808. Filmy Devotional Song of Rafi: Apni chhaaya mein bhaggwan biThale mujhe...

Movie: INSANIYAT (1955)

Music: C. Ramchandra
Lyrics: Rajinder Krishan
Main Movie-Hall where first released in Bombay: Roxy Cinema.


Filmy Devotional Song of Rafi: Apnee chhaayaa me.n bhaggwan…
Roman Transliteration/English Translation of the original Hindi Lyrics:


ashaa ke jab deep bujhe,
WHEN THE LAMPS OF HOPE GOT EXTINGUISHED,


toh mann kaa deep jalaa,
THEN THE HEART’S LAMP GOT LIT,


jag kaa rastaa chho.D musaafir,
RENOUNCING THE WORLDLY PATH, THE TRAVELLER


Teree raah chalaa…
TOOK TO YOUR PATH!


apnee chhaaya me.n bhaggwan, biThaa le mujhe
PLACE ME IN YOUR SHADE, O GOD!


apnee chhaaya me.n bhaggwan, biThaa le mujhe,
PLACE ME IN YOUR SHADE, O GOD!


mai.n hoon teraa tuu apnaa banaa le mujhe,
YOURS I’M; MAKE ME YOURS!


apnee chaaya me.n bhaggwan, biThaa le mujhe,
PLACE ME IN YOUR SHADE, O GOD!


mai.n hoon teraa tuu apnaa banaa le mujhe…
YOURS I’M; MAKE ME YOURS!


ab mujhe Gham kaa Gham
NOW, NEITHER ANY SORROW FOR ME,


naa Khushee kee Khushee
NOR THE JOY!


ab mujhe Gham ka Gham
NOW, NEITHER ANY SORROW FOR ME,


naa Khushee kee Khushee
NOR THE JOY!


hai andheraa bhee mere liye raushnee,
EV'N DARKNESS IS THE LIGHT FOR ME,


mai.n jiyoo.n jab talak…
AS LONG AS I LIVE....


mai.n jiyoon jab talak, aazmaa le mujhe
AS LONG AS I LIVE, TRY ME,


aazmaa le mujhe,
TRY ME,


mai.n hoon teraa tuu apnaa banaa le mujhe,
YOURS I'M, MAKE ME YOURS,


apnee chaaya me.n bhaggwan, biThaa le mujhe,
PLACE ME IN YOUR SHADE, O GOD!


mai.n hoon teraa tuu apnaa banaa le mujhe…
YOURS I’M; MAKE ME YOURS!


dekh kar mai.n kisee kee Khushee naa jaloo.n,
SEEIN' SOMEONE'S HAPPINESS, I’M NOT ENVIOUS,


dekh kar mai.n kisee kee Khushee naa jaloo.n,
SEEIN' SOMEONE'S HAPPINESS, I’M NOT ENVIOUS,


raah insaaniyat kee, hameshaa chaloon,
I'LL  ALWAYS TREAD THE PATH OF HUMANITY!


bhool jaaoo.n toh…
IF I FORGET....


bhool jaaoo.n toh jag se, uThaale mujhe
IF I FORGET, REMOVE ME FROM THE EARTH,


tuu uThaale mujhe,
REMOVE ME FROM THE EARTH!


mai.n hoon teraa tuu apnaa banaa le mujhe,
YOURS I'M, MAKE ME YOURS!


apnee chaaya me.n bhaggwan, biThaa le mujhe,
PLACE ME IN YOUR SHADE, O GOD!


mai.n hoon teraa tuu apnaa banaa le mujhe.
YOURS I’M; MAKE ME YOURS!


NASIR
lyrics

translation

HOW COMEDY CAME KNOCKING AT THE DOOR OF TRAGEDY KING, DILIP KUMAR: Part 2 of 2.

HOW DILIP KUMAR LANDED THE ROLE IN PAKSHIRAJA'S “AZAAD” (1956).



By the time “Azaad” was in the offing, Dilip Kumar had become the undisputed icon of the Indian screen but also earned the epithet of “Tragedy King”.  These roles, however, took a toll on the psyche of Dilip Kumar to such an extent that he had no option but to visit a psychiatrist for counsel and treatment. When Guru Dutt's Pyaasa (1957) was offered to him, Dilip Kumar did not want it  since he felt that that the character of Vijay in Pyaasa was an extension of  Devdas, and a bit too morose.  Doctors had advised him to take up lighter or comic roles in future so that the tragic aspects of his reel life did not overshadow his personality in real life. Thus the clouds of freedom from tragic roles began looming over him quite fortuitously.


The curtain of our drama unfolds way back in 1945 when SM Sriramulu Naidu (1910-1976) started Pakshiraja Studios at Pullakulam. A decade later, Pakshiraj Studios produced multi-lingual movies, cutting across the language divides and geographical boundaries. The Studios produced Malai Kallan (1954) in Tamil, featuring M.G. Ramchandran and Banumathi; Aggi Ramudu (1955) in Telugu with N T Rama Rao and Banumathi; Bettada Kalla (1957) in Kannada; Taskaraveeran (1957) in Malayalam; Soorasena (1957) in Sinhala; and the hindi movie Azaad (1956) that had Dilip Kumar and Meena Kumari. It is said that Mr. Naidu’s six-films phenomenon has not been repeated by anyone in the world.


How “Azaad” was finalized with Dilip Kumar is known comparatively to a very few persons in the Hindi film circle but the facts are gathered from the word of mouth of a person who was a witness to the entire meeting. It appears that Mr. Naidu happened to meet a personal friend of Dilip Kumar and told him that he intended to make comedy movie with Dilip Kumar. At the first blush, the proposition indeed appeared as a strange one: A South Indian Producer wanting to cast the Tragedy King of Bollywood as the hero of an adventurous comedy movie! However, it was not the first time that Mr. Naidu had had a brush with Hindi films. Earlier, he had dubbed the Madhubala-Premnath starrer Badal (1951) in Tamil (Puratchiveeran) and Malyalam (Desabhaktan) films. He requested him to let Dilip Kumar know about his plans. He requested that Dilip Kumar should meet him in his studio’s office. Mr. Naidu made it known that over and above his fees, all the sundry expenses including the to and fro airfare plus the hotel charges would be borne by him happily throughout the making of Azaad.  Dilip Kumar was not the one who could be swayed by just a lucrative offer. As he had once said, “Dilip Kumar is a precious commodity.” It has always been his principle throughout the life that he took up roles that he believed in and which would give him professional satisfaction.


For some reasons or the other nothing seemed to happen for some time. Mr. Naidu persistently pursued the common friend to persuade Dilip Kumar who, by this time, had already received a warning from his shrink that he should take a break from the tragic roles and venture into lighter roles. Now here was Mr. Naidu’s offer, a comedy role, that had come knocking at his door. So finally, Dilip Kumar relented and met him. He had a long list of conditions and demands. Mr. Naidu was a genius film-maker and go-getter who had done a thorough homework. As soon as Dilip Kumar would put a condition, Mr. Naidu would immediately agree to it one after the other. He left no scope for any disagreements. Mr. Naidu even agreed to willingly pay him a much higher fees than what Dilip Kumar usually charged for a movie. Even the signing amount and the contract were kept ready. Mr. Naidu had just one condition: and this was the time-frame within which the movie was to be completed. Since all his demands were accepted by Mr. Naidu, how could Dilip Kumar refuse the offer! The contract was signed on the spot.  Mr. Naidu took Dilip Kumar around many bungalows since there was not a single star-hotel in Coimbatore then. He also offered him the many rooms in his own  Pakshiraja Studio. The legend chose to sojourn in the studio. Meena Kumari followed suit. Azaad, the first Hindi movie in the region was shot in just three months in three schedules lasting 20 days each. Thus Dilip Kumar landed his first comedy role with a bang.

Azaad was a huge success and broke all box-office records. It was a breakaway movie for the Tragedy King Dilip Kumar where he played various roles of Kumar, Abdul Rahim Khan and that of the adventurous Robin-Hood of a Azaad where he sings KITNA HASEEN HAI MAUSAM to his lady love Shobha (Meena Kumari) in the wilderness after saving her from the kidnapper  Chander (Pran). The respectable but fun-filled role of Khan Sahaab who keeps a tab on the police and uses the information to his advantage and the way he as the bearded Khan Sahaab professes his love to the incredulous and shocked Shobha is a treat to watch. Hunting with the hounds and running with the hares seems to be the subtle underlying motif of this comedy called Azaad. Dilip Kumar’s costumes and his fighting sequences are a natural delight. Just observe how he rapidly swings his boxing fists at the villain, Pran. I daresay that such a professional style I have hardly seen in any movie unless it happens to portray the character of a martial artists. How Azaad triumphs over evil and how he as Khan Sahaab causes many a confusion to the characters around him are the stuff of comedies in this movie. The cine public were not used to see Dilip Kumar in such a role and therefore the movie made great waves at that time.   In 1957 he won the Filmfare Award in the Best Actor’s  category for his role again after Devdas. 

In passing, C.R. Ramchandra had given a melodious music and all the songs were great hits. I remember how a classmate of mine, named Mukta Jaitley, sang RADHA NAA BOLE NA BOLE RE in the inter-class competition and won the award as the best female singer in the school. JAA RI JAA RI O KAARI BADARIYA and DEKHO JI BAHAAR AAYI are other foot-tapping numbers. As for the qawwali, MARNA BHI MOHABBAT MEIN KISI KAAM NAA AAYAA is especially watchable for the tantrums of the Khan Sahaab. As for the song, APLAM CHAPLAM, which is a Lata-Usha duet, there is an interesting anecdote about how the lyrics of APLAM CHAPLAM came to be written. It seems that the lyricist, Rajinder Krishan was at his wit’s end hunting for words to suit the tune of that song. Pressed for time, C. Ramchandra was growing impatient with him as days passed by. One day, Rajinder Krishan left his home for the recording studio when his young daughter who could hardly speak told him to bring her “apam chapam”. She meant that she wanted Chappals or slippers. At once those words struck Rajinder Krishan as heaven-sent. He got what he had been seeking for days on end. Excitedly he went to C. Ramchandra and narrated the lyrics: APLAM CHAPLAM CHAPLAYI RE DUNIYA KO CHHO.D TEREE GALEE AAYEE RE AAYEE RE AAYEE RE.... The music director was pleased as a punch. The picturisation of the song was equally brilliant. The scintillating dance performance by the Sisters Subbulaxmi and Sai against that song is still fresh in the minds of cinegoers who went wild as soon as the song hit the screen. In her live performance, Lata Mangeshkar alway made it a point to sing that number to please her “elder brother” Dilip Kumar who graced such occasions. Even a couple of months back, while judging a certain dance competition, Jeetendra made it known to the competitors about those magical steps involved in the ‘aplam chaplam’ song. He, too, still remembers! A mention may also be made that the movie was first offered to Naushad for music compositions.  However, the conditions of haste were not acceptable to Naushad and he declined the offer.  It was then that C. Ramchandra was roped in since he was ready to churn out the numbers well in time but at the cost that the producers had first offered to Naushad. 

 Years later,  in an interview, Meena Kumari recalled how when shooting for the movie AZAAD Dilip Kumar had rescued her and himself from the jaws of death.  That happened during the scene where Dilip Kumar after saving her from the clutches of Pran's henchmen and kidnappers, tries to reach her home.  He takes her by a rope-trolley which navigates from one side of a mountain to the other at the height of some 300 to 400 feet above the valley.  Both she and Dilip Kumar sat in one trolley while in another trolley sat the Director and the Cameraman to capture the scene.  When her trolley reached midway, she felt a jerk as the rope began to give way because of the load of two trolleys carrying four people.  Sensing that the rope would break any time, Meena Kumari got panicky and she created lots of commotions.  However, Dilip Kumar’s calmness and solace gave her strength to remain calm and composed.  Finally, they reached the other end and were thus out of danger.   Meena Kumari could not forget that Dilip Kumar’s sheer presence of mind and calmness during such a disastrous situation had saved the day for them all!  

As a kid, I happened to watch Azaad in 1956 at Bombay’s Minerva Cinema where it was premiered. I remember that Azaad ran to full houses for all the shows (3 p.m., 6 p.m. and 9 p.m.) for some 38 weeks at the Minerva Cinema and left an indelible mark in the annals of the golden era of Hindi Cinema as the first comedy attempt and a successful one at that, by the Tragedy King, Dilip Kumar.


NASIR

703. Philosophical Song of Rafi: Kaise diwali manaayen hamm laalaa...

Movie: PAIGHAM (1959)

Music: C. Ramchandra
Lyrics: Pradeep


Main movie-hall where first released in Bombay: Maratha Mandir Cinema.


Philosophical/Didactic Song of Rafi: Kaise diwaali manaaye.n...
Roman Transliteration/English Translation of the original Urdu-Hindi Lyrics:


kaise diwaali manaaye.n hamm laalaa
HOW CAN WE CELEBRATE DIWALI, GRANDEE?


apnaa toh baaraah maheene deewaalaa,
WE’RE DEAD BROKE FOR ALL THE TWELVE MONTHS!


apnaa toh baaraah maheene deewaalaa,
WE’RE DEAD BROKE FOR ALL THE TWELVE MONTHS!


hamm toh huwe dekho Than Than gopaalaa,
SEE, WE’VE BECOME PENNILESS!


apnaa toh baaraah, maheene deewaalaa,
WE’RE DEAD BROKE FOR ALL THE TWELVE MONTHS!


apnaa toh baaraah maheene deewaalaa...
WE’RE DEAD BROKE FOR ALL THE TWELVE MONTHS!


mar mar ke hamm roz mehnat kare.n,
EVERY DAY WE TOIL OURSELVES TO DEATH!


arre yaaron ko dekho tijoreee bhare.n,
LOOK AT OTHERS, HOW THEY FILL THEIR COFFERS!


din raat hamm toh, Ghulaamee kare.n~~~~,
DAY AND NIGHT WE SLAVE AWAY,


arre phokaT me.n...
Eh! FREELY...


phokaT me.n yeh saa.nD khetee chare.n,
THESE BULLS ROAM FREELY IN A CHINA SHOP,


dhan pe hamaare hai saiTho.n kaa taalaa,
THE CAPITALIST HAS OUR WEALTH UNDER HIS LOCK!


apnaa toh baaraah, maheene deewaalaa,
WE’RE DEAD BROKE FOR ALL THE TWELVE MONTHS!


apnaa toh baaraah maheene deewaalaa...
WE’RE DEAD BROKE FOR ALL THE TWELVE MONTHS!


kaise diwaali, manaaye.n hamm laalaa,
HOW CAN WE CELEBRATE DIWALI, GRANDEE?


apnaa toh baaraah, maheene deewaalaa,
WE’RE DEAD BROKE FOR ALL THE TWELVE MONTHS!


apnaa toh baaraah maheene deewaalaa...
WE’RE DEAD BROKE FOR ALL THE TWELVE MONTHS!


hamm Khud toh khich.Dee hee khaate rahe,
WE, OURSELVES, CONTINUED TO EAT A HODGEPODGE DISH,


arre halwaa lafange u.Daate rahe,
WHILE THE CROOKS FEASTED UPON THE SWEETMEAT,


hamm muft jhaa.Doo, lagaate rahe~~~,
WITH THE BROOM WE SWEPT FOR FREE,


gangaa me.n...
IN THE GANGES...


arre gangaa me.n gaddhe nahaate rahe,
THE ASSES CONTINUED BATHING IN THE GANGES,


daataa teree akkal ku....aa.n?
O GIVER! YOUR SENSES, EH!


daataa teree akkal ku hay kaay jhaalaa,
O GIVER! WHAT’S HAPPENED TO YOUR SENSES?


apnaa toh baaraah, maheene deewaalaa,
WE’RE DEAD BROKE FOR ALL THE TWELVE MONTHS!


apnaa toh baaraah maheene deewaalaa...
WE’RE DEAD BROKE FOR ALL THE TWELVE MONTHS!


(with chorus:
kaise diwaali, manaaye.n hamm laalaa,
HOW CAN WE CELEBRATE DIWALI GRANDEE?


apnaa toh baaraah, maheene deewaalaa...
WE’RE DEAD BROKE FOR ALL THE TWELVE MONTHS!


apnaa toh baaraah maheene deewaalaa...
WE’RE DEAD BROKE FOR ALL THE TWELVE MONTHS!)


NASIR


"A worthy man is still worthy even penniless, a donkey is a donkey even if he is finely saddled."
- Turkish Proverbs
lyrics

translation

494. Rafi's Romantic Song: Ab Voh Hamaare Ho Gaye...

Movie: SAFAR (1946)

Lyrics: G.S. Nepali
Music: C. Ramchandra


Romantic Rafi’s vintage fare: Ab Voh hamaare Ho Gaye…


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


AAA~~~~AAA~~


ab voh, hamaare, ho gaye….
NOW SHE’S BECOME MINE…


a.nh~~~~


ab voh, hamaare, ho gaye,
NOW SHE’S BECOME MINE,


iqraar kare.n yaa, naa kare.n,
WHETHER SHE AFFIRMS IT OR NOT,


ab voh, hamaare, ho gaye,
NOW SHE’S BECOME MINE,


iqraar kare.n yaa, naa kare.n,
WHETHER SHE AFFIRMS IT OR NOT,


hamko, uneeh se pyaar hai,
IT’S ONLY HER WHOM WE LOVE,


voh pyaar kare.n yaa, naa kare.n,
WHETHER SHE LOVES OR NOT,


hamko muhabbat, aapse,
I’M IN LOVE WITH YOU,


hamm ko zaroorat, aap kee,
WE NEED YOU,


aap, hamaaree, zindagee
OUR LIFE, YOU…


aap hamaaree zindagee gulzaar kare.n yaa…
WHETHER YOU MAKE A ROSE-GARDEN OF OUR LIFE OR…


aap hamaaree zindagee gulzaar kare.n yaa, naa kare.n…
WHETHER YOU MAKE A ROSE-GARDEN OF OUR LIFE OR NOT,


hamm sochte hai.n, pyaar kaa, badlaa milegaa pyaar se,
WE CONSIDER THAT LOVE WILL BEGET LOVE,


voh sochte hai.n, pyaar se, inkaar kare.n yaa…
SHE PONDERS WHETHER TO REFUSE LOVE OR…


voh sochte hai.n pyaar se, inkaar kare.n yaa na kare.n,
SHE PONDERS WHETHER TO REFUSE LOVE OR NOT,


voh sochte hai.n pyaar se, inkaar kare.n yaa na kare.n
SHE PONDERS WHETHER TO REFUSE LOVE OR NOT…


dil toh diyaa hai, jaan bhee, unpe nichhawar kar chuke,
THE HEART WE’VE GIVEN, EVEN THE LIFE WE’VE DEDICATED TO HER,


arre jaan bhee unpe nichhaawar kar chuke…
OH DEAR! EVEN THE LIFE WE’VE DEDICATED TO HER,


aap, hamaaree baat kaa, aitbaar kare.n yaa...
WHETHER YOU BELIEVE OUR WORD OR…


aitbaar kare.n yaa naa kare.n,
BELIEVE IT OR NOT,


aap hamaaree baat kaa, aitbaar kare.n na kare.n,
WHETHER YOU BELIEVE OUR WORD OR NOT,


ab voh hamaare ho gaye,
NOW SHE’S BECOME MINE,


iqraar kare.n yaa na kare.n.
WHETHER SHE AFFIRMS IT OR NOT!


NASIR

“Love sought is good, but given unsought, is better.”
~ Shakespeare on Love

lyrics


translation

359. Translation of Sad Songs of Rafi: Hamm Ko Tumhaaraa Hi Aasraa...

Movie: SAJAN (1947)
Lyrics: Moti
Music: C. Ramchandra

Young Rafi’s romantically sad, mellifluous and heart-pulling song: Hamm ko tumhaara hee aasraa....

Roman Transliteration/English Translation of the original Urdu/Hindi Lyrics: Hanko tumhaara hee aasraa....

hamm ko tumhaara hee aasraa,
'TIS ONLY YOUR SUPPORT I LOOK TO,

tum hamaare, ho naa ho,
WHETHER YOU'RE MINE OR NOT,

labb pe tumhaara hee naam hai,
ONLY YOUR NAME FIGURES ON THE LIPS,

tum hamaare, ho naa ho,
WHETHER YOU'RE MINE OR NOT,

hamm ko tumhaara hee aasraa...
'TIS ONLY YOUR SUPPORT I LOOK TO!


aankho.n me.n kuch muskuraa diyaa,
YOU SMILED THROUGH THE EYES,

hoTo.n ko bhee kuchh dabaa diyaa,
SOMEWHAT YOU PURSED THE LIPS TOO,

aankho.n me.n kuch muskuraa diyaa,
YOU SMILED THROUGH THE EYES,

hoTo.n ko bhee kuchh dabaa diyaa,
SOMEWHAT YOU PURSED THE LIPS TOO, 

maine jo poochha sawaal toh,
WHEN I ASKED A QUESTION

palko.n ko neeche jhukaa diyaa,
YOU TILTED YOUR EYE-LASHES DOWN,

duniyaa hee mereee badal gayee,
MY WORLD ITSELF HAS UNDERGONE A CHANGE,

tum hamaare, ho naa  ho,
WHETHER YOU'RE MINE OR NOT,

hamm ko tumhaara hee aasraa...
'TIS ONLY YOUR SUPPORT I LOOK TO!

Dha.Dkan me.n tum ho basee, huwee,
YOU’RE SETTLED IN MY HEARTBEATS,

ta.Dpan me.n tum ho basee huwee,
YOU’RE ENSCONCED IN MY LONGING,

Dha.Dkan me.n tum ho basee, huwee,
YOU’RE SETTLED IN MY HEARTBEATS,

ta.Dpan me.n tum ho basee huwee,
YOU’RE ENSCONCED IN MY LONGING,

lekin hamm tum, na mil, sake
BUT WE COULDN’T GET TOGETHER,

kaisee yeh bebasee huwee,
SHEER HELPLESSNESS IT WAS!

aankho.n me.n jaltaa chiraaGh hai,
THE LAMP LIGHTS IN THE EYES,

tum hamaare, ho naa ho,
WHETHER YOU'RE MINE OR NOT,

hamm ko tumhaara hee aasraa...

'TIS ONLY YOUR SUPPORT I LOOK TO!

daulat nahee.n mujh ko chaahiye,
NO WEALTH DO I NEED,

aish aur ishrat naa chaahiye,
NOR ANY PLEASURE AND REVELRY I NEED,

daulat nahee.n mujh ko chaahiye,
NO WEALTH DO I NEED,

aish aur ishrat naa chaahiye,
NOR ANY PLEASURE AND REVELRY I NEED,

dono.n jahaa.n ke muqaabeele
AS OPPOSED TO BOTH THE WORLDS,

teree mohabbat hee chaahiye,
‘TIS YOUR LOVE I NEED,

hamm toh tumhaare hai.n ho chuke,
I'M YOURS, TO YOU I  BELONG,

tum hamaare, ho naa ho,
WHETHER YOU'RE MINE OR NOT,

hamm ko tumhaaraa hee aasraa,
'TIS ONLY YOUR SUPPORT I LOOK TO,

tum hamaare, ho naa ho,
WHETHER YOU'RE MINE OR NOT,

hamm ko tumhaara hee aasraa.
'TIS ONLY YOUR SUPPORT I LOOK TO!

NASIR.

As you begin to understand the immense power and love you hold inside, you will find an unending surge of joy, light and love that will nourish and support you all the days of your life.”

Susan Jeffers quotes

lyrics
translation

357. Translation of Sad Songs of Rafi: Ronaa Hai Toh Ro Chupke Chupke...

Movie: DUNIYA (1949)
Lyrics: S.K. Deepak
Music: C. Ramchandra

Rafi Sahaab’s early Gem: Ronaa Hai toh Ro Chupke Chupke...
Roman Transliteration/English Translation of the original Urdu/Hindi Lyrics:

Ronaa hai toh ro chupke chupke,
WEEP SECRETLY IF YOU HAVE TO WEEP,

aa.nsoo naa bahe.n aawaaz naa ho,
NO TEARS BE SHED, NO NOISE BE MADE,

Ronaa hai toh ro chupke chupke,
WEEP SECRETLY IF YOU HAVE TO WEEP,

aa.nsoo naa bahe.n aawaaz naa ho,
NO TEARS BE SHED, NO NOISE BE MADE,

voh dekh naa le.n voh jaan naa le.n,
SHE MAY NOT SEE, SHE MAY NOT KNOW,

soorat se teree pehchaan naa le.n,
LEST SHE RECOGNISES YOU BY YOUR FACE,

ab po.nch de aa.nkho.n se aa.nsoo,
WIPE AWAY THE TEARS FROM THE EYES,

ab po.nch de aa.nkho.n se aa.nsoo,
WIPE AWAY THE TEARS FROM THE EYES,

maaloom kisee ko raaz naa ho,
THE SECRET, NO ONE SHOULD KNOW,

Ronaa hai toh ro chupke chupke,
WEEP SECRETLY IF YOU HAVE TO WEEP,

aa.nsoo naa bahe.n aawaaz naa ho,
NO TEARS BE SHED, NO NOISE BE MADE,

Ronaa hai toh ro chupke chupke,
WEEP SECRETLY IF YOU HAVE TO WEEP,

aa.nsoo naa bahe.n aawaaz naa ho,
NO TEARS BE SHED, NO NOISE BE MADE,

majboor hame.n rehnaa hogaa,
CONSTRAINED WE’VE TO REMAIN,

marr marr ke yahaa.n jeenaa hogaa,
HERE WE’LL HAVE TO LIVE ON THE EDGE,

majboor hame.n, rehnaa hogaa,
CONSTRAINED WE’VE TO REMAIN,

marr marr ke yahaa.n jeenaa hogaa,
HERE WE’LL HAVE TO LIVE ON THE EDGE,

dukh dard kaa saathee dil hai meraa,
THE COMPANION IN PAIN AND SUFFERING IS MY HEART,

dukh dard kaa saathee dil hai meraa,
THE COMPANION IN PAIN AND SUFFERING IS MY HEART,

iss dil pe mujhe kyoo.n naaz naa ho,
WHY SHOULDN’T I BE PROUD OF THIS HEART!

Ronaa hai toh ro chupke chupke,
WEEP SECRETLY IF YOU HAVE TO WEEP,

aa.nsoo naa bahe.n aawaaz naa ho,
NO TEARS BE SHED, NO NOISE BE MADE,

Ronaa hai toh ro chupke chupke,
WEEP SECRETLY IF YOU HAVE TO WEEP,

aa.nsoo naa bahe.n aawaaz naa ho,
NO TEARS BE SHED, NO NOISE BE MADE,

jo baat hai dil kee dil me.n rahe,
THE HEART’S AFFAIR SHOULD REMAIN IN THE HEART,

voh dil hee kyaa jo gham naa sahe,
THAT WHICH SUFFERS NO SORROW IS NOT A HEART,

jo baat hai dil kee dil me.n rahe,
THE HEART’S AFFAIR SHOULD REMAIN IN THE HEART,

voh dil hee kyaa jo gham naa sahe,
THAT WHICH SUFFERS NO SORROW IS NOT A HEART,

shikwaa naa zubaa.n par aane de,
LET NO COMPLAIN SLIP THE TONGUE,

shikwaa naa zubaa.n par aane de,
LET NO COMPLAIN SLIP THE TONGUE,

fariyaad me.n bhee aawaaz naa ho,
LET THERE BE NO WHINING EVEN IN THE COMPLAINT,

ronaa hai toh ro chupke chupke,
WEEP SECRETLY IF YOU HAVE TO WEEP,

aa.nsoo naa bahe.n aawaaz naa ho,
NO TEARS BE SHED, NO NOISE BE MADE,

Ronaa hai toh ro chupke chupke,
WEEP SECRETLY IF YOU HAVE TO WEEP,

aa.nsoo naa bahe.n aawaaz naa ho,
NO TEARS BE SHED, NO NOISE BE MADE.

NASIR.

He must have a truly romantic nature, for he weeps when there is nothing at all to
weep about.” Oscar Wilde quotes

lyrics
translation

126. Translation of Sad Song of Rafi: Yeh Hasrat Thee...

Movie: Nausherwan-e-Adil (1957)
Music Director: C Ramchandra
Lyricist: Parvez Shamsi


Rafi sings of unfulfilled desires: Yeh Hasrat Thee ke Is Duniya Me.n.....

Roman transliteration/English translation of the original lyrics:



Yeh hasrat thee ke is duniyaa me.n bas doh kaam kar jaate,
IT WAS THE DESIRE THAT WE HAD ACCOMPLISHED JUST TWO JOBS IN THIS WORLD:

yeh hasrat thee, ke is duniyaa me.n bas doh kaam kar jaate
IT WAS THE DESIRE THAT WE HAD ACCOMPLISHED JUST TWO JOBS IN THIS WORLD:

tumhaaree yaad me.n jeete, tumhaare, Gham me.n mar jaate
TO HAVE LIVED IN YOUR MEMORY; TO HAVE DIED IN YOUR GRIEF.

yeh hasrat thee ke is duniyaa me.n bas doh kaam, kar jaate....
IT WAS THE DESIRE THAT WE HAD ACCOMPLISHED JUST TWO JOBS IN THIS WORLD.....


yeh duniyaa Doobtee toofaan aataa is qayaamat kaa,
THIS WORLD WOULD HAVE DROWNED, THE STORM OF SUCH MAGNITUDE WOULD HAVE COME,

AA~~~~.

yeh duniyaa Doobtee, toofaan aataa, is qayaamat kaa,
THIS WORLD WOULD HAVE DROWNED, THE STORM OF SUCH MAGNITUDE WOULD HAVE COME,

agar dam bhar ko aa.nkho.n me.n, meree aa.nsoo Teher jaate
IF FOR AN INSTANT THE TEARS HAD WELLED UP IN MY EYES.

agar dam bhar ko aa.nkho.n me.n, meree aa.nsoo Teher jaate
IF FOR AN INSTANT THE TEARS HAD WELLED UP IN MY EYES.

yeh hasrat thee, ke is duniyaa me.n bas doh kaam kar jaate
IT WAS THE DESIRE THAT WE HAD ACCOMPLISHED JUST TWO JOBS IN THIS WORLD:


tumhaaree yaad aa-aakar mere nashtar, chubhotee hai
THY MEMORY COMETH O'ER AND O'ER, PRICKING ME WITH A LANCET,

tumhaaree, yaad aa-aakar mere nashtar, chubhotee hai
THY MEMORY COMETH O'ER AND O'ER, PRICKING ME WITH A LANCET,

mere nashtar, chubhotee hai,
PRICKING ME WITH A LANCET,

wagarna dil ke saare zakhm itne din, me.n bhar jaate,
OTHERWISE ALL THE BOSOM'S WOUNDS WOULD HAVE HEALED DURING THESE DAYS.

wagarna dil ke saare zakhm itne din, me.n bhar jaate,
OTHERWISE ALL THE BOSOM'S WOUNDS WOULD HAVE HEALED DURING THESE DAYS.

yeh hasrat thee, ke is duniyaa me.n, bas doh kaam kar jaate
IT WAS THE DESIRE THAT WE’D ACCOMPLISHED JUST TWO JOBS IN THIS WORLD....


kahaa.n tak dukh uThaae.n
FOR HOW LONG SHOULD WE SUFFER THE GRIEF,

kahaa.n tak, dukh uThaae.n,
FOR HOW LONG SHOULD WE SUFFER THE GRIEF

teree furqat aur judaaee ke,
OF THY PARTING AND SEPARATION,

teree furqat aur judaaee ke,
OF THY PARTING AND SEPARATION,

agar marnaa hee thaa ek din, na kyu.n phir aaj mar jaate,
IF WE HAD TO DIE ONE DAY, WHY NOT DIE TODAY?

agar marnaa hee thaa ek din, na kyu.n phir aaj mar jaate
IF WE HAD TO DIE ONE DAY, WHY NOT DIE TODAY?

yeh hasrat thee , ke is duniyaa me.n bas doh kaam kar jaate.....
IT WAS THE DESIRE THAT WE HAD ACCOMPLISHED JUST TWO JOBS IN THIS WORLD....

NASIR.

In the Battle of Love, none but the Lovers are slain...
- Sufi Sarmad.

102. Translation of Sad Song of Rafi: Keh Ke Bhi Na Aaye Tum..

From: SAFAR (1946)
Music: C. Ramchandra
Lyrics: Gopal Singh Nepali


Forlorn Rafi singing: Kah Ke Bhi Na Aaye Tum...

Roman Transliteration/English Translation of the original lyrics:


kah ke bhi na aaye tum
EVEN AFTER CONFIRMATION, YOU DIDN’T COME,

ab chhupane lage taare
NOW THE STARS HAVE STARTED TO HIDE,

dil le ke tumhee.n jeete
YOU ONLY WON BY BEARING AWAY MY HEART,

dil de ke hamee.n haare
ONLY I LOST BY GIVING AWAY MY HEART.


hamm aas kiye jaate
HOPE WAS WHAT I WENT ON

tum paas nahi.n aate
YOU WOULDN’T COME NIGH

jaana tha chale jaate
IF YOU NEEDED TO GO YOU COULD’VE AS WELL GONE

milane tau chale aate
AT LEAST YOU SHOULD’VE GOT TOGETHER,


kah ke bhi na aaye tum
EVEN AFTER CONFIRMATION, YOU DIDN’T COME,

ab chhupane lage taare
NOW THE STARS HAVE STARTED TO HIDE,

dil le ke tumhee.n jeete
YOU ONLY WON BY BEARING AWAY MY HEART,

dil de ke hameen haare
ONLY I LOST BY GIVING AWAY MY HEART


hamne tha tumhe.n maana
WE HAD HIGH REGARDS FOR YOU,

tumne hi na pehachaana
IT’S YOU WHO DIDN’T DISCERN,

jab hona tha begaana
IF YOU’D TO BECOME A STRANGER,

tab kyon kiya deewaana
THEN WHY YOU MADE ME CRAZY.


kah ke bhi na aaye tum
EVEN AFTER CONFIRMATION, YOU DIDN’T COME,

ab chhupane lage taare
NOW THE STARS HAVE STARTED TO HIDE,

dil le ke tumhee.n jeete
YOU ONLY WON BY BEARING AWAY MY HEART,

dil de ke hamee.n haare
ONLY I LOST BY GIVING AWAY MY HEART.


Sunsaan huee.n galiyaan
SILENT ARE THE LANES,

Sab sookh gaee.n kaliyaan
DRIED UP ARE ALL THE BUDS,

ab beeth chalee.n ghadiyaa.n
THE MOMENTS ARE NOW FLEETING,

par jaag rahee.n ankhiyaa.n
BUT THE EYES ARE AWAKE.


kah ke bhi na aaye tum
EVEN AFTER CONFIRMATION, YOU DIDN’T COME,

ab chhupane lage taare
NOW THE STARS HAVE STARTED TO HIDE,

dil le ke tumhee.n jeete
YOU ONLY WON BY BEARING AWAY MY HEART,

dil de ke hamee.n haare
ONLY I LOST BY GIVING AWAY MY HEART.


NASIR.