1043. Peppy Songs of Mohammed Rafi: ALL LINE CLEAR.

 

Movie:  CHORI CHORI (1956)

Maiden Release at Novelty Cinema

Music:  Shankar-Jaikishen

Lyrics:  Hasrat Jaipuri

All Line Clear…

aage baRHo aage chalo

FORWARD MARCH, PUSH FORWARD,

chhoTii sii yeh alTan-palTan fauj hai mere 

ghar kii

THIS SMALL PLATOON IS MY OWN HOMEGROWN,  

saath hamaare toep kaa golaa baat nahiiN hai Dar kii

WITH A CANNONBALL FOR COMPANY, WE’VE NOTHIN’ TO FEAR!  

All Line Clear…

Line Clear hai bhaayii

THE LINE IS CLEAR, BROTHER!

kabhii khaalii gayaa na nishaanaa

NEVER MISSED A TARGET,

mujh se Takraayegaa kyaa zamaanaa

HOW DARE THE WORLD COLLIDE WITH ME!

 

haay! re duniyaa aur duniyaa-daarii

ALAS! THE WORLD, AND WORLDLY WORRIES, 

aakhir paRaa sar jhukaanaa

I’D TO BOW MY HEAD IN THE END!

-pappaa

PAPA,

dhath tere kii

GODDAMN!

All Line Clear ...

giit gaate hue ham chale hain

SINGING SONGS, WE’RE ON THE GO, 

phir na puuchho baRe dil jale hain

NO QUESTION ASKED, OUR HEARTS ARE ABLAZE,

dil meN biThaa lo, ay duniyaa-vaaloN

MAKE ROOM IN YOUR HEARTS FOR US, O PEOPLE, 

ham bhii baRe manchale haiN

WE’RE FULL OF SPIRITS, TOO! 

-pappaa

PAPA!

arre chup!

AW, SHUT UP!

All Line Clear

aage baRHo aage chalo

FORWARD MARCH, PUSH FORWARD, 

chhoTii sii yeh alTan-palTan fauj hai mere 

ghar kii

THIS SMALL PLATOON IS MY OWN HOMEGROWN,  

saath hamaare toep kaa golaa baat nahiiN hai Dar kii

WITH A CANNONBALL FOR COMPANY, WE’VE NOTHIN’ TO FEAR!  

All Line Clear

😄

TRANSLATOR: NASIR ALI.

JADDAN BAI, THE IMPERIOUS ARBITRATOR OF BOLLYWOOD!

A Short Article by NASIR ALI.

Without going into the antecedents of Jaddan Bai (1892-1949), it is enough for our purpose to know that she was a woman of many talents: classical singer, dancer, film producer-director, actor, and composer. She was born in Banaras grew up in Allahabad. She was a disciple of the noted music masters and classical singers of the day such as Ustad Barkat Ali Khan, Ustad Umrao Khan, and Ustad Moizuddin Khan from whom she learnt the Thumri. Once K.L. Sehgal heard her at Calcutta and was all praise for her. One of her non-filmi Thumris include Lage karajwa me.n choT/Phool gendwaa na maaro – which surely reminds us that the song of Manna Dey’s Phool gendwaa na maaro from Dooj Ka Chaand (1964),  which was lip-synched in the background of comedy by Agha, had been inspired by Jaddan Bai’s Thumri. Her mastery of classical idiioms can be guaged from her renditions of the Roop Joban and Tere Sang Raja too.

Jaddan Bai lived during the era when Dada Saheb Phalke made his first silent movie, Raja Harishchandra (1913) and went on to see the transformation in 1931 when the first talkie, Alam Ara was released and many actors of the silent movies lost their jobs. Those were the musical times when the sound system gave great impetus to the songs in the movies so much so that Indrasabha (1931) had 71 songs to boast of. That was also the age of Gramophone Singers and Jaddan Bai was one of them. As such we have the treasure trove of songs of those “gaanewaalis” whose songs were recorded for the common public’s consumption. No longer were they the preserves of the Rajas’ Darbars. Jaddan Bai thrilled the listeners with Thumris and Dadras through the gramophone records and over the radio. In his Come Fire, Come Rain, Khalid Hasan fondly recalls that Jaddan Bai was the toast of many princely states.  He further mentions that a number of her ghazals and songs have been preserved in the Classical Musical Cell that was established by Faiz Ahmed Faiz at Lahore. 


She witnessed the formations of the studio-systems when each studio had its film producer, directors, technicians, actors, singers, story-writers, and music directors. The Imperial Studios, Bombay Talkies, Prabhat Films, New Theatres, Wadia Movietone, Ranjit Studios, Minerva Movietone, and Madan Theatres flourished during that period. Of course, she wouldn’t live long enough to see the downfall of this system that began with the mid-Fifties when most of the production houses merely became avenues for the production of all sorts of movies.


In 1935, when JBH Wadia produced Hunter Wali and R.C. Boral introduced the first playback singing in Dhoop Chhaon (1935), Jaddan Bai acted in and composed music for Talaash-e-Haq (1934-1935). She launched her company Sangeet Movietone in 1936.  Jaddan Bai directed Madam Fashion and Hriday Manthan (both 1936) and Moti Ka Haar and Jeevan Swapna (1937). She acted in Raja Gopichand, Insaan Ya Shaitan (both 1933),  Seva Sadan and Prem Pariksha (both 1934). Shahi Rakkasa was one of her earlier movies.  In Madam Fashion, she was also the actor, lyricist, and music director. Though some sources point out Jaddan Bai or Saraswati Devi alias  Khorshed Homji in Jawani ki Hawa (1935) as the first female music director in the Indian film industry, it is Ishrat Sultana (Adl-e-Jahangir – 1934) who takes that credit. In passing, it is interesting to note that the Parsi Panchayat had taken a strong objection at the instance of four Parsi members who were on the Board of Bombay Talkies,  to a Parsi female composing music for a movie and another sister of hers (Chandraprabha alias Manek) acting or singing in a movie and the Parsi community had even  even taken out a 'morcha'  to stall their movies in 1935.


Now Jaddan Bai, having seen the ravages of time and coming from the “Tawaif” background, was sympathetic to the plight of the ‘Tawaifs’ or courtesans and this reflected heavily in her movies. The Tawaifs were the persecuted lot ever since the Britishers launched a vigorous movement against them from 1890 onwards and the days of the Raja and the Maharajas and even the nawabs were drawing to a close.  Jaddan Bai cared well for her single mother, Daleepabai.   Evidently, Jaddan Bai was far-sighted enough and so in Talaash-e-Haq, and Madam Fashion she cast her own daughter, Kaneez Fatima Rashid, as Baby Rani who was to reach the filmy stardom within the next seven years as Nargis  (b.1929-d.1981) – the name given by Mehboob Khan .


Nargis' father  was Uttamchand Mohanchand who had converted to Islam before marrying Jaddan Bai was named Abdul Rashid by Maulana Abul Kalam Azaad. He hailed from Rawalpindi, and as a medical student had met Jaddan Bai at a Lucknow hospital where she had been admitted for a surgery. It was the case of love at first sight.  It is well to remember though that Jaddan Bai was not enamoured of the riches of Mohan Babu.  Rather, as Manto says of Mohan Babu’s riches: ‘yeh sab daulatein Jaddan Bai ke dar par bhikari ban gayeen’. Such was the charm of Jaddan Bai!  Manto has a sharply drawn sketch of hers in his Ganjey Farishtey, in the section on Nargis. 


Jaddan Bai had other children too by her previous marriages and their names were Akhtar Hussain and Anwar Hussain. The latter acted in many Hindi movies and was a renowned character artiste and villain. The former is more known for writing the story of Raat Aur Din (1967) which won a National Award for Nargis. Today, Jaddan Bai is remembered as the grandmother of Sanjay Dutt.

Before her death in 1949, Jaddan Bai witnessed the tremendous achievements of her daughter and her successful pairing opposite Motilal and Chandramohan (Taqdeer), Ashok Kumar (Humayun), Dilip Kumar (Mela, Anokhi Ada, and Andaz), and Raj Kapoor (Aag, Barsat, and Andaz). By 1949, Nargis found stiff competition from a new galaxy of female actors such as Kamini Kaushal, Madhubala, Suraiya, Munawwar Sultana, Mumtaz Shanti, Nimmi, Geeta Bali and the upcoming Meena Kumari. At this time, Jaddan Bai produced Daroga Ji, casting Nargis as the heroine. Against the established norm, Jaddan Bai introduced a new singing voice for her daughter. This was Geeta Roy who sang ten songs for Nargis! For the reasons pointed out above, Jaddan Bai was not fated to see her daughter’s best performance in the title role of Mother India (1957) for which she won international recognition and the Best Actress Award at the Karlovy Vary Film Festival and which also fetched her the Filmfare Award at home. Nargis also starred in the Indo-Soviet co-production, Pardesi (1957) and a decade later in a Greek movie, Tosa oneira stous dromous (1968).  

Jaddan Bai, naturally,  loved poetry and one could always expect to find Majrooh Sultanpuri, Shakeel Badayuni, K.A Abbas and others in her gatherings.    As a young man, Dilip Kumar who had starred in MELA opposite her daughter Nargis, loved to attend those sessions, being an ardent fan of Urdu poetry himself.  

Jaddan Bai was also a woman of sagacious judgment.  The film wallahs used to flock to her home to settle their mutual differences and quarrels.  Her say was final and there was no appeal after her judgment! The following account, involving A.R. Kardar and Mehboob Khan, was narrated by Akhtar-ul-Iman (dialogue-writer of Waqt fame) to my friend, Sayyad Saab, when the latter visited him at his old flat at the Bandra Bandstand in Nineteen Eighty-Four.

In the Hindi film industry, who doesn’t know Mehboob Khan and A.R. Kardar! Briefly, A.R. Kardar (1904-1989) began as an actor and then made his directorial debut in 1929 with Husn Ka Daku aka Mysterious Eagle. He directed almost 40 movies, 15 of which were in the Nineteeen-Thirties itself, and went on directing movies till the mid-Sixties. His last one was in 1975 (the inconsequential Mere Sartaj, starring Zaheera). His very famous ventures include Pehle Aap (1944) Shahjahan (1946), Dard (1947) which he also produced, Dulari, (1949), Dillagi (1949), Dastaan (1950), Jadoo (1951), Deewana (1952) Dil-e-Nadaan (1953) Yasmeen and Baap re Baap (1955), and many others. One of his last movies as the Director was Dil Diya Dard Liya (1966) though rumour has it that it was ghost-directed by Dilip Kumar, the hero of the movie. He was the owner of the Kardar Studios.


As for Mehboob Khan (1907-1964), before he joined the film industry he used to fix horse shoes. Thereafter, he became a spot-boy in the film industry. Gradually, from doing bit roles, he rose in rank and became a film director with Judgment of Allah (1935). He directed Taqdeer (1943) where he launched the 14-year-old Nargis as his heroine opposite Motilal.  How he roped in Nargis is also an interesting story. It is common knowledge that Nargis had a desire to become a doctor – while fate conspired to make her an actor. Nargis used to feign sickness rather than attending her shooting assignment for Taqdeer. Anyway, pushed on by her mother, Jaddan Bai, she at last consented to accept the lead role in Taqdeer though she had previously done Tamanna (Desire). He directed many movies but still remained discontent since he had no production banner of his own. Yakub – the famous all-around actor of the Nineteen Forties-Fifties - advised him to pay a visit to the shrine of Khwaja Moinuddin Chishti which he did. Soon thereafter he parted ways with Sagar Movietone and National Studios. He founded his own Mehboob Productions in 1943. The list of his movies is too well-known to name them here. His Mother India (1957) was selected for Academy Award for the best foreign language film, and also got him the Filmfare Award for Best Director; while his Aan (1952) is forever ingrained in public memory for its colourful extravaganza and swashbuckling adventure and romance that was the envy of Hollywood.

Now A.R. Kardar and Mehboob Khan were related to each other by their marriage to the Akhtar sisters: The former was married to Bahaar Akhtar and the latter to Sardar Akhtar. In Urdu parlance, they were “ham-zulf,” or “Saa.Roo Bhai” which in English loosely means they were co-brothers. At one time, Mehboob Khan and A.R. Kardar were involved in some mutual quarrels and bickerings, backed by their respective supporters in the film industry. Since an amicable settlement was nowhere in sight, both of them requested Jaddan Bai to solve their problem. Jaddan Bai fixed the date of the hearing.

On the fixed date, A.R. Kardar and Mehboob Khan made their way to the home of Jaddan Bai on Marine Drive. They were accompanied by their supporters. There they sat on the floor of the hall which soon began to look like a courtroom where the parties come for judgment. There was a lot of noise as the supporters were blaming one another. A maid came and announced that Jaddan Bai was on her way to the hall. There was a hushed silence. Soon Jaddan Bai occupied a sofa and looked about. She appeared as a Daniel come for Judgment. The petitioners were seated to her left and right in the front. Everyone, including A.R. Kardar and Mehboob Khan, acknowledged her presence and sat with their heads bowed.

Jaddan Bai looked at each of them. “Mehboob tum chhote ho na? Raashid tum ba.De ho na?” They nodded their head in affirmation.

“Mehboob tum shuru karo,” she told him.

Mehboob Khan was a bit nervous. Besides, he could not speak proper Urdu or Hindi. Remember that he hailed from a small village in Gujarat and had had a very humble beginning. He requested that he may be represented by one of his supporters. The request was granted. She heard Mehboob Khan’s petition patiently.

Next A.R. Kardar was told to submit his case. After he had finished, A.R. Kardar said: “Aapa, agar Mehboob ne kuch aisi-waisi baat kisi aur ke mu.nh se sunee theeh toh mujh se poochh liyaa hotaa.”

Jaddan Bai looked at Mehboob. “Tumne Raashid se is baat ka khulaasa kiya thaah Mehboob? Mehboob Khan shook his head in denial.

Thereafter, Jaddan Bai remained silent for a considerable time, contemplating the matter before her. No one in the room made even a whisper. Finally, she broke her silence: “Yeh aapas me.n achchee baat nahee.n.”  With that introductory remark, she began spelling out her judgment.  She gave the judgment in favour of A.R. Kardar.  After “Aapa” had pronounced the final verdict, she asked both parties if they had anything to say further in the matter. No one dared to utter a word. Mehboob Khan and A.R. Kardar got up. Their heads still bowed, they made a salaam, and quietly left the premises of Jaddan Bai. Their supporters followed suit. The parties were at peace thereafter.  Such was the respect Jaddan Bai enjoyed in the film industry!  Such was her clout!

NASIR ALI

620. Philosophical Song of Rafi: Bhalaa karne waale...

Movie: GHAR SANSAR (1958)

Lyrics: S.H. Bihari
Music: Ravi.


Another inspiring philosophical/didactic song of Raf: Bhalaa karne waale…
Roman Transliteration/English Translation of the original Hindi-Urdu Lyrics:


Khoon se apne, seench ke maalee, paudhaa ek lagaaye….
CULTIVATING WITH HIS BLOOD, THE GARDNER PLANTS A SAPLING,


haay re phootee qismat jab se, phal ka.Dvaa ho jaaye….
ALAS, WITH THE REVERSAL OF FORTUNE, THE FRUIT GETS BITTER!


bhalaa karne waale…. bhalaayee kiye jaa….
O VIRTUOUS ONE, THE GOOD - GO ON DOING,


buraaee ke badle…. dua'aye.n diye jaa….
AS A RECOMPENSE FOR EVIL, GO ON BLESSING,


bhalaa karne waale, bhalaayee kiye jaa,
O VIRTUOUS ONE, THE GOOD - GO ON DOING,


buraaee ke badle, dua'aye.n diye jaa,
AS A RECOMPENSE FOR EVIL, GO ON BLESSING,


bhalaa karne waale, bhalaayee kiye jaa,
O VIRTUOUS ONE, THE GOOD - GO ON DOING,


buraaee ke badle, dua'aye.n diye jaa,
AS A RECOMPENSE FOR EVIL, GO ON BLESSING,


bhalaa karne waale…
O VIRTUOUS ONE…


chale.n aandhiyaa.n gham ke toofan aaye.n,
WHETHER THE SORROW’S GALES BLOW, OR THE HURRICANES COME,


chale.n aandhiyaa.n gham ke toofan aaye.n,
WHETHER THE SORROW’S GALES BLOW, OR THE HURRICANES COME,


tere yeh qadam Dagmagaane naa paaye.n,
DON’T LET THESE STEPS OF YOURS WAVER,


tere yeh qadam Dagmagaane naa paaye.n,
DON’T LET THESE STEPS OF YOURS WAVER,


ghuTe damm toh kyaa, saans phir bhee liye jaa,
WHAT IF YOU MAY SUFFOCATE, EVEN THEN KEEP ON BREATHING!


buraaee ke badle, dua'aye.n diye jaa,
AS A RECOMPENSE FOR EVIL, GO ON BLESSING,


bhalaa karne waale, bhalaayee kiye jaa,
O VIRTUOUS ONE, THE GOOD - GO ON DOING,


buraaee ke badle, dua'aye.n diye jaa,
AS A RECOMPENSE FOR EVIL, GO ON BLESSING,


bhalaa karne waale…
O VIRTUOUS ONE…


gha.Dee doh gha.Dee ke hai.n baadal yeh kaale,
THESE DARK CLOUDS ARE THERE FOR A MOMENT OR TWO,


gha.Dee doh gha.Dee ke hai.n, baadal yeh kaale,
THESE DARK CLOUDS ARE THERE FOR A MOMENT OR TWO,


yeh din toh hameshaa, nahee.n rehne waale,
THESE DAYS, AS SUCH, AREN’T GOING TO LAST FOREVER,


yeh din toh hameshaa nahee.n rehne waale,
THESE DAYS, AS SUCH, AREN’T GOING TO LAST FOREVER,


sahe ja sitam, aansuo.n ko piye jaa,
ENDURE THE OPPRESSION, THE TEARS - KEEP ON DRINKING,


buraaee ke badle, dua'aye.n diye jaa,
AS A RECOMPENSE FOR EVIL, GO ON BLESSING,


bhalaa karne waale, bhalaayee kiye jaa,
O VIRTUOUS ONE, THE GOOD - GO ON DOING,


buraaee ke badle, dua'aye.n diye jaa,
AS A RECOMPENSE FOR EVIL, GO ON BLESSING,


bhalaa karne waale !
O VIRTUOUS ONE!


NASIR


"Do all the good you can
By all the means you can
In all the ways you can
In all the places you can
To all the people you can
As long as ever you can."
-- John Wesley


lyrics

translation

618. Philosophical Song of Rafi: Naiyaa teri majhdaar...

Movie: AWAARA (1951)

Lyrics:  Shailendra
Music: Shankar-Jaikishen


Philosophical/Didactic Song of Rafi: The choppy waves, turbulent waters are the signs of impending storm at sea: Naiyaa teree majhdaar....


Roman Transliteration/English Translation of the original Hindi Lyrics:


(Chorus): ho hayya, hayya ho hayya, hayya ho hayya, hayya ho hayya,


hmmm~~~


naiyaa teree majhdaar,
YOUR SHIP’S IN MIDSTREAM,


(Chorus): hoshiyaar hoshiyaar
BE ALERT, BE ALERT!


naiyaa teree majhdaar,
YOUR SHIP’S IN MIDSTREAM,


(Chorus): hoshiyaar hoshiyaar
BE ALERT, BE ALERT!


soojhe aar naa paar,
CAN’T MAKE OUT FROM ONE SIDE TO THE OTHER,


(Chorus): hoshiyaar hoshiyaar,
BE ALERT, BE ALERT!

soojhe aar naa paar,
CAN'T MAKE OUT FROM ONE SIDE TO THE OTHER,


(Chorus): hoshiyaar hoshiyaar,
BE ALERT, BE ALERT!


hoy, naiyaa teree majhdaar,
HEY, YOUR SHIP’S IN MIDSTREAM,


(Chorus): hoshiyaar hoshiyaar,
BE ALERT, BE ALERT!


(Chorus): ho hayya, hayya ho hayya, hayya ho hayya, hayya ho hayya,
               hayya ho hayya, hayya ho hayya…..Aaa~~~hmm~~~


Dar kaisaa re khulaa huwaa aasmaan,
HEY, WHY BE AFRAID UNDER THE OPEN SKY!


(Chorus): khulaa huwaa aasmaan,
THE OPEN SKY!


aaa~~halke maa.njhee samhal ke teree naa.nv me.n hai toofaan,
GENTLY HELMSMAN, THE STORM’S IN YOUR SHIP,


(Chorus): Aaaa~~~


(chorus): o teree naa.nv me.n hai toofaan,
O THE STORM’S IN YOUR SHIP,


aaa~~~~gehree chanchal dhaar,
RESTLESS CURRENT, RUNNING DEEP!


(Chorus): hoshiyaar hoshiyaar,
BE ALERT, BE ALERT!


gehree chanchal dhaar,
RESTLESS CURRENT, RUNNING DEEP!


(Chorus): hoshiyaar hoshiyaar,
BE ALERT, BE ALERT!


naiyaa teree majhdaar,
YOUR SHIP’S IN MIDSTREAM


(Chorus): hoshiyaar hoshiyaar,
BE ALERT, BE ALERT!


(Chorus): ho hayya, hayya ho hayya, hayya ho hayya, hayya ho hayya,
               hayya ho hayya, hayya ho hayya…..Aaa~Aaa~~hmm~~~


kaaTh kaa Tuk.Daa beh jaataa hai,
A PIECE OF WOOD FLOWS AWAY,


(Chorus): Ho~~~


lohaa Doob ke reh  jaataa hai,
THE IRON SINKS UNDER!


(Chorus): Ho~~~


yaani soch bichaar,
MEANS, BE CAUTIOUS!


(Chorus): hoshiyaar hoshiyaar,
BE ALERT, BE ALERT!


yaani soch bichaar,
MEANS, BE CAUTIOUS!


(Chorus): hoshiyaar hoshiyaar
BE ALERT, BE ALERT!


naiyaa teree majhdaar,
YOUR SHIP’S IN MIDSTREAM,


(Chorus): hoshiyaar hoshiyaar,
BE ALERT, BE ALERT!


hoy, naiyaa teree majhdaar,
HEY, YOUR SHIP’S IN MIDSTREAM,


(Chorus): hoshiyaar hoshiyaar,
BE ALERT, BE ALERT!


(Chorus:) ho hayya, hayya ho hayya, hayya ho hayya, hayya ho hayya,
               hayya ho hayya, hayya ho hayya…


Aaa~~~~Aaaaaaa~~~~Aaaa~~~Aaaa~~~Aaa~~


NASIR.


No one would have crossed the ocean if he could have gotten off the ship in the storm.

View quotes by Charles Kettering
lyrics

translation

598. Rafi's Philosophical Song: Naa main bhagwaan hoon....

Movie: MOTHER INDIA (1957)

Lyrics: Shakeel Badayuni
Music: Naushad
Main Movie-Hall where first released in Bombay: Liberty Cinema.


Popular philosophical/didactic song of Rafi: Naa main bhagwaan hoon...
Roman Transliteration/English Translation of the original Hindi-Urdu Lyrics:

naa mai.n bhagwaan hoo.n,
NO GOD AM I,


naa mai.n shaitaan hoo.n,
NO SATAN AM I,


duniyaa jo chaahe samjhe,
WHATEVER THE WORLD MAY THINK,


mai.n toh insaann hoo.n,
A HUMAN BEING AM I,


naa mai.n bhagwaan hoo.n,
NO GOD AM I,


naa mai.n shaitaan hoo.n,
NO SATAN AM I,


Arre duniyaa jo chaahe samjhe,
HEY! WHATEVER THE WORLD MAY THINK,


mai.n toh insaann hoo.n,
A HUMAN BEING AM I...


mujh me.n bhalaayee bhee,
I’VE IN ME SOME PIETY TOO,


mujh me.n buraayee bhee,
I’VE IN ME SOME EVIL TOO,


laakho.n hai mayl dil me.n,
I’VE MILLIONS OF BLESMISHES IN THE HEART,


tho.Dee safaayee bhee,
SOME PURITY TOO,


O mujh me.n bhalaayee bhee,
I’VE IN ME SOME PIETY TOO,


mujh me.n buraayee bhee,
I’VE IN ME SOME EVIL TOO,


laakho.n hai mayl dil me.n,
I’VE MILLIONS OF BLESMISHES IN THE HEART,


tho.Dee safaayee bhee,
SOME PURITY TOO,


tho.Daa saa nek hoo.n
I’M SOMEWHAT VIRTUOUS,

tho.Daa beimaan hoo.n,
A LITTLE DISHONEST AM I,


Arre duniyaa jo chaahe samjhe,
HEY! WHATEVER THE WORLD MAY THINK,


mai.n toh insaann hoo.n,
A HUMAN BEING AM I...


naa mai.n bhagwaan hoo.n,
NO GOD AM I,


naa mai.n shaitaan hoo.n,
NO SATAN AM I,


Bhayy duniyaa jo chaahe samjhe,
BROTHER, WHATEVER THE WORLD MAY THINK,


mai.n toh insaann hoo.n,
A HUMAN BEING AM I...


naa koyee raaj hai,
NO SCEPTRE HAVE I,


naa sar pe taaj hai,
NO CROWN ON THE HEAD HAVE I,


phir bhee hamaare damm se
EVEN SO, ‘TIS MY VIRTUE WHEREBY


dhartee kee laaj hai,
THE LAND’S MODESTIES LIE,


naa koyee raaj hai,
NO SCEPTRE HAVE I,


naa sar pe taaj hai,
NO CROWN ON THE HEAD HAVE I,


phir bhee hamaare damm se
EVEN SO, ‘TIS MY VIRTUE WHEREBY

dhartee kee laaj hai,
THE LAND’S MODESTIES LIE,


tann ka ghareeb hoo.n
BEING OUTWARDLY POOR,


mann kaa dhanwaan hoo.n,
A MILLIONAIRE BY HEART AM I,


Arre duniyaa jo chaahe samjhe,
HEY! WHATEVER THE WORLD MAY THINK,


mai.n toh insaann hoo.n,
A HUMAN BEING AM I...


naa mai.n bhagwaan hoo.n,
NO GOD AM I,


naa mai.n shaitaan hoo.n,
NO SATAN AM I,


Hahhaa, duniyaa jo chaahe samjhe,
(laughs) WHATEVER THE WORLD MAY THINK,


mai.n toh insaann hoo.n,
A HUMAN BEING AM I...


jeevan kaa geet hai,
THE SONG OF LIFE


sur me.n naa taal me.n,
IS NEITHER IN TUNE NOR RHYTHM,


uljhee hai saaree duniyaa
THE ENTIRE WORLD IS CAUGHT UP


roTee ke jaal me.n,
IN THE SNARE OF SUSTENANCE,


jeevan kaa geet hai,
THE SONG OF LIFE


sur me.n naa taal me.n,
IS NEITHER IN TUNE NOR RHYTHM,


uljhee hai saaree duniyaa
THE ENTIRE WORLD IS CAUGHT UP


roTee ke jaal me.n,
IN THE SNARE OF SUSTENANCE,


kaise yeh andher hai
WHAT INJUSTICE IS THIS!


mai.n bhee hairaan hoo.n,
NON-PLUSSED AM I,


Arre duniyaa jo chaahe samjhe,
HEY! WHATEVER THE WORLD MAY THINK,


mai.n toh insaann hoo.n,
A HUMAN BEING AM I...


naa mai.n bhagwaan hoo.n,
NO GOD AM I,


naa mai.n shaitaan hoo.n,
NO SATAN AM I,


O duniyaa jo chaahe samjhe,
O WHATEVER THE WORLD MAY THINK!


mai.n toh insaann hoo.n.
A HUMAN BEING AM I.


NASIR.


What a piece of work is a man, how noble in reason, how infinite in faculties, in form and moving how express and admirable, in action how like an angel, in apprehension how like a god: the beauty of the world, the paragon of animals!--and yet, to me, what is this quintessence of dust? Man delighteth not me..."
-William Shakespeare, Hamlet


lyrics

translation

382. Translation of Sad Songs of Rafi: Bahot Purdard Hai..

Movie: BIRHA KI RAAT (1950)
Lyrics: Sarshar Sailani
Music: Husnlal Bhagatram

Rafi Sahaab's early song for Dev Anand: Bahot Purdard Hai...

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

jahaa.n me.n jinkee ummeedo.n ke be.de, paar hote hai.n...
THOSE WHOSE SHIPS OF DESIRES FIND THE SHORE IN THE WORLD,

voh khush qismat hazaaro.n me.n kahee.n, doh chaar hote hain....
SUCH FORTUNATES ARE JUST A FEW AMONG THE THOUSANDS...

bahot purdard hai, ay sunne waalo.n, daastaa.n meree
O LISTENERS, VERY PAINFUL IS MY TALE,

oh gham kee, daastaa.n meree,
OH, THE TALE OF MY SORROW!

hazaaro.n ranj hai.n, aur ek jaane, natwaa.n mereee,
THERE’RE THOUSANDS OF AFFLICTIONS, AND FEEBLE IS THE SOUL OF MINE,

oh jaane, naatwaa.n mereee,
OH, FEEBLE SOUL OF MINE!

bahot purdard hai, ay sunne waalon daastaa.n meree
O LISTENERS, VERY PAINFUL IS MY TALE,

Oh gham kee, daastaa.n meree...
OH, THE TALE OF MY SORROW!

safar toh zindagee ka tuune bakhshaa, bakhshne waale,
LIFE’S JOURNEY YOU DID BESTOW, O BESTOWER!

bakhshne waale,
O BESTOWER!

zaraa yeh bhee, bataa de aake manzil, hai kahaa.n meree,
AT LEAST COME AND SHOW ME WHERE MY DESTINATION IS,

ke manzil, hai kahaa.n meree,
AS TO WHERE MY DESTINATION IS!

bahot purdard hai, ay sunne waalon, daastaa.n meree
O LISTENERS, VERY PAINFUL IS MY TALE,

o gham kee, daastaa.n meree,
OH, THE TALE OF MY SORROW!

mohabbat aur naakaamee jawaanee, aur barbaadee,
LOVE AND LOSS, YOUTH AND UNDOING,

jawaanee, aur barbaadee,
YOUTH AND UNDOING,

inhee.n doh chaar, lafzo.n me.n chhupee hai, daastaan meree,
IN THESE VERY FEW WORDS MY TALE IS HIDDEN,

chhupee hai, daastaa.n mereee,
MY TALE IS HIDDEN,

bahot purdard hai, ay sunne waalo.n daastaa.n meree,
O LISTENERS, VERY PAINFUL IS MY TALE,

oh gham kee, daastaa.n meree.

OH, THE TALE OF MY SORROW!

NASIR.

If you are patient and content with whatever comes onto you and do not complain, instantly the doors of the heaven open to you.from
Divan-i-Kabir.

lyrics
translation

368. Translation of Sad Songs of Rafi: Teraa Kaam Hai Jalnaa Parwaane...

Movie: PAAPI (1953)
Lyrics: Rajinder Krishan
Music: S.Mohinder

Rafi Sahaab’s song that kept the movie-goers glued to the seat: Teraa Kaam Hai Jalnaa Parwaane...

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

teraa kaam hai jalnaa parwaane,
‘TIS YOUR JOB, O MOTH, TO BURN,

chaahe shamaa jale ya naa jale
WHETHER THE LAMP GLOWS OR NOT,

shamaa jale ya naa jale
THE LAMP GLOWS OR NOT,

tu pankh jalaale deewaane,
SINGE YOUR WINGS O CRAZY ONE

chaahe shamaa jale ya naa jale
WHETHER THE LAMP GLOWS OR NOT,

shamaa jale ya naa jale
THE LAMP GLOWS OR NOT.


Yeh dard mohabbat kaa sahe jaa,
THIS PAIN OF LOVE GO ON ENDURING,

tuu aag ke dariyaa me.n bahe jaa,
IN THE SEA OF FIRE, GO ON FLOWING,

Kehtee hai jo dunyaa kehne de,
LET THE WORLD SAY WHAT IT’LL,

tuu jalte jalte yeh kahejaa
WHILE BURNING, THIS YOU GO ON SAYING...

Yeh kahejaa....
THIS, YOU GO ON SAYING:

Yoo.n jal marte hai.n deewaane,
THUS THE CRAZY ONES DIE BURNING,

Yoo.n jal marte hai.n deewaane,
THUS THE CRAZY ONES DIE BURNING,

chaahe shamaaa jale yaa naa jale,
WHETHER THE LAMP GLOWS OR NOT,

shamaa jale ya naa jale...
THE LAMP GLOWS OR NOT...


teraa kaam hai jalnaa parwaane,
‘TIS YOUR JOB, O MOTH, TO BURN,

chaahe shamaa jale ya naa jale,
WHETHER THE LAMP GLOWS OR NOT,

shamaa jale ya naa jale...
THE LAMP GLOWS OR NOT...


teraa pyaar nahee.n hai harjaayee,
YOUR LOVE IS NOT UNFAITHFUL,

Tuu saudaai hai saudaai,
YOU’RE PASSIONATE, LOVING,

marne me.n hai shaan mohabbat kee,
‘TIS HONOUR FOR THE LOVE IN DYING,


jeene me.n hai teree ruswaayee,
‘TIS IGNOMINY FOR YOU IN LIVING,

Ruswaayee...
IGNOMINY...

marte nahee.n jal kar parwaane,
THE MOTHS DON’T DIE AFTER BURNING,

Marte nahee.n jal kar parwaane,
THE MOTHS DON’T DIE AFTER BURNING,

chaahe shamaa jale ya naa jale
WHETHER THE LAMP GLOWS OR NOT,

shamaa jale ya naa jale
THE LAMP GLOWS OR NOT,

teraa kaam hai jalnaa parwaane,
‘TIS YOUR JOB, O MOTH, TO BURN,

chaahe shamaa jale ya naa jale
WHETHER THE LAMP GLOWS OR NOT,

shamaa jale ya naa jale
THE LAMP GLOWS OR NOT,

shamaa jale ya naa jale
THE LAMP GLOWS OR NOT.

NASIR.

“Like a moth to a flame we become helpless to the beautiful ghosts that true love sheds” Ryan O'neal quotes

lyrics
translation

353. Translation of Sad Songs of Rafi: Main Zindagi Mein Hardam Rotaa Hi Rahaa Hoon....

Movie: BARSAAT (1949)
Lyrics: Hasrat Jaipuri (Debut)
Music: Shankar-Jaikishan (Debut)

Rafi Sahaab’s ever-green number: Mai.n Zindagee Me.n Hardam Rotaa Hee Rahaa Hoo.n...

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


mai.n zindagee me.n hardam rotaa hee rahaa hoo.n,
ALL THE TIME IN LIFE I’VE ONLY BEEN WEEPING,

mai.n zindagee me.n hardam rotaa hee rahaa hoo.n,
ALL THE TIME IN LIFE I’VE ONLY BEEN WEEPING,

rotaa hee rahaa hoo.n, ta.daptaa hee rahaa hoo.n
ONLY BEEN WEEPING, ONLY BEEN WRITHING,

mai.n zindagee me.n, hardam rotaa hee rahaa hoo.n...
ALL THE TIME IN LIFE I’VE ONLY BEEN WEEPING...


ummeed ke diye bujhe dil me.n hai a.ndheraa,
THE LAMPS OF HOPE HAVING GONE OUT, DARKNESS LOOMS IN THE HEART,

ummeed ke diye bujhe dil me.n hai a.ndheraa,
THE LAMPS OF HOPE HAVING GONE OUT, DARKNESS LOOMS IN THE HEART,

jeevan kaa toh saathee na banaa koee bhee meraa,
NO ONE EVEN BECAME MY LIFE COMPANION,

jeevan kaa toh saathee na banaa, koee bhee meraa,
NO ONE EVEN BECAME MY LIFE COMPANION,

phir kis ke liye....
THEN, FOR WHOM...

phir kis ke liye, aaj mai.n jeetaa hee rahaa hoo.n,
THEN FOR WHOM ALL ALONG HAVE I BEEN LIVING?

mai.n zindagee me.n, hardam rotaa hee rahaa hoo.n,
ALL THE TIME IN LIFE I’VE ONLY BEEN WEEPING,

mai.n zindagee me.n hardam rotaa hee rahaa hoo.n,
ALL THE TIME IN LIFE I’VE ONLY BEEN WEEPING,

rotaa hee rahaa hoo.n, ta.daptaa hee rahaa hoo.n
ONLY BEEN WEEPING, ONLY BEEN WRITHING,

mai.n zindagee me.n, hardam rotaa hee rahaa hoo.n...
ALL THE TIME IN LIFE I’VE ONLY BEEN WEEPING...


reh-reh ke ha.nsaa hai meree haalat pe zamaanaa,
OFF AND ON, MY STATE THE WORLD HAS BEEN DERIDING,

reh-reh ke ha.nsaa hai meree haalat pe zamaanaa,
OFF AND ON, MY STATE THE WORLD HAS BEEN DERIDING,

kyaa dukh hai mujhe, yeh toh kisee ne bhee na jaanaa,
NO ONE EVEN KNEW, WHAT I’D BEEN SUFFERING,

kyaa dukh hai mujhe, yeh toh kisee ne bhee na jaanaa,
NO ONE EVEN KNEW WHAT I’D BEEN SUFFERING,

khaamosh...
SILENT...

Khaamosh mohabbat liye phirtaa hee rahaa hoo.n
WITH SILENT LOVE, I’VE ONLY BEEN WANDERING,

mai.n, zindagee me.n hardam, rotaa hee rahaa hoo.n,
ALL THE TIME IN LIFE I’VE ONLY BEEN WEEPING,

mai.n zindagee me.n hardam rotaa hee rahaa hoo.n,
ALL THE TIME IN LIFE I’VE ONLY BEEN WEEPING,

rotaa hee rahaa hoo.n, ta.daptaa hee rahaa hoo.n
ONLY BEEN WEEPING, ONLY BEEN WRITHING,

mai.n zindagee me.n, hardam rotaa hee rahaa hoo.n...
ALL THE TIME IN LIFE I’VE ONLY BEEN WEEPING...


aayee.n naa mujhe raas mohabbat kee fazaaye.n,
ENVIRONS OF LOVE DIDN’T SUIT ME,

aayee.n naa mujhe raas mohabbat kee fazaaye.n,
ENVIRONS OF LOVE DIDN’T SUIT ME,

sharamaayee.n meree, aa.nkh se saavan kee ghaTaaye.n
THE RAINY CLOUDS FELT ASHAMED OF MY EYES,

sharamaayee.n meree, aa.nkh se saavan kee ghaTaaye.n
THE RAINY CLOUDS FELT ASHAMED OF MY EYES,

lehro.n me.n sadaa...
IN THE TIDE ALL THE TIME...

lehro.n me.n sadaa, gham kee mai.n behtaa hee rahaa hoo.n
IN THE SORROW’S TIDE, ALL THE TIME I’VE ONLY BEEN FLOWING,

mai.n zindagee me.n, hardam rotaa hee rahaa hoo.n,
ALL THE TIME IN LIFE I’VE ONLY BEEN WEEPING,

mai.n zindagee me.n hardam rotaa hee rahaa hoo.n,
ALL THE TIME IN LIFE I’VE ONLY BEEN WEEPING,

rotaa hee rahaa hoo.n, ta.Dapataa hee rahaa hoo.n
ONLY BEEN WEEPING, ONLY BEEN WRITHING,

mai.n zindagee me.n, hardam rotaa hee rahaa hoo.n,
ALL THE TIME IN LIFE I’VE ONLY BEEN WEEPING,

mai.n zindagee me.n hardam rotaa hee rahaa hoo.n.
ALL THE TIME IN LIFE I’VE ONLY BEEN WEEPING.

NASIR.

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

lyrics
translation

336. Translation of Sad Songs of Rafi: Meri Kahaani Bhoolne Waale...

Movie: DEEDAR (1951)
Lyrics: Shakeel Badayuni
Music: Naushad


Rafi Sahaab’s perennially popular number: Meree Kahaanee Bhoolne Waale...

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


Meree kahaanee, bhoolne waale,
O FORGETTER OF MY STORY....

Meree kahaanee bhoolne waale,
O FORGETTER OF MY STORY!

Teraa jahaa.n aabaad rahe
MAY YOUR WORLD PROSPER,

Meree kahaanee..
MY STORY...

Teree khushee par, mai.n miT jaaoo.n,
FOR YOUR HAPPINESS MAY I BE DESTROYED,

Dunya meree barbaad rahe,
MAY MY WORLD BE RUINED,

Meree kahaanee....
MY STORY...


Mere geet sune dunya ne magar,
THOUGH THE WORLD LISTENED TO MY SONGS

Meraa dard koee, naa jaan sakaa
NONE COULD DISCERN MY PAIN,

Naa jaan sakaa,
COULDN’T DISCERN...

Ek teraa sahaaraa thaah dil ko,
YOURS WAS THE ONLY SUPPORT FOR THE HEART,

Ek teraa sahaaraa thaah,
YOURS WAS THE ONLY SUPPORT,

Tuu bhee naa mujhe pehchaan sakaa,
EVEN YOU COULDN’T RECOGNIZE ME,

Tuu bhee naa mujhe, pehchaan sakaa,
EVEN YOU COULDN’T RECOGNIZE ME,

Bachpan ke voh geet puraane,
THOSE CHILDHOOD SONGS OF YORE

Aaj tujhe naa yaad rahe
HAVE ELUDED YOU TODAY,

Meree kahaanee....
MY STORY...


Mai.n apnaa fasaana keh naa sakaa,
I COULDN’T CONVEY MY STORY,

Mere dil kee tamanna dil me.n rahee,
MY HEART’S LONGING REMAINED BURIED IN THE HEART,

Lo aaj kinaare par...
BEHOLD! ON THE SHORE TODAY...

Lo aaj kinaare par aake~~~
BEHOLD! AFTER COMING TO THE SHORE TODAY

Armaano.n kee kashtee Doob gayee
SANK THE BOAT OF MY DESIRES,

Armaano.n kee kashtee Doob gayee,
SANK THE BOAT OF MY DESIRES,

Qismat ko manzoor yahee thaah
THE ONLY COURSE THAT THE FATE CHOSE WAS,

Labb pe mere fariyaad rahe,
LAMENTS SHOULD DWELL ON MY LIPS,

Meree kahaanee,
MY STORY...

Meree kahaanee bhoolne waale,
O FORGETTER OF MY STORY

Teraa jahaa.n aabaad rahe
MAY YOUR WORLD PROSPER.

NASIR

The worst thing is holding on to someone who doesn't want to be held on to.
~by Noelle P.~

335. Translation of Sad Songs of Rafi: Naseeb Dar Pe Tere...

Movie: DEEDAR (1951)
Lyrics: Shakeel Badayuni
Music: Naushad

Rafi Sahaab’s evergreen number: Naseeb Dar Pe Tere...

Roman Transliteration/English Translation of the original Urdu/Hindi lyrics:


naseeb dar pe tere, aazmaane aayaa hoo.n,
I’VE COME TO TRY MY LUCK AT YOUR DOOR-STEP,

naseeb dar pe, tere aazmaane aayaa hoo.n,
I’VE COME TO TRY THE LUCK AT YOUR DOOR-STEP,

aazmaane aayaa hoo.n,
I’VE COME TO TRY

naseeb dar pe tere,
MY LUCK AT YOUR DOOR-STEP..

tujhee ko teree kahanee...
TO YOU, YOUR STORY...

tujhee ko teree kahaanee, sunaane aayaa hoo.n,
I’VE COME TO NARRATE YOUR STORY TO YOU,

naseeb dar pe, tere aazmaane aayaa hoo.n...
I’VE COME TO TRY MY LUCK AT YOUR DOOR-STEP,


jo naghme.n soye huwe..., hai.n tere khayaalo.n, me.n,
THOSE DORMANT SONGS THAT ARE IN YOUR MIND,

hai.n tere khayaalo.n me.n,
THAT ARE IN YOUR MIND,

jo naghme.n soye huwe hai.n, tere khayaalo.n me.n,
THOSE DORMANT SONGS THAT ARE IN YOUR MIND,

unhee.n ko aaj mai.n gaa kar....
BY SINGING THEM TODAY...

unhee.n ko aaj mai.n gaa kar, jagaane aayaa hoo.n,
BY SINGING THEM TODAY, I’VE COME TO AROUSE YOU,

naseeb dar pe, tere haay,
MY LUCK AT YOUR DOOR-STEP, OH!

naseeb dar pe, tere aazmaane aayaa hoo.n,
I’VE COME TO TRY MY LUCK AT YOUR DOOR-STEP,

aazmaane aayaa hoo.n...
I’VE COME TO TRY...


oh~~~ bahaa bhee de meree, haalat pe aaj doh, aa.nsoo
SHED A COUPLE OF TEARS TODAY ON MY CONDITION,

aaj, doh aa.nsoooo~~~
A COUPLE OF TEARS TODAY...

bahaa bhee de meree haalat pe, aaj doh aa.nsoo,
SHED A COUPLE OF TEARS TODAY ON MY CONDITION,

mai.n apne dil kee lagee ko...
THE CRAVING OF MY HEART,....

main apne dil kee lagee ko, bujhaane aayaa hoo.n
THE CRAVING OF MY HEART, I’VE COME TO QUENCH,

naseeb dar pe, tere haay aazmaane aayaa hoo.n
I’VE COME TO TRY MY LUCK AT YOUR DOOR-STEP, OH!

aazmaane aayaa hoo.n...
I’VE COME TO TRY...

ho~~~


agar woh saamne hote, toh unse, yeh kehtaa~~~~
IF SHE WERE FACING ME, THEN THIS IS WHAT I’D TELL HER,

agar woh saamne hote toh unse yeh kehtaa,
IF SHE WERE FACING ME, THEN THIS IS WHAT I’D TELL HER:

tere huzoor me.n big.dee...
IN YOUR PRESENCE, MY LOT...

tere huzoor me.n big.dee, banaane aayaa hoo.n,
I’VE COME TO BETTER MY LOT IN YOUR PRESENCE,

naseeb dar pe tere aazmaane aayaa hoo.n.
I’VE COME TO TRY MY LUCK AT YOUR DOOR-STEP.

NASIR.

“Reflect upon your present blessings of which every man has many - not on your past misfortunes, of which all men have some”
Charles Dickens

113. Translation of Sad Song of Rafi: Teraa Kaam Hai Jalna...

From: Paapi (1953)
Music: S Mohinder
Lyricist: Rajinder Krishen




Rafi's Rare Gem: Tera Kaam Hai Jalna Parwaane...

Roman Transliteration/English Translation of the original lyrics:

Tera Kaam Hai Jalna Parwaane
YOUR JOB IS SELF-IMMOLATION O LOVER

Chaahe Shama Jale Ya Na Jale
WHETHER THE LAMP BURNS OR NOT,

Shama Jale Ya Na Jale,
THE LAMP BURNS OR NOT,

Tuu Pankh Jalaale Deewaane
BURN YOUR WINGS O CRAZY ONE

Chaahe Shama Jale Ya Na Jale
WHETHER THE LAMP BURNS OR NOT,

Shama Jale Ya Na Jale...
THE LAMP BURNS OR NOT...


Yeh Dard Muhabbat Ka Sahe Jaa
THIS PANG OF LOVE GO ON SUFFERING,

Tuu Aag Ke Dariya mein Bahe Jaa
IN THE BLAZING RIVER GO ON DRIFTING,

Kehti Hai Tau Duniya Kehne De
IF THE WORLD BLAMES – BE IT,

Tuu Jalte Jalte Yeh Kahe Jaa
TELL THEM THIS WHILE YOU GO ON BURNING,

Yeh Kahe Jaa
THIS (YOU) GO ON TELLING:

Yoo.n Jal Marte Hai.n Deewaane
THUS THE CRAZY ONES BURN AND DIE,

Yoo.n Jal Marte Hai.n Deewaane
THUS THE CRAZY ONES BURN AND DIE,

Chaahe Shama Jale Ya Na Jale
WHETHER THE LAMP BURNS OR NOT,

Shama Jale Ya Na Jale...
THE LAMP BURNS OR NOT....


Tera Pyaar Nahi.n Hai Harjaaee,
YOUR LOVE IS NOT INCONSTANT,

Tuu Saudaaee Hai Saudaaee,
YOU’RE MAD, INSANE,

Marne Mei.n Hai Shaan Muhabbat Ki
IN DEATH IS THE GLORY OF LOVE

Jeene mein hai Teri Ruswaaee
IN LIVING LIES YOUR IGNOMINY

Ruswaaee,
IGNOMINY

Marte Nahi.n Jalkar Parwaane
LOVERS DON’T DIE AFTER BURNING

Marte Nahi.n Jalkar Parwaane
LOVERS DON’T DIE AFTER BURNING

Chaahe Shama Jale Ya Na Jale
WHETHER THE LAMP BURNS OR NOT,

Shama Jale Ya Na Jale...
THE LAMP BURNS OR NOT...


Teraa Kaam Hai Jalna Parwaane
YOUR JOB IS SELF-IMMOLATION O LOVER

Chaahe Shama Jale Ya Na Jale
WHETHER THE LAMP BURNS OR NOT,

Shama Jale Ya Na Jale,
THE LAMP BURNS OR NOT,


NASIR.

Neither the tale of that candle of Chegel one can tell,
Nor about the state of the burnt heart one can tell.
There is grief in my distressed heart because there is
Not one friend to whom the grief in one’s heart one can tell.
- HAFEZ


Notes: In mid-eastern and Indo-Pak culture and literature, Moth is a metaphor for Lover and the lighted Candle or Lamp is a metaphor for the beloved. Moths hover around the flames till they are burnt down. The lovers are expected to rise to such sublime level.

111. Translation of Sad Song of Rafi: Huwe Hamm Jinke Liye Barbaad...

From: DEEDAR (1951)
Music: Naushad
Lyricist: Shakeel Badayuni

Rafi singing about the Lost Childhood Love: Huwe Hamm Jinke Liye Barbaad...

Roman Translation/English Translation of the original lyrics:



AAAA AAAA

Aseer-e-Panjaaye, Ahd-e-Shabab, Kar Ke Mujhe,
MAKING ME CAPTIVE IN THE GRIP OF YOUTH,

Kahaa.n Gaya Mera Bachpan, Kharaab Kar Ke Mujhe,
WHERE HAS MY CHILDHOOD GONE, DESPOILING ME...

Ay.n Ay.n Ay.n Ay.n Ay.n Ay.n


Huwe Hamm Jinke Liye Barbaad
FOR WHOSE SAKE WE’VE BEEN RUINED

Voh Hamm Ko, Chaahe Kare Na Yaad
EVEN IF SHE DOES’NT THINK ABOUT US

Jeevan Bhar,
FOR THE LIFETIME,

Jeevan Bhar Unn Ki Yaad Mein
FOR THE LIFETIME IN HER MEMORY

Hamm Gaaye Jaayenge,
WE’LL GO ON SINGING,

Gaaye Jaayenge.
GO ON SINGING.


Ek Zamaana Tha Voh Pal Bhar
TIME WAS WHEN SHE FOR A MOMENT

Hamm Se Rahe Na Duur,
DIDN’T REMAIN AWAY FROM US,

Hamm Se Rahe Na Duur,
DIDN’T REMAIN AWAY FROM US,

Ek Zamaana Tha Voh Pal Bhar,
TIME WAS WHEN SHE FOR A MOMENT

Hamm Se Rahe Na Duur,
DIDN’T REMAIN AWAY FROM US,

Hamm Se Rahe Na Duur,
DIDN’T REMAIN AWAY FROM US,

Ek Zamaana Yeh Ki Huwe Hai.n
TIME IS WHEN WE’RE

Milne Se Majboor,
RESTRAINED FROM MEETING,

Milne Se Majboor,
RESTRAINED FROM MEETING,

Ek Zamaana Yeh Ki Huwe Hai.n
TIME IS WHEN WE’RE

Milne Se, Majboor
RESTRAINED FROM MEETING,

Milne Se Majboor,
RESTRAINED FROM MEETING,

Voh Gham Se Laakh Rahe.n Aazaad,
SHE MAY REMAIN FREE OF ANY GRIEF UMPTEEN TIMES

Sune Na, Dard Bhari Fariyaad
NOT HEARING THE PAINFUL LAMENT,

Afsaana,
THE ROMANCE,

Afsaana Hamm Tau Pyaar Ka
THE ROMANCE ABOUT THE LOVE

Dohraayenge Jaayenge
WE’LL GO ON REPEATING,

Gaaye Jaayenge....
GO ON SINGING....


Mai.n Hoo.n Aysaa Deep Ke Jis mein,
I’M SUCH A LAMP IN WHICH

Mai.n Hoo.n Aysaa Deep Ke Jis mein
I’M SUCH A LAMP IN WHICH

Na Baatee Na Tel,
THERE IS NO WICK, NO OIL,

Na Baatee Na Tel,
THERE IS NO WICK, NO OIL,

Bachpan Beeta Bani Muhabbat Chaar Dino.n Ka Khel,
CHILDHOOD PASSED BY, LOVE BECAME A SHORT ILLUSION,

Chaar Dino.n Ka Khel,
A SHORT ILLUSION

Bachpan Beeta Bani Muhabbat Chaar Dino.n Ka Khel,
CHILDHOOD PASSED BY, LOVE BECAME A SHORT ILLUSION

Chaar Dino.n Ka Khel,
A SHORT ILLUSION,

Rahe Yeh Dil Ka Nagar Aabaad
MAY THIS HEART’S TOWN FLOURISH

Basee Hai Jis Mein Kisi Ki Yaad
IN WHICH SOMEONE’S MEMORY DWELLS,

Hamm Dil Ko,
THE HEART - WE’LL...

Hamm Dil Ko Unn ki Yaad Se
THE HEART WE’LL,WITH HER MEMORY

Behlaaye Jaayenge
GO ON AMUSING,

Gaaye Jaayenge,
GO ON SINGING,

Huwe Hamm Jinke Liye Barbaad,
FOR WHOSE SAKE WE’VE BEEN RUINED

Voh Hamm Ko, Chaahe Kare Na Yaad
EVEN IF SHE DOESN’T THINK ABOUT US

Jeevan Bhar,
FOR THE LIFETIME,

Jeevan Bhar Unn Ki Yaad Mein,
FOR THE LIFETIME IN HER MEMORY

Hamm Gaaye Jaayenge,
WE’LL GO ON SINGING,

Gaaye Jaayenge.
GO ON SINGING.

NASIR.

Yet, though I cannot be beloved,
Still let me love!
-Lord Byron.

108. Translation of Sad Song of Rafi: HO O O Bachpan Ke Din Bhulaa Na Dena...

From: the Soundtrack of DEEDAR (1951)
Music: Naushad
Lyricist: Shakeel Badayuni.


The popular song in Mohammed Rafi’s voice: HO O O Bachpan ke din Bhulaa Na dena...

Roman Transliteration/English Translation of the original lyrics:

HO O O Bachpan ke din bhulaa Na Dena
HO O O LET NOT THE CHILDHOOD DAYS BE FORGOTTEN,

HO O O Bachpan Ke Din Bhulaa Na Dena
HO O O LET NOT THE CHILDHOOD DAYS BE FORGOTTEN,

Aaj Hanse, Kal Rula Na Dena
EVEN AS WE LAUGH TODAY CAUSE US NOT TO WEEP TOMORROW

Aaj Hanse, Kal Rula Na Dena
EVEN AS WE LAUGH TODAY CAUSE US NOT TO WEEP TOMORROW,

HO O O Bachpan ke din bhulaa Na Dena
HO O O LET NOT THE CHILDHOOD DAYS BE FORGOTTEN....


Rut Badle Ya Jeevan Beete
WHETHER THE SEASON CHANGES OR THE LIFE PASSES BY,

Dil Ke Taraane Ho.n Na Puraane
THE HEART’S MELODIES – MAY THEY NOT BE OUTDATED!


Rut Badle Ya Jeevan Beete
WHETHER THE SEASON CHANGES OR THE LIFE PASSES BY,

Dil Ke Taraane Ho.n Na Puraane,
THE HEART’S MELODIES MAY THEY NOT BE OUTDATED,

HO HO O O O


Naino.n mein Ban kar Sapan Suhaane
TRANSFORMING IN THE EYES AS PLEASANT DREAMS

Aayenge Ek Din Yahi Zamaane
THE SAME TIMES WILL COME ONE DAY,

Yahi Zamaane,
THE SAME TIMES....

Yaad Hamaari, MiTa Na Dena
NEVER ERASE OUR MEMORY,

Aaj Hanse, Kal Rula Na Dena
EVEN AS WE LAUGH TODAY, CAUSE US NOT TO WEEP TOMORROW

HO O O Bachpan ke din bhulaa Na Dena
HO O O LET NOT THE CHILDHOOD DAYS BE FORGOTTEN....

Bachpan Ke Din Bhulaa Na Dena
LET NOT THE CHILDHOOD DAYS BE FORGOTTEN,

Aaj Hanse Kal Rula Na Dena
EVEN AS WE LAUGH TODAY, CAUSE US NOT TO WEEP TOMORROW

Rula Na Dena -
CAUSE US NOT TO WEEP -

Rula Na Dena
CAUSE US NOT TO WEEP

Rula Na Dena-
CAUSE US NOT TO WEEP-

NASIR.

... The glamour
Of childish days is upon me, my manhood is cast
Down in the flood of remembrance ... - D.H. (David Herbert) Lawrence

107. Translation of Sad Song of Rafi: Lut Gaye, Lut Gaye, Lut Gaye Ho...

From: CHHOTI BHAABHI (1950)
Music: Husnlal Bhagatram
Lyrics: Qamar Jalalabadi.

Again, an old Gem from the VOICE: LuT Gaye, LuT Gaye, LuT Gaye HO.....

Roman Transliteration/Roman Translation of the original lyrics:


LuT gaye, luT gaye, LuT gaye ho
I’VE BEEN PILLAGED, PLUNDERED, LOOTED, OH!

Pyaar mein tere luT gaye ho
IN YOUR LOVE, I’VE BEEN LOOTED, OH!

LuT gaye, luT gaye, LuT gaye ho
I’VE BEEN PILLAGED, PLUNDERED, LOOTED, OH!

Pyaar mein tere luT gaye ho
IN YOUR LOVE, I’VE BEEN LOOTED, OH!


Aankho.n mein Aansoo Behte Hain
IN THE EYES THE TEARS FLOWETH,

Aankho.n mein Aansoo Behte Hain
IN THE EYES THE TEARS FLOWETH,

Hamm Chup Hain Aansooo Kehte Hain
SILENT AM I, THE TEARS SAYETH:

LuT gaye, luT gaye, LuT gaye ho
I’VE BEEN PILLAGED, PLUNDERED, LOOTED, OH!

Pyaar mein tere luT gaye ho
IN YOUR LOVE, I’VE BEEN LOOTED, OH!


To.D Diya Dil Tuune Mera
YOU BROKE THE HEART OF MINE,

To.D Diya Dil Tuune Mera
YOU BROKE THE HEART OF MINE,

Zaalim Yahi Pyaar Tha tera
O OPPRESSOR, SUCH WAS THE LOVE OF THINE,

LuT gaye, luT gaye, LuT gaye ho
I’VE BEEN PILLAGED, PLUNDERED, LOOTED, OH!

Pyaar mein tere luT gaye ho
IN YOUR LOVE, I’VE BEEN LOOTED, OH!


Doh Lafzo.n Ka Mera Fasaana
TWO WORDS (sufficeth) FOR MY TALE:

Ik tera Aana Ik tera Jaana
ONE: YOUR ARRIVAL; ANOTHER: YOUR DEPARTURE,

Aana Tha Khushiyo.n Ka Ishaara
THE ARRIVAL WAS AN INDICATION OF HAPPINESS,

Jaane Par Dil Ro Ke Pukaara
ON DEPARTURE THE HEART CRIED OUT:

Jaane Par Dil Ro Ke Pukaara
ON DEPARTURE THE HEART CRIED OUT:

Jaane Par Dil Ro Ke Pukaara
ON DEPARTURE THE HEART CRIED OUT:

LuT gaye, luT gaye, LuT gaye ho
I’VE BEEN PILLAGED, PLUNDERED, LOOTED, OH!

Pyaar mein tere luT gaye ho
IN YOUR LOVE, I’VE BEEN LOOTED, OH!

LuT gaye, luT gaye, LuT gaye ho
I’VE BEEN PILLAGED, PLUNDERED, LOOTED, OH!

Pyaar mein tere luT gaye ho
IN YOUR LOVE, I’VE BEEN LOOTED, OH!

NASIR.

59. Translation of Rafi Song: Phool Sa Chehra....

From: Raat Aur Din (1967)
Music: Shankar Jaikishen.
Lyricist: Hasrat Jaipuri


Romantic Rafi in yet another song, Phool sa Chehra....

English Transliteration/Translation of the original lyrics:



Phool sa Chehraa
FLOWER-LIKE FACE

Chaand si Rangat,
MOON-LIKE COMPLEXION

Chaal Qayamat
GAIT SO WONDERFUL

Kya Kahiye
WHAT TO SAY!

Jo bhi Dekhe
WHOEVER LOOKS

Ho Jaaye Paagal
BECOMES CRAZY,

Apni tau Haalat
AS FOR ME

Kya Kahiye...
WHAT TO SAY.

Phool sa Chehraa
FLOWER-LIKE FACE.....


Apni Ada Se Aap Simatna
SHRIVELLING BY HER OWN ACTION,

Saaye se Apne Aap Jhijhakna
STARTLING AT HER OWN SHADOW,

Haath Lage tau Kumlaah Jaaoe,
SHRINKING ON BEING TOUCHED,

Aisi Nazaaqat
SUCH ELEGANCE -

Kya Kahiye
WHAT TO SAY!

Phool sa Chehraa
FLOWER-LIKE FACE

Chaand si Rangat,
MOON-LIKE COMPLEXION

Chaal Qayamat
GAIT SO WONDERFUL

Kya Kahiye
WHAT TO SAY!

Phool sa Chehraa
FLOWER-LIKE FACE....


Ek Nazar se Dekh Lo Jisko
IF YOU CAST A SINGLE GLANCE ON SOMEONE

Bemaut Woh Tau Maara hee Jaaye
A PREMATURE DEATH HE WOULD DIE,

Oopar Se Bholi,
GUILELESS ON THE EXTERIOR,

Andar se Qaatil
KILLER FROM WITHIN,

Aisi Shararat
SUCH MISCHIEF –

Kya Kahiye
WHAT TO SAY!

Phool sa Chehraa
FLOWER-LIKE FACE

Chaand si Rangat,
MOON-LIKE COMPLEXION

Chaal Qayamat
GAIT SO WONDERFUL

Kya Kahiye
WHAT TO SAY!

Jisko Zamaana Kehta Hai Sooraj
THAT WHICH THE WORLD CALLS “SUN”

Woh Tau Tumhaara Naqsh-e-Qadam Hai
THAT ACTUALLY IS YOUR FOOT-PRINT,

Mil Jaaye Jis Ko Tujh si Haseena,
WHOEVER GETS SUCH A BEAUTY AS YOURSELF,

Us ki Tau Haalat
HIS CONDITION -

Kya Kahiye
WHAT TO SAY

Phool sa Chehraa
FLOWER-LIKE FACE

Chaand si Rangat,
MOON-LIKE COMPLEXION

Chaal Qayamat
GAIT SO WONDERFUL

Kya Kahiye
What to say!

Jo bhi Dekhe
WHOEVER LOOKS

Ho Jaaye Paagal
BECOMES CRAZY,

Apni tau Haalat
AS FOR ME

Kya Kahiye...
WHAT TO SAY.

Phool sa Chehra
FLOWER-LIKE FACE.....


NASIR.