Category: Poems and Lyrics

As I brought out in the introduction of ‘A Hundred Ghazals In Hindi Movies – Part I’, the ghazal is a poetic form consisting of rhyming couplets and a refrain, with each line sharing the same meter. A ghazal may be understood as a poetic expression of both the pain of loss or separation and the beauty of love in spite of that pain. The form is ancient, originating in ancient Arabic poem in Arabia long before the birth of Islam. The term Ghazal is of North African and Middle Eastern origin. Its root term in Arabic is “gh-zl” and is derived from the Arabian panegyric qasida.

The ghazal spread into South Asia in the 12th century due to the influence of Sufi mystics and the courts of the new Islamic Sultanate. Although the ghazal is most prominently a form of Dari poetry and Urdu poetry, today it is found in the poetry of many languages of the Indian sub-continent.

I gave you 18 Ghazals so far in Part I starting with Shakeel Badayuni‘s Na milata gham to barbaadi ke afsaane kahan jaate, to Rajinder Krishan‘s Jahan Ara ghazal sung by Talat Mahmood: Phir wohi shaam wohi gham wohi tanhaayi hai. In between I packed ghazals by Kaifi Azmi, Sahir Ludhianvi, Bahadur Shah Zafar, Muztar Khairabadi, Hasrat Mohani, Hasrat Jaipuri, Jaan Nisar Akhtar, Majrooh Sultanpuri, and Farooq Qaiser.

Lets proceed further in our Ghazal journey.

Ghazal #19

Mohammad Rafi on Sahir Ludhianvi

This is one of the several favourites that I have of Mohammad Rafi. Lyricist is Sahir Ludhianvi and music is Roshan‘s.

It is from the 1960 movie Babur. Babur or Babar, the founder of the Mughal empire in India writes an epistle to his beloved. He was an excellent writer and could have written similar words; except that in this case Sahir Ludhianvi wrote for him.

I am in love with the lyrics as well its gentle slow music by Roshan.

Please enjoy: Tum ek baar mohabbat kaa imtihaan to lo….

tum ek baar muhabbat kaa imtahaan to lo
mere junuu.N merii vahashat kaa imtahaan to lo
tum ek baar …

salaam-e-shauq pe ra.njish bharaa payaam na do
mere Koluus ko firaas-o-havas kaa naam na do
merii vafaa kii haqiikat kaa imtahaan to lo
tum ek baar …

na taKt-o-taaj na laal-o-guhar kii hasarat hai
tumhaare pyaar tumhaarii nazar kii hasarat hai
tum apane husn kii azamat kaa imtihaan to lo
tum ek baar …

mai.n apanii jaan bhii de duu.N to aitabaar nahii.n
ke tum se ba.Dhake mujhe zi.ndagii se pyaar nahii.n
yuu.N hii sahii merii chaahat kaa imtihaan to lo
tum ek baar …

https://www.youtube.com/watch?v=r18Q8T5BlhQ

Ghazal #20

Jaan Nisar Akhtar

Elsewhere today I wrote about the role of Lyricist in a song, geet, gaana or ghazal. He or she is the starting point of a song. He or she places himself/herself in the shoes of the protagonist and feels for him or her. These feelings are then given words to stand on. The music composer and singer come in later to add to these feelings or emotions through their own brilliance.

I have given you ghazals of a number of poets and lyricists and one by him too. Today I bring to you another one of Jaan Nisar Akhtar.

Jaan Nisar Akhtar was born on 18th Feb 1914 in Gwalior Madhya Pradesh. He had the occasion to work with leading music directors such as Madan Mohan, C Ramchandra, Khayyam and N Dutta.

He wrote very few songs/ghazals; 151 in all but each one is a gem.

I am giving you his best gem, from the 1966 movie Sushila. Music composer was C Arjun and Mubarak Begum was the singer.

Mubarak Begum (born in Sujangarh, Churu, Rajasthan) is an Indian Ghazal, Naat and a popular playback singer in Hindi films in the 1950s and 1960s. A major hit in her career was the song “Kabhi Tanhaiyon Mein Yun” for composer Snehal Bhatkar in Kidar Sharma’s film Hamari Yaad Aayegi which is, till this day, regarded as a classic rendition.

Please enjoy: Bemuravat bewafa begaana-e-dil aap hain….

dard-e-dil dard-e-vafaa dard-e-tamannaa kyaa hai
aap kyaa jaane.n mohabbat kaa takaazaa kyaa hai

bemuravvat bevafaa begaanaa-e-dil aap hai.n -2
aap maane yaa na maane mere qaatil aap hai.n
bemuravvat bevafaa

aap se shikavaa hai mujh ko Gair se shikavaa nahii.n -2
jaanatii huu.N dil me.n rakh lene ke qaabil aap hai.n
bemuravvat bevafaa

saa.Ns letii huu.N to yuu.N mahasuus hotaa hai mujhe -2
jaise mere dil kii har dha.Dakan me.n shaamil aap hai.n
bemuravvat bevafaa

Gam nahii.n jo laakh tuufaano.n se Takaraanaa pa.De -2
mai.n vo kashtii huu.N ki jis kashtii kaa saahil aap hai.n

bemuravvat bevafaa begaanaa-e-dil aap hai.n
aap maane yaa na maane mere qaatil aap hai.n
bemuravvat bevafaa

Ghazal #21

Mirza Ghalib – The Movie

The 1954 movie Mirza Ghalib was produced and directed by Sohrab Modi. It starred Bharat Bhushan as the 19th century (27th Dec 1797 to 15 Feb 1869) noble and wealthy poet Mirza Ghalib who fell in love with a courtesan Chaudhvin played by Suraiyya. This very sensitive poet then went through pangs of ill-fated relationship and ultimate descent into pecuniary. The movie also brought out the conflict between his loyalty and love and he ultimately failed to make a good impression in the mushaira of emperor Bahadur Shah Zafar but managed to win the heart of the courtesan Chaudhvin.

Mirza Ghalib is regarded as the best Urdu poet the world has ever seen. The movie had his ghazals composed by Ghulam Mohammad who also composed music for Pakeezah as you already know.

Lets start with his ghazal that I like the best since it greatly describes his later life and it has the kind of despondency that is the hallmark of good Urdu ghazals. It has been sung by Suraiyya.

Please enjoy: Ye naa thi hamaari kismet ke visaal-e-yaar hota
Agar aur jeete rehate younhi intezzaar hota….

ye naa thii hamaarii qismat ke visaal-e-yaar hotaa
agar aur jiite rahate, yahii i.ntazaar hotaa

tere vaade par jiye ham, to ye jaan jhuuTh jaanaa
ke khushii se mar na jaate, agar aitabaar hotaa

terii naazukii se jaanaa ke ba.ndhaa thaa ahad buudaa
kabhii tuu na to.D sakataa, agar usatavaar hotaa

koii mere dil se puuchhe, tere tiir-e-niim kash ko
ye khalish kahaa.N se hotii, jo jigar ke paar hotaa

ye kahaa.N kii dostii hai ke bane hai.n dost naaseH
koii chaaraa saaz hotaa, koii gam gusaar hotaa

rag-e-sa.ng se Tapakataa, vo lahuu ke phir na thamataa
jise Gam samajh rahe ho, ye agar sharaar hotaa

Gam agar-che jaa.N gusal hai, par kahaa.N bachai.n ke dil hai
Gam-e-ishq gar na hotaa, gam-e-rozagaar hotaa

kahuu.N kis se mai.n ke kiyaa hai, shab-e-gam burii balaa hai
mujhe kiyaa buraa thaa maraN agar aik baar hotaa

hue mar ke ham jo rusavaa, hue kyuu.N na gharq-e-darayaa
na kabhii janaazaa uThataa, na kahii.n mazaar hotaa

use kaun dekh sakataa ke, yagaanaa he vo yakataa
jo duii kii buu bhii hotii, to kahii.n do chaar hotaa

ye masaa-el-e-tasavvuf, ye teraa bean, Gaalib
tujhe ham vaalii samajhate, jo na baadah khaar hotaa

https://www.youtube.com/watch?v=4hw6tKjEk_8

Ghazal #22

Mirza Ghalib – The Movie

I have just introduced you to the 1954 movie Mirza Ghalib starring Bharat Bhushan and Suraiyya, on the life and travails of the 19th century poet Mirza Ghalib regarded as the best Urdu poet ever.

This ghazal has been sung by Talat Mahmood and Suraiyya and also has Ghulam Mohammad‘s music.

Please enjoy: Dil-e-nadaan tujhe hua kyaa hai?
Aakhir is marz ki dawa kyaa hai?

dil-e-naadaa.n tujhe huaa kyaa hai
aakhir is dard kii davaa kyaa hai

ham hai.n mushtaaq aur vo bezaar
yaa ilaahii, ye maajaraa kyaa hai

mai.n bhii muh me.n zubaan rakhataa huu.N
kaash puuchho kii mudda kyaa hai

jabaki tujh bin nahii.n koI maujuud
phir ye ha.ngaamaa ai khudaa kyaa hai

ye parii-cheharaa log kaise hai.n
Gamazaa-o-ush{}vaa-o-adaa kyaa hai

shikane-zulafe-amabarii kyaa hai
nigaahe-chashme-surama saa kyaa hai

sabz-o-gul kahaa.N se aaye hai.n
abr kyaa chiiz hai, havaa kyaa hai

hamako unase vafaa ki hai ummiid
jo nahii.n jaanate vafaa kyaa hai

haa.N bhalaa kar, teraa bhalaa hogaa
aur daravesh kii sadaa kyaa hai

jaan tum par nisaar karataa huu.N
mai.n nahii.n jaanataa duaa kyaa hai

maine maanaa ki kuchh nahii.n Gaalib
muft haath aaye, to buraa kyaa hai

Glossary:
dil-e-naadaan: naive heart
mushtaaq: enthusiastic
bezaar: unsatisfied, angry
maajra: issue
hangaama: noise created by a lot of activity/talk
pari-chehra: beautiful (face of a fairy)
gamz-o-aish-o-adaa: vanity(?)
shikne-zulfe-ambari: locks of hair like the sky(?)
nigaahe-chashme-surma: the look of surma filled eyes
sabz-o-gul: greenery and flowers
abr: cloud
darvesh: beggar
ghamza = amorous glance
ushwa = coquetry, work done surreptitiously
ghamza-o-‘ushwa-o-adaa: grace of the coquettish glances or
grace of the concealed glances

Ghazal #23

Mirza Ghalib – The Movie

The 1954 movie on the life of Mirza Ghalib the poet won the National Award For The Best Feature Film. Its script was written by Rajinder Singh Bedi and Saadat Hasan Manto.

Surprisingly, the politics in Hindi movies kept Ghulam Mohammed from getting the Best Music Director award just as it did for his Pakeezah; because of the latter Pran declined to receive his Best Supporting Actor award that year!

Lets listen to the third of the ghazals of the King of Poets Mirza Ghalib. This too has been sung by Suraiyya on the music of Ghulam Mohammad.

Please enjoy: Nuktacheen hai gham-e-dil usako sunaaye naa bane…

nuktaachii.n hai, Gam-e-dil usako sunaaye na bane
usako sunaaye na bane
kyaa bane baat jahaa.N baat banaaye na bane
nuktaachii.n hai, Gam-e-dil

Gair phirataa hai liye yuu.N tere Kat ko ke agar
ko_ii puuchhe ke ye kyaa hai to chhupaaye na bane
nuktaachii.n hai, Gam-e-dil

mai.n bulaataa to huu.N usako magar ai jazbaa-e-dil
us pe ban jaaye kuchh aisii ki bin aaye na bane -2
nuktaachii.n hai, Gam-e-dil

ishq par zor nahii.n hai ye vo aatish Gaalib -2
ki lagaaye na lage aur bujhaaye na bane
nuktaachii.n hai, Gam-e-dil usako sunaaye na bane

https://www.youtube.com/watch?v=36ex-PLvbGA

Ghazal #24

Mirza Ghalib – The TV Serial

In 1988, Gulzar took it upon himself to make TV Series on Mirza Ghalib. He had Naseeruddin Shah in the role of the great poet. He had the ghazals of Mirza Ghalib composed by Jagjit and Chitra Singh and these are regarded as the best compositions ever by the duo.

Lets listen to Jagjit Singh sing a very popular ghazal of Mirza Ghalib: Aah ko chahiye ik umr hone taq
Kaun jeeta hai teri zulf ke sar hone taq?

aah ko chaahie ek umr asar hone tak
kaun jiitaa hai tere zulf ke sar hone tak

aashiqii sabr talab aur tamannaa betaab
dil kaa kyaa ra.Ng karuu.N khuun-e-jigar hone tak

ham ne maanaa ke taGakul na karoge lekin
khaak ho jaae.nge ham tum ko khabar hone tak

Gam-e-hastii kaa ‘asad’ kisase ho kuz-marg-e-ilaaj
shamaa har ra.Ng me.n jalatii hai sahar hone tak

Ghazal #25

Mirza Ghalib – The Movie

Lets get back to the 1954 movie produced and directed by the great Sohrab Modi for this last ghazal of the evening, which is amongst my all time favourites.

This too has been sung by Suraiyya on Ghulam Mohammad‘s music.

Please enjoy: Rahiye ab aisi jagah chal kar jahan koi naa ho
Hamsukan koi na ho aur hamzubaan koi na ho…

rahiye ab aisii jagah chal kar jahaa.N ko_ii na ho
hamasuKan ko_ii na ho aur hamazabaa.N ko_ii na ho
rahiye ab aisii jagah

be-dar-o-diiwaar kaa ik ghar banaayaa chaahiye -2
ko_ii hamasaayaa na ho aur paasabaa.N ko_ii na ho
rahiye ab aisii jagah

pa.Diye gar biimaar to ko_ii na ho tiimaaradaar -2
aur agar mar jaa_iye to nauhaKwaa.N ko_ii na ho
rahiye ab aisii jagah

Ghazal #26

Raja Mehdi Ali Khan

I have done a full blog on him. Here is from my blog:

Having been born in 1928 in Jehlum in undivided India, when the partition of India took place, Raja Mehdi Ali Khan and wife Tahira refused to go to Pakistan despite communal riots. His patriotism came to fore in 1948 itself when he wrote the famous number: Watan ki raah mein watan ke naujwaan shahid hon for the movie Shaheed starring Dilip Kumar.

Raja Mehdi Ali Khan paired with the Music Director Madan Mohan to produce some of Lata Mangeshkar’s best numbers. She has acknowledged so.

Lets turn to the 1962 movie Anpadh. Here are five songs sung by Lata Mangeshkar with lyrics penned by Raja Mehdi Ali Khan and music composed by Madan Mohan. Four out of these are amongst the best songs of Lata:

1. Aapakii nazaro.n ne samajhaa.
2. Hai isii me.n pyaar kii aabaru.
3. Jiyaa le gayo jii moraa saa.nvariyaa.
4. Ra.ng\-bira.ngii raakhii leke aa_ii bahana.
5. Vo dekho jalaa ghar kisii kaa.

Lets turn to the ghazal Hai isi mein pyaar ki aabru:

hai isii me.n pyaar kii aabaruu
vo zafaa kare.n mai.n vafaa karuu.N
jo vafaa bhii kaam na aa sake
to vohii kahe.n ke mai.n kyaa karuu.N
hai isii …

(mujhe Gam bhii unakaa aziiz hai
ke unhii.n kii dii huii chiiz hai ) – (2)
ke unhii.n kii dii huii chiiz hai
yahii Gam hai ab merii zi.ndagii
ise kaise dil se judaa karuu.N
hai isii …

(jo na ban sake mai.n vo baat huu.N
jo na khatm ho mai.n vo raat huu.N ) – (2)
jo na khatm ho mai.n vo raat huu.N
ye likhaa hai mere nasiib me.n
yuu.Nhii shammaa banake jalaa karuu.N
hai isii …

(na kisii ke dil kii huu.N aarazuu
na kisii kii nazar kii huu.N justajuu ) – (2)
na kisii kii nazar kii huu.N justajuu
mai.n vo phuul huu.N jo udaas ho
na bahaar aae to kyaa karuu.N
hai isii …

Ghazal #28

Raja Mehdi Ali Khan

Hats off to Laxmikant Pyarelal for having composed it so well and hats off to Raj Khosla for the direction of this scene starring his favourite actress of many movies: Sadhana in the 1967 movie Anita, one of the three movies that Raj Khosla made on mystery women.

Of course, Lata Mangeshkar has sung this so well.

You will love the picturisation of this ghazal. It is unlike any other ghazal.

Please enjoy: Qariib aa ye nazar phir mile naa mile….

qariib aa ye nazar phir mile mile naa mile
ye aarazuu kaa chaman phir khile khile na khile
qariib aa ye nazar …

bhaTak rahii huu.N sadiyo.n se terii raaho.n me.n
panaah de kisii ghaayal ko apanii baa.Nho.n me.n
ye dil kaa zaKm kabhii phir phir khile khile naa khile
qariib aa ye nazar …

taras rahaa hai ye dil terii ik nazar ke li_e
bas ek nazar terii kaafii hai umr bhar ke li_e
nazar se pyaar jataa lab hile hile naa hile
qariib aa ye nazar …

nazar uThaa ke tere saamane bahaar kha.Dii
ko_ii hasiinaa nigaaho.n me.n le ke pyaar kha.Dii
phir is adaa kii kalii khile khile naa khile
qariib aa ye nazar …

https://www.youtube.com/watch?v=wDNU3EMbyR4

Ghazal #27

Raja Mehdi Ali Khan

The movie Aankhen was released in 1950. So, Raja Mehdi Ali Khan was only 21 when he wrote the following ghazal. Once agin the composer is Madan Mohan. However, this time the singer is Shamshad Begum.

Having been born on 14th April 1919, we lost Shamshad Begum, the legend, on 23rd April 2013. She was one of the first playback singers in Indian films and sang over 6000 songs. Some of her famous songs are: Milate hi aankhen dil hua, Kabhi aar kabhi paar laaga teer-e-nazar, Kajra mohabbat wala, Teri mehfil mein kismat aajma kar, and Ek do teen aaja mausam hai rangeen.

Please enjoy: Mohabbat karne waalon ka yahi anjaam hota hai….

kisii kii yaad me.n ro-ro ke apane
din guzarate hai.n
ye kaisii zindagii hai
ham na jiite hai.n na marate hai.n

mohabbat karane waalo.n kaa -2
yahii a.njaam hotaa hai
ta.Dapanaa unakii qisamat me.n -2
to subah-o-shaam hotaa hai

mohabbat karane waalo.n kaa
yahii a.njaam hotaa hai

( hameshaa ke liye duniyaa me.n
do dil mil nahii.n sakate ) -2
do dil mil nahii.n sakate
nazar milanaa judaa_ii kaa -2
hii ik paiGaam hotaa hai

mohabbat karane waalo.n kaa
yahii a.njaam hotaa hai

( na dil me.n chain hai hamako
na raato.n ko qaraar aaye ) -2
na raato.n ko qaraar aaye
bataa de ko_ii duniyaa me.n -2
kahaa.N aaraam hotaa hai

mohabbat karane waalo.n kaa
yahii a.njaam hotaa hai

( merii barabaadiyaa.N bhii dekh lii.n
tumane jahaa.N waalo.n ) -2
tumane jahaa.N waalo.n
jo karataa hai mohabbat wo -2
yuu.N hii naakaam hotaa hai

mohabbat karane waalo.n kaa
yahii a.njaam hotaa hai

https://www.youtube.com/watch?time_continue=25&v=bl_3MAhLSBQ

Ghazal #29

Raja Mehdi Ali Khan

I end tonight with this ghazal penned by him for the 1955 movie Inaam, sung by Suraiyya. The composer was SN Tripathi.

Please enjoy: Zara theharo main haal-e-dil suna loon phir chale jaana….

zaraa Thaharo mai.n haal-e-dil sunaa luu.N phir chale jaanaa
tamannaa_o.n ko ashqo.n me.n bahaa luu.N phir chale jaanaa
zaraa Thaharo

are o jaanewaale ek hii pal ke liye ruk jaa -2
mai.n shammaa-e-zi.ndagii apanii bujhaa luu.N phir chale jaanaa

zaraa Thaharo mai.n haal-e-dil sunaa luu.N phir chale jaanaa
zaraa Thaharo

qayaamat kii gha.Dii hai aaj to jii bhar ke rone do -2
mai.n tumako haar ashqo.n ke pinhaa luu.N phir chale jaanaa

zaraa Thaharo mai.n haal-e-dil sunaa luu.N phir chale jaanaa
zaraa Thaharo

tere jaate hii saaj-e-zi.ndagaanii TuuT jaayegaa -2
mai.n apanaa aaKarii nagamaa sunaa luu.N phir chale jaanaa

zaraa Thaharo mai.n haal-e-dil sunaa luu.N phir chale jaanaa
tamannaa_o.n ko ashqo.n me.n bahaa luu.N phir chale jaanaa
zaraa Thaharo

Ghazal #30

Madan Mohan

He lived for a little more than 51 years only (25th June 1924 to 14th July 1975) and yet he left an indelible mark on the Hindi films industry as a composer and music director.

He was the master of ghazals and some of his most popular ghazals have been sung by Mohammad Rafi, Talat Mahmood and Mohammad Rafi. I have already given you quite a few. But, now, it is time to pay him tribute as the best composer of ghazals in Hindi films.

They are all so good that I find it very difficult to select just a few.

Anyway, here is an attempt to find one each of the three singers that I love.

The first one is of Mohammad Rafi from the 1958 movie Aakhri Dao starring Nutan and Shekhar. Majrooh Sultanpuri was the lyricist.

Majrooh Sultanpuri was born on 01 October 1919 in Sultanpur, UP. He was one of the dominating musical forces in Indian Cinema in the 1950s and early 1960s and was an important figure in the Progressive Writers’ Movement and is consideredone of the finest avant-garde Urdu poets of 20th century literature. He won the Filmfare Best Lyricist Award in 1965 for “Chahunga Main Tujhe” in film Dosti, and the highest award in Indian cinema, the Dadasaheb Phalke Award for lifetime achievement in 1993.

Please enjoy: Tujhe kyaa sunaayun main dilruba tere saamane mera haal hai….

tujhe kyaa sunaaU.N mai.n dilarubaa
tere saamane meraa haal hai
terii ik nigaah kii baat hai
merii zi.ndagii kaa savaal hai

merii har Kushii tere dam se hai
merii zi.ndagii tere Gam se hai
tere dard se rahe beKabar
mere dil kii kab ye mazaal hai

tere husn par hai merii nazar
mujhe subah shaam kii kyaa Kabar
merii shaam hai terii justajuu
merii subaha teraa Kayaal hai

mere dil jigar me.n samaa bhii jaa
rahe kyo.n nazar kaa bhii faasalaa
ke tere baGair o jaan-e-jaa.n
mujhe zi.ndagii bhii muhaal hai

Ghazal #31

Madan Mohan

Undoubtedly the best composer of ghazals in Hindi movies ever was Madan Mohan and the best singer Talat Mahmood.

The 1957 movie Dekh Kabira Roya was supposed to be a comedy but look at the songs and this ghazal. Rajinder Krishan was the lyricist and Talat the singer.

Lagan Tose Lagi Balma	Lata Mangeshkar	Rajendra Krishan	Madan Mohan
Meri Veena Tum Bin Roye	Lata Mangeshkar	Rajendra Krishan	Madan Mohan
Hum Panchhi Mastaane	Lata Mangeshkar Geeta Dutt & Seeta	Rajendra Krishan	Madan Mohan
Humse Aaya Na Gaya	Talat Mahmood	Rajendra Krishan	Madan Mohan
Tum Meri Raakho Laaj Hari	Sudha Malhotra	Rajendra Krishan	Madan Mohan
Tu Pyar Kare Ya Thukraye	Lata Mangeshkar	Rajendra Krishan	Madan Mohan
Ashqon Se Teri Humne	Asha Bhosle	Rajendra Krishan	Madan Mohan
Hum Bulate Hi Rahe	Asha Bhosle & Mohammad Rafi	Rajendra Krishan	Madan Mohan
Bairan Ho Gayi Rain	Manna Dey	Rajendra Krishan	Madan Mohan
Kaun Aaya, Mere Man Ke Dwaare	Manna Dey	Rajendra Krishan	Madan Mohan

Please enjoy: Hamase aaya naa gaya tumase bulaaya na gaya….

ham se aayaa na gayaa tum se bulaayaa naa gayaa
faasalaa pyaar me.n dono.n se miTaayaa naa gayaa

vo gha.Dii yaad hai jab tum se mulaaqaat huI
ek ishaaraa huaa do haath ba.Dhe baat huI
dekhate dekhate din Dhal gayaa aur raat huI
vo samaa.n aaj talak dil se bhulaayaa naa gayaa
ham se AyA na gayA

kyaa Kabar thii ke mile hai.n to bichha.Dane ke liye
qismate.n apanii banaaI.n hai.n biga.Dane ke liye
pyaar kaa baag basaayaa thaa uja.Dane ke liye
is tarah uja.Daa ke phir ham se basaayaa naa gayaa
ham se AyA na gayA

yAd rag jAtI hai aur vaqt guzar jAtA hai
phUl khilatA hai magar khil ke bikhar jAtA hai
sab chale jAte hai.n phir darde jigar jAtA hai
dAG jo tUne diyA dil ne miTAyA nA gayA
ham se AyA na gayA …

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

Ghazal #32

Madan Mohan

What happens when you combine the best ghazal composer in Madan Mohan with the best ghazal writer: Gulzar? Well, the result, as expected is magic. It happened in 1975 movie Mausam starring Sanjeev Kapoor and Sharmila Tagore.

Lata is the singer.

Please enjoy one of her best ghazals: Ruke ruke se kadam ruk ke baar baar chale….

ruke ruke se kadam ruk ke baar baar chale (2)
qarAr leke tere dar se beqarAr chale
ruke ruke se kadam ruk ke baar baar chale
ruke ruke se kadam

subah nA AyI kaI baar nI.nd se jaage (2)
ki ek raat kI ye zi.ndagI guzaar chale (2)
ruke ruke se kadam

uThAye phir de ke ehasAn dil kA sIne par (2)
le tere kadamo.n pe ye kaz.r bhI utaar chale (2)
qarAr leke tere dar se beqarAr chale
ruke ruke se kadam ruk ke baar baar chale
ruke ruke se kadam

Ghazal #33

Madan Mohan

I was about to call it a late night when I remembered that I haven’t given you a fourth singer for whom Madan Mohan composed ghazals. Yes, I am talking about Asha Bhosle.

The 1966 movie Neend Hamari Khwaab Tumhaare had one of her best ghazals on the lyrics of Rajinder Krishan. It is picturised on Nanda singing for Shashi Kapoor.

Please enjoy: Koi shiqwa bhi nahin, koi shiqayat bhi nahin
Aur tumahen hamase who pehli si mohabbat bhi nahin….

ko_ii shiqavaa bhii nahii.n ko_ii shiqaayat bhii nahii.n -2
aur tumhe.n hamase vo pahale sii mohabbat bhii nahii.n
ko_ii shiqavaa bhii …

pyaar ke vaade vafaa hone ke din aa_e hai.n -2
ye na samajho Kafaa hone ke din aa_e hai.n
ruuTh jaa_oge to kuchh duur qayaamat bhii nahii.n
aur tumhe.n hamase …

ham vahii apanii vafaa apanii mohabbat bhii vahii -2
tum jahaa.N baiTh ga_e apanii jo jannat hai vahii
aur duniyaa me.n kisii chiiz kii chaahat bhii nahii.n
aur tumhe.n hamase …

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

Ghazal #34

Khaiyyam

Last night I gave you adequate glimpses of Madan Mohan’s mastery over composing music for ghazals in the Hindi movies. Another composer who loved composing ghazals is Mohammed Zahur Khaiyyam or simply Khaiyyam.

He was born very close to where I was born: the village of Rahon near Nawanshahr on 18th Feb 1927. His music is on the gentler side and he refused to make music for frivolous lyricists.

To the best of my knowledge, Bashar Nawaz has penned just one ghazal in Hindi movies. It is in the 1982 movie Bazaar starring Naseeruddin Shah and the one who was destined to be the modern day Meena Kumari until fate played its last card for her and we lost her prematurely: Smita Patil.

The ghazal has been sung by Bhupinder whose one ghazal I have given you earlier, for the movie Aitbaar: Kisi nazar ko tera intezzar aaj bhi hai.

Please enjoy: Karoge yaad to har baat yaad aayegi…..

karoge yaad to, har baat yaad aayegii – 2
guzarate vaqt kii, har mauj Thahar jaayegii – 2
karoge yaad to …

ye chaa.Nd biite zamaano.n kaa aaiinaa hogaa – 2
bhaTakate abra me.n, chaharaa koI banaa hogaa
udaas raah koI daastaa.n sunaaegii – 2
karoge yaad to …

barasataa-bhiigataa mausam dhuaa.N-dhuaa.N hogaa – 2
pighalatii shamo.n pe dil kaa mere Gumaa.n hogaa
hatheliyo.n kii hinaa, yaad kuchh dilaayegii – 2
karoge yaad to …

galii ke mo.D pe, suunaa saa koI daravaazaa – 2
tarasatii aa.Nkho.n se rastaa kisii kaa dekhegaa
nigaah duur talak jaa ke lauT aaegii – 2
karoge yaad to …

https://www.youtube.com/watch?v=7X0Z6Qp6Re4

Ghazal #35

Khaiyyam

Talking about Khaiyyam, another beautiful ghazal of the 1982 movie Bazaar has been sung by his wife Jagjit Kaur. This is picturised on Supriya Pathak and the gentlest of all heroes: Farooq Sheikh.

And, it is a Mir Taqi Mir ghazal!

Please enjoy: Dikhayi diye youn ki bekhud kiya….

dikhaa_ii di_e yuu.N ki bekhud kiyaa -2
hame.n aap se bhii judaa kar chale
dikhaa_ii di_e yuu.N

jabii.n sajadaa karate hii karate ga_ii -2
haq-e-ba.ndagii yuu.N adaa kar chale
dikhaa_ii di_e yuu.N

parastish kii yaa.N tak ki ai but tujhe -2
nazar me.n sabho.n kii Kudaa kar chale
dikhaa_ii di_e yuu.N

bahut aarzuu tii galii kii terii -2
so yaas-e-lahuu me.n nahaa kar chale

https://www.youtube.com/watch?v=n1cwY3IEWJI

Ghazal #36

Khaiyyam

And, ladies and gentlemen, talking about Khaiyyam, one can never forget the ghazal of Jaan Nisar Akhtar composed by him and sung so beautifully by Lata Mangeshkar.

I have already given you two excellent ghazals by Jaan Nisar Akhtar: Beqasi had se jab guzr jaaye; and Bemurravat bewafa begaana-e-dil aap hain.

This is from the 1977 movie Shankar Hussain and is counted amongst the finest ghazals in Hindi movies.

Please enjoy: Aap youn faaslon se guzarate rahe
Dil se kadamon ki avaaz aati rahi…..

aap yuu.N faasalo.n se guzarate rahe
dil se kadamo.n kii aavaaz aatii rahii
aahaTo.n se a.ndhere chamakate rahe
raat aatii rahii raat jaatii rahii

ho, gunagunaatii rahii.n merii tanahaa_iyaa.N
duur bajatii rahii.n kitanii shahanaa_iyaa.N
zi.ndagii zi.ndagii ko bulaatii rahii
aap yuu.N faasalo.n se guzarate rahe
dil se kadamo.n kii aavaaz aatii rahii
aap yuu.N…

kataraa kataraa pighalataa rahaa aasmaa.N -2
ruuh kii vaadiyo.n me.n na jaane kahaa.N
ik nadii… ik nadii dilarubaa giit gaatii rahii
aap yuu.N faasalo.n se guzarate rahe
dil se kadamo.n kii aavaaz aatii rahii
aap yuu.N…

aap kii garm baaho.n me.n kho jaae.nge
aap kii narm zaano.n pe so jaae.nge, so jaae.nge
muddato.n raat nii.nde.n churaatii rahii
aap yuu.N faasalo.n se guzarate rahe
dil se kadamo.n kii aavaaz aatii rahii
aap yuu.N…

That brings us to the end of Part II of A Hundred Ghazals in Hindi Movies. We have had a total of 36 ghazals so far.

Please let me know in the comments below if some ghazal of yours should appear in the Top 100. I shall try to accommodate. Only, please remember two things: One, there are still four more parts to go of roughly 16 ghazals per part. And, secondly, these are not the best ghazals in all fora; these are only considered the best that appeared in Hindi movies.

The ghazal is a poetic form consisting of rhyming couplets and a refrain, with each line sharing the same meter. A ghazal may be understood as a poetic expression of both the pain of loss or separation and the beauty of love in spite of that pain. The form is ancient, originating in ancient Arabic poem in Arabia long before the birth of Islam. The term Ghazal is of North African and Middle Eastern origin. Its root term in Arabic is “gh-zl” and is derived from the Arabian panegyric qasida.

The ghazal spread into South Asia in the 12th century due to the influence of Sufi mystics and the courts of the new Islamic Sultanate. Although the ghazal is most prominently a form of Dari poetry and Urdu poetry, today it is found in the poetry of many languages of the Indian sub-continent.

The best ghazal in the Hindi movies is by my favourite poet and lyricist Shakeel Badayuni. It was the title ghazal for the 1963 movie Mere Mehboob. Only, I am not able to post this ghazal since it is so dear to me. You will have to do with lesser ghazals of Shakeel and others.

Ghazal #1

Let me begin by giving you his ghazal for the 1954 movie Amar. As is to be expected, it has Naushad Ali’s music and it has been sung by Lata Mangeshkar for Nimmi, one of the two heroines of the movie (the other being Madhubala) opposite Dilip Kumar.

Please enjoy: Na milata gham to barbaadi ke afsaane kahan jaate….

ho, tamannaa luT ga_ii phir bhii tere dam se mohabbat hai
mubaarak Gair ko Kushiyaa.N mujhe, Gam se mohabbat hai

na milataa Gam to barabaadii ke afasaane kahaa.N jaate
agar duniyaa chaman hotii, to viiraane kahaa.N jaate

chalo achchhaa huaa apano.n me.n koii Gair to nikalaa
jii, koii Gair to nikalaa
agar hote sabhii apane, to begaane kahaa.N jaate

du_aae.n do mohabbat hamane miTakar tumako sikhalaadii
mohabbat tumako sikhalaadii
na jalate shamaa me.n to parvaane kahaa.N jaate

tumhii.n ne Gam kii daulat dii ba.Daa ahasaan farmaayaa,
ba.Daa ahasaan farmaayaa
zamaane bhar ke aage haath phailaane kahaa.N jaate

https://www.youtube.com/watch?v=0BKLe-L6Dtg

Ghazal #2

Left to myself, for the next fortnight (these ghazals, you may know, are being reproduced from my Facebook Page Lyrical where I ran this feature for more than a month, giving three every evening/night) I can give you ghazals of Shakeel Badayuni in Hindi movies! That’s how much I adore him.

However, I am going to be less selfish and give you those of many other lyricists and poets.

Lets start with Kaifi Azmi.

Kaifi mastered the art of describing things very powerfully through simple words.

Here is one of my favourite Kaifi Azmi ghazals in Hindi movies. This is from the 1982 movie Arth (Meaning) starring Shabana Azmi, Smita Patil (who was then being talked about the Meena Kumari of modern era) and Kulbhushan Kharbanda and Raj Kiran. Kuldeep Singh composed the music for it. And no marks for guessing the ghazal singer: the ghazal king of our era: Jagjit Singh.

Please enjoy: Jhuki jhuki si nazar beqraar hai ki nahin…

jhukii jhukii sii nazar beqaraar hai ki nahii.n
dabaa dabaa saa sahii dil me.n pyaar hai ki nahii.n …

tuu apane dil kii javaa.N dha.Dakano.n ko gin ke bataa …
merii tarah teraa dil beqaraar hai ki nahii.n …
dabaa dabaa saa sahii dil me.n pyaar hai ki nahii.n
jhukii jhukii sI nazar

vo pal ke jis me.n mohabbat javaan hotii hai
us ek pal kaa tujhe i.ntazaar hai ki nahii.n …
dabaa dabaa saa sahii dil me.n pyaar hai ki nahii.n
jhukii jhukii sI nazar

terii ummiid pe Thukaraa rahaa huu.N duniyaa ko …
tujhe bhii apane pe ye aitabaar hai ki nahii.n …
dabaa dabaa saa sahii dil me.n pyaar hai ki nahii.n
jhukii jhukii sii nazar

Ghazal #3

How about a ghazal from the movie Ghazal? Well, now we are talking about Sahir Ludhianvi. This ghazal achieved iconic proportions and is still being talked about as the ghazal in Hindi movies. Naturally, no one could sing such ghazals better than Mohammad Rafi, especially when it ends in high pitched singing.

The great Madan Mohan who composed music for the best ghazals in Hindi movies did full justice to it.

Sunil Dutt sang it for Meena Kumari (herself a ghazal writer in real life!). She was his beloved in the movie and was being married to his rival Rehman out of a compulsion that she had lost her voice (after they fell in love with he listening to her singing the origin of this ghazal in a private gathering with her female friends): Naghma o sher ki baraat kise pesh karun. Having lost her voice she didn’t want Sunil Dutt to suffer marriage with her! Rehman asked Sunil Dutt to sing the sehra (felicitation song for wedding) and that’s how Sunil Dutt sang it.

Please enjoy: Rang aur noor ki baraat kise pesh Karun…

ra.ng aur nuur kii baaraat kise pesh karuu.N
ye muraado.n kii ha.nsii.n raat kise pesh karuu.N, kise pesh karuu.N

maine jazabaat nibhaae hai.n usuulo.n kii jagah (2)
apane aramaan piro laayaa huu.N phuulo.n kii jagah
tere sehare kii …
tere sehare kii ye saugaat kise pesh karuu.N
ye muraado.n kii hasii.n raat kise pesh karuu.N, kise pesh karuu.N

ye mere sher mere aakhirii nazaraane hai.n (2)
mai.n un apano.n mai.n huu.N jo aaj se begaane hai.n
beta-aa-luK sii mulaakaat kise pesh karuu.N
ye muraado.n kii ha.nsii.n raat kise pesh karuu.N, kise pesh karuu.N

surkh jo.De kii tabotaab mubaarak ho tujhe (2)
terii aa.Nkho.n kaa nayaa Kvaab mubaarak ho tujhe
ye merii Kvaahish ye Kayaalaat kise pesh karuu.N
ye muraado.n kii ha.nsii.n raat kise pesh karuu.N, kise pesh karuu.N

kaun kahataa hai chaahat pe sabhii kaa haq hai (2)
tuu jise chaahe teraa pyaar usii kaa haq hai
mujhase kah de …
mujhase kah de mai.n teraa haath kise pesh karuu.N
ye muraado.n kii ha.nsii.n raat kise pesh karuu.N, kise pesh karuu.N

ra.ng aur nuur kii …

Ghazal #4

Tonight I give you two beautiful ghazals by Bahadur Shah Zafar, the last Mughal Emperor of India; it is actually one penned by him and the other penned for the movie on his life, the 1960 movie Laal Qila (Red Fort), by Muztar Khairabadi. He is the subject of William Dalrymple’s famous book ‘The Last Mughal’. His reign lasted twenty years, from 28th Sep 1837 to 14th Sep 1857.

On 20th Sep 1857, heading the Mutiny against the British, Zafar was defeated by the British. Many members of his family were killed by the British. He himself, together with his wife Zeenat were exiled to Rangoon, Burma. Five years later, in 1862, he died in Yangon. He was buried near the Shwe Degon Pagoda at 6 Ziwaka Road, near the intersection with Shwe Degon Pagoda Rd, Yangon. The shrine of Bahadur Shah Zafar Dargah was built there after recovery of its tomb on 16 February 1991.

He was an accomplished Urdu poet and calligrapher. While he was denied paper and pen in captivity, he was known to have written on the walls of his room with a burnt stick.

He wrote the following Ghazal as his own epitaph.

This ghazal was sung very beautifully by Mohammad Rafi on SN Tripathi’s music in the 1960 movie Laal Qila.

Please enjoy: Lagata nahin hai dil meraa ujade dyaar mein….

lagtā nahīń hé jī mérā ūjař’é dayār méń
kiskī banī hé ālam-e-nā-pāyedār méń

būlbūl ko pāsbāń se na saiyyād se gilā
qismet méń qaid likhī tthī fasl-e-bahār méń

kaeh do in hassretoń se kahīń aur jā bas’éń
itnī jageh kahāń hé dil-e-dāGhdār méń

ik shāKh-e-gūl pe baiTh ke būlbūl hé shādmāń
kānTe bichā diye héń dil-e-lālāzār méń

umr-e-darāz māńg ke lāye tthe chār din
do ārzū méń kaT gayé do intezār méń

din zindagī ke Khatm hué shām ho gayī
p’hailā ke pāoń soyeń-ge kūńj-e-mazaar méń

kitnā hé bad-naseeb zafar dafn ke liye
do gaz zamīn bhī na milī kū-e-yār méń

https://www.youtube.com/watch?v=Sg4EQcmeBl0

Ghazal #5

I have given the brief history of the Last Mughal Emperor Bahadur Shah Zafar in the previous post wherein he wrote his own epitaph in a prison in Rangoon, Burma, where he was exiled in 1857.

This is the second famous ghazal was not written by him but by Muztar Khairabadi for the 1960 movie Laal Qila on the life of Zafar.

This is the second best ghazal (the first, I have already told you is Mere Mehboob) ever sung by Mohammad Rafi. It features in the 1960 movie Laal Qila and like the last one (Lagata nahin hai dil meraa) it has SN Tripathi’s music.

Please enjoy: Naa kisi ki aankh ka noor hoon…..

na kisii kii aa.Nkh kaa nuur huu.N
na kisii ke dil kaa qaraar huu.N
jo kisii ke kaam na aa sakaa
mai.n vo ek musht-e-gubaar huu.N

na to mai.n kisii kaa habiib huu.N
na to mai.n kisii kaa raqiib huu.N
jo biga.D gayaa vo nasiib huu.N
jo uja.D gayaa vo dayaar huu.N, jo kisii ke …

meraa ra.ng-ruup biga.D gayaa
meraa yaar mujhase bichha.D gayaa
jo chaman fizaa.n me.n uja.D gayaa
mai.n usii kii fasl-e-bahaar huu.N, jo kisii ke …

Ghazal #6

Ghulam Ali was born on 5th Dec 1940, in a village near Sialkot in British India (now part of Pakistan). He is the most famous of the ghazal singers of this era. Being from the Patiala gharana of ghazal singing, he combined Hindustani classical music and ghazal singing into a unique blend.

His most famous ghazal in Hindi movies is in the 1982 BR Chopra movie Nikaah starring the singer-actor Salma Agha, Deepak Prashar and Raj Babbar.

In Nikaah,B.R Chopra makes a social comment on the Sharia laws of divorce (Talaq) and its misuse among Indian Muslim society. According to Chopra, it is a story of all women.

It is in this background that Ghulam Ali’s ghazal is to be listened to. It has Hasrat Mohani’s lyrics. Ghulam Ali, as always, has sung it on his own music.

Please enjoy: Chupake chupake raat din aansu bahaana yaad hai….

chupake chupake raat din aa.Nsuu bahaanaa yaad hai
ham ko ab tak aashiqii kaa vo zamaanaa yaad hai

khii.nch lenaa vo meraa pad.re kaa konaa baf-a-tan
aur dupaTTe me.n vo teraa mu.Nh chhupaanaa yaad hai

berukhii ke saath sunanaa dad.r-e-dil kii daasataa.N
vo kalaa_ii me.n teraa ka.ngan ghumaanaa yaad hai

vaqt-e-rukhsat alavidaa kaa lafz kahane ke liye
vo tere suukhe labo.n kaa thar-tharaanaa yaad hai

chorii chorii ham se tum aakar mile the jis jagah
muddate.n guzarii.n par ab tak vo Thikaanaa yaad hai

dopahar kii dhuup me.n mere bulaane ke liye
vo chhajje par teraa na.nge paa.Nv aanaa yaad hai

tujhase milate hii vo bebaaq ho jaanaa meraa
aur teraa daa.Nto.n me.n vo u.ngalii dabaanaa yaad hai

tujh ko jab ta.nhaa kabhii paanaa to az_raahe-lihaaz
haal-e-dil baato.n hii baato.n me.n jataanaa yaad hai

aa gayaa agar vasl kii shab bhii kahin ziqr-e-firaq
vo teraa ro ro ke bhii mujhako rulaanaa yaad hai

Ghazal #7

Lata Mangeshkar

Born on 29th Sep 1929, Lata Mangeshkar is India’s best known playback singer who has sung sung more songs than any other singer.

Born in Indore, she started singing at the age of 13. Her father, Pandit Deenanath Mangeshkar was a classical singer and theater actor. Lata not only took her music lessons from him but also acted in his plays.

Her singing career started when her father died, when she was only 13. Mangeshkar sang the song “Naachu Yaa Gade”, Khelu Saari Mani Haus Bhaari” which was composed by Sadashivrao Nevrekar for Vasant Joglekar’s Marathi movie Kiti Hasaal (1942).

She has lost count of the number of awards that were conferred on her, the highest being India’s highest award Bharat Ratna in 2001. In 1974 Guiness listed her as the most recorded artist in the history of the world. The estimate of the songs that she has recorded ranges between 25000 to 50000! In 1969 she requested that she not be considered for Filmfare Best Playback Singer (Female) award as she had already won it four times and she wanted to promote fresh talent.

Her ghazal singing in Hindi movies, especially in her young days, would leave you breathless with its stunning beauty.

Her “bhai sahaib” Madan Mohan, as acknowledged by her personally, brought out the best in her. Her ghazals of 1958 Nargis starrer Adalat are beautiful in many ways: Rajinder Krishan’s lyrics are superb and meaningful, Madan Mohan’s music has the soulful quality about it and her singing brings out the ‘dard’ as if it is not playback but she can feel the protagonist’s pain.

Please enjoy one of her most famous ghazals: Youn hasraton ke daag mohabbat mein dho liye…..

yU.N hasarato.n ke dAG, muhabbat me.n dho liye
khud dil se dil kI bAt kahI, aur ro liye
yU.N…

ghar se chale the ham to, khushI kI talAsh me.n -2
khushI kI talAsh me.n
Gam rAh me.n kha.De the vahI, sAth ho liye
khud dil se dil kI bAt kahI, aur ro liye
yU.N…

murajhaa chukaa hai phir bhii ye dil phuul hii to hai
haa.N phuul hii to hai
ab aap kii Khushii ise kaa.NTo.n me.n toliye
khud dil se dil kii baat kahii, aur ro liye
yuu.N …

ho.nTho.n ko sI chuke to, zamAne ne ye kahA – 2
zamAne ne ye kahA
ye chup sI kyo.n lagI hai ajI, kuchh to boliye
khud dil se dil kI bAt kahI, aur ro liye
yU.N…

Ghazal #8

Lata Mangeshkar

The 1958 movie Adalat had another remarkably beautiful ghazal by her, once again with Rajinder Krishan’s lyrics and Madan Mohan’s music.

Please enjoy: Unako ye shikayat hai ki ham kuchh nahin kehate….

un ko ye shikAyat hai ke ham, (kuchh nahI.n kahate – 2)
apanI to ye aadat hai ke ham, (kuchh nahI.n kahate – 2)

majabUr bahaut karatA hai ye, (dil to zubaa.n ko – 2)
kuchh aisI hI haalat hai ke ham, (kuchh nahI.n kahate – 2)
apanI to ye aadat …

kahane ko bahaut kuchh thA agar, (kahanepe aate – 2)
duniyA kI inaayat hai ke ham, (kuchh nahI.n kahate – 2)
apanI to ye aadat …

kuchh kahanepe tUfAn (uThA letI hai duniyA – 2)
ab isape qayAmat hai ke ham, (kuchh nahI.n kahate – 2)
apanI to ye aadat …

Ghazal #9

Lata Mangeshkar

I have given you two of her most famous ghazals from the 1958 movie Adalat starring one of the greatest actresses of her times: Nargis. Now, lets see Lata ji singing for the most intense actress of the times: Meena Kumari.

This is from the same 1964 movie Ghazal from which I took one of the best ghazals of Mohammad Rafi: Rang aur noor ki baraat kise pesh Karun.

Predictably, this too has Madan Mohan’s music. However, the lyrics are those of Sahir Ludhianvi.

The excellence of her singing this ghazal is matched by Meena Kumari’s supreme elegance.

Please enjoy: Nagma o sher ki saugat kise pesh karun….

naGamaa-o-sher kii saugaat kise pesh karuu.N
ye chhalakate hue jazabaat kise pesh karuu.N

shoK aa.Nkho.n ke ujaalo.n ko luTaauu.n kis par
mast zulfo.n kii siyah raat kise pesh karuu.N

garm saa.nso.n me.n chhipe raaz bataauu.N kisako
narm hoTho.n me.n dabii baat kise pesh karuu.N

koi hamaraaz to paauu.N koI hamadam to mile
dil kii dha.Dakan ke ishaarat kise pesh karuu.N

Ghazal #10

Salma Agha

The other day I gave you a ghazal sung by Ghulam Ali for the 1982 BR Chopra movie Nikaah that brought out that the Sharia law of Talaaq was being misused in India. The woman who was, in the movie, on the receiving end of the law was Salma Agha. She is a British singer and actress of Pakistani origin. In her first movie itself, ie, in Nikaah, she won the Filmfare Best Female Playback singer award.

And this was that ghazal.

Please enjoy: Dil ke armaan aansuyon mein beh gaye….

dil ke aramaan aansuon men bah gaye
ham vafaa kar ke bhi tanaha rah gaye
dil ke aramaan aansuon men bah gaye

zindagi ek pyaas ban kar rah gai \-2
pyaar ke qisse adhoore rah gaye
ham vafaa kar ke bhi tanaha rah gaye
dil ke aramaan aansuon men bah gaye

shaayad un ka aakhiri ho yeh sitam \-2
har sitam, yeh soch kar ham sah gaye
ham vafaa kar ke bhi tanaha rah gaye
dil ke aramaan aansuon men bah gaye

khud ko bhi hamane mita daala magar
faasle jo daramiyaan the rah gaye
ham vafaa kar ke bhi tanaha rah gaye
dil ke aramaan aansuon men bah gaye

Ghazal #11

Mohammad Rafi

The best of ghazals in Hindi movies owe their existence to the quartet of Shakeel Badayuni, Naushad Ali, Dilip Kumar and Mohammad Rafi.

Here is one from the 1966 movie Dil Diya Dard Liya wherein four of them worked together to create some of the finest ghazals.

Even after all these years they are as popular as they were when they were fresh.

Please enjoy: Guzaren hain aaj ishq mein ham us maqqam se,
Nafrat si ho gayi hai mohabbat ke naam se….

guzare hai.n aaj ishq me.n ham us maqaam se
nafarat sii ho ga_ii hai muhabbat ke naam se

hamako na ye gumaan thaa, o sa.ngadil sanam
raah-e-vafaa se tere bahak jaae.nge qadam
chhalakegaa zahar bhii terii aa.Nkho.n ke jaam se

o bevafaa teraa bhii yuu.N hii TuuT jaae dil
tuu bhii ta.Dap-ta.Dap ke pukaare haay dil
teraa bhii saamanaa ho kabhii, Gam kii shaam se

ham vo nahii.n jo pyaar me.n rokar guzaar de.n
parachhaaI.n bhii ho terii to Thokar se maar de.n
vaaqif hai.n ham bhii Kuub har ek i.ntaqaam se

Ghazal #12

Mohammad Rafi

Talking about Mohammad Rafi and Guzar theme helps you to get to the 1968 movie Mere Huzoor starring Raaj Kumar, Mala Sinha and Jeetendra.

What a beautiful story it was:

Akhtar Hussain (Jeetendra) saves the life of Nawab Salim (Raaj Kumar), and earns his gratitude. Salim invites Akhtar to come to his palatial home, and Akhtar does so. On the way, he meets beautiful Saltanat (Mala Sinha), and falls in love with her. On arrival at Salim’s house, Akhtar is treated with utmost respect, provided employment, and a place to live. Akhtar meets with Saltanat and both plan to get married. Unknown to them, Salim also loves Saltanat, but Saltanat rejects his advances, and proposal, leaving him heartbroken. On the day, when the news of the impending marriage of Akhtar and Saltanat is given to Salim, he sings this ghazal.

This ghazal has been put together by Hasrat Jaipuri, Shankar Jaikishen and Mohammad Rafi.

Please enjoy: Woh khushi mili hai mujhako use kaise main bataayun……

jo guzar rahii hai mujh par use kaise mai.n bataa_uu.N -2
vo Kushii milii hai mujhako mai.n Kushii se mar na jaa_uu.N -2

mere dil kii dha.Dakano.n kaa ye salaam tumako pahu.Nche
mai.n tumhaaraa hamanashii.n huu.N ye payaam tumako pahu.Nche
use bandagii mai.n samajhuu.N jo tumhaare kaam aa_uu.N
vo Kushii milii hai …

mere dil kii mahafilo.n me.n vo muqaam hai tumhaaraa
ke Kudaa ke baad lab par bas naam hai tumhaaraa
merii aarazuu yahii hai mai.n tumhaare giit gaa_uu.N
vo Kushii milii hai …

merii zindagii me.n hamadam kabhii Gam na tuu uThaanaa
kabhii aa_e.N jo a.Ndhere mujhe pyaar se bulaanaa
mai.n chiraaG huu.N vafaa kaa mai.n a.Ndhere jagamagaa_uu.N
vo Kushii milii hai …

https://youtube.com/watch?v=HiOKDngPkRM

Ghazal #13

Asha Bhosle

She was born on the 8th of Sep 1933 in Sangli. Lata Mangeshkar, her elder sister is four years older to her. Hence, she was only 9 years old when their father Deenanath Mangeshkar died. Both the sisters took to singing in order to support the family.

Whereas Lata emerged as the most versatile singer, Asha emerged as the young-at-heart sexy voice, as seen by Music Director OP Nayyar who refused to make songs for Lata.

Many of Asha’s songs are the lilting, romantic, numbers with a dash of daring in them.

However, she also sang bhajans and ghazals with equal ease.

Take this ghazal from the 1960 movie Kalpana for example. It has pathos, deep emotions and pain.

To understand this ghazal, have a look at the story-line:

Widower Amar (Ashok Kumar) leads a middle-class lifestyle in Bombay along with his widowed mom, and a daughter, Munni (Baby Farida), whose mom passed away just 3 days after giving birth and makes a living working as the Principal of Bharti Kala Kendra. When he goes for a vacation to Kashmir with his Butler, D’Souza (Sunder), he meets with and falls in love with a woman named Kalpana (Padmini) and includes her in his painting. They meet several times and are drawn to each other. One day when Amar goes to propose, he finds out they have left for an unknown destination. When he returns home by train he meets with another young woman, Asha (Ragini), who he subsequently hires as the Kendra’s Dance Instructress. He takes her home to meet his mom, and Munni, and both approve of her hoping that she will marry Amar. Then Amar watches Kalpana performing a dance item in the theater, meets with her and both rekindle their romance. Asha notices this and steps away, albeit heartbroken. Amar asks Kalpana to go and meet his mother and Munni, which she does. It is during this meeting that they will get an unexpected visitor, none other than Johar (Iftekar), who is Kalpana’s brother, and this is when the truth about Kalpana, her mom, and their background will surface – changing everyone’s lives forever.

The ghazal shows the reality of Kalpana (Padmini) and how she was forced to become a courtesan.

Such a powerful ghazal was penned by Jaan Nisar Akhtar. It has OP Nayyar‘s music.

Please enjoy: Baqasi had se jab guzr jaaye
Koi ai dil jiye ke mar jaaye….

beqasii had se jab guzar jaa_e
ko_ii ai dil ji_e ki mar jaa_e

zindagii se kaho dulahan ban ke -2
aaj to do gha.Dii sa.Nvar jaa_e
ko_ii ai dil …

unako jii bhar ke dekh lene de -2
dil kii dha.Dakan zaraa Thahar jaa_e
ko_ii ai dil …

ham hai.n apanii jaan ke dushman -2
kyo.n ye iljaam unake sar jaa_e
ko_ii ai dil …

mere naGamo.n se unakaa dil na dukhe -2
Gam nahii.n mujhape jo guzar jaa_e
ko_ii ai dil …

https://youtube.com/watch?v=QKL_GPfsABE

Ghazal #14

Asha Bhosle

Now that I have given you a very famous ghazal by Asha Bhosle sung for Padmini in the 1960 movie Kalpana, how about a ghazal of hers picturised on Meena Kumari?

You can’t believe it, can you?

Well, it happened in the 1967 movie Bahu Begum. Lyrics are by Majrooh Sultanpuri and it is Roshan‘s composition.

Please enjoy: Hum intezzar karenge teraa qyaamat taq
Khuda kare ki qyaamat ho aur tu aaye….

ham i.ntazaar kare.nge (2) qayaamat tak
khudaa kare ki qayaamat ho, aur tuu aae (2)
ham i.ntazaar kare.nge …

## Duet Version ##
(aashaa:)
ham i.ntazaar kare.nge
ham i.ntazaar kare.nge teraa qayaamat tak
Kudaa kare ki qayaamat ho, aur tuu aae -2
ham i.ntazaar kare.nge…

ye i.ntazaar bhii ek imtihaa.n hotaa hai
isiise ishq kaa sholaa javaa.n hotaa hai
ye i.ntazaar salaamat ho
ye i.ntazaar salaamat ho aur tuu aae
Kudaa kare ki qayaamat ho, aur tuu aae
ham i.ntazaar kare.nge…

bichhaae shauq se, Kud bevafaa kii raaho.n me.n
kha.De hai.n diip kii hasarat li_e nigaaho.n me.n
qabuul-e-dil kii ibaadat ho
qabuul-e-dil kii ibaadat ho aur tuu aae
Kudaa kare ki qayaamat ho, aur tuu aae
ham i.ntazaar kare.nge…

(rafii:)
vo Kushanasiib hai jisako tuu i.ntaKaab kare
Kudaa hamaarii mohabbat ko qaamayaab kare
javaa.n sitaaraa-e-qismat ho
javaa.n sitaaraa-e-qismat ho aur tuu aae

(aashaa:)
Kudaa kare ki qayaamat ho, aur tuu aae
ham i.ntazaar kare.nge…

https://youtube.com/watch?v=iPx5cZOjIvE

Ghazal #15

Asha Bhosle

Asha Bhosle has sung many of her songs for Asha Parekh. This ghazal is a gem though in the end Mohammad Rafi gets to make an appropriate response to her through Joy Mukherjee.

It is from a combination of Lyricist and Music Director that stayed with Asha Bhosle in large number of her songs: Majrooh Sulatnpuri with OP Nayyar.

This was one of the best movies of OP Nayyar with record number of super-hit songs; the 1963 movie Phir Wohi Dil Laaya Hoon.

Please enjoy: Zulf ki chhaon mein chehre ka ujaala de kar….

aa: zulf kii chhaa_o.N me.n chehare kaa ujaalaa lekar
terii wiiraan sii raato.n ko sajaayaa hamane
ra: merii raato.n me.n jalaaye tere jalawo.n ne charaaG
terii raato.n ke liye dil ko jalaayaa hamane

ye tere garm se lab ye tere jalate ruKasaar -2
dekh hamako ke banaayaa hai inhe.n dil kaa karaar
kaise a.ngaaro.n ko siine se lagaayaa hamane
terii raato.n ke liye dil ko jalaayaa hamane

aa: hamane har dil ko sikhaayaa hai dha.Dakane kaa chalan -2
de ke ulfat kii ta.Dap de ke mohabbat kii jalan
tujh se diiwaane ko i.nsaan banaayaa hamane
terii wiiraan sii raato.n ko sajaayaa hamane

ra: siikh le rasm-e-wafaa husn bhii diiwaano.n se -2
daastaa.N apanii bharii hai inhii.n afasaano.n se
rakh diyaa sar ko jahaa.N phir na uThaayaa hamane
terii raato.n ke liye dil ko jalaayaa hamane

aa: zulf kii chhaa_o.N me.n chehare kaa ujaalaa lekar
terii wiiraan sii raato.n ko sajaayaa hamane

Ghazal #16

Asha Bhosle

I was about to call it a night with my usual quota of three ghazals a night, but, I am reminded of this ghazal duet between Bhupinder and Asha Bhosle and it is so beautiful that I have to give it to you.

It is a Farooq Qaiser ghazal with music composed by Bappi Lahiri. It is picturised on Suresh Oberoi being the ghazal singer in a hotel where he gets to meet his old flame Dimple Kapadia now married to Raj Babbar.

Once again, Asha through Dimple was eminently able to bring out the pain of her existence and the momentary happiness at seeing the love of her life.

Please enjoy: Kisi nazar ko teraa intezzaar aaj bhi hai….

Bhupinder:
kisii nazar ko teraa i.ntazaar aaj bhii hai
kahaa.N ho tum ki ye dil beqaraar aaj bhi hai

Bhupinder:
vo vaadiyaa.N vo fazaaye.n ki ham mile the jahaa.N
merii vafaa kaa vahii.n par mazaar aaj bhii hai

Bhupinder:
na jaane dekh ke kyo.n un ko ye huaa ehasaas
ki mere dil pe u.nhe.n iKhtiyaar aaj bhii hai

Asha:
vo pyaar jis ke liye hamane chho.D dii duniyaa
vafaa kii raah pe ghaayal vo pyaar aaj bhii hai

Bhupinder:
yakii.n nahii.n hai magar aaj bhii ye lagataa hai
merii talaash me.n shaayad bahaar aaj bhii hai

Asha:
na puuchh kitane mohabbat ke zaKhm khaaye hai.n
ki jin ko soch ke dil soGavaar aaj bhii hai

Ghazal #17

Mohammad Rafi for Shashi Kapoor

Imagine Sahshi Kapoor singing a ghazal in a movie, complete with band-gala achkan! It happened in the 1968 movie Kanyadan wherein Shashi Kapoor acted opposite Asha Parekh.

Story-line:

The film starts with a hockey match between the girls’ team Bulbuls, and the boys’ team Heroes. The girls win by 2 goals to one. Amar (Dileep Raj) from the boys’ team and Lata (Sayeeda Khan) from the Bulbul team are attracted to each other and get married. Kumar (Shashi Kapoor) a poet, and Amar are good friends. Kumar decides to go to a village and his car has a break-down where he meets Rekha (Asha Parekh), a village girl. They both fall in love and decide to get married. But when Rekha’s mother (Achala Sachdev) is approached with the proposal she refuses the marriage stating that Rekha was already married in childhood to a boy called Amar. When Kumar returns to the city he realises that Amar, who is now married to Lata, is the childhood groom involved in Rekha’s life. Rekha comes to the city and finds out about Amar when she unwittingly falls in front of his car. But seeing he’s married, she keeps silent about their childhood marriage, and starts working in their house as a maid. Kumar tries to convince Rekha that a marriage taking place when they were children does not legally constitute as one. Rekha disagrees, but over time and several tense scenes later, things are sorted out when Rekha’s mother declares that a marriage performed in childhood is illegal and not binding. Rekha and Kumar get married.

So, now that I have introduced “tense scenes” in the movie, this is one of them in the song.

Lyrics are by Hasrat Jaipuri and music by Shankar Jaikishen.

Please enjoy: Meri zindagi mein aate to kuchh aaur baat hoti….

unakii zulfe.n unake chehare se haTaa sakataa nahii.n
dil kii betaabii kisii suurat chhupaa sakataa nahii.n
kitanii dilakash hai.n muhabbat kii javaa.N majabuuriyaa.N
saamane ma.nzil hai aur paa.Nv ba.Dhaa sakataa nahii.n

merii zindagii me.n aate ( to kuchh aur baat hotii ) -2
ye nasiib jagamagaate ( to kuchh aur baat hotii ) -2

ka_ii baar mil chukii hai.n ye hasii.n-hasii.n nigaahe.n -2
vo hii beqaraariyaa.N hai.n na milii Kushii kii raahe.n
mere dil se dil milaate ( to kuchh aur baat hotii ) -2
merii zindagii me.n …

mujhe kyaa Garaz kisii se ha.Nse phuul yaa sitaare -2
hai.n merii nazar me.n phiike ye javaa.N-javaa.N nazaare
agar aap muskaraate ( to kuchh aur baat hotii ) -2
merii zindagii me.n …

ye Kushii rahe salaamat yuu.N hii jashn ho suhaanaa -2
jise sun rahii hai duniyaa mere dil kaa hai taraanaa
mere saath tum bhii gaate ( to kuchh aur baat hotii ) -2
merii zindagii me.n …

https://youtube.com/watch?v=gUT4Zeiu7mk

Ghazal #18

Jahan Ara Movie

Jahan Ara was a 1964 movie starring Mala Sinha in the title role with Bharat Bhushan playing Mirza Yusuf Changezi. have been good friends since childhood. Things are not quite the same as they grow up, as Jahan Ara’s father is none other than Emperor Shah Jahan, and men are not permitted to meet with the princess under any circumstances. However, Jahan and Mirza do meet secretly and promise to marry each other. Misfortune visits the emperor, when his wife, Mumtaz Mahal (Achala Sachdev), passes away. The emperor gets deeply devastated, and, still mourning his wife’s death, he pledges to build a memorial in her name (which would subsequently be called Taj Mahal, one of the seven wonders on Earth). At her deathbed, Mumtaz makes Jahan promise that she will take care of her father, which she promises to do. This responsibility makes her sacrifice her love for Mirza, who is heartbroken and continues to believe that Jahan will sooner or later reunite with him.

This unsuccessful love affair gave rise to a number of ghazals in the movie such as shown below; making Jahan Ara as the movie with the largest number of ghazals in a Hindi movie:

1. “Baad Muddat Ke Yeh Ghadi Ayee” Mohammed Rafi, Suman Kalyanpur
2. “Main Teri Nazar Ka Suroor Hoon” Talat Mahmood
3. “Woh Chup Rahen To Mere” Lata Mangeshkar
4. “Phir Wohi Sham Wohi Gham” Talat Mahmood
5. “Aye Sanam Aaj Aye Qasam Khayen” Talat Mahmood, Lata Mangeshkar
6. “Teri Aankh Ke Ansoo” Talat Mahmood
7. “Kisi Ki Yaad Mein Duniya Ko” Mohammed Rafi
8. “Haal-E-Dil Yoon Unhe Sunaayaa Gayaa” Lata Mangeshkar
9. “Jab Jab Tumhe Bhulaya, Tum Aur Yaad Aaye” Lata Mangeshkar, Asha

It is well-nigh impossible to select just one! But, I think, in quality of singing and popularity, the ghazal Phir wohi shaam wohi gham wohi tanhaayi hai…scores over the others.

All these ghazals were put together by Rajinder Krishan and Madan Mohan as a team of Lyricist and Music Composer. This one has been sung by Talat Mahmood.

Please enjoy: Phir wohi shaam wohi gham wohi tanhaayi hai
Dil ko behlaane teri yaad chali aayi hai….

phir vohii shaam vahii Gam vahii tanahaaI hai
dil ko samajhaane terii yaad chalii aaI hai

phir tasavvur tere pahaluu me.n biThaa jaaegaa
phir gayaa vaqt gha.Dii bhar ko palaT aaegaa
dil bahal jaaegaa aakhir ye to saudaaI hai
phir vohii shaam …

jaane ab tujh se mulaaqaat kabhii ho ke na ho
jo adhuurii rahe vo baat kabhii ho ke na ho
merii ma.nzil terii ma.nzil se bichha.D aaI hai
phir vohii shaam …

phir tere zulf ke rukhasaar kii baate.n ho.ngii
hijr kii raat magar pyaar kii baate.n ho.ngii
phir muhabbat me.n ta.Dapane kii qasam khaaI hai
phir vohii shaam …

phir tere zulf ke rukhasaar kii baate.n ho.ngii
hijr kii raat magar pyaar kii baate.n ho.ngii
phir muhabbat me.n ta.Dapane kii qasam khaaI hai
phir vohii shaam …

https://youtube.com/watch?v=JAWdqHPYwDQ

That brings us to the end of Part I of A Hundred Ghazals in Hindi movies. As you can quickly calculate, we have another five parts to go. I hope so far you have enjoyed my selection.

I shall be back with Part II shortly.

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

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’)

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 #31

A RARE HAPPY GHAZAL BY SHAKEEL (He says so in the ghazal)

BAHAAR AAYI KISI KA SAAMANA KARNE KA WAQT AAYA

Ghazal #38

I have explained several times my adoration of Shakeel Badayuni; I grew up listening to his ghazals and songs and they made an indelible mark on my consciousness. Hence, out of 60 Ghazals and Nazams that I have put up in the group Main Shayar To Nahin (not including 32 of my own), 38 of them happen to be Shakeel’s.

Here is a short one of his that was sung by Talat Mehmood:

Ghazal #39

My adoration appears to be tapering off! It had been 11 days since I put up his 38th: RAUSHNI SAYA-E-ZULMAT SE AAGE NA BADHI on the group Main Shayar To Nahin.

By the way, I was only 16 when Shakeel died; three years before joining the Navy. And yet, witness the strong influence!

Ghazal #40

Fortieth ghazal – the first one being ‘Kaise keh doon ke mulaqaat nahin hoti hai?’ on the day when the group Main Shayar To Nahin was formed, on 10th of January 2015 – and we cannot get over the beauty of his creations.

IK IK QADAM FAREB-E-TAMANNA SE BACH KE CHAL

Ghazal #41

Love is not a reasoned emotion. When you fall in love, you don’t compare and rue the loss of others; you cling to the one you have fallen in love with. I wrote a complete essay on it in my blog about why certain songs, ghazals, poetry touch the chords of our heart.

Shakeel’s do that for me. It would have been different if I just ‘liked’ his poetry as I do of others. But, I am in love with his poetry!

Here is his Ghazal #42 on this auspicious day that in a way tell us what his life and poetry are all about.

Please enjoy: KABHII ISHQ KAA TAQAAZA KABHI HUSN KE ISHAARE

Kahii.n ishq kaa taqaazaa kahii.n husn ke ishaare
Na bachaa sake.nge daaman Gam-e-zi.ndagii ke maare
Somewhere there is demand (taqaazaa) of Love, at others there are gestures of Beauty
You won’t be able to save the hem of your dress from the sorrow of life

Shab-e-Gam kii tiiragii me.n merii aah ke sharaare
Kabhii ban gaye hai.n aa.Nsuu kabhii ban gaye hai.n taare
In the gloom (tiiragii) of night of sorrow (Shab-e-Gam) are the sparks (sharaare) of my sigh (aah)
Sometimes they appear as tears and sometimes as stars.

Jinhe.n ho sakaa na haasil kabhii kaif-e-qurb-e-ma.nzil
Wahii do kadam hai.n mujhako terii justajuu se pyaare
Those that couldn’t obtain the intoxication of vicinity of destination (kaif-e-qurb-e-ma.nzil)
Those two steps in your quest (justajuu) are dear to me

Mai.n ‘Shakeel’ unakaa ho kar bhii na paa sakaa huu.N unako
Merii tarah zi.ndagii me.n ko_ii jiit kar na haare
Shakeel, I couldn’t claim her even though I was hers,
Like me, in life, no one should lose after winning.

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

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’)

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)