Certainly not romantic Sahir, but in the course of the years, this thread has meandered, influenced by many people and many events, enhancing for me, the pleasure of Sahir's poetry. Continuing with the album, Dharamputra, requested such a long time ago by CM2ji... it has wonderful songs, I had primarily remembered it for the evocative Asha track, "Main jab bhi akeli hoti hoon." and MK's "Bhool sakta hai bhala kaun." Here is the other Asha solo, that I had not really noticed before, it somehow seems appropriate.


Kya dekha nainon wali
Naina kyun bhar aaye
Kokh bhari aur god hai khali
Naina yun bhar aaye
Naina yun bhar aaye

Ma ban kar bhi ma na bani main
Badnami ke dar se
Doodh meri bojhal seene ko
Aansu ban ban barse
Apna dhan aur aankh sawaali
Naina yun bhar aaye
Naina yun bhar aaye

Je bhi saki to jeete ji ye
Sog(?) rahega mujhko
Bolega par mera munna
Ma na kahega mujhko
Ma kehlana ban gaya gali
Naina yun bhar aaye
Naina yun bhar...
Naina yun bhar aaye


Mala Sinha has to give up her child who is brought up by Nirupa Rai and her husband. In typical Sahir fashion, you have the straight lines, "Kokh bhari aur god hai khali, naina yun bhar aaye" and "Ma ban kar bhi ma na bani main/Badnami ke dar se" "Bolega par mera munna ma na kahega mujhko" ... it you have not seen the movie, and don't know much about it, these lines make this particular situation amply clear.

What gives it a haunting sweetness, are the opening lines of the song, so beautifully sung by Asha, "Kya dekha naino wali/Naina kyun bhar aaye." It is an odd song, some of the lines don't seem grammatically correct, e.g. " Doodh meri bojhal seene ko/Aansu ban ban barse." It really ought to be either "Seene mein" or "seene se". And then the opening line too "Kya dekha naino wali," does not make sense either, and yet the melancholic poetry of this line, gives meaning to the entire song. She is looking into the past, maybe she is looking into the future, perhaps she is looking into herself...Kya dekha naino wali...it makes her sad..."Naina yun bhar aaye." Apna dhan aur aap sawaali... her wealth taken away, she has been left a begger..."Naina yun bhar aaye..." It makes her sad.

And the last stanza extends the personal sadness to a social criticism, "Ma kehlana ban gaya gali" ... Sahir's juxtaposition of "Ma" and "Gali" has shock value, it is a social commentary and yet in the song it is not added on as an external thought, it emerges out of her very personal pain, as a very personal protest...naina yun bhar aaye, naina yun bhar aaye. Sahir can set up such resonances with his use of repetition.

NDutta-Dharamputra(1961)-Naina kyon bhar aaye(AB_Sahir).rar
96/3:15 (The file has a few empty seconds that make it 3:27 mts in length)
If anyone has a better copy of the song, please upload.

Have taken off mine, Anu has uploaded a better version below.

Madhavi,

You write well.
Usually, I listen to songs for their tunes. Your posts make me re-listen to them from new perspectives.


In the line 'kya dekha naino waali?, naina kyon bhar aaye', isn't 'nayan' addressed as a third person? I could be wrong; I am not well versed in the language.

There is a reasonable copy of the song on UTube.

Exon

Exonji,

Sharing Sahir's poetry with those who listen enhances the pleasure of the poetry. Thank you. Just reign (oops rein) me in when I get altogether too fanciful though




I feel that that line is deliberately left vague. Your sense of the third person is also included in it actually, if you look at the vid, the lines "Kya dekha naino wali/naina kyun bhar aaye" is not actually sung by Mala Sinha. It seems as if she is looking at her own life or at herself and thinking those lines. So yes, she is thinking of herself in the third person in that sense.




I have not yet extracted audio from a youtube vid. Is it worth the effort?

You excelled once again, Madhavi!

Here are the better quality versions of Naina Kyon Bhar Aaye

Film - Dharamputra 1961
MD - N.Dutta
Lyricist - Sahir Ludhianvi
Singer - Asha Bhonsle

Naina Kyon Bhar Aaye (album version)
3:26/160kbps
Click to view attachment

Naina Kyon Bhar Aaye (film version)
4:04/160kbps
Click to view attachment



I'm posting the correct lyrics of the song which will help rid you of the confusion on some lines.


Kya Dekha Nainon Waali, Naina Kyon Bhar Aaye
Naina Kyon Bhar Aaye
Kokh Bhari Aur Godd Hai Khaali, Naina Yoon Bhar Aaye
Naina Yoon Bhar Aaye..........

Maa Ban Kar Bhi Maa Na Bani Main, Badnaami Ke Darr Se (2)
Doodh, Mere Bojhal Seene Ka, Aansoo Ban Ban Barse
Apna Dhan Aur Aap Sawaali, Naina Yoon Bhar Aaye
Naina Yoon Bhar Aaye
Kya Dekha Nainon Waali, Naina Kyon Bhar Aaye
Naina Kyon Bhar Aaye............

Jee Bhi Saki Toh Jeete Jee Yeh Sog Rahega Mujhko (2)
Bolega, Par Mera Munna Maa Na Kahega Mujhko
Maa Kehlaana Ban Gaya Gaali, Naina Yoon Bhar Aaye,
Naina Yoon Bhar Aaye
Kya Dekha Nainon Waali, Naina Kyon Bhar Aaye
Naina Kyon Bhar Aaye............

Urdu: Sog
English: Jeremiad, Lamentation, Mourning

Urdu: Bojh
English: Burden, Load, Weight

Urdu: Sawaali
English: Beggar

http://www.ebazm.com/cgi/dict/db.cgi?db=de...ds=View+Records

Anu,

Thanks a ton for the clarification. Makes perfect sense now. "Seene ka" ofc ! "Apna Dhan aur aap sawaali" : Sahir is playing on the words wealth and poverty.

Madhavi..This is one great reading...to be honest, i never heard the song before. But the description made me realize the beauty of it..and i knew that Anupama will step in with her valuable contribution... so just waited..am the sloth. thanks for the songs..
Exon...yes, as you said , for people like us, this kind of description is all the more interesting..

"Bolega, Par Mera Munna Maa Na Kahega Mujhko
Maa Kehlaana Ban Gaya Gaali, Naina Yoon Bhar Aaye,
Naina Yoon Bhar Aaye....."

Pinnacle of Pain & Sorrow.... so beautifully captured by Sahir Ludhianvi and euqally matched by Dutta's tune & Asha's voice...

Thanks a Lot mmuk2004 & Anupama for this....

SF and Sachin ji, sorry for the late acknowledgement, thought I would show my appreciation by posting another song analysis... . Please feel free to write your own comments in this thread... or talk about your favorite Sahir songs and what you think about them.

Dharamputra(1961)

Mere dilbar mujhpar khafa na ho
Kahin teri bhi kuch khata na ho
Jo ye dil diwana machal gaya
Mere dilbar...

Jo kisi ke roke ruka na ho
Kisi sange dar par jhuka na ho
Tere dar pe kaise phisal gaya
Jo ye dil diwana...

Ye nazar mein masti ghuli ghuli
Ye sunehri rangat dhuli dhuli
Ye ghaneri zulfen khuli khuli
Wo zamane bhar ka guroor hai
Wo nasha hai jo bhi suroor hai
wo tere shabab mein dhal gaya...
Jo ye dil diwana...

Kahoon kyun ke duniya rakeeb(rival) hai
Mera apna dil hi ajeeb hai
Na ye dushman hai na habeeb hai
Main kabhi na isko samajh saka
Kabhi apno se bhi hua khafa
Kabhi begano se behal gaya...
Jo ye dil...

Mere dil ki janib nigah kar
O Mujhe na gham se tabah kar
Kabhi bhule se hi nibah kar
O zara soch ke duniya kahegi kya
Teri ruswayi bach rahegi kya
Jo diwana ghar se nikal gaya
Jo ye dil....

Making a case for his heart...

A light qawwali teasing and praising the girl's beauty. It begins with the man asking the girl not to be angry with him, as she is also to blame for his heart "flipping" (machal gaya) for him. There is a youthful flippancy in the song, reminds me of the Dil Hi To Hai songs. Love in light mode...Sahir taking a rest from the bitter intensity of his searing lyrics...it is a very attractive flippancy, the words tripping over each other in comic profusion... His heart..."Jo kisi ke roke ruka na ho/Kisi sange dar par jhuka na ho/Tere dar pe kaise phisal gaya" The girl's beauty is similarly, smoothly praised... "masti ghuli ghuli," sunehri rangat dhuli dhuli" and " ghaneri zulfein khuli khuli"

This time the world is not blamed for the lover's plight...it is his heart that is strange. "Kahun kyun ke duniya rakeeb hai/Mera apna dil hi ajeeb hai" it is neither his enemy nor his friend. It is a stranger to him, capricious, it sometimes estranges itself from close ones and sometimes lets itself be entertained by strangers... Sahir wittily distances himself from his own heart. The song is placed ironically in the film though. It is the celebration of the baby's birth (Mala Sinha's baby, who she cannot acknowledge) by the adopted family. In the stanza, the camera focuses briefly on Mala Sinha's face, reminding the audience of her sorrow and agony over giving up her child. "Mera apna dil hi ajeeb hai.." My own heart is a stranger... her heart is a stranger amidst the celebrations... it is a wonderful line... it can be interpreted to bear upon the story, it has strains of the Sufi philosophy in tune with the qawwali tradition, and it matches perfectly with the comic mood and mode of the song. Wonderful, wonderful stanza... "Main kabhi na isko samajh saka/Kabhi apno se bhi hua khafa/Kabhi begano se behal gaya"

In the third stanza he is back to advocating for this heart of his. He requests his beloved to consider his heart, to not destroy him with sorrow, he asks her to be faithful, even it it is in error ("kabhi bhoole se hi nibah kar"). and he ends his plea with a threat, reminding her of the world, she will be exposed if the lover leaves his home for her... Rafi captures the lighthearted mock threat perfectly in the way he sings "Zara soch ke duniya kahegi kya."

Here is a video of the song:

Its is Naina yun bhar aaye

How can one derive correct essence out of wrong words ??

Sawali is mostly used for the hindi equivalent-yachak.

BC,

I am not very sure about whether I understand you here. If you mean "yun" not "kyun" both are used in the song, not just "yun."

I was trying to look up the meaning of "yachak" it means "healer", "shaman" "local medicine man" etc. (as far as I could make out). If sawaali also means yachak in Hindi then I would think the Urdu word is more appropriate here.

Though a little way away from the topic, i just wanted to share a few things as to how i came in touch with the beautiful Shaayri of Sahir.
As you all might be knowing, hindi is not my mother tongue, nor do i get to speak it anywhere in my town. My love for the language came mainly because of lovely songs i used to hear when my elder brothers used to play their records...Enjoyed every bit of the songs without ever wondering what might be the meaning of those melodies..such was their power over me.
I was a voracious reader of telugu fiction in my school days. While i was in seventh standard, there came a very interesting author named Y.Veerendra nath. Every book of his used to kindle our spirits and appease the soul. In one of his books, he wrote about a beautiful song and translated a bit of the song in that context. I fell for that verse head over shoulders and searched for that song and got it....only to realize that in rendition, it surpassed all my expectations. Then i came to know how a verse can steal you..Here is that song which made me sit up and watch for lyrics and lyricists...

Chalo ek baar phir se, ajnabi ban jaye ham dono

Na main tumse koi ummeed rakhoon dilnavaazi ki
Na tum meri taraf dekho galat andaaz nazaron se
Na mere dil ki dhadkan ladkhadaaye meri baaton mein
Na zaahir ho tumhaari kashm-kash ka raaz nazaron se
Chalo ek baar phir se..

Tumhen bhi koi uljhan rokti hai peshkadmi se
Mujhe bhi log kehte hain, ki yeh jalve paraaye hain
Mere hamraah bhi rusvaaiyaan hain mere maajhi ki
Tumhaare saath bhi guzri hui raaton ke saaye hain
Chalo ek baar phir se..

Taarruf rog ho jaaye to usko bhoolnaa behtar
Taalluk bojh ban jaaye to usko todnaa achchha
Voh afsaana jise anjaam tak laana na ho mumkin
Use ek khoobsoorat mod dekar chhodna achchha
Chalo ek baar phir se..

I was fortunate to watch the film in due time and i was dumb struck at the way it was picturised. If i have to pick the finest of Sahir, this one will be there...am sure that as long as humans have the feelings of love and loss...and failure and conscience and hope , this song will reign supreme.

SF,

What a wonderful way of expressing your thoughts. This is one of my favorite Sahir songs too. It is quintessential Sahir, the impassioned and bitter lover who cannot attain his beloved, dangerously evoking forbidden desires.

On the heels of that bitter-casual refrain of turning back the clock, "Chalo ek baar phirse ajnabi ban jayen hum dono", come these wonderful lines:

Na main tumse koi ummeed rakhoon dilnavaazi ki
Na tum meri taraf dekho galat andaaz nazaron se
Na mere dil ki dhadkan ladkhadaaye meri baaton mein
Na zaahir ho tumhaari kashm-kash ka raaz nazaron se
Chalo ek baar phir se..

In the very act of upholding social sanctions, (Na main, Na tum, Na mere, Na zaahir) he is elaborating upon these desires...

And in the last stanza where he is trying to come to terms with these desires...the tumultuous emotions of the lovers in the first stanza have evolved to images of "rog" and "bojh." in the face of social sanctions. The lover poet gives a "khoobsoorat mod" to these raw emotions in the form of his beautiful poetry. What a song, Sahir at his most personal, still exercising control over his world through the power of his poetry.

Taarruf rog ho jaaye to usko bhoolnaa behtar
Taalluk bojh ban jaaye to usko todnaa achchha
Voh afsaana jise anjaam tak laana na ho mumkin
Use ek khoobsoorat mod dekar chhodna achchha
Chalo ek baar phir se..

Madhavi...awesome. that is one of the finest expressions i have ever read. You do have the wonderful gift of expression.
To think that i have written every word of the verse and tried to link up after deciphering from dictionary... Right now, feel like turning the clock all the way back to my childhood.
I think in every conscientious romantic, there always remains a split personality....sacrifice and selfish..acceptance and denial...Endless derivations of the puzzling soul.

You are absolutely right. Probably Asha's pronunciation creates confusion.
She uttered "yun" clearly while chewed up the other word.

Regarding meaning of yachak , not sure about the appropriateness of
urdu word though.

A synonym of "yachak" is "bhikhari" . Yachak is a wide term, rather more
graceful.

Ah! I get you. Yes, I can understand how yachak can mean both wandering sadhu and bhikhari (not really beggar).

BC,

I thought I just saw your thoughtful analysis on the song. Please do not delete it. I wanted to translate it once I get the time, if you don't mind.

Dear Madhavi,

A little bit of personal reminiscence that can be considered an intrusion into this territory.

Sometime in Sept 2008, I was wanting the video of the famous Sahir song that SF is referring to, I googled for Sahir Ludhianvi and this thread showed in the listing somewhere in the third or fourth page. I had come across HF in many listings, but never paid serious attention.

When I read the first few pages of the thread, I was enthralled & fascinated.
That I got the video in Youtube, is a different matter.

But it was this thread & Parag's Geetaji's thread that compelled me to join the forum, a few days later.

In fact, I am not very comfortable at reading from a computer screen. I got the entire thing printed, some 170 pages odd, and used to read it regularly at bedtime, fascinated by the scholarly analysis. I still have those printed pages.

Of late, I had not seen much activity in this thread.

I am very happy that you have resumed writing on this thread.

In my view, 'Chalo ek baar..' is one of the finest lyrics written in HFM & equally well picturized. I can never get tired watching that video. It is a classic piece of romantic irony, to coin a phrase.

With best wishes for continuing a great thread.
Suresh

Suresh...it is nice to read your comments. Glad that you found this forum and chose to join..
Actually i had internet at home from 2000..and always used to google for old songs, but some how, HF never turned up on my list. Or i might be totally unaware of what a forum might be..that was the level of my ignorance.
Then, one day i was searching for a rare Rafi song..and i ended up here. the attachment was taken off by that time, as the mandatory thirty days was over..So i requested, and pronto the song was mailed to me.
Now, when i look back, i have started to notice how much am attached to this forum...
I enjoy sharing my views and talking about these fantastic melodies more than just listening to them and locking them up in my collection..what is happiness which cant be shared ?

Suresh,

Thank you for your generous praise. It feels very good when I get this kind of feedback from someone who appreciates Sahir's poetry. Appreciation of songs and poems is also very personal, these responses layer the "meanings" of poems in complex and fulfilling ways, they are never, ever intrusive.

"Classic piece of romantic irony" : that is exactly it...very aptly put! Sahir is much more in control in this song than he is in his other songs. the bitterness and passion are tightly reined, not allowed to spill over into despair and self-destruction.

SF,

I too came here looking for a song and got a lot more in exchange It does have a family feel to it... jhagdas included

Joru Ka Bhai (1955) : MD: Jaidev


Lata version:
Surmai raat hai,
Sitaren hain aaj dono jahan hamare hain
Subah ka intezaar kaun kare(2)

Phir ye rut ye sama mile na mile(2)
Arzoo ka chaman khile na khine
Waqt ka aitbaar kaun kare...
Subah ka intezaar kaun kare...

Le bhi lo humko apni baahon mein(2)
Rooh bechain hai nigaahon mein
Hai...iltejaah baar baar kaun kare...
Subah ka intezaar kaun kare...(2)

Talat version:

Surmai raat dhalti jaati hai
Rooh gham se pighalti jaati hai
Teri zulphon se pyar kaun kare...
Ab tera intezaar kaun kare...

Tumko apna bana ke dekh liya(2),
Ek baar aazma ke dekh liya
Baar baar aitbaar kaun kare
Ab tera intezaar kaun kare

Aye dil-e-zaar sogawaar(?) na ho
Unki chahat mein bekaraar na ho
Hai badnaseebon se pyar kaun kare
Badnaseebon se pyar kaun kare
Ab tera intezaar...


I am back to harping about how film lyrics were a very restrictive medium to serious poets and how Sahir worked them to his advantage. Romance is not the baton that progressive poets waved, it was "inquilaab," social justice and the rejection of romance that were liberating themes for them, and yet, Sahir seems to be pulled by the lure of romance that is so much a part of his personality, experience and his output. There are many fiery and searingly thoughtful examples of his social activism in his film lyrics. Yet it is, I feel, the inevitable and ubiquitious romantic situations of hindi films that provided him the unique opportunity to shape the lyrics to reflect and record the changes in his attitudes and experiment with technique as the years passed.


Take for example, the two versions of the "Intezaar" song in Joru Ka Bhai. Here he is dealing with two of the most typical situations in romantic songs... the romantic setting (stars etc. etc.) and the desire of the lovers to be together and emotionally fraught moment when the lover who has been rejected in love, expresses his disillusionment with his lover.

Sahir takes the opportunity to let the woman articulate desire. Her expression is not coy, she is the impatient lover... she does not want to wait for the morning, she is eager to embrace all they have at this moment, she wants to seize it, she expresses her desire, "waqt ka aitbaar kaun kare..." she does not trust time. She is bold, she asks her lover to take her in his arms. The purity and the sweetness of Lata's voice contrasts wonderfully with the passion of the lines... for all her "missishness" and her "bhai sahabs" and "jis" there is something about the incredible purity of her pronunciations and the instinctively perfect pauses that becomes almost sensuous in her songs. "Haye..." she sighs "iltejaah baar baar kaun kare..."

Sahir subtlely changes the mood in the Talat version. The "surmayee raat" that had immediacy and that hint of tactile eroticism in the Lata version has become "surmayi raat dhalti jaati hai...;" it is now the darkness of the cheated lover's world. It is associated not with the "bechain rooh" of the woman but the "rooh" of the lover that is laden with "gham." In fact Sahir takes key words in the songs and changes them slightly to create a teasingly similar and yet ironic contrast.

Teri zulphon se pyar kaun kare...
Ab tera intezaar kaun kare...

He rejects the woman's tresses...(almost seems to be rejecting a particular tradition in poetry), and he is not willing to wait for her... "Subah ka intezaar kaun kare" has become "Ab tera intezaar kaun kare..." The woman's daring impatience has become, in the male version, a dismissal of the woman.

The man's rejection of the woman is more self-possessed than is typical of Sahir's rejected lover's persona. He has tried her loyalty...baar baar aitbaar kaun kare... He almost seems to be moving on... He tries to calm his wounded heart...and the "hayee" that the woman has expresses so coyly... pleading with him not to make her beg... has become the "hayee..." of the lover who rejects her again... "badnaseebon se pyar kaun kare." The lover here seems much more resilient..

Reminds me of the Talat/Asha versions in Sone ki Chidiya in which the situation seems reversed with the woman who is abandoned where he has changed key words to change the mood of the entire song. In both movies the same words are used to articulate very different moods... it seems a deliberate and innovative use of what I can only call "ironic similarites" instead of ironic contrast. However in Sone Ki Chidiya, the mood is much more somber whereas in Joru Ka Bhai, there is so much deliberate word play that the male version almost seems to mock the female version.

Part of the referred nazm is available in Sahir's voice here :

http://audiopoetry.wordpress.com/category/...ahir-ludhianvi/