TALKING OLD ‘FAUJIS’

Today I attended my sixth Annual General Meeting and lunch of the Navy Foundation, Mumbai Chapter. Once again, I was reminded of this old song by Elton John titled ‘Talking Old Soldiers’. When you read the lyrics and at the end of it listen to Elton John sing the song, you would realise why I get reminded of this:

Why hello, say can I buy you another glass of beer
Well thanks a lot that’s kind of you, it’s nice to know you care
These days there’s so much going on
No one seems to want to know
I may be just an old soldier to some
But I know how it feels to grow old

Yeah that’s right, you can see me here most every night
You’ll always see me staring at the walls and at the lights
Funny I remember oh it’s years ago I’d say
I’d stand at that bar with my friends who’ve passed away
And drink three times the beer that I can drink today
Yes I know how it feels to grow old

I know what they’re saying son
There goes old man Joe again
Well I may be mad at that I’ve seen enough
To make a man go out his brains
Well do they know what it’s like
To have a graveyard as a friend
`Cause that’s where they are boy, all of them
Don’t seem likely I’ll get friends like that again

Well it’s time I moved off
But it’s been great just listening to you
And I might even see you next time I’m passing through
You’re right there’s so much going on
No one seems to want to know
So keep well, keep well old friend
And have another drink on me
Just ignore all the others you got your memories
You got your memories

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Elton John wrote the lyrics together with Bernie Taupin. Whilst the entire song has lyrics that invoke nostalgia and many old ‘faujis‘ would identify with these, here are some words that are said in regret:

No one seems to wants to know…

That’s what happens when you retire from the armed forces. You join a wonderful territory called Oblivion where no one disturbs you. You are by yourself.

We are having an endless debate in the media and elsewhere about something called OROP (One Rank One Pension). As usual, both political fronts, ie, NDA (led by BJP) and UPA (led by Congress) are vying with each other to bring out, rightly or wrongly (mostly wrongly, I am sure) how the other front has been responsible for the delay in implementing this for the last many decades. Horrible jokes and cartoons are going around. One of these is about a veteran going through a graveyard and suddenly held by his leg by a hand coming out of the grave and a ghostly voice asking, “OROP aa gaya kyaa?” (Has the OROP (finally) arrived?)

(Pic courtesy: exairforce.blogspot.com)
(Pic courtesy: exairforce.blogspot.com)

Veterans in my Facebook Group called ‘Humour In And Out Of Uniform’ (HIAOOU) routinely bring out how soldiers are respected in every other country except in India wherein everyone pays lip-service but leaves them in their exclusive territory ‘Oblivion‘.

With this background, lets take stock of yet another AGM of the Navy Foundation; I am sure it is like any other ‘Talking Old ‘Faujis‘ Forum. We didn’t touch the OROP since adequate heat is already being generated about it elsewhere; I believe the Energy companies are seriously contemplating whether they can light up a few cities by converting such heat into electricity. Our most important issue was another four letter acronym called ECHS (Ex-servicemen Contributory Health Scheme); this joke brings us as much mirth as OROP. Indeed, whilst pensioners post 2006 are indeed a happy lot as compared to pre-2006 period, ECHS is one issue that has all of us as hapless victims. ECHS brings home the sad fact to all of us that there are Rules and Regulations and beyond them more Rules and Regulations and beyond them more. The other ‘R’ that you are looking for: ‘Relief’, that is, is lost in these other R’s and R’s. There are experts who have figured out some of these rules and regulations. For others, ECHS rules and regulations act as an index of the health of the ex-servicemen; if you can figure out majority of these, you are fit and do not require any treatment!

Every AGM starts with ECHS and ends with ECHS. The future is bright. Once all the empanelment is complete and the latest R’s and R’s implemented, ECHS would start being beneficial and less tedious, if not downright insulting. Officers who are still in service and somewhat responsible for ECHS invariably assure us that they are doing everything within their means to ensure ECHS becomes effective. However, as veterans we must understand that one, nothing is in their hand and two, whatever little powers they had to purchase medicines have also been usurped by the bureaucrats by a latest order dated 30th April 2015.

Where is humour in this? Well, it is in the fact that about ten of the veterans were given mementoes for having become octogenarian. This means that despite the inadequacies of ECHS veterans do live long. Perhaps the long wait for OROP doesn’t let them go. Many veterans would have become seriously ill but knowing that they would then be at the mercy of ECHS keeps them feeling fit.

What are the other earth-shaking issues of the Talking Old ‘Faujis‘? Here is a really important one (Ha!Ha!): Auto-rickshaws should be allowed by patients visiting ECHS clinics right up to the clinics and not stopped at the gate! This point would be discussed with the Command authorities to understand their point of view and if possible be implemented in due course of time.

Another very significant (Ha!Ha!) point was brought out that to call widows of ex-servicemen as widows is rather demeaning and the veterans must think of a more respected word to describe their status! Someone suggested ‘Wives of Late Veterans’. This was seriously contested by some veterans who arrived late for the AGM and had missed most of the proceedings. They said they weren’t always late but hadn’t reckoned for the traffic conditions. Hence, to single them out for reproach wasn’t called for! Over drinks, I made a suggestion that Hinglish could be used to describe the widows of veterans. Since the retired officer is called Veteran; perhaps his widow could be called Veterani.

The best point of the AGM was a gem indeed:

The venerable secretary of the Navy Foundation announced that arrangements have been worked out with the Command that when a veteran conks off, two sailors in uniform would be deputed by the Command to lay wreath on his/her mortal remains; and, in case he/she is a gallantry award winner, the Command would arrange for a Guard of Honour at his/her funeral.

The ‘R’ of Relief that eludes the ECHS has finally been provided in the form of a wreath and bugle at the death of a veteran.

Wreath Laying Ceremony for victims of INS Sindhuratna Mishap (Pic courtesy: www.dailypioneer.com)
Wreath Laying Ceremony for victims of INS Sindhuratna Mishap (Pic courtesy: www.dailypioneer.com)

There was a Ghazal Singer who sang during the drinks and lunch. Most ‘Talking Old ‘Faujis’ however preferred the sound of guzzle (of beer and gin) rather than of ghazal.

We await the next AGM and Annual Lunch for more of ‘Talking Old ‘Faujis‘. We are secure in our knowledge that at least we have earned a flower-wreath after decades of being in the Navy. My former CO on Ganga used to say, “In the Navy, brickbats travel upwards; bouquets travel downwards.” After thirty years, I understood what he was trying to say.

IMMORTAL GHAZALS OF SHAKEEL BADAYUNI – PART II

This post is in continuation of my ‘Immortal Ghazals of Shakeel Badayuni – Part I’.

On the 10th of January this year I started a Facebook group ‘Main Shayar To Nahin’ primarily to air my devotion for him and some other Urdu poets. I regularly put up Shakeel’s poetry with meanings so that more and more people can savour his excellence. I call him the King of Irony since no one can write irony better than he did. Just one example:

Na milata gham to barbaadi ke afsaane kahan jaate?
If there was to be no sorrow, where would odes of ruin find a place
Agar duniya chaman hoti to veeraane kahan jaate?
If the world would be just a garden, where would deserts find a place
Chalo achha hua apano mein koi gair to nikala,
It is good that amongst own people there was an outsider too
Agar hote sabhi apane to begaane kahan jaate?
If all people were your own (in the world) where would strangers find a place

My blog already has a number of articles on Shakeel Badayuni (‘Shakeel Badayuni – The King Amongst Lyricist And Poets – Part I’; ‘Shakeel Badayuni – The King Amongst Lyricist And Poets – Part II’, ‘The Best Of Old Hindi Songs – Rafi, Shakeel, Naushad And Dilip Kumar Together’, and ‘Another Tribute To Shakeel Badayuni In The Month Of His Death Anniversary’)

Shakeel7

We were a slave nation for 31 years of his 53 that he walked on this earth. All his contemporaries wrote about social inequalities, poverty, slavery and the like. Shakeel wrote about Love, Mohabbat, Ishq, Wafa, Ulfat; it is as if he lived in a different world. In addition, his god faring nature ensured that he also wrote the finest Bhajans in Hindi movies.

Lets restart the journey into his Ghazals:

Ghazal #16

This is not just beautiful; Shakeel has crafted it to perfection with his lament.

Please enjoy: Chandini mein rukh-e-zebaa nahin dekha jaata:

Chandnii mein rukh-e-zebaa nahin dekha jaata
Maah o khurshiid ko yakjaa nahin dekha jaata
In the moonshine you shouldn’t see (her) beautiful face,
(Just as) You can’t see moon-month and sun together
.

(rukh-e-zebaa=beautiful face; maah= moonmonth; khurshiid= the sun; yakjaa=together)

Youn to un aankhon se kyaa kyaa nahin dekha jaata
Haan magar apana hi jalwa nahin dekha jaata
Those eyes, they can see this and that and everything,
However, they cannot see their own splendour

(jalwa=display, splendour)

Diida o dil ki tabaahi mujhe manzuur magar
Un kaa utara huaa chehra nahin dekha jaata
I accept the ruining of my sight and heart,
But, I just can’t bear to see her fallen face

(Diida=sight; tabaahi=ruin; manzuur=accepted)

Zabt-e-gham haan ashkon kaa talaatum
Ab to suukhaa huaa dariyaa nahin dekha jaata
Tolerance is necessary to see the upheaval of tears,
Now, it is unbearable to see the river having dried up

(Zabt-e-gham=tolerance; ashkon=tears; talaatum=upheaval)

Zindagi aa tujhe qaatil ke havaale kar duun
Mujhase ab khoon-e-tamanna nahin dekhaa jaata
My life, come I shall offer you to the murderer
I cannot bear to see the murder of my desires

(qaatil=murderer; khoon-e-tamanna=murder of desires)

Ab to jhuutii bhi tasalli ba-sar-o-chashm qubuul
Dil kaa rah rah ke tadapanaa nahin dekha jaata
Now I accept by all means false or fake assurance
I cannot bear to see my heart repeatedly sobbing

(tasalli=assurance, comfort; ba-saro-chashm=by all means; qubuul=consented)

Ghazal #17

This too has been sung by Talat Mahmood and has exquisite lyrics.

Please enjoy: Dil ko behlaane ki tadbeer to hai

Dil ko behlaane ki tadbeer to hai
Tu nahin teri tasveer to hai
I have a solution for amusing my heart
I don’t have you but have your picture

(Tadbeer=solution)

Hamsafar chhod gaye mujhako to kyaa
Saath mere meri taqdeer to hai
So what if fellow travellers abandoned me
I have my destiny to keep me company

(Hamsafar=fellow travellers; taqdeer=destiny)

Qaid se chhoot ke bhi kyaa paaya
Aaj bhi paanv mein zanjeer to hai.
What did I obtain by freeing myself from the prison
Even today my feet are shackled

Kyaa majal unaki ke na den khat ka jawaab
Baat kuch baa.is-e-taakheer to hai
How dare she not reply to my epistle?
It is just that there is some cause for delay

(baa.is-e-taakheer=cause of delay)

Purshish-e-haal ko woh aa hi gaye
Kuchh bhi ho ishq mein taaseer to hai
She came just to enquire about my well-being
Whatever happens there is power in Love

(Purshish-e-haal=to enquire about well-being; taaseer=effect)

Gham ki duniyaa rahe aabaad Shakeel
Muflisi mein koi jaagir to hai
The world of sorrows may prosper, Shakeel
There are riches even in poverty

(Muflisi=poverty; jaagir=property)

Ghazal#18

Please enjoy: Hum unaki anjuman ka samaan ban ke reh gaye

Ham unaki anjuman ka samaan ban ke reh gaye
Sar-taa-qadam nigaah o zubaan ban ke reh gaye.
I only remained a scene in her society
From head to foot I remained just eyes and tongue
.

(Anjuman=society, party; samaan=scene; Sar-taa-qadam= from head to foot)

Palte muqqadaraat kuchh is taur se ki ham
Tasveer-e-inqilaab-e-jahaan ban ke reh gaye
My destiny turned in such a manner
That I could just become the picture of world’s revolution

(Muqqadaraat= destiny; taur=manner; tasveer-e-inqilaab-e-jahaan= picture of world’s revolution)

Mazloom dil ki talkh-navaayi to dekhna
Naghme to jab taq aaye fugaan ban ke reh gaye
Just have a look at the bitter things said by my oppressed heart
Songs were yet to arrive, I could just become clamour.

(Mazloom= injured, oppressed; talkh-navaayi= saying bitter things; naghme= melodies; fughaan= clamour)

Ab ham hain aur haqeeqat-e-aalam hai ai Shakeel,
Lamhe khushi ke khwaab-e-giraan ban ke reh gaye.
Now I am here and the reality of tragedy, O Shakeel
Hours of happiness were just dream makers.

(Haqeeqat-e-aalam= reality of tragedy; lamhe= moments; khwaab-e-giraan= dream makers)

Ghazal #19

A little difficult but very meaningful.

Please enjoy: Duniya ki rawayat se begaana nahin hoon

Duniya ki rawayat se begaana nahin hoon,
Chhedo naa mujhe main koi deewana nahin hoon.
I am not a stranger to the tradition of the world
Don’t tease me, I am not some mad man

(Rawayat=tradition)

Is kasrat-e-gham pe bhi mujhe hasrat-e-gham hai,
Jo bhar ke chhalak jaaye wo paimaana nahin hoon.
I have a desire for sorrows for this excess of sorrows
It is not a true wine measure that overflows after being full

(kasrat-e-gham=excess of sorrows; hasrat-e-gham=desire for sorrows)

Ruudaad-e-gham hai taaza mere dam se
Unvaan-e-har-fasaana hoon afsaana nahin hoon
Story of sorrows is fresh because of me
I am the beginning of every romance but not the tale of romance

(Ruudaad-e-gham=story of sorrows; taaza=fresh; unvaan-e-har-fasaana=Beginning of romance; afsaana=tale of romance)

Ilzaam-e-junoon den na mujhe ahl-e-mohabbat,
Main khud ye samajhtaa hoon deewana nahin hoon.
People of love shouldn’t accuse me of madness
I consider myself that I am not a mad man

(Ilzaam-e-junoon= Accusation of madness; ahl-e-mohabbat= people of love; deewana=crazy in love)

Main qaayal-e-khud-daari-e-ulfat sahi lekin
Aadaab-e-mohabbat se begaana nahin hoon.
I may be a fan of selfish love, but
I am not a stranger to the norm of Love

(Qaayal-e-khud-daari-e-ulfat= Fan or follower of selfish love; Aadaab-e-mohabbat=ways/norms of love; begaana=stranger)

Hai barq-e-sar-e-toor se dil shola-ba-daaman
Sham-e-sar-e-mahfil hoon parvaana nahin hoon
Because of lightening on Toor mountain, there is fire at the hem of my heart
I am a patron if the evening assembly of poets and not a moth

(barq-e-sar-e-toor=lightening on Toor mountain; shola-ba-daaman= fire at hem of apparel; Sham-e-sar-e-mahfil=Patron of evening assembly of poets; parvaana=moth)

Hai gardish-e-saagar meri taqdeer ka chakker
Mohtaaj-e-tavaaf-e-dar-e-maikhaana nahin hoon
The movement (or revolution) of the wine-glass is the turn of my fate,
(But) I am not a slave of the door knob of the bar

(gardish-e-saagar=movement of glass of wine; taqdeer= fate; Mohtaaj-e-tavaaf-e-dar-e-maikhaana=slave of the door-knob of the bar)

Kaanto se guzr jaata hoon daaman ko bacha kar
Phoolon ki siyaasat se mein begaana nahin hoon.
I pass through the thorns protecting the hem if my apparel
However I am not a stranger to the administration or rule of flowers

(siyaasat=administration)

Lazzat-kash-e-nazraana Shakeel apni nazar hai
Mahruum-e-jamaal-e-rukh-e-jaanaana nahin hoon.
It is in my eye the taste of the pull (like a cigarette) of the gift (or present)
I am not deprived of the beauty of the female face

(Lazzat-kash-e-nazraana=taste of the pull of gift or present; nazar=eye; Mahruum-e-jamaal-e-rukh-e-jaanaana= deprived of the beauty of the female face)

Ghazal #20

This one is so good!

Please enjoy: Jab kabhi ham tere kuche se guzar jaate hain

Jab kabi ham tere kuche se guzr jaate hain
Lauh-e-idraak pe kuchh aur ubhar jaate hain
When I go through your narrow streets
Levels of perception become even higher (than before)

(Lauh-e-idraak = level of perception)

Husn se leejiye tanzeem-e-do-aalam ka sabaq
Subah hoti hai to gessu bhi sanvar jaate hain
Let the Beauty give a lesson in administration of the two worlds
As the morning comes, the tresses are combed too

(tanzeem-e-do-aalam = administration of two worlds; sabaq = lesson; gessu = hair, tresses)

Ham ne paaya hai mohabbat ka khumaar-e-abadi
Kaise hote hain vo nashe ki utar jaate hain?
I have obtained the everlasting intoxication of Love
What kind of intoxications are those that come down?

(Khumaar-e-abadi = everlasting intoxication)

Itne khaaif hain mai-o-mah se janaab-e-vaaiz
Naam-e-kausar bhi jo sunte hain to dar jaate hain
Mister Abstinent is so timid with wine and moon
He hears the name of fountain of wine in paradise and he trembles with fear

(Khaaif = timid, afraid; mai -o-mah = wine and moon; janaab-e-vaaiz = respected abstinent; Naam -e-kausar = name of fountain of wine in paradise)

Maikada band muqaffal hain dar-e-daur-o-haram
Dekhna hai ki Shakeel aaj kidhar jaate hain
The bar is closed and locked are the doors of the temple and mosque
Lets see Shakeel where do the go today

(Maikada = bar; muqaffal = locked; dar-e-daur-o-haram = doors of temple and mosque)

Ghazal #20

This has been sung by both Begum Akhtar and Farida Khanum. At the end of the original ghazal and its translation I am going to give you the version by Farida Khanum.

Please enjoy: Mere ham-nafas, mere ham-navaa, mujhe dost banake dagaa na de…

Mere ham-nafas, mere ham-navaa, mujhe dost banake dagaa na de
Main huu.N dard-e-ishq se jaa.N_valab, mujhe zindagii ki dua na de
My friend, my co-speaker, don’t deceive me after befriending me
I am almost dead with heartache, don’t wish life for me

[ham-nafas=friend; ham-navaa=speaking in unison; dagha=deceit; dard-e-ishq=heart sore; jaa.N_valab=near death, heart/life in mouth]

Mere daag-e-dil se hai raushani, usi raushani se hai zindagi
Mujhe dar hai aye mere chaaraagar, ye charaag tuu hi bujhaa na de
There is light because of my heartache, there is life because of that light
I am afraid my physician, you may not extinguish this lamp

[daag-e-dil=heart sore; chaaraagar=physician]

Mujhe chhod de mere haal par, teraa kyaa bharosaa hai chaaraagar
Ye teri nawaazish-e-muKhtasar, mera dard aur badaa na de
Please leave me on my condition, I have no trust in you physician
This small request of yours may not augment my ache

[nawaazish= request; muKhtasar=brief]

Mera azm itana baland hai ke paraaye sholon kaa dar nahin
Mujhe Khauf aatish-e-gul se hai, ye kahin chaman ko jalaa na de
My conviction is so great that I do not fear the other’s cinders
My fear is with the flame of flower that may burn down the garden

[azm=conviction; baland= high, great; sholo.n=balls of fire; khauf=fear; aatish-e-gul=flame of flower]

Wo uthe hain leke hom-o-subu, arey o ‘Shakeel’ kahaan hai tuu
Tera jaam lene ko bazm mein koi aur haath badaa na de
She has risen holding the wine cup, O Shakeel, where are you?
In this assembly in order to hold that wine cup someone else shouldn’t extend his hand

[hom=burnt offering; subu=wine cup; bazm=assembly, meeting]

https://youtube.com/watch?v=wFpK90fPA3A%3F

The subject of drinking wine from the hands of the beloved is a common subject in Urdu poetry. Shakeel did full justice to it.

Please enjoy: Laa raha hai mai koi sheeshe mein bhar ke saamne….

Laa raha hai mai koi sheeshe mein bhar ke saamne,
Kis kadar pur-kaif hai manzar nazar ke saamne
Someone is bringing wine before me in a glass
How intoxicated the scene is in front of my eyes

(pur-kaif = full of intoxication; manzar = scene, view)

Main to is aalam ko kyaa se kyaa bana deta magar,
Kis ki chalti hai hayaat-e-mukhatsar ke saamne
I could have changed this atmosphere into something, but,
Who is in control in the face of this short-life?

(aalam = atmosphere; hayaat-e-mukhatsar = short-life)

Phir na dena tanaa-e-nakaam-e-zauk-e-nazar
Hausla hai kuchh to aa jaao nazar ke saamne
Again do not rebuke me about the taste of failure
I challenge you if you have courage come face me

(tanaa = rebuke, complaint; nakaam = failure; zauk = taste)

Aah ye rudaad-e-hangaam-e-tarab ai gham-gusaar
Zikr-e-gulshan jaise ik be-baal-o-par ke saamne
O you who comforts, my sigh is that story of happening of music
As the narration of garden is in front of a bird without feathers and wings

(rudaad-e-hangaam-e-tarab = story of happening of music; gham-gusaar = one who comforts or consoles; zikr-e-gulshan = narration of garden; be-baal-o-par = without feathers and wings; helpless)

Ho chukaa jab khaatma saari ummidon ka to phir
Jaa rahe ho kyun Shakeel us fitnagar ke saamne
After the (brutal) end of all your hopes
Why then are you going Shakeel in front of the mischief maker?

(fitnagar = mischief maker)

Ghazal #22

This is so perfect that it is bound to leave you breathless!

Please enjoy: Nigaah-e-naaz ka ik vaar kar ke chhod diya…..

Nigaah-e-naaz ka ik vaar kar ke chhod diya
Dil-e-hareef ko bedaar kar ke chhod diya
She left with after just one attack of her look of love
She left me after awakening my rival heart

(Nigaah-e-naaz=Look of love; vaar=attack; Dil-e-hareef=heart of rival; bedaar = awake, vigilant)

Hui to hai younhi tardeed-e-ahd-e-lutf-o-karam
Dabi zubaan se ikraar kar ke chhod diya
It has happened somehow the refusal to accept the promise of pleasure and favour
With pursed lips she left me after giving consent

(tardeed=to refuse to admit/accept; ahd=promise; lutf=pleasure; karam=favour; ikraar=consent, promise)

Chhupe kuchh aise ki taa-ziist na aaye nazar
Raheen-e-hasrat-e-deedaar kar ke chhod diya
She hid herself such that even the trace of life cannot be seen
She left after making a pledge about the desire to see

(taa-ziist=trace or proof of life; Raheen-e-hasrat-e-deedaar=pledged to the desire to see)

Mujhe to qaid-e-mohabbat azeez thi lekin
Kisi ne mujh ko giraftaar kar ke chhod diya
The prison of love became dear to me, but,
Someone made me a prisoner but then left me

Nazar ko jur.at-e-takmeel-e-bandagii na hui
Tavaaf-e-kucha-e-dildaar kar ke chhod diya
My eyes couldn’t get the courage for completion of devotion
I left after circumambulation of the street of the beloved

(jur.at-e-takmeel-e-bandage=courage for completion of devotion; tavaaf-e-kucha-e-didaar=circumambulation of street of the beloved (just as you circumambulate around the idol of a god/goddess)

Khushaa vo kashmakash-e-rabt-e-baahamii jis ne
Dil-o-dimaag ko bekaar kar ke chhod diya
Blessed is she who through the dilemma of slow sadomasochism
Has left me after making my heart and mind useless

(Khushaa=blessed, fortunate; kashmakash=dilemma; rabt=slow; baahami=sadomasochism. So the meaning of this really excellent couplet is=Fortunate/blessed is she who through the dilemma of slow sadomasochism has made my heart and mind useless!)

Zahe-naseeb ki duniya ne tere gham se mujhe
Masarraton ko talabgaar kar ke chhod diya
The world of the lucky has done to me in your sorrow
That I am left as a seeker of happinesses

(Zahe-naseeb=one who has good luck/lucky; Masarraton=happinesses; talabgaar=seeker, desirous; Another excellent couplet; I am lucky in the world wherein your sorrow has left me after making me a seeker of happinesses)

Karam ki aas mein ab kis ke dar pe jaaye Shakeel
Jab aap hi ne gunaahgaar kar ke chhod diya.
Shakeel, in the hope of kindness (karam) now at whose door should I go
When you yourself has abandoned me as an accused

Ghazal #23

This one is as expressive as it is simple.

Please enjoy: Pehlu mein dard-e-ishq ki duniya liye hue….

Pehlu mein dard-e-ishq ki duniya liye hue,
Baitha hoon zindagi ka sahaara liye hue.
In the flank with the world of pain of love
I sit leaning on life

Dil hai tajalii-e-rukh-e-zebaa liye hue,
Aagosh mein hai chand ko dariya liye hue.
Heart has the lightening of her beautiful face
(As if) The river has moon in its embrace

(tajalii-e-rukh-e-zebaa=lightening of beautiful face; Aagosh=embrace)

Pahunche to dil mein josh-e-tamanna liye hue,
Laute magar lutii hui duniyaa liye hue.
I reached there with heart full of zeal and desire
I returned with my world in shambles

Main jii raha hoon gham-kada-e-rozgaar mein,
Teri mohabbaton ka sahaara liye hue.
I am living in the house of sorrow of livelihood
With the support of your love

(gham-kada-e-rozgaar=house of sorrow of livelihood/employment)

Utha hoon bazm-e-husn se loghzish-ba-paa Shakeel,
Behaki hui ik nazar ka sahaara liye hue.
I have risen from the assembly of beauty having slipped with my feet
But seeking the support of her intoxicating eyes

(bazm-e-husn=assembly of beauty; loghzish-ba-paa=slipping of foot)

Ghazal #24

Irony and despondence are two characteristics of Shakeel Badayuni’s poetry. Here both are seen together. At the end of the translation, please listen to Ustaad Moin Khan and his group.

Please enjoy: Zindagi uanki chaah mein guzari….

Zindagi unaki chaah mein guzari
Mustaqil dard o raah mein guzari
My life was spent desiring her
Permanently spent in the street of pain

(Mustaqil=permanently, firmly)

Rahmaton se nibaah mein guzari
Umr saari gunaah mein guzari
It was spent dealing with blessings
The whole life was spent sinfully

(Rahmaton=blessings; nabaah=dealing)

Haay vo zindagi ki ik saa.at
Jo teri baargaah mein guzari
Alas, those moments in my life
Which were spent in your court

(saa.at=moment; baargaah=audience hall, court)

Sab ki nazaron mein sar-buland rahe
Jab taq unaki nigaah mein guzari
My head was held high in every eye
Until I passed in front of her eyes

Main vo ikraar-e-mohabbat hoon
Jis ki manzil bhi raah mein guzari
I am that consent of love
Whose destination is lost on the way

Ik khushi hamane dil mein chaahi thi
Vo bhi gham ki panaah mein guzari
I sought just one joy, but
That too was at the mercy of (panaah) of her sorrow

Zindagi apani ai Shakeel ab tak
Talkhi-e-rasm-o-raah mein guzari
O Shakeel, my life so far
Was spent in the bitterness of the path of tradition

(Talkhi-e-rasm-o-raah= bitterness of the path of tradition)

Ghazal #25

The subject of wine-glass or goblet again; but, with a difference.

Please enjoy: Naa paimaane chhalakte hain naa daur-e-jam chalta hai….

Naa paimaane khanakte hain naa daur-e-jaam chalta hai,
Nayi duniya ki rindon mein khuda ka naam chalta hai.
Neither there is tinkle of peg-measures nor there is round of wine drinking
In the world of the drunkards the name of God is prevalent

(rindon=drunkards)

Gham-e-ishq se hain gham-e-hasti ke hungaame judaa lekin,
Vahan bhi din guzarte hain yahaan bhi kaam chalta hai.
The commotion (hungama) of sorrow of existence (gham-e-hasti) is separate from sorrow of love (gham-e-ishq)
There too days pass, here too work goes on

Chhupe hain laakh haq ke marhale gumnaam hontho par,
Usi ki baat chal jaati hai jiska naam chalta hai.
Lakhs of stages of right are hidden on unnamed lips
He who has a name is able to dictate terms

Junoon-e-rah-ravii-e-waqt ki raftaar se poochho,
Koi manzil nahin lekin yeh subah o shaam chalta hai.
Enquire from the speed of the madness of time’s journey
It has no destination but it goes on morning and evening (meaning all the time)

(Junoon-e-rah-ravii-e-waqt=madness of time’s journey in orbit)

Shakeel-e-mast ko masti main jo kehna hai kehne do,
Ye maikhaana hai ai vaaiz yahan sab kaam chalta hai.
Let Shakeel who is fun-filled say whatever he wants to say in fun
This is a tavern O preacher, here anything is acceptable

(vaaiz=preacher)

Ghazal #26

There wasn’t a poet and lyricist like him. Probably, there won’t ever be. He used words as a goldsmith uses gold to make beautiful ornaments.

Here is his second most popular ghazal sung by Shanti Heranand.

Please enjoy: Nazar Nawaz nazaron mein ji nahin lagata….

Nazar nawaaz nazaron mein ji nahin lagata,
Woh kyaa gaye ki bahaaron mein ji nahin lagata.
My heart cannot find joy in sights that are pleasing to the eye
She left and now spring cannot amuse me
(Nazar nawaaz=Pleasing to the eye)

Shab-e-firaaq ko ai chaand aa ke chamka de,
Nazar udaas hai taaron mein ji nahin lagata.
Only moon (her) can come and brighten the night of separation
My sight is sad, stars cannot amuse me
(Shab-e-firaaq=Night of separation/longing)

Gham-e-hayaat ke maare to ham bhi hain lekin,
Gham-e-hayaat ke maaron mein ji nahin lagata.
Even I am a victim of sorrow of life, but
I do not find amusement  in the midst of other victims of sorrow of life.
(Gham-e-hayaat=Sorrow of life)

Na poochh mujhase tere gham mein kyaa guzarti hai,
Yahi kahunga hazaaron mein ji nahin lagata.
Don’t ask me how I spend my time in your sorrow
I shall say only this that I don’t find amusement in the midst of thousands

Kuchh is qadar hai gham-e-zindagi se dil maayus,
Khizaan gayi to bahaaron mein ji nahin lagata.
In this manner is the heart saddened by sorrow of life
That when autumn was over, spring doesn’t amuse me

Fasaana-e-shab-e-gham khatm hone waala hai,
Shakeel chand sitaaron mein ji nahin lagata.
Story of the night of grief is about to end now
Shakeel, (now) moon and the stars don’t amuse me anymore
(Fasaana-e-shab-e-gham=Story of the night of grief)

https://youtube.com/watch?v=WYQRvcaU8FA%3F

Ghazal #27

One wonders how Shakeel was able to write one after the other beautiful ghazal!

Please enjoy: Shikwe tere huzoor kiye jaa raha hoon main….

Shikwe tere huzoor kiye jaa raha hoon main,
Jo kuchh bhi ho qusoor kiye jaa raha hoon main.
Respected Sir, I keep complaining to you
Whatever happens I keep doing wrong
(Shikwe=Complaints)

Vahm-e-ta.ayyunaat ka anjaam dekhna,
Nazdeekiyon ko door kiye jaa raha hoon main.
Look for the result of the whim of fixtures
I keep converting nearness into distances
(Vahm-e-ta.ayyunaat=Whim of fixtures)

Mahv-e-tavaaf koocha-e-hasti mein rahmaten,
Shayad koi qusoor kiye jaa raha hoon main.
I seek mercies through being busy in circumambulation of street of life
Perhaps I am committing some wrong somewhere
(Mahv-e-tavaaf=Busy in circumambulation; Koocha-e-hasti=Street of life; Rahmaten=Mercies)

Rakhi hui hai sang-e-dar-e-yaar par jabeen,
Is ijz par ghurur kiye jaa raha hoon main.
My forehead is kept at the stone of my beloved’s doorstep
This modesty of mine fills me with pride
(Sang-e-dar-e-yaar=Stone of beloved’s doorstep; Jabeen=Forehead; Ijz=Modesty; Ghurur=Pride)

Nazar-e-nigaah-e-naaz hain dil ki nazaakten,
Sheeshe ko choor choor kiye jaa raha hoon main.
Offerings of beloved’s glance are the delicacies of heart
I am smashing into fragments the wine-glass
(Nazar-e-nigaah-e-naaz=Offering of beloved’s glance; Nazaakten=Delicacies)

Rabt-e-niyaaz-o-naaz ka aalam to dekhna,
Naadim hain vo qusoor kiye jaa raha hoon main.
Just look at the contact of love and coquetry
She is sorry for the wrongs that I am committing
(Rabt-e-niyaaz-o-naaz=Contact of love and coquetry; Naadim=Sorry)

Socha kabhi na hazrat-e-vaa.iz ne ye Shakeel,
Rindon mein zikr-e-hoor kiye jaa raha hoon main.
The master preacher never thought of this, O Shakeel
In the midst of drunkards I am describing a beautiful angelic woman
(Hazrat-e-vaa.iz=Master preacher; Rindon=Drunkards; Zikr-e-hoor=Description of beautiful woman)

Ghazal #28

Please enjoy Gayatri Gaekwad sing this beautiful ghazal: Unake bagair hum jo gulistaan mein aa gaye…..

Unake bagair ham jo gulistaan mein aa gaye,
Mehsoos ye hua ke bayabaan mein aa gaye.
Without her when I entered the flower-garden
It felt like I entered some wilderness
(Bayabaan=wilderness)

Tash.heer-e-dil-giraftagi-e-husn ho gayi,
Aansu chhalak ke chashm-e-pashemaan mein aa gaye.
Her heart-ravishing beauty was publicised when
My tears dropped from my repentant eyes
(Tash.heer-e-dil-giraftagi-e-husn=publicity of captivating or heart ravishing beauty; Chashm-e-pashemaan=repentant eyes)

Ham tark-e-rabt-o-zabt-e-mohabbat ke baavjuud,
Sau baar khinch ke kuucha-e-jaanan mein aa gaye.
I, in spite of the renunciation of contact with and control over love
Hundreds of times fell victim to the pull of beloved’s street
(Tark-e-rabt-o-zabt-e-mohabbat=Renunciation of contact with and control over Love; Kuucha-e-jaanan=beloved’s street)

Phuulon ko raas aaya na jab arsa-e-bahaar,
Gulshan se hat ke gosha-e-daaman mein aa gaye.
Flowers didn’t find alright the duration of spring
Abandoning the garden they came to the piece of her hem
(Gosha-e-daaman=piece of the hem)

Har-chand ahl-e-hosh the arbaab-e-zindagi,
Lekin fareb-e-gardish-e-dauraan mein aa gaye.
Although people of reason were the ambassadors (ardaab) of life
But they fell victim to the deception of movement of times
(Har-chand=although; Ahl-e-hosh=people of reason; Fareb-e-gardish-e-dauraan=deception of movement of times)

Aaya meri zubaan pe yaka yak jo unka naam,
Kis kis ke haath mere garebaan pe aa gaye.
When suddenly her name came on my tongue
Whose all hands held my collar (in anger)
(Garebaan=collar)

Chhup kar nigaah-e-shauk se dil mein panaah li,
Dil mein naa chhup sake to rag-e-jaan mein aa gaye.
My heart sought refuge hidden from the eye that seeks pleasure
When it couldn’t hide in the heart, it came into the jugular vein 
(Rag-e-jaan=jugular vein)

The muntashar azal mein jo zarraat-e-kuu-e-dost,
Insaan ban ke aalam-e-imkaan mein aa gaye.
The particles from the street of the beloved were disorderly
They became human and entered the world of possibilities
(Muntashar=disorderly; Azal=beginning; Zarraat-e-kuu-e-dost=particles from the street of the beloved; Aalam-e-imkaan=world of possibilities)

Jinaki adaa adaa mein hain raanaayiyan Shakeel,
Ash.aar ban ke vo mere deevaan mein aa gaye.
In whose grace are beauties, Shakeel
They entered my royal court after becoming couplets
(Raanaayiyan=beauties; Ash.aar=couplets; deevaan=royal court)

Ghazal #29

A relatively simpler one sung by the Ghazal King Talat Mehmood.

Please enjoy: Koi aarzu nahin hai, koi mudda nahin hai…

Koi aarzu bahin hai, koi mudda nahin hai,
Tera gham rahe salaamat, mere dil mein kyaa nahin hai.
There is no desire (aarzu), there is no issue (mudda)
Long live your sorrow, what is not there in my heart?

Kahaan jaam-e-gham ki talkhi kahaan zindagi kaa darmaan,
Mujhe vo dawa mili hai jo meri dawa nahin hai.
Where is bitterness of goblet of sorrow, where is remedy for life
I have got that medicine, which is not my medicine
(Jaam-e-gham=goblet of sorrow; Talkhi=bitterness; Darmaan=remedy)

Tu bachaaye laakh daaman mera phir bhi hai ye vaada,
Tere dil mein main hi main hoon koi doosra nahin hai.
You may take your hem of dress away, but I still make that promise
In your heart only I am there, no one else resides there

Tujhe keh diya sitamgar ye qusoor tha zabaan kaa,
Mujhe tum muaaf kar do meraa dil bura nahin hai.
I called you a tyrant (sitamgar), it was guilt of my tongue
Please forgive me, my heart is not bad

Mujhe dost kehne waale zaraa dosti nibha de,
Ye mutaalba hai haq kaa koi iltija nahin hai.
You who calls me friend, you come a little equal to friendship
This is a demand of right and not a request
(Mutaalba=demand; Iltija=request)

Ye udaas udaas chehre ye haseen haseen tabassum,
Tere anjuman mein shayad koi aainaa nahin hai.
These sad faces, these beautiful smiles
Perhaps there is no mirror in your society
(Anjuman=society or gathering)

Meri aankh ne tujhe bhi bakhudaa Shakeel paaya,
Main samajh raha tha mujh sa koi doosra nahin hai.
My eyes found you too, Shakeel swears by God
(Before that) I thought there is no one like me
(Bakhudaa=swear by God)

https://youtube.com/watch?v=E12S5MsrpO4%3F

Ghazal #30

This is the last one in this Part II (wait for Part III for the remaining ghazals)

Please enjoy: Jazbaat ki rau mein beh gaya hoon….

Jazbaat ki rau mein beh gaya hoon,
Kehna jo naa tha wo keh gaya hoon.
I have flown in the flow of emotions (Jazbaat)
What I didn’t want to say I have said

Har lamha-e-sar khushi mein aksar,
Do ashq baha ke reh gaya hoon.
Often in every moment of ecstasy
I couldn’t help shedding two tears
(Lamha-e-sar-khushi=moment of ecstasy)

Thaa jin pe gumaan tere sitam kaa,
Kuchh aise karam bhi seh gaya hoon.
Those that were suspiciously your tyrannies
Even those mercies I have tolerated
(Gumaan=suspicion; Sitam=tyranny)

Shayad vo ise junoon samajh lein,
Ik baat pate ki keh gaya hoon.
Perhaps she may think of this as my madness (junoon)
(But) one thing of substance I have said

Ab kyaa gham-e-saahil-o-talaatum,
Ik mauj ke haath beh gaya hoon.
Now what is the sorrow of shore and storm
I have flown at the hands of a wave
(Gham-e-saahil-o-talaatum=sorrow of shore or storm; Mauj=wave)

TU

एक मुद्दत से तमन्ना थी जिसे कहने की,
बात वो अब भी मैं कह नहीं पायूँगा सनम,
ज़िंदा हैं अश्क़ अब भी जो बहाये मैंने,
मैं उन अश्कों मैं कभी बह नहीं पायूँगा सनम I

याद आएँगी मुझे खामोश ओ मजबूर रातें,
अपने ही आप से मैं करता रहा था बातें
सोचा था अब तेरे दीदार को ना तरसूँगा कभी
जो न मुझे मिल सका उस प्यार को ना तरसूँगा कभी
सोच कर फिर वही मायूस सा हो कर सोचा
बिन तुम्हारे मैं रह भी ना पायूँगा सनम
वो बात अब भी मैं कह नहीं पायूँगा सनम I

मेरे बारे में कभी तुमने भी ये सोचा होगा
ये भी एक और दीवाना है दीवानो की तरह
मैं जो रौशन हूँ सियाह रात में शमा की तरह
मेरा परवाना है यह भी परवानो की तरह
सोच कर तूने इतना तो सोचा होता:
इतने सितम मैं सह भी ना पायूँगा सनम
वो बात अब भी मैं कह नहीं पायूँगा सनम I

खुद को मुझसे इतना भी ना तू दूर समझ
अपने परवाने को इतना भी ना मजबूर समझ
मैं अगर चाहूँ तो इतनी भी है ताक़त मुझ में:
याद को तेरी मैं इक तू ही बना सकता हूँ
इक तो तू है जो मेरी हर बात को समझे वहशत
अपनी तू को मैं हर इक बात सुना सकता हूँ
तुझको सजाना चाहूँ तो ज़ुल्फ़ भी छूने नहीं दे
अपने अरमानो से तेरा हर अंग सजा सकता हूँ
गम नहीं अब जो तू लाख भी रूठे मुझसे
अपनी तू को मैं जब चाहे मना सकता हूँ I

(Pic courtesy: www.dreamtime.com)
(Pic courtesy: www.dreamtime.com)

Ek muddat se tamanna thi jise kehane ki,
Baat wo ab bhi main keh nahin paayunga sanam,
Zinda hain ashq ab bhi jo bahaaye maine,
Main un ashqon main kabhi beh nahin paayunga sanam.

Yaad aayengi mujhe khaamosh o majbuur raaten
Apane hi aap se main karta raha tha baaten
Socha tha ab tere deedaar ko naa tarsuunga kabhi,
Jo naa mile mil saka us pyaar ko naa tarsuunga kabhi.
Soch kar phir wohi mayuus saa ho kar socha:
Bin tumhaare main reh bhi naa paayunga sanam,
Wo baat ab bhi main keh nahin paayunga sanam.

Mere bare mein tum ne bhi ye socha hoga,
Yeh bhi ik aur deewana hai deewano ki tarah;
Main jo raushan hoon siyaah raat ki shamaa ki tarah,
Mera parwaana hai yeh bhi parwaano ki tarah.
Soch kar tune itana to socha hota,
Itane sitm main she bhi naa paayunga sanam,
Wo baat ab bhi main keh nahin paayunga sanam.

Khud ko mujh se itana bhi naa tu door samajh,
Apane parwaane ko itana bhi naa majbuur samajh.
Main agar chaahun to itani bhi hai taaqat mujh mein,
Yaad ko teri main ik tu hi bana sakata hoon.
Ik to tu hai jo meri har baat ko samajhe vehshat,
Apani us tu ko main har ik baat suna sakata hoon.
Tujhako sjaana chaahun to zulf bhi chhune nahin de,
Apane armaano mein tera har ang saja sakata hoon.
Gam nahin ab jo agar laakh bhi roothe mujh se,
Aapni tu ko main jab chaahe manaa sakata hoon.

NADAAN HI RAHE HUM

 

दुनिया में रह के भी दुनियादारी नहीं सीखी I
होशियार करते रहे वो, होशियारी नहीं सीखी II

आरज़ू – ए – इश्क़ ने हर बार मुझे किया मायूस I
बेक़रार होके भी बेक़रारी नहीं सीखी II

हमसे तंग – हाल तो कोई भी ना था ज़माने में I
बेहाल होके भी हमने लाचारी नहीं सीखी II

मुक़ाब्ले की जिदो जेहद में खोये थे सारे दोस्त I
सब जान के भी हम ने खुद – दारी नहीं सीखी II

तेरी बेवफाई जब हद्द से गुज़र गयी I
उस वक़्त भी हमने बेवफादारी नहीं सीखी II

शरम्सार तालुक़ – ए – मोहब्बत में हुये हर बार I
अफसोस, फिर भी हमने शरम्सारी नहीं सीखी II

तूने हुस्न – ए – नज़र पे पेहरे लगा दिये है I
हमने खज़ाना – ए – अश्क़ की भी पेहरेदारी नहीं सीखी II

जबसे तेरे इश्क़ में मरने का मिला है काम I
खुदा गवाह है हमने बेरोज़गारी नहीं सीखी II

image

Duniya mein reh ke bhi duniyadaari nahin seekhi,
Hoshiyaar karte rahe woh, hoshiyaari nahin seekhi.

Aarzoo-e-ishq ne har baar mujhe kiya mayuus,
Beqraar hoke bhi beqraari nahin seekhi.

Hamase tang-haal to koi bhi na tha zamaane mein,
Behaal hoke bhi hamane laachaari nahin seekhi.

Muqaable ki jido jehad mein khoye the saare dost,
Sab jaan ke bhi hamane khud-daari nahin seekhi.

Teri bewafai jab hadd se guzr gayi,
Us waqt bhi hamane bewafadaari nahin seekhi.

Sharamsaar taluq-e-mahabbat mein huye har baar,
Afsos, phir bhi hamane sharamsaari nahin seekhi.

Tune husn-e-nazar pe pehre laga diye hain,
Hamane khazaana-e-ashq ki bhi pehredaari nahin seekhi.

Jabase tere ishq mein marne ka mila hai kaam,
Khuda gavaah hai hamane berozgaari nahin seekhi.

WHY DO WE SOMETIMES CRY LISTENING TO OLD SONGS?

Why do we sometimes cry listening to our favourite old songs?

Last night, I got the desire to see 1952 iconic movie Baiju Bawra after five decades. As each song was played from ‘Jhule mein pawan ke aayi bahaar’ as Gauri and Baiju grow up, to ‘Tu Ganga ki mauj’, ‘Door koi gaaye’, ‘Insaan bano’, Bachpan ki mohabbat ko, ‘Mujhe bhool gaye saanwariya’, ‘Man tadpat Hari darsan ko aaj’ and ‘O duniya ke rakhwaale’; I felt the eyes and heart becoming more and more moist.

(Pic courtesy: en.wilepedia.com)
(Pic courtesy: en.wilepedia.com)

Why do we cry when we listen to old favourites? Is it because of our own memories associated with the movie and the songs? Is it because of mixed feelings: one of joy that we lived in the same era as Shakeel Badayuni (Lyricist) and Naushad Ali (Music Director) and Mohammad Rafi lived in; and other of sadness that they aren’t there now. As far as Shakeel Badayuni is concerned, I have several posts on him in my blog and all are very popular since I can see in the blog stats (eg, ‘Shakeel Badayuni – The King Amongst Lyricists And Poets – Part I’ and ‘Part II’, ‘Another Tribute To Shakeel Badayuni In The Month Of His Death Anniversary’, and ‘Immortal Ghazals Od Sahkeel Badayuni – Part I’). However, arguably the greatest Music Director of our era: Naushad Ali, is mentioned by me in only two blog-post on him (‘The Best Of Old Hindi Songs – Rafi, Shakeel, Naushad and Dilip Kumar Together’ and ‘Immortal Songs of Mughal-e-Azam’; in both the cases clubbing him together with Shakeel Badayuni)

Why do we cry? Oh, I will give anything to have those movies and songs again; flute was an essential instrument, there was simplicity, there was innocence and there was as Badshaah Akbar said in the movie: Azmat!

I was thrillrd to see that credits to Ustaad Amir Khan and DV Paluskar ranked ahead of playback singers Rafi, Lata and Shamshad Begum.

Why do we cry?

Does anyone have the answer? Well, I posed this question in my Facebook Group ‘Yaad Kiya Dil Ne’ (I had to make this group when in the last group ‘Dil Ki Nazar Se’ people started putting up frivolous posts. All my groups, on the other hand, are based on the principle of mutual-learning than merely groups for entertainment and socialising). Here are the responses from some of my friends on the group.

1. Nitin Shringarpure “Poetry is the spontaneous overflow of Powerful feelings. It takes its origins from the emotions recollected in tranquillity” William Wordsworth, “Same is the thing with crying”.

2. Surekha Saini Well my reason for crying is a bit stupid. ..when I listen to these songs I start relating myself to the character n feel the same pain through lyrics n music the character must be feeling in that situation. …n I cry every time when I listen to. .Mann tadpat Hari darsan ko aaj…and..O duniyaa ke rakh wale. ..from my childhood so no chance of memories related to the songs…I mentioned both poetry n music. ..as a child I used to cry with no reason but now its lyrics n poetry n of course singing. ..n if I relate myself to the character means movie n the storyline come naturally. ..until I understand the film thoroughly how can I relate myself to the character. …actually mera dil mere dimag se jyada kaam karta hai. …

3. Raj Dutta When ever our Soul wishes to have a bath…it takes the body and the brain though a memory trip facilitated by sense organs mostly eyes and ears…the brain does some chemical locha and triggers and squeezes the tears ducts…moistening your eyes and sinuses…And lo the Soul is fresh again…sentimentally and temperamentally formatted…But my late eldest Tayyaji never wept even on the demise of his near and dear ones…When I once asked him the reason He in a shayrana andaz said, “Bahut roya hoon Ghame zindagi mein, Ab toh ansuon ne bhi mujhe bhula diya hai”…He had taken part in WW II.

Raj Dutta then put up a Pakistani song by Rahim Shah to explain this:

https://youtube.com/watch?v=KyHanHl5X30%3F

This only means one thing that the very songs that we rued kept us away from storyline and “avoidable” at that time when we used to see movies as children and teenagers, are actually the most wonderful memories of the movies of that time. And remember how we used to compare with Hollywood matter-of-fact, “professionally made” “no nonsense and no songs” movies?

There is no better way to express emotions than through poetry.

Tears are also seen as a ‘release’ of emotions. Indeed, at deep and traumatic shocks, the docs get worried if the affected person does not cry. There are many theories about crying. One lovely one was given to us by Mukesh through Anand Bakshi and Laxmikant Pyarelal in 1967 movie Milan:

Mubaarak ho sab ko samaa ye suhaanaa
mai.n khush huu.N mere aa.Nsuo.n pe na jaanaa
mai.n to diivaanaa diivaanaa diivaanaa – 2

Hazaaro.n tarah ke ye hote hai.n aa.Nsuu
agar dil me.n Gam ho to rote hai.n aa.Nsuu
khushii me.n bhii aa.Nkhe.n bhigote hai.n aa.Nsuu
inhe.n jaan sakataa nahii.n ye zamaanaa
mai.n khush huu.N mere aa.Nsuo.n pe na jaanaa
mai.n to diivaanaa diivaanaa diivaanaa – 2

The other is the 1964 movie Hamrahi song put together by Hasrat Jaipuri and Shankar Jaikishen and Rafi for Rajendra Kumar:

Ye aa.Nsuu mere dil kii zubaan hai.n -2
mai.n ro_uu.N to ro de.n aa.Nsuu
mai.n ha.Ns duu.N to ha.Ns de.n aa.Nsuu
ye aa.Nsuu mere dil kii zubaan hai.n -2

Aa.Nkh se Tapakii jo chi.ngaarii, har aa.Nsuu me.n chhabii tumhaarii
chiir ke mere dil ko dekho, bahate lahuu me.n priit tumhaarii
ye jiivan jaise sulagaa tuufaan hai
ye aa.Nsuu mere dil ki zubaan hai.n -2
mai.n ro_uu.N to ro de.n aa.Nsuu
mai.n ha.Ns duu.N to ha.Ns de.n aa.Nsuu
ye aa.Nsuu mere dil kii zubaan hai.n -2

So then why did the eyes start becoming moist with the very first song: Jhule mein pawan ke aayi bahaar even though the song is nice, happy and romantic song in the movie Baiju Bawra?

Here are the responses:

Ritu Soni I cry sometimes because I connect with the lyrics and music to a very emotional and personal level and sometimes I cry as I feel where all this has gone.. The simple beautiful people and life.

Manju Saigal Mittal Tears r just an expression of emotion I think!

Surekha Saini Ravi ji. …its not necessary that u cry only when you feel sad or hurt…Hum log jab anandit hote hain tab bhi to aankhe chhalakti hain. …Ab main. ..Mann tadpat Hari darsan ko aaj. ..pe kyon roti hun….may be its my desire to see God…reason for crying while listening to a song varies person to person. ..

Vipan Kohli Much has been written by Surekha ji Raj Ritu Soni and Nitin Shingarpure about tears. Here’s Hindi poem on tears. I don’t know who wrote it but it appealed to me the moment I read it.

आंसू छंद नहीं होते हैं
आंसू नियम नहीं होते हैं


भावों की अनुभूति है आंसू, कभी ख़ुशी कभी गम होते हैं..
मैंने देखे सुख के आंसू, हंसते गाते झिलमिल आंसू

दुःख मे भी देखे हैं आंसू, दर्द भरे रोते से आंसू..
हुई बिदाई जब बिटिया की, छलक पड़े आँखों से आंसू

गौरव के पल आने पर भी, बह निकले आँखों से आंसू..
कभी किसी की मृत्यु हुई जब, बरबस बहते देखे आँसू

खुशियों के अवसर पर भी तो, रुक न सके आँखों मे आंसू..
दरिया कभी बनाते हैं आंसू, मोती सम पलकों मे आंसू

जार-जार रोते हैं आंसू, बार-बार आते हैं आंसू..
दिल ने जब भी रोना चाहा, सुख गए आँखों के आंसू

प्यार जहां इनको मिल पाया, छलक गये आँखों से आंसू..
सुख में भी आँखों मे आंसू, सूरदास के बहते आंसू

ऊँच -नीच का भेद न करते, नर-नारी के आते आंसू..
प्रियतम की चाहत है आंसू,
माँ नयनो मे ममता आंसू
भाई बहन का प्यार हैं आंसू,
जीवन का श्रृंगार है आंसू..

At this stage, Amit Lambah and Maj Vishwas Mandloi took opportunity to post some Aansu songs (the group is meant for that) such as:

“Teri aankh kay aansoo pii jaoon aisi meri taqdeer kahan”

“Tukde hain mere dil kay aye yaar tere aansoon, dekhey nahin jaate hain dildaar tere aansoo.”

“Rona kabhi nahi rona …chahe toot jaye koyi khilona”

I, therefore, realised that whilst I was looking for reasons as to why does one cry listening to old favourites, everyone has own reasons for the same. This thought itself was covered so nicely by Sahir Ludhianvi (I regard this as his best) in the 1961 Hum Dono’s most beautiful song:

कभी ख़ुद पे, कभी हालात पे रोना आया
बात निकली, तो हर इक बात पे रोना आया

हम तो समझे थे कि हम भूल गए हैं उनको
क्या हुआ आज, ये किस बात पे रोना आया

किस लिये जीते हैं हम किसके लिये जीते हैं
बारहा ऐसे सवालात पे रोना आया

कौन रोता है किसी और की ख़ातिर ऐ दोस्त
सबको अपनी ही किसी बात पे रोना आया

Vipan Kohli, at this stage, put up a most beautiful Punjabi song by Jimmy Shergil: Rona Chadita Mahi Mahi

Raj Dutta wasn’t to be left behind and put up: Aaj bahut roya main….

https://youtube.com/watch?v=qqd4RyezpP0%3F

Here is a moistening of eyes of different nature as a tribute to all my friends on YKDN: Yaaro mera saath nibhaao roz aisi mehfil kahan:

Yaro mera sath nibhao roj aisi mahfil kaha
bhig jaye aaj palke aao hase itna
yaro mera sath nibao roj aisi mahfil kaha
bhig jaye aaj palke aao hase itna

rahe na kuch aaj sab luta do
dilo me jitna hai pyar baki
rahe na kuch aaj sab luta do
dilo me jitna hai pyar baki
rang ho jitne bhi yahi saja do
hogi na kal ye bahar baki
hasi ke chirag jalao ho gayi raat jawan
bhig jaye aaj palke aao hase itna
yaro mera sath nibao roj aisi mahfil kaha
bhig jaye aaj palke aao hase itna

kisi liye koi luta to gham kya
jine ko ek ye khushi bahut hai
kisi liye koi luta to gham kya
jine ko ek ye khushi bahut hai
mile na mile ek sanam ki bahe
mujhe tumhari basti basti bahut hai
dekho aise dur na jao pyar ka yahi hai sama
bhig jaye aaj palke aao hase itna
yaro mera sath nibao roj aisi mahfil kaha
bhig jaye aaj palke aao hase itna
aao hase itna aao hase itna

And since it was the death anniversary of Talat Mehmood and since Patita is the movie of the title song of the group, I put up one more reason why aansu jhalak jaate hain.

Please enjoy: Hain sabase madhur woh geet jinhe…

हैं सबसे मधुर वो गीत जिन्हें, हम ददर् के सुर में गाते हैं
जब हद से गुज़र जाती है खुशी, आँसू भी छलकते आते हैं
हैं सबसे मधुर वो गीत

(पहलू में पराये दर्द बसाके, हँसना हँसाना सीख ज़रा
तू हँसना हँसाना सीख ज़रा ) – २
तूफ़ान से कह दे घिर के उठे, हम प्यार के दीप जलाते हैं
हम प्यार के दीप जलाते हैं
हैं सबसे मधुर वो गीत …

(काँटों में खिले हैं फूल हमारे, रंग भरे अरमानों के
रंग भरे अरमानों के ) – २
नादान हैं जो इन काँटों से, दामन को बचाये जाते हैं
दामन को बचाये जाते हैं
हैं सबसे मधुर वो गीत …

(जब ग़म का अन्धेरा घिर आये, समझो के सवेरा दूर नहीं
समझो के सवेरा दूर नहीं ) – २
हर रात की है सौगात यही, तारे भी यही दोहराते हैं
तारे भी यही दोहराते हैं
हैं सबसे मधुर वो गीत …

 

HAIN SABSE MADHUR WO GEET -TALAT MEHMOOD…

Manik Lakhkar Chava Awwww…. long discussion. Ravi, there is and can not be any remote control. One feels like crying… aansu bahane dijiye. Cry for some one with some one… the drop of pearls are too valuable…. for you, me for every one.

Evani Leela Aansoo aanaa matlab aatma parmatma ko chu rahi hai. Jab dil se dil ke taar juDte hain to jo bridge banta hai, wohi aansoo hote hain. Jab koi drishya dekha, kuch suna, kuch mehsoos kiya, kisi ki uaad aayi, koi kitab yaa kahani paDhi to aanssoo bhi chalakte hain, muskaan bhi khilti hai. Inn donon par jab sanyam nahin hai to samjho hum uss paramatma ke kareeb hain.

Evani Leela Phoolon ki khushboo bhi aapko rulasakti hai khushi se, bachon ki kilkaari bhi rulasakti hai. Manik Lakhkar Chava se poochiye jab humne inki poti par geet post kiye to kyon royi. Humne jab anniversary lar geet post kiye to kyon aansoo chalke?

Evani Leela Aansoo aur muskaan donon par jab hamara vash na rahe to hum saamne wale ke dil ke ander samaa gaye. Isi liye jab geetkaar ke shabd humen rulate hain to iska matlab hai, woh geetkaar hamare dil mein ufar gaya aur usne woh kaha jo hum khud kehna chahte the. Jab woh shabd hum tak pahunchte hain to hamare dil ke taaron mein jhankaar hoti hai. Wohi niyam sangeet ke liye bhi laagoo hota hai.

Amit Lambah “Jo hamne dastaan apni sunayii aap kyon roye….hamara dard o gham hai yeh issay kyon aap sehte hain, yeh kyun aansoo hamare aapki aankhon se behte hain….. qayamat aapke ashkon ne dhayi aap kyon roye .jo hamne dastaan aoni sunayi…..naa yeh ansoin rukke to dekhiye phir hum bhi ro denge, hum apne ansoo on mein chaand taaron ko dubbo denge, fanaah ho jayegi saari khudaayi aap kyon roye…

Evani Leela Maine ek baar ek choti si kahaani paDhi thi, jismein do sceintist shukr grah par pahunchte hainn wahan par ek hi praani dikha jo ek talab mein tair raha tha. Use ek sceintist ne dekha aur use chune ki koshish ki.par woh haath na aakar door door tairta …See More

This started another round of Aansu songs with Vipan Kohli suggesting that we have a Flash Fest on Aansu

Maj Vishwas Mandloi Jo hamne dastaan apni sunayi … aap kyu roye …

https://www.youtube.com/watch?v=Zf3RhMt_ljU

I reminded them that the other day Surekha Saini commented how at one time she was jealous of my comments on Evani Leela’s posts and comments.

“Now, take this post itself. All of us, in answer to the question ‘Why Do We Cry With Our Favourite Songs?‘ thought of this as an oopurtunity to put up Aansu songs. Some even suggested that we have an Aansu Fest here itself. Not Evani Leela. She responded with ‘dil se’ (something that she does in all her posts and comments, beautifully and brilliantly, in the wee hours of the morning after all the dust had settled down, as to why do we cry.

Now, you will understand, brothers and sisters, this special relationship of not just brother and sister but of love, dard, empathy, and emotions. I remember the time about two years back when her description of a song would be one or two words: eg, Song#1 and the first word of the song such as Aansu. However, I saw in her someone special, someone who feels deeply. The result is for all of you to see.

Evani Leela came up with a gem, at this stage that Aansu and Muskaan are two sides of the same coin. In her own words: “Maine yehi mehsoos kiya ki aansoo aur muskaan sikke ke do pehlu hain. Kisi bhi tarf dekgo sikke ki value kum nahin hoti. Haan yeh baat alag hai ki humari aankhen num hon to tapasya doosron ke aansoo pee saken to paramatma ka vardaan.

She put up a beautiful song by Shailendra from the 1959 Raj Kapoor Movie Anadi:

किसी की मुस्कुराहटों पे हो निसार
किसीका दर्द मिल सके तो ले उधार
किसीके वास्ते हो तेरे दिल में प्यार
जीना इसी का नाम है
किसी की …

(माना अपनी जेब से फ़कीर हैं
फिर भी यारों दिल के हम अमीर हैं ) – (२)
मिटे जो प्यार के लिये वो ज़िन्दगी
जले बहार के लिये वो ज़िन्दगी
किसी को हो न हो हमें तो ऐतबार
जीना इसी का नाम है

(रिश्ता दिल से दिल के ऐतबार का
ज़िन्दा है हमीं से नाम प्यार का ) – (२)
के मर के भी किसी को याद आयेंगे
किसी के आँसुओं में मुस्कुरायेंगे
कहेगा फूल हर कली से बार बार
जीना इसी का नाम है

So, ultimsately, I had dozens of excellent replies as to why do we cry when we listen to old favourite songs.

We feel for the era gone by: our own as well as the era of the song, we feel for the Lyricists, Music Directors, Singers and Actors of those movies. We relive their emotions. We are touched by the simplicity and innocence in people as there used to be (Read: Hindi Songs And The Age of Innocence). There are many valid reasons.

I think, there is one more reason; and that is the great longing to belong (both emotionally and poetically) and call something one’s own: my own thoughts with which I relate to others who have similar (if not identical thoughts); someone who can understand my state of mind; something that I can call my own.

I am past sixty years of age now. And yet, at the end of  six decades of going through this world, are friends my own? No. Are relatives my own? No. Are my children I can call my own? No. Is there something I can call my own? Hardly. Songs and poetry are something that helped me build my own private world. I cry when I am reminded of this world, however small, where I was I and I am still I

I was in school when Trini Lopez’s number by the name What Have I Got Of My Own? was released. I later heard the song from pop-singer Ajit during Summer Festival in Shimla.

The lyrics of the song went like this:

What have I got of my own, my own?
What have I got of my own?

The castles I build when I lie in the sand,
Belong to a king in a fairy tale land.
The treasures I find, when I dream in my sleep,
Are gone in the dawn. not a thjng I can keep.
What have I got of my own, my o~own?
What have I got of my own?

The stars all belong high in heaven above.
My heart belongs to the one that I love.
The rivers that flow all belong to the sea.
What have I got that belongs to me?
What have I got of my own, my o~own?
What have I got of my own?

I hope someday before too long
My heart will sing a happy song.
I’m tired of being lonely, unhappy and sad.
I wanna have the things that other men have.
What have I got of my own, my o~own?
What have I got of my own?

Solo interlude

If I could choose one thing forever to hold,
I know I would never choose diamonds or gold.
Just give me one true love to be mine alone,
Then I’ll have all the things of my own, my own.
What have I got of my own?

I was embarking on my journey through life and hence everything appeared within reach, everything was to be owned, to belong.

Four and half decades later, I am not too sure if anything at all belongs to me. Of course religion and scriptures tell me that finally when we go, we don’t take anything with us. And yet, there is this innate desire to own, to possess, to relate to; to be a little more precious than a speck of dust.

My own.

What have I got of my own?

I cry when I realise that just like Baiju Bawra, Naushad, Shakeel and Rafi; everything will pass away and even the memories would get blurred. As Shakeel, Naushad and Rafi voiced in the 1948 movie Mela:

ये ज़िंदगी के मेले, दुनिया में कम न होंगे
अफ़सोस हम न होंगे

इक दिन पड़ेगा जाना, क्या वक़्त, क्या ज़माना
कोई न साथ देगा, सब कुछ यहीं रहेगा
जाएंगे हम अकेले, ये ज़िंदगी …

दुनिया है मौज-ए-दरिया, क़तरे की ज़िंदगी क्या
पानी में मिल के पानी, अंजाम ये के पानी
दम भर को सांस ले ले, ये ज़िंदगी …

होंगी यही बहारें, उल्फ़त की यादगारें
बिगड़ेगी और चलेगी, दुनिया यही रहेगी
होंगे यही झमेले, ये ज़िंदगी …

These personalities are still being remembered at least by some one like me who relives their and my own era through their songs.

Who would ever think of me….. a katra (drop of water) in the river?

AH! THOSE PERSONNEL BRANCH GUYS!

This article is in good humour and not a punch below the belt. Some of my very good friends have been at one time or the other posted to the Personnel Branch. Read on.

This article is a tribute to the Personnel Branch guys in the Naval Headquarters; the demi-gods and gods. If the Army and Air Force friends and even civilians see some similarity with what they have, it is not just coincidental; it must be universal. Post retirement from the Navy, I am working in a corporate now and I can assure you the HR guys here are the all powerful, sought after, God’s own people and creme de la crème.

Their reasoning appears to us a little cockeyed (since we are not used to it). But, there is always method in their madness. For example, lets say you are looking for a transfer out of Vizag. The correct approach with your appointer (it never fails) would be: “Sir, just called to thank you for sending me to Vizag. We have just moved into ‘A’ type accommodation, children have finally been admitted to Timpany School after many years of waiting, and wife has found a job.  I was wondering if you would keep me here for a few more years….” By the end of the day, your transfer orders, by signal would be issued.

These guys are full of empathy. Indeed, they would never have been appointed in the Personnel Branch if they hadn’t displayed this trait somewhere or the other. In the Executive Branch of the Indian Navy, most of them were (during my time in the Navy) from the Navigation and Direction branch since ’empathy’ requires great navigational and directional skills. Just to give an example, in May 1984, my father died at the age of 56 years in a jeep accident. So, I sought a transfer closer home, ie, New Delhi itself. I wrote to my appointer and since they advertise it ad-infinitum, called on him in his office in Naval Headquarters. He responded with great empathy that he felt for me. And then he added with greater empathy (for his branch type, that is) that his analysis showed that 57.67 per cent officers lost one or the other parent at my age and that if Naval Headquarters were to transfer all of them to New Delhi, it would be like opening an orphanage. Since then, I have never stopped marvelling at the first four letters of the word analysis.

(Organogram courtesy: indiannavy,nic.in)
(Organogram courtesy: indiannavy,nic.in)

It appears that the two great principles of life that P branch people follow as gospel truths are:

1. People can always learn on-job and anything at all. Hence, it won’t make any difference whether you put square pegs in round holes or vice-versa. P branch is like the other P business: Police, that is; the customer is always wrong.

2. No matter whatever wretched place you transfer people to, they will eventually get so used to it that they won’t like to be transferred out from the place they didn’t want to be transferred in to.

P branch people listen to so many stories that they become great story tellers themselves. The most efficient of them have five stories to tell for every one of yours. There was one who became the Chief of Personnel and he was a great story-teller. So, if you ever went to him telling how all hell had broken loose at your home or in the ship, he would, in great style, open his table-drawer, take out one of his self-published books named Stephen’s Violin or some other musical instrument. He would vouch for it that one reading and all your problems – whilst they may not go away – would become insignificant. The guy who told you how to get rid of your severe headache by hitting yourself hard on the toe with a hammer was certainly a P branch guy.

How can you make out a P branch guy? Do they have special insignia? No, nothing of that sort; they don’t need anything special; they are special. For one thing, they use the pronoun we in their speech very often; eg, “We are looking at your peculiar problem with your best interest in our mind. And soon (mentally thinking of one or two years), we will have it behind us (and then it becomes our successors’ problem!). Secondly, they are always invited for promotion (stripe-wetting) parties on two counts: one, they make it appear like they are somehow responsible for the poor guy’s promotion; and two, promotion entails transfer and it is in the hands of these worthies. So, keeping them in good humour at all times is the done thing.

A rough depiction of the HR processes followed by the P branch people (Pic courtesy: www.123rf.com)
A rough depiction of the HR processes followed by the P branch people (Pic courtesy: www.123rf.com)

Can you guess as to which is the word that they have adapted their life to? The word is called flux. So, they are very much in control if they can keep maximum people in a state of flux. Contented people don’t even remember God; however, discontented, dissatisfied, and distressed people remember their Maker and Appointer until the three d’s last. The P branch people, therefore, keep you thus until it becomes a habit with you to remember them. Do you remember the Jenson & Nicholson paints ad: whenever you see colour, think of us. It is the same with P branch people guys: whenever you are in __it, think of us.

What else do they do in Naval Headquarters other than keeping the entire naval community in a state of flux? Well, they attend meetings and conferences. So if you are in so much __it that you can’t breathe, and you are desperately phoning up your appointer, anticipating the nature of the __it you are in, he doesn’t take your call for the next several days, he being busy in a meeting or conference until the __it settles down on its own.

Your ship or establishment is down to barest minimum officers and now out of two that you have, one has been sent to Timbuktu, you don’t know how to sail your ship or run your establishment. You are desperately trying to raise ACOP (HRD) on phone but he is attending meetings or conferences or both in India or/and abroad. Finally, when you get to him after ten sunrises and sunsets, the very first thing that he tells you is this: “Oh, please don’t tell me about manpower shortages”; as if, being ACOP (HRD) the only reasonable thing to discuss with him would be the state of underwater hull or firing rates of ship’s main weapons.

The P branch Johnnies have perfected the art of poking fun at all and sundry. For almost four decades when I was in the Navy, year after year, a P branch team would visit the Commands and give presentations on ACRs or Annual Confidential Reports. Besides PJs on pen – pictures such as “He would go far; the farther the better”, they would bring out hilarious mismatches between the pen-pictures and PP (Promotion Potential) points or vice-versa. If you ever sat in the front few rows during these presentations, you had no choice but to laugh appreciatively lest they should notice your lack of enthusiasm at their brilliant humour and transfer you to Timbuktu or neglect giving you or your ship’s officers and sailors their due awards and honours. By the way, there is hardly any officer appointed to P branch who hasn’t conferred upon himself an award during his tough tenure.

Changing Personnel Policies as frequently as Imelda M used to change her shoes is part of the flux plan that I discussed earlier. The joke going around in P branch is that when a senior officer retires or is transferred from the branch, during his farewell party, they handover to him all his policies as a farewell gift.

Two anecdotes about them before I close. One, there was this Flight Commander on Himgiri who had always been writing his first choice of transfer as Port Blair knowing pretty well that that effectively kept him from being transferred there. One fine day his transfer actually came to Port Blair because his appointer – hold your breath – took pity on him. He cursed and cursed.

appointers_mesh_hat

Then there was this case of Jaggi Bedi who was CO Ranvir at that time (he retired as a Vice Admiral and C-in-C West), attending a Combined Fleet party on Ganga in Kochi after a theatre level exercise. For about half an hour after the party started we bemoaned that no stewards came our way with either drinks or small-eats. JSB too was upset. But afterwards we noticed that a bevy of stewards stood around him with drinks and eats. We enquired from him the cause of this quick and welcome transformation. He said that having got fed up, he let it slip out that his next appointment, after handing over command of Ranvir, was to be DOP (Director of Personnel). And then the drinks and eats started flowing.

P branch people are the modern-day Pied Pipers.

HUSN WAALON KO NA DIL DENA

नींद में आती हो तो नींद हो जाती है दूर,
ख्वाब बन के उठते हैं और हो जाते हैं चूर.

आज तक भूला नहीं है तेरी नज़रों का सरूर,
मैं मदहोश अब भी हूँ, मेरा ही है यह जुनून ओ फितूर.

मुन्तजिर हूँ आज रात मेरे घर आना ज़रूर,
रोशनी के लिए काफी है तेरे चेहरे का नूर.

तेरे इश्क से पहले ना थे हम यूं मजबूर,
तेरे इश्क के बाद हुए हैं अब बेहद्द मश्हूर.

माना हमारा घुट घुट के मरना भी नहीं मन्जूर,
यहाँ हम सज्दे में हैं वहाँ तुम हो मग्रूर.

या खुदा समझ गए तेरी दुनिया का दस्तूर,
कत्ल वह करते गए, ये भी मेरा ही था कसूर.

image

Neend mein aati ho to neend ho jaati hai duur,
Khwaab ban ke uthate hain aur ho jaate hain chuur.

Aaj taq bhuula nahin hai teri nazaron ka saruur,
Main madhosh ab bhi hoon, mera hi hai yeh junoon o fitoor.

Muntazir hoon aaj raat mere ghar aana zaruur,
Raushni ke liye kaafi hai tere chehre ka noor.

Tere ishq se pehle naa the hum youn majbuur,
Tere ishq ke baad huye hain ab behadd mashhuur.

Maana hamaara ghut ghut ke marna bhi nahin manzuur,
Yahan ham sajde mein hain wahan tum ho maghruur.

Ya khuda samajh gaye teri duniyaa ka dastuur,
Qatl woh karte gaye, ye bhi mera hi tha kasuur.

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