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One of Rafi's bestThe song that I am talking about is written with passion, sung with Nazakath and Rekha in the song defines being gorgeous. Abosulte bliss to listen and a treat to watch.
I must say that its very difficult to sing this song and I bet if you can sing it exactly like Rafi you are the most amazing singer. This song is from a movie named 'Saajan Ki Saheli', you may try your luck in YouTube to see if you can find it. Here goes the lyrics.
BoondeN nahiN sitaray tapke haiN kahakashaN se.
BoondeN......
Sadaqe utar rahe haiN tum par yeh aasmaaN se.
BoondeN....
Moti ke rang rut ke qatre damak rahe haiN.
Ya reshmi latoN meiN jugnuu chamak rahe haiN.
Aanchal meiN jase bijli kaunde yahaN wahaN se.
Sadaqe utar....
BoondeN....
Dekhe to koi aalam bheege se pairahan ka.
Paani meiN hai yeh shola ya nur hai badan ka.
Angdaayi le rahe hainN armaaN jawaN jawaN se.
Sadaqe....
BooneN...
Paheluu meiN aake mere kya cheez lag rahi ho.
BaahoN ke daiiray meiN tasveer lag rahi ho.
Hairaan huN maiN ke tum ko dekhuN kahaN kahaN se.
Sadaqe.....
BoondeN.....
BoondeN nahiN sitaray tapke haiN kahakashaN se.
Sadaqe utar rahe haiN tum par yeh aasmaaN se.
Most Exotic GhazalsHere comes some of the most exotic ghazals that are always a pleasure to read, these are my personal favorites and I enjoy them a lot. I am including those ghazals here without any translation (no time for all that). If you follow Urdu/Hindi you should not have any problem enjoying them. Some of these ghazals have been taken from here.
Daagh Dehelvi Le chala jaan meri rooth ke jana tera
Apne dil ko bhi bataaun na thikaana tera Sab ne jaana jo pata ek ne jaana tera
Tu jo aye zulf pareeshaan raha karti hai
Yeh samajh kar tujhe ai maut lagaa rakha hai Kaam aata hai bure waqt mein aana tera
Apni aankhon mein abhi kondh gayi bijli si
Aarzu hi na rahi subah-e-watan ki mujh ko
‘Daagh’ ko kyun vo mitate hain yeh farmate hain Tu badal daal hua naam purana tera
Nasir
(I don't know the full name of this poet, I found Nasir in the last sher)
Jab se tu ne mujhe deewana bana rakha hai Uss ke dil per bhi kari ishq mein guzri hogi Patharon aaj meray sar pe barastay kyun ho Pee ja ayyaam ki talkhi ko bhi hans ke ‘Nasir’
Mir Taqi Mir
(This ghazal sung by Lata Mangeshkar here)
faqiraana aaye sadaa kar chale jo tujh bin na jine ko kahate the hum koi naa-ummidaana karate nigaah bahot aarazu thi gali ki teri dikhaai diye yun ki bekhud kiyaa jabin sajadaa karate hi karate gaye parastish kiya tak ki aye but tujhe gai umr dar band-e-fikr-e-ghazal kahen kya jo puchhe koi hum se "Mir"
Mir Taqi Mir
patta-patta buutaa-buutaa haal hamaaraa jaane hai
aashiq saa to saadaa koi aur na hogaa duniyaa mein
chaaraagarii biimaarii-e-dil kii rasm-e-shahar-e-husn nahii.n
mehar-o-vafaa-o-lutf-o-inaayat ek se vaaqif in me.n nahii.n
kyaa kyaa fitane sar par usake laataa hai maashuuq apanaa
aashiq to murdaa hai hameshaa jii uThataa hai dekhe use
ashnaa-e-Khuu.N hai apanaa kitanaa 'Mir' bhii naadaa.N talKhiikash
Ghalib
Yeh na thi hamaari qismat ke visaal-e-yaar hota
Tere vaade par jiye hum to ye jaan jhuth jaanaa
Teri naazuki se jaanaa ki bandhaa tha ehd-e-bodaa
Koi mere dil se puchhe tere tir-e-nimakash ko
Ye kahaan ki dosti hai ki bane hain dost naasih
Rag-e-sang se tapakataa wo lahu ki phir na thamataa
Gham agarche jaan_gusal hai, pe kahaan bachen ke dil hai
Kahun kis se main ki kya hai, shab-e-gham buri balaa hai
Hue mar ke ham jo rusvaa, hue kyon na gharq-e-dariyaa
Use kaun dekh sakta ki yagana hai wo yakta
Ye masaail-e-tasavvuf, ye teraa bayaan 'Ghalib' Ghalib
Despite hesitation I have finally decided to to write a blog, and I would like to begin with a topic on Ghalib's poetry since Ghalib is among my favorites. It’s got to do with a couple of Sher’s of Ghalib that in my opinion are misinterpreted. Before I actually begin my interpretation I must make it clear that it’s just about what I feel should have been the right interpretation – after all it’s my blog – rather than any absolute interpretation which is impossible because that’s the way Ghalib’s poetry is. To begin with let’s take the following sher and see why the popular interpretation does not do justice to what Ghalib probably intended. Kahaan mai-khane ka darwaza Ghalib, aur kahan waiz Par itna jaanate hain kal woh jata tha ke hum nikle.
Most – in fact almost all – interpretation of this particular sher go like this; the preacher and the tavern are the things apart, but I am sure I saw him slip in as I departed. What most people think is that Ghalib is trying to convey that nobody can live without wine; not even a preacher who advises people not to drink and slips in stealthily as people leave. If we think about it a little deeper we might get another perspective of what Ghalib must have implied. You might have read or experienced yourself at times that you end up being seen with someone you do not want to be seen with or you end up being somewhere you would never want to be seen at, in the Sher above Ghalib finds himself in one such situation. He just got caught coming out of tavern, the preacher who advised him so humbly not to drink just saw all his efforts being wasted. Although Ghalib never took any of the preachers advise seriously but he indeed knew the virtue of what was being preached and it always remained in some corner of his heart reminding him occasionally and rejuvenating his conscience. The next sher in this series is the following one Han woh nahi khuda parast jaao woh bewafa sahi Jin ko ho deen-o-dil azeez unki gali main jayen kyun?
Again the popular interpretation goes like this; she is not believing nor has she any fidelity then why do I who holds heart and faith so dear even traverse her street. In the interpretation given above the object of the first line is believed to be Ghalib’s love and the object of the second being Ghalib himself, but if we think about it a little more we might realise that it’s in fact the reverse. Lets first analyse the last part “unki gali mein jayen kyun” this if you can recall is a kind of ‘muhavra’ which means cutting all sorts of relations with somebody. You might have used this ‘muhavra’ yourself or heard it in some Hindi movie (remember that song ‘teri galiyon mein na rakhenge kadam…’?). Now moving on to the first ‘misra’, just read it again and see that Ghalib is pointing to a paradigm of prejudice wherein people make assumptions, do generalizations and assign attributes to people based on their other characters which may be drastically different. Ghalib in this particular instance finds that he is being regarded as ‘bewafa’ (unfaithful) just because he happens to be not a ‘khuda parast’ (believer in God) even though faithfulness with ones love and belief in God have nothing to do with each other and followed by that Ghalib boldly announces the forfeiting all sorts of relation with someone unlike himself is a believer in God.
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Welcome to my little space on the web, on this website I have put up information about the things that I am passionate about, things that I like/love/admire, things that interest/mesmerise/attract me. Please feel free to leave a comment and suggestion if any. Thanks for visiting!
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