Sansaar Se Bhaage Phirte Ho Lyrics and Translation: Let’s Learn Urdu-Hindi

Meena Kumari stars as an enchanting courtesan in Chitralekha (1964)

Sahir Ludhianvi’s lyrical genius as an Urdu poet is widely known, but his poetry in pure Hindi is considerably less prolific. While Sahir churned out gem after gem of Urdu shayari in films such as Taj Mahal and Gumraah, his output in pure Hindi is limited to a handful of films. Sahir’s first foray into the field of Hindi poetry occurred in the soundtrack for Chitralekha (1964), a film directed by Kidar Sharma based on a novel by the same name written by Bhagawati Charan Verma in 1934. The story revolves around the protagonist Chitralekha (played by Meena Kumari), a widowed courtesan who seduces men to their doom with her beauty in the court of King Chandragupta Maurya. Prince Bijgupt (played by Pradeep Kumar) is one of her many admirers, and his lust for Chitralekha prevents him from fulfilling his royal duties. Kumar Giri (played by Ashok Kumar) is a conflicted holy man whose spirituality wavers when faced with the temptation of Chitralekha’s physical charms. Overall, the film questions the philosophical significance of sin and virtue by tracing Chitralekha’s development from being a haughty courtesan to a humble ascetic. Despite this film’s compelling narrative and exploration of uncoventional themes, it failed to achieve success at the box office, especially when compared to its 1941 predecessor (the second highest grossing film of the year!). The mediocre box office performance has been attributed to miscasting of the main characters and a poorly written script.

Meena Kumari sings the line “apaman rachetaa kaa hogaa, rachnaa ko agar Thukraaoge” amidst a setting of flowers, which symbolize the natural beauty of creation.

Given the lackluster audience reception at the time of its release, this film is generally remembered today for its soundtrack composed by Roshan and penned by Sahir Ludhianvi. The two songs that are the most well known from this film are the Rafi solo “man re tu kaahe na dhiir dhare” and “sa.nsaar se bhaage phirte ho,” the Lata solo that I’ve chosen to translate today. Based on Raga Yaman Kalyan, this song is a  beautifully crafted statement against spiritual hypocrisy. Through his words, Sahir rejects the conception of sin and virtue established by organized religions in favor of a philosophy of universal hedonism. In context of the film, Chitralekha uses this song to mock Kumar Giri’s ascetism after he patronizes her with a sermon about giving up her sinful lifestyle in order to attain spiritual enlightenment. My favorite part of this song is probably when Chitralekha sings the clever and incisive line: “apaman rachetaa kaa hogaa, rachnaa ko agar Thukraaoge” (It will be an insult to the Creator himself, if you reject the act of creation). This song is full of feisty one-liners like this, so please take a listen to the song and follow along with translation/glossary below if you’d like to hear more. To conclude, I think we can all agree that Sahir does not disappoint here and proves his versatility poet who is equally comfortable writing lyrics in shuddh Hindi as he is in Urdu. Very impressive, indeed–enjoy!

-Mr. 55

Meena Kumari stumbles under the intoxication of wine in the company of her harem.

Sansar Se Bhage Phirte Ho Lyrics and Translation

sa.nsaar se bhaage phirte ho, bhagvaan ko tum kyaa paaoge?
As you flee from society, how will you find God?
is lok ko apnaa na sake, us lok me.n bhii pachataaoge.
You didn’t consider this world as your own, and you will repent it in that world. 

 ye paap hai.n kyaa, ye punya hai.n kyaa? riito.n par dharm kii mohare hai.n
What is sin and what is virtue? Religion uses such traditions as mere facades. 
har yug me.n badalte dharmo.n ko kaise aadarsh banaaoge?
How will you idealize the changing religions of every age?

yeh bhog bhii ek tapsaya hai, tum tyaag ke maare kyaa jaano?
This suffering is also a form of penance; what would you know, you renunciation-stricken fool?
apaman rachetaa kaa hogaa, rachnaa ko agar Thukraaoge.
It will be an insult to the Creator himself, if you reject the act of creation. 

ham kahte hai.n yah jag apnaa hai, tum kahte ho jhuuTha sapna hai.
I claim that this world is mine; however, you consider it a false dream.
ham janam bitaa kar jaaye.nge, tum janam gavaa kar jaaoge.
I will live life to the fullest, but you will waste yours in vain. 

sa.nsaar se bhaage phirte ho, bhagvaan ko tum kyaa paaoge?
As you flee from society, how will you find God?

Glossary 

sa.nsaar: society; bhagvaan: God; pachataanaa: to repent, regret; lok: world; paap: sin; punya: virtue; riit: tradition; dharm: religion; mohara: front, facade; aadarsh banaanaa: to idealize; bhog: suffering;  tapasya: penance; tyaag ke maare: struck with renunciation; apaman: insult; rachetaa: the Creator; rachnaa: to create; Thukraanaa: to reject, disapprove;  jag: world.

Ashok Kumar plays the role of the conflicted holy man Kumar Giri in Chitralekha (1964)
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Roop Tera Mastana Lyrics and Translation: Let’s Learn Urdu-Hindi

Rajesh Khanna Sharmila Tagore HOT Aradhana

Rajesh Khanna and Sharmila Tagore get too close for comfort in “Roop Tera Mastana” from Aradhana (1969)

Our next post brings you the full lyrics and English translation of the all-time hit “Roop Tera Mastana” from Aradhana (1969). The film stars one of Bollywood’s favorite on-screen couple: the dashing Rajesh Khanna and the elegant Sharmila Tagore. Now this song gets a little racy, so for everyone who isn’t sure they can handle it, please direct yourselves to our G-rated posts (see Rabindranath Tagore’s Influence on S.D. Burman) at this time. Everyone else, grab a seat and a drink of water because it’s about to get a little hot in here.

One of the things I love most about “Roop Tera Mastana” is the cinematography (check out the youtube link here!). The entire song (roughly 4 minutes) is shot in a single long take! The camera swirls around the fire following Rajesh Khanna making his moves on Sharmila, without ONCE cutting for an insert or change in camera angle.

For this to succeed, not only do both the actor and actress need to know exactly where to start and stop with every movement they make during the sequence (any small shift could result in a loss of camera focus), but there is an elaborate dolly track for the camera also laid out all around the floor that they have to be careful not to trip on as they move. And every time the dolly men, the grip guy, the pull-focus team, or heaven-forbid the actors screw up in the 4 minutes you need per take, you start all over again, lose valuable film stock, and probably get a public slap in the face. Check stills from this sequence below!

Rajesh Khanna Sharmila Tagore2
Rajesh Khanna swoops in for the kill.
Rajesh Khanna Sharmila Tagore3
Sharmila Tagore senses danger and edges away.
Oh, awkward–Sharmila and Rajesh bump into each other unexpectedly.
Sharmila: To give in or not to give in??!
Rajesh Khanna rushes in from the other side.
Well…maybe this idea isn’t so bad after all…
Sharmila gets so on board, she starts to be a little aggressive.
Things are just getting out of control now with Rajesh and Sharmila.
Gorgeous Rajesh Khanna is abandoned, bursting with chest hair.
Gotcha! Just when you thought you thought you had given him the slip.
It’s super tense in that room, and I’m not just talking about Sharmila’s sternocleidomastoids.

In the film Aradhana (1969), Sharmila Tagore and Rajesh Khanna have both just come from getting secretly married in a private temple ceremony. They happen upon a shelter lodge, and obviously consummating the marriage is all over Rajesh Khanna’s mind.

Interestingly, the camera itself becomes complicit in the scene. Like the actors themselves, the camera too encircles the fire as if echoing the hallowed rites of Hindu marriage, the saath phere (or seven circles), that give sanctity to their union. It is as if the audience is now the testifying witness of the validity of their marriage, and the camera hesitates–sometimes pausing, sometimes rushing just like the whirlwind of conflicting emotions in the scene. It is extremely symbolic and by eliminating all cutting, the long take seems to slow time down as we grasp the moral and social complexities of this moment, as well as build the tension of what is imminent. Enjoy our English translation of the lyrics of this all-time classic and let us know your opinions in the comments!

Roop Tera Mastana Lyrics and Translation

Roop tera mastana pyaar mera diwaanaa
Your beauty is intoxicating, my love is crazy
Bhool koi humse na ho jaaye
Let me not commit a wrong

Raat nasheelii mast samaa hai
The night is lush, the atmosphere is intoxicating
Aaj nashe mei.N saara jahaa.N hai
Today the whole world seems drunk
Haa.N yeh sharaabii mausam behkaaye
Yes, this intoxicated atmosphere has enticed us
Roop tera mastana pyaar mera diwaanaa
Your beauty is intoxicating, my love is crazy

Aankho.N se aankhe.N miltii hai.N aise
Our eyes met like this
Bechain hoke toofaa.N mei.n jaise
Becoming restless like a storm
Mauj koi saahil se takraaye
Like a wave crashing toward the shore
Roop tera mastana pyaar mera diwaanaa
Your beauty is intoxicating, my love is crazy
Bhool koi humse na ho jaaye
Let me not commit a wrong

Rok rahaa hai hum ko zamaanaa
The world is stopping us
Duur hii rehna paas na aana
We must stay apart and not come closer
Kaise magar koi dil ko samjhaaye?
But how can anyone make our hearts understand this?
Roop tera mastana pyaar mera diwaanaa
Your beauty is intoxicating, my love is crazy
Bhool koi humse na ho jaaye
Let me not commit a wrong

Glossary

roop: beauty; mastaana: intoxicating; diiwaanaa: crazy (in love); bhool: mistake, wrong; nasheelii: lush; samaa: atmosphere; nashe mei.N: drunk; mausam: atmosphere; bechain: restless; toofaa.N: storm; mauj: wave; saahil: shore; zamaanaa: the world

Notice how no one actually gets close to kissing each other in the sequence. I mean, you’d think it happened if you looked at some of these still shots, but in reality the closest thing to physical contact that occurs in this whole sequence is when they hold hands and half-way hug. It would have been awkward, but they pretend like they’re kissing so well, that you hardly notice that no one has touched each other. Oh, the magic of Bollywood!

For more from the magical soundtrack of Aradhana, check out our translation of “Kora Kaagaz Tha” here!

-Mrs. 55