her supplication and sent Jibreel (peace be upon him) to dig out the well of Zam-Zam. Allah has declared these hills among His symbols since one of his beloved servants, Sayyida Hajrah, walked between these two hills seeking His help.


Briefly, the Ka’ba is one such symbol which is also known as the Baitullah or the House of Allah. The history of Ka’ba is long and ancient. It was built by Ibrahim (a.s.) and Isma’il (a.s.) at the place indicated by Allah.


Verily, the first House (of worship) appointed for mankind was that at Bakkah (Makkah), full of blessing, and a guidance for Al-'Alamin (i.e. the mankind and the Jinns). In it are manifest signs, the Maqam of Ibrahim; whosoever enters it, he attains security. (3:96)


Maqam-e-Ibrahim is the place where Ibrahim (a.s.) used to stand at the time he built the Ka’aba. That place is signified by the impression of his footprints which are enclosed in the vicinity of the Ka’ba. The Ka’ba later became the focal point or Qiblah for offering of the ritual prayers (salaat) wherever one might be in the world. One makes the Tawaaf (circumambulations) of the Ka’ba, this being an obligatory requirement of Haj (Greater Pilgrimage) and Umrah (Lesser Pilgrimage). On other occasions, too, making of Tawaaf carries immense reward. After the Tawaaf of the Ka’ba, two rakah of voluntary prayers are offered at this place and supplications offered by every pilgrim. Standing at Hateem or near Multazam, drinking the water of the Zamzam spring and offering ‘Saee’ or encompassing the distance between the hills of Safa and Marwa and ascending them, proceeding to Mina, Arafat, and Muzdalifa, sacrificing animals at Mina, pelting stones at the Devil ( doing Rami), doing the farewell Tawaaf, and removing the Ihraam (which was donned in the beginning while making niyah for Haj or Umrah at designated spots “Mawaqit” are what the pilgrims do during the Haj or Umrah. All these are associated with the Symbols of Allah.


Rasulullâh Sallallahu ‘alayhi wasallam stated in another Hadîth: “The best and the most beloved city on the face of this earth to Allâh Subhanahu wa Ta’âla is Makkah.” (Sahih A Bukharî) The city houses the Masjid al-Haraam inside which are: the Ka’ba, the Maqam-e-Ibrahim, the Zamzam Spring are located – and even the hills of Safa and Marwa which in modern times have been enclosed within the precincts of Masjid al-Haraam. Whosoever enters it has attained safety (from the fire.) (Âl -Imrân). Du’â is granted at fifteen places in Makkah. These places are well-known to Muslims and even if they are not known they try to locate them, find them, and pray at those designated places so that Allah may accept their prayers swiftly.


Similarly, the Hadiths and other Islamic literature are full of the virtues of Madinah the Radiant (Medina) and its sacred precincts. Narrated Anas (r.a.), the Prophet (peace be upon him) said, "O Allah! Bestow on Madinah twice the blessings You bestowed on Makkah." (Bukhari, Volume 3, Book 30, Number 109). The Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) declared Madinah and what lies between its two black tracts – twelve miles around Madinah as Haram. Cutting of trees including the thorny plant “adah” with the normal exception of fodder for animals and making tools and equipment of normal use, is prohibited. So also hunting of animals. Anas reported that the Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) said, "Madinah is a sanctuary from such and such a place to such and such a place, and (within this area) its trees shall not be cut, nor any (unlawful) act committed, and whoso does so on him shall rest the curse of Allah, His angels and the entire mankind." (Bukhari). Therefore, the majority of scholars hold Madinah as the place of sanctuary.


Very briefly, some of the symbols of Madinah the Radiant are: The sacred grave and the Masjid of the Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam); the distance between his (Salla Allahu Ta’ala Alayhi Wa Sallam) house and ‘mimbar’ which is blessed as the gardens of Paradise, inviting the good fortune of meeting the Messenger of Allah (Salla Allahu Ta’ala Alayhi Wa Sallam) at the pool of Kawthar. Inside the Masjid there used to be some 8 pillars where the Sahaba (r)used to offer many prayers. These pillars are known as the “Weeping” pillar, the pillar of Aisha (r), the pillar of Repentance (Towbah), pillar of sleeping place, pillar of Ali (r), pillar of delegations; pillar of Tahajjud and Taraveeh prayers which Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) used to offer; and pillar of Jibra’il a.s. from where Archangel Gabriel used to visit Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) . The virtue of offering prayers in the Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) Masjid is 50,000 times which is half of that of the Masjid al-haraam in Makkah. However, the ulema tell us that though the Ka’ba is the holier place than Madinah the Radiant, the grave of Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) is higher in rank than the Ka’ba. There are many other places in and around the City of Radiance such as Uhud which is the burial place of Hazrat Hamza (r) and other Sahabas who were martyred there. Their sanctity cannot be rejected by attribution of falsehood.


In Surah al-Hajj of the Noble Qur’an it is mentioned:


“And whosoever honours the symbols of Allah (Sha’ir Allah) then it is truly from the piety of the heart.” (22:32).


And the prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) said, “The piety is here, (and while saying so) he pointed towards his chest.


The symbols have been designated by Allah in the Holy Quran since these symbols and the persons, places, animals, or things associated with these symbols remind us of Him. These symbols are the signs of Allah since He is remembered when the pilgrim offers prayers while carrying out instructions and observances that are attached to these symbols all for the pleasure of Allah. Yusuf Ali says that impulse should be to do good, and if once we are sure of this, we must obey it without hestitation, whatever the people may say. The know-how and details regarding these instructions are also found in the ahadith (prophetic traditions). Makkah Mukarramah (Mecca) itself was declared as ‘Haram’ or the place of sanctuary by Ibrahim a.s.,who supplicated: O my Lord! Make this city (Makkah) a place of peace and security. (2:126)


We find extensions of symbols that are linked to Allah, such as Rasool-Allah (Messenger of Allah) Baitullah (for Ka’ba), Shahrullah (Month of Allah, i.e. Ramadan), Nabi-Allah (prophets of Allah), Wali-Allah (Friends of Allah), and Naaqata Allah, the she-camel of Allah that came out of the rock as a miracle for the people of Thamood; the sacrificial camels “And the (sacrificial) camels! We have made for you among the signs of Allah” (22:36) who are honoured with garlands around their neck, and so on. Therefore, those things by which we are reminded of Allah are included by the Ulema among the signs or symbols of Allah. By extensions these include not only the inanimate objects as the hills, the Sacred House and the places within the Haram Shareef, but also the precincts of Makkah that have the house of Khadija (r), the house where Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) was born (i.e. Mowlidun Nabi), the house of Abu Bakr Siddique (r) from where the Hijrat to Madinah took place, the house where Hazrat Ali (r) was born; then the house where Hazrat Umar (r) accepted Islam near the hill of Safa, where some forty men entered Islam; the cave of Thowr where the Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) and Hazrat Abu Bakr (r) hid themselves to escape from the pursuing polytheist Makkans and where the verse calling Hazrat Abu Bakr (r) “the second of the two” was revealed; the Ghare-e-Hira or the Cave on the mountain of light (Jabl an-Noor) where Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) used to spend in solitude until one day he received the first revelation of the Holy Quran (Surah al-Alaq) and thus officially became the Messenger of Allah; and some various Masjids known as Raya, Jinn, Shajarah, Ghanam, Ajyaad, Abu Qubays, Tuwaa, Aisha, Ju’raana, Kabsh, Masjidul Aqba which lies on the road going to Mina from Makkah, Masjid al-Khaif at Mina, and not far from there, the Mursalaat Cave where Surah Mursalaat was revealed; and the graveyard, Jannatul Ma’la, where Hazrat Khadija (r) lies buried.


There are other symbols too. According to Shah Waliyullah (reh.) the greatest symbols of Allah are four: the Holy Qur’an, the Ka’ba, the Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) and the ritual salaat. (HUJJAT ALLAHI’L BAALIGHA). In ALTAAF AL-QUDS, Shah Waliyullah states:
“To love the symbols of Allah the Exalted, means to love the Qur’an, the Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) , and the Ka’ba, or to love anything that reminds us of Allah the Exalted. To love the Awliya of Allah is the same.”


A tradition quoted in Abi-Shaiba’s MUSNAD and in KUNOOZ AD-DAQAAIQ show that the Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) said: “When Awliya are seen, Allah the Exalted is remembered.” When asked about the characteristics of Awliya, Imam Nawawi too said the same thing. Ibn Majah also reports this hadith shareef. A tradition related by Imam Baghawi says: “My Awliya are remembered when My Name is mentioned, and I am remembered, when they are mentioned.”


Now, when we show honour (yu’azzim) to the signs and indications of Allah, it is termed as “piety of the heart” as we saw in Surah al-Hajj (22:32) When there is an impulse to do good, Allah recognizes it (Surah 2:158). When we honour and love the Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) and those associated with him or even the things associated with him and the friends of Allah, the impulse is to do good. When we visit the places of rest of the Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) and the blessed companions and the family of Holy Propht (Salla Allahu Ta’ala Alayhi Wa Sallam) as well as the shrines of Awliya-Allah, the impulse is to do good because the symbols of Allah necessarily remind us of Allah the Exalted and Majestic as He is. He is fully aware of it, and no evil imputations by the ignorant will change the piety of the heart. Therefore, showing honour is an impulse to do good within the bounds sanctioned by Allah.


In Bukhari Shareef, Hadrat Abu Huraira (Radi Allahu ta'ala Anhu) reports
the following Hadith-e-Quddsi: The Most Beloved Prophet (Salla Allahu Ta'ala Alayhi Wa Sallam) has said that Allah said, “Whoever shows enmity to a friend of mine, I shall be at war
with him.” Allah loves his Awliya and we love the Awliya-Allah for the sake of Allah. Thus there is ample evidence to support that Awliya-Allah are among the symbols of Allah.


It is well to remember that the early Muslims used to go around the Ka’ba despite the fact that 360 idols had been placed inside by the polytheists Makkans, i.e. before Makkah (Mecca) was conquered by the Holy Prophet(Salla Allahu Ta’ala Alayhi Wa Sallam) . But that did not make them polytheists because their intention was good of which Allah was aware and cognizant. Similarly, even today prayers are offered at the Maqam-i-Ibrahim where his footprints are stored in an enclosure near the Ka’ba. The graves of Isma’îl (a.s.) and his mother Hajrah sit in the Hajar under the Mizâb.” (Azraqi’s A khbâr ul Makkah). Additionally, the graves of Nûh, Hud, Shuaib and Salîh Alayhum Salâm lie between the Zamzam and the Maqâm.” (Azraqi’s Akhbâr ul Makkah) Around the Ka’bah lie the graves of three hundred prophets.” (Sahih Muslim, Bayhaqî) Between the Rukn ul Yamâni and the Rukn ul Aswad seventy prophets lie buried. Each of them died in poverty and lice infection owing to non availability of water. (Ibn Abû Zahira’s Jâmi ul Latîf) Despite all this, Tawaafs (circumambulations) of the Ka’ba are performed.  In the Masjid of al-Khayf  there is the 'qabar' of seventy prophets according to a prophetic  tradition reported in the book of Hadiths called Majma al-Zawaid (No.5769 and 5965) of al-Haythami.  Billions have been performing  'namaaz' in Masjidun Nabvi which houses the holy grave of Rasool-Allah (s). 


It is also known that till the time the cloth and the walls of the Ka’ba were destroyed by Yazeed’s forces who attacked Makkah in 64 Hegira, and poured fire, there used to be inside the Ka’ba, the horns of the sheep that Ibrahim (a.s.) had sacrificed in place of his son Isma’il a.s., and these too were destroyed by the fire and irretrievably lost to the world. Presence of the horns inside the Ka’ba did not affect the validity of the Tawaaf then.


Similarly, looking at the Ka’ba is better than a person’s performing “Ibaada” by way of fasting, remaining awake at night, and making Jihad in the way of Allah according to Ahmed ibn Taaoos (or al Taus) a famous Tabi’ian. According to a tradition related by Ibn Abbas (r), twenty mercies are for merely looking at the Ka’ba out of the one hundred and twenty that descend upon it every day and night. Looking at the Ka’ba with faith is a form of ‘Ibaadah’ and results in purgation of sins. Similar were the views of the early Muslims such as ‘Ata’ (d.114/732), Ibrahim al-Nakhai (d.95/713) and well-known Tabi’in, Saeed ibn al Mussayib (b.15 Hegira) and others.


Such is also the case of Hajar al-Aswad, from where the Tawaaf initiates and ends. The black stone, according to traditions, was whiter than milk and one of the stones of paradise but that the sinful hands of the descendents of Adam transformed the whiteness into blackness and took away its efficacy of curing any disease by merely touching the stone. Touching this stone, and also Rukn al-Yamani, also earns expatiation from sins (Tirmidhi and al-Haakim). The Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) used to kiss it and so also the Sahabas and those who followed them and by all Muslims during the Haj or ‘Umra. According to a tradition related by Ibn Abbas (r), the Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) said that on the Day of Judgment, the Black Stone shall see and speak, bearing witness to everyone who kissed it with truth and faith.


Regarding the Zamzam water, it is a remedy for many things and a tradition narrated by Jabir (r) says that he heard the Messenger of Allah say: “Zamzam is a cure for any purpose for which it is being drunk.” Zam-Zam is the name of the famous well inside al-Masjid al-Haraam. It is Allah’s special blessing and miracle that the well of Zam-Zam gushes fresh and strong in a desert land like Makkah; a place where even today’s advanced scientific technologies can create no wells!


Again, it is reported that the Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) used to go to Jannatul-Baqi in order to greet those who were buried there saying: “Peace be upon you, O abode of the faithful! God willing, we should soon join you. O Allah! Forgive the fellows of al-Baqi”. Thus visiting the graves is the Sunnah of the Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) . Permission for visiting the graves of Muslims was given by the Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) and the hadiths are too well-known.


It is significant to note that the Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) used to visit the grave of his beloved mother, Bibi Amana about whose spiritual rank a separate article is required. The Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) said: "My mother saw, when she gave birth to me, a light that illuminated the palaces of Bosra." (Ibn Sa'd, Ahmad, Bazzar, Tabarani, Abu Nu'aym, and ibn Asakir) On visiting her grave at Abwa, the Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) used to weep much so that those who had accompanied him (Salla Allahu Ta’ala Alayhi Wa Sallam) there also wept (Sahih Muslim). In this Book of Hadiths, it is also reported that the Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) taught Aisha ® the manners of visiting graves and the way of greeting the dead.


According to Ibn Abi Shayba, the Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) used to visit Uhud every year as a mark of respect and honour to the graves of the maryrs. He used to send Salaams and supplicate for them. According to the scholars, this Sunnah was continued by the four Rightly-Guided Caliphs (Allah be pleased with them all) also during their caliphate as they continued to visit the graves of the Uhud martyrs. It was here that once the Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) came out and offered the funeral prayer for the martyrs of Uhud. Proceeding to the pulpit he (Salla Allahu Ta’ala Alayhi Wa Sallam) said: "I shall be your predecessor and a witness for you, and I am really looking at my sacred Fount [al-Kauthar] now, and no doubt, I have been given the keys of the treasures of the world. By Allah, I am not afraid that you will worship others along with Allah, but I am afraid that you will envy and fight one another for worldly fortunes.” (Bukhari, Vol.2, 428) In Shu’ab al-Imaan, Bayhaqi has narrated that the Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) used to visit the graveyard of the martyrs of Uhud annually.


In the same book Bayhaqi has also recorded a hadith that says: The Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) has said: “Whoever visits the graves of his parents or the grave of one of them on every Friday, he will be forgiven and his name will be written among the pious ones.” The Holy Quran only prohibits the visiting of the graves of the Munafiqeen (Hypocrites): “And do not even pray for any one of them who dies, nor stand at his grave; (for) verily they disbelieved in Allah and His Messenger and they died in state of perverse wickedness” (Quran: 9:84). From this, the Ulema of the four madhabs have unanimously deduced the contrary position that standing at the graves of muslims is permissible.


According to the noted Arabian scholar from Makkah, Muhammad ibn Alawi al-Maliki-Makki (May Allah grant him Jannatul Firdaus):


“So, besides merely visiting the graves, in some cases the Prophet Muhammad, sall-Allahu `alayhi wa sallam, would also make a habit of visiting them at specific times every year. Thus the practice of annual commemoration for visiting certain graves, as is the custom of many Muslims all over the world today, is actually derived from the Sunnah.”


The Islamic literature is full of details that irrefutably proves that these are the places of “Baraka” or blessings. However, not all graves or graveyards are of the same rank according to the Shariah. Those burial places with the holy people rank higher. The virtues of Jannatul Ma’la where Hazrat Khadija (r) is buried and of the Jannatul Baqi where lie the family of the Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) and his many companions, spouses, the Muhajareen and Ansars, and of other places are also well-known. As Muhammad ibn Alawi points out: Al-Bazzar narrates that the Prophet Muhammad, sall-Allahu `alayhi wa sallam, visited the Jannat al-Ma'la graveyard in Makkah, where his dear wife, our Sayyidah Khadijah, radi Allahu 'anha', is buried and said this about the place : "This is a blessed graveyard" (Ni'mah al-maqbarah hadhih). Thus, people all over the world visit the Jannatul Baqi in Madinah and Jannatul Ma’la in Makkah. According to the four Imams: Imam Abu Hanifa, Imam Shafii, Imam Maalik, and Imam Ahmad (reh.) it is permissible (“Jaiz”) to attain Baraka through the graves of the pious such as the Awliya Allah. It must also be remembered that when Hazrat Umar ® finally got the permission to be buried next to the grave of Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) , he said that there was nothing more important to him than that! Of course, the chapter on Baraka is very large and is outside the scope of this small article.


Respecting and loving the signs or symbols of Allah is definitely loving Allah. Respecting and loving those whom Allah loves definitely means loving Allah. Respecting and loving Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) and his relatives or near and dear ones is, again, loving Allah and his Messenger (Salla Allahu Ta’ala Alayhi Wa Sallam): . Say: "No reward do I ask of you for this except the love of those near of kin." According to many commentators of the Holy Qur’an, Ibn Abbas narrated: When the above verse (42:23) was revealed, the companions asked: "O' the Messenger of Allah! Who are those near kin whose love Allah has made obligatory for us?" Upon that the Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) said: "Ali, Fatimah, and their two sons, repeating this sentence thrice. Sayyid Muhyuddin Ibn Al-Arabi too is of the same view, and adds the children of Hasnain to the interpetation. Maulana Maudoodi differs saying that when the verse was revealed in Makkah, Hazrat Ali ® and Fatimah ® were not married and no children were born to them then. According to some interpretation the same meaning is extended to the entire tribe of Quraish: Narrated Tawus: Ibn 'Abbas recited the Quranic Verse:--'Except to be kind to me for my kin-ship to you--" (42.23) Said bin Jubair said, "(The Verse implies) the kinship of Muhammad." Ibn 'Abbas said, "There was not a single house (i.e. sub-tribe) of Quraish but had a kinship to the Prophet and so the above Verse was revealed in this connection, and its interpretation is: 'O Quraish! You should keep good relation between me (i.e. Muhammad) and you." Ibn Kathir point out in his Tafseer the conversation between Imam Zayn al Abidin (who had been captured after Karbala) and a man in Syria that this Ayat referred to them who were the Ahle Bayt. This is held by other scholars too, including al-Tabarani and many others. In short, loving the Ahle-Bayt who are the descendents of the Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam), too, is obligatory for the Muslims according to the Ulema.


But then do we really care for the symbols of Allah? The house where the Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) received the word of God is gone and nobody cares. Islamic history and civilization has been sought to be buried by those who were supposed to protect them. According to past reports over 300 historic sites of Islamic importance have been lost forever in the Province of Hejaz. By 2006 alone, more than 90 per cent of historic masjids, tombs and mausoleums and other artefacts were razed, so that some voices from the Hejaz, have begun to question the wisdom of the eradication of the country’s historic wealth. Included in the destruction are: the al-Ma’la graveyard where there were the graves of Khadija ®, Abdul Muttalib and Abu Talib, the wife, the grandfather and the uncle of Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) respectively and where sewage water has been seeping continually; razing of the graveyard of Jannatul Baqi and the graveyard of Uhud martyrs, including the grave of Hamza ibn ‘Abd al Mutallib )®, Prophet Muhammad’s (Salla Allahu Ta’ala Alayhi Wa Sallam) uncle; Badar where the historic battle was fought and where the holy Prophet (sallal laahu alayhis wassallam) literally addressed the dead polytheists of Makka after three days, is a heap of rubbles; the grave of the son of Imam Ja’far Saadiq ®; the grave of Hazrat Abdallah ® the father of Holy Prophet ((Salla Allahu Ta’ala Alayhi Wa Sallam) was also dug up from the house known as Dar al-Nabigha in January 1978 at Madinah but the body was found fresh and perfumed and so the Muslims buried it at at Jannatul Baqi (Daily Nawa-e-Waqt of 21st January 1978); the grave of  Hazrat Aamina ® , the mother of Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) was first bulldozed and then gasoline was poured over it; the site of Ghazwa-e-Khandaq has been reduced to a road; demolition of the famous seven Masjids of Abu Bakr, ‘Umar, ‘Ali, Salman Farsi, Fatimah the daughter of Mohammed (Salla Allahu Ta’ala Alayhi Wa Sallam), al Qiblatayn, al Fath, and other Masjids including that of Saad ibne Maaz ® ; the dar al-arqam the first school where Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) taught; the historical house where the Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) Hazrat Khadijra ® lived for 28 years including the 13 years of revelations, and historical house of Umme Haanee whence the Miraj began, both of which were destroyed to make way for toilets and washrooms; house of Abu Dharr Ghiffari ® across the Masjidun Nabvi is no more; the well in the courtyard of Masjid al-Quba as well as the date-palm garden are no longer there; near the Haram Shareef, the place of the miracle of splitting of the moon and the historical al-Hilal Masjid were demolished and a royal palace constructed; historical Masjid Muhammadar Rasool (Salla Allahu Ta’ala Alayhi Wa Sallam) at Taif was set on fire in which the furniture and many copies of Holy Quran were burnt; the pulpits of the four Madhabs in the Haram Shareef were destroyed and the righteous banned from teaching while those who shouted right in Masjidun Nabvi that father and mother of the Prophet (s) are in hellfire, and charged the Muslims with Shirk, apostasy, calling them deviants and innovators, were promoted. Destructions have been exported elsewhere too as far as Bosnia, Chechanya, Pakistan, India and other places. For example, in 2006 c.e., there was desecration of the grave of Hashim ibn ‘Abd Manaf, Prophet Muhammad’s grandfather, in the Palestinian city of Gaza.


Allah says in the Holy Qur’an: “But none rejects Our Signs, except only the perfidious, ungrateful (wretch).” (31:32)


Strange, isn’t it? That Allah should teach us a lesson in drawing our attention to His symbols and making us observe certain rites for preserving the significance of those symbols in honour of his beloved servants for posterity while some of his creature should destroy the Islamic symbols, heritage, architecture, to humiliate our noble ancestors who are the pride of Islam , under the semblance of “Shirk” thus giving rise to a sense of rootlessnes, alienation and humiliation to the majority Muslim Ummah. Now, everywhere we turn there we find what not to do. The list of ‘bidah’ and ‘shirk’ keeps on growing longers and what we should do keeps on growing lesser. But there is no check on the rampant commercialization of the areas of Islamic sites where large hotels, giant skyscrapers, huge parking lots, banking facilies and needless concrete jungles are invading the sanctity of the two holiest cities of Islam.
Pursuit of material wealth and possessions and dedication to riches have become tantamount to devotion or 'Ibaadah'. Why not destruct this symbol of mammonism? Please spare us the humiliation of destruction of Islamic symbols!


It was during the Night Journey to Jerusalem that Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) offered two rakah prayers at various places such as Madinah Taiyyaba (where he was to migrate within two years); then at Mount Sinai (Toor) where Moses used to speak with Allah; then at Bethlehem where Jesus was born; before finally reaching the Masjid al-Aqsa where Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) led all the prophets in prayer before proceeding on the heaveny journey in body and spirit. So why did he (s) offer those prayers? This signifies that the places associated with men of God and pious personalities also have Islamic values for sure, and these cannot be destroyed on the pretext of 'Shirk'.


It was Hazrat Umar ® who took part in the work of restoring Masjid Al-Aqsa, which had been in ruins, and he carried dirt in his own robe. When the site was cleansed and sprinkled with scent, he and the followers prayed near the rock from which the Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) had ascended to heaven during the night of Miraj. And no! He had not cut down the tree under which the Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam) had received the pledge of allegiance from his companions and which has been mentioned in the Qur’an (48:18) but the tree which was wrongly assumed to be that tree.


Lest we forget, the symbols of Allah uplift the spirit, bear witness to the glory of Islam, and remind us of Allah and His beloved servants, and give us a sense of belonging to the Ummah of the Holy Prophet (Salla Allahu Ta’ala Alayhi Wa Sallam).


Allah and His Rasool knows best.


NASIR

455. Rafi's Romantic Song: Ab Yeh Jaanaa Ke Isse Kehte Hain Aanaa Dil Kaa...

Movie: LADIES TAILOR (1981)
Lyrics: Majrooh Sultanpuri
Music: Laxmikant-Pyarelal

Romantic Rafi’s: Ab Yeh Jaanaa Ke Isse Kehte Hai.n….

Roman Transliteration/English Translation of the original Urdu-Hindi Lyrics:


hmmm~~hmmm~~

ab yeh jaanaa….
NOW I’VE COME TO KNOW…

ab yeh jaana ke isse kehte hai.n, aanaa dil kaa,
NOW I’VE COME TO KNOW THAT THIS IS CALLED “BEING IN LOVE,”

ab yeh jaane ke isse kehte hai.n, aanaa dil kaa,
NOW I’VE COME TO KNOW THAT THIS IS CALLED “BEING IN LOVE,”

ab yeh jaane ke isse kehte hai.n, aanaa dil kaa,
NOW I’VE COME TO KNOW THAT THIS IS CALLED “BEING IN LOVE,”

hamm ha.nsee khel samajhte theh…
WE USED TO CONSIDER IT A LAUGHING  MATTER...

samajhte theh…
WE USED TO CONSIDER….

hamm ha.nsee khel samajhte theh, lagaanaa dil kaa,
WE USED TO CONSIDER LOVING A LAUGHING MATTER,

lagaana dil kaa…
LOVING…

Lagaana dil kaa…
LOVING…

ab yeh jaana ke isse kehte hai.n, aanaa dil kaa,
NOW I’VE COME TO KNOW THAT THIS IS CALLED “BEING IN LOVE,”

o~~aanaa dil ka…
O, BEING IN LOVE!

o~~~aanaa dil ka.
O, BEING IN LOVE!


hamm se oo.nchee hai bahot, koochaa-e-jaanaa kee zamee.n,
FAR SUPERIOR TO ME IS THE LAND OF THE SWEETHEART’S LANE,

hamm se oo.nchee hai bahot, koochaa-e-jaanaa kee zamee.n,
FAR SUPERIOR TO ME IS THE LAND OF THE SWEETHEART’S LANE,

koochaa-e-jaanaa kee zamee.n…
LAND OF THE SWEETHEART’S LANE…

wahaa.n pahonchtee bhee hai, aawaaz hamaaree ke nahee.n,
WILL MY VOICE EVEN REACH THERE OR NOT,

unse hamm kehne ko aaye hai.n…
TO HER, I’VE COME TO NARRATE…

aaye hai.n…
HAVE COME…

unse hamm kehne ko aaye hai.n, fasaanaa…
TO HER, I’VE COME TO NARRATE THE ROMANCE…

fasaanaa…
THE ROMANCE…

fasaanaa dil kaa,
THE ROMANCE OF THE HEART,

ab yeh jaana ke isse kehte hai.n, aanaa dil kaa,
NOW I’VE COME TO KNOW THAT THIS IS CALLED “BEING IN LOVE,”

hamm ha.nsee khel samajhte theh, lagaanaa dil kaa…
WE USED TO CONSIDER LOVING A LAUGHING MATTER…


kamm se kamm duur se soorat hee, dikhaa de koee,
LET SOMEONE SHOW HER FACE AT LEAST FROM A DISTANCE,

kamm se kamm duur se soorat hee, dikhaa de koee,
LET SOMEONE SHOW HER FACE AT LEAST FROM A DISTANCE,

kaash chilman ki yeh, deewaar giraa de koee,
O THAT SOMEONE WOULD RAZE THIS CURTAIN'S WALL!

phir naa pyaasaa hee palaT jaaye…
LEST (SOMEONE) MAY GO BACK UNSATIATED AGAIN…

palaT jaaye…
GO BACK…

phir naa pyaasaa hee, palaT jaaye, deewaanaa…
LEST THE CRAZY ONE MAY GO BACK UNSATIATED AGAIN…

deewaanaa…
THE CRAZY ONE…

deewaanaa dil kaa,
THE CRAZY HEART,

ab yeh jaana ke isse kehte hai.n, aanaa dil kaa,
NOW I’VE COME TO KNOW THAT THIS IS CALLED “BEING IN LOVE,”

hamm ha.nsee khel samajhte theh lagaanaa dil kaa,
WE USED TO CONSIDER LOVING A LAUGHING MATTER,

ab yeh jaana ke isse kehte hai.n, aanaa dil kaa.
NOW I’VE COME TO KNOW THAT THIS IS CALLED “BEING IN LOVE”.

TRANSLATED BY NASIR ALI.

Love unlocks doors and opens windows that weren't even there before. ~Mignon McLaughlin, The Second Neurotic's Notebook, 1966


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454. Rafi's Romantic Song: Din Hain Yeh Bahaar Ke...

Movie: Honeymoon (1973) Lyrics: Yogesh
Music: Usha Khanna


Romantic Rafi’s soothing number: Din Hain Yeh Bahaar Ke…


Roman Transliteration/English Translation of the original Urdu-Hindi Lyrics:


din hai.n yeh bahaar ke,
SPRING DAYS ARE HERE,


phool chun le pyaar ke,
GATHER YE THE FLOWERS OF LOVE,


o saathee, o saathee oh,
O MATE, O MATE OH!


o saathee, o saathee oh…
O MATE, O MATE OH!


din hai.n yeh bahaar ke,
SPRING DAYS ARE HERE,


phool chun le pyaar ke,
GATHER YE THE FLOWERS OF LOVE,


o saathee, o saathee oh,
O MATE, O MATE, OH!


o saathee, o saathee oh…
O MATE, O MATE, OH!


tere ha.nste hoTho.n se, bichha.de, tere geet kyoo.n,
FROM YOUR LAUGHING LIPS, WHY SHOULD YOUR SONGS DEPART?


barse, saawan pyaar kaa, tarse, teree preet kyoo.n,
WHEN THE LOVING MONSOON RAINS, WHY SHOULD YOUR LOVE PINE AWAY?


beet naa jaaye kahee.n, pyaar kaa saawan yoo.n hee,
MAY THE MONSOON OF LOVE NOT PASS AWAY THUS!


o saathee, o saathee oh,
O MATE, O MATE, OH!


o saathee, o saathee oh…
O MATE, O MATE, OH!


shaayad, kehtaa hai tujhe, sehmaa, sehmaa dil teraa,
MAYBE YOUR FRIGHTENED, NERVOUS HEART TELLS YOU


teree, guzree zindagee, thaame, naa aa.nchal teraa,
LEST YOUR PAST SHOULD CLING TO YOU,


pyaar jo, karte hai.n voh, yoo.n nahee.n Darte hai.n voh,
THOSE WHO LOVE ARE HARDLY EVER DAUNTED THIS WAY,


o saathee, o saathee oh,
O MATE, O MATE, OH!


o saathee, o saathee oh…
O MATE, O MATE, OH!


dulhan, bann kar zindagee, chaltee tere saath hai,
THE BRIDE IN THE FORM OF LIFE WALKS ALONG WITH YOU,


badhkar, baahe.n thaam le, rukne kee kyaa baat hai,
MOVING FORWARD, HOLD ON TO THE ARMS, WHY STAY BACK?


aaj kyoo.n hai.n duuriyaa.n,
WHY THESE DISTANCES TODAY?


kyoo.n hai.n yeh majbooriyaa.n,
WHY THESE COMPULSIONS?


o saathee, o saathee oh,
O MATE, O MATE, OH!


o saathee, o saathee oh…
O MATE, O MATE, OH!


honaa thaah jo voh ho gayaa,
WHAT HAD TO HAPPEN, HAS HAPPENED!


saathee, ab naa soch tuu,
NOW DON’T BROOD OVER, MATE,


kehkar, mann ke bhed yeh, halkaa, kar le bojh tuu
MAKING A CLEAN BREAST, GET IT OFF YOUR CHEST,


yeh khamoshee to.d de,
BREAK THIS SILENCE!


yeh udaasee chho.d de,
LET GO OF THIS SADNESS!


o saathee o saathee oh,
O MATE, O MATE, OH!


o saathee o saathee oh,
O MATE, O MATE, OH!


din hai.n yeh bahaar ke,
SPRING DAYS ARE HERE,


phool chun le pyaar ke,
GATHER YE THE FLOWERS OF LOVE,


o saathee, o saathee oh,
O MATE, O MATE, OH!


o saathee, o saathee oh.
O MATE, O MATE, OH!


NASIR

I don't think of the past. The only thing that matters is the everlasting present.
W. Somerset Maugham (1874 - 1965), The Moon and Sixpence

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