Jhumka Gira Re Lyrics and Translation: Let’s Learn Urdu-Hindi

Posted on November 6, 2012 by mrandmrs55

Sadhana flirts with a percussionist as she dances in the street in Mera Saaya (1966)

Our next translation comes from Raj Khosla’s evergreen thriller Mera Saaya (1967) starring Sadhana and Sunil Dutt. A memorable film with an even more memorable soundtrack composed by Madan Mohan and penned by Raja Mehndi Ali Khan! The two Lata solos “tuu jahaa.n jahaa.n chalegaa” and “naino.n me.n badraa chhaaye” get all the critical acclaim, but can you guess which song has achieved the most popularity among fans over the years?

That’s right! It’s “jhumkaa giraa re” sung by Asha Bhosle, our favorite queen of nakhra. Although she has been known to be prone to excess, Asha sings this folk-inspired number with just the right amount of sassy charm to get everyone excited without overdoing it. The text of this song reads like a story in which the female protagonist describes a common motif found in Hindustani poetry: a woman’s ornaments, and specifically her earrings in this case. For other songs in a similar vein, listen to “milaa hai kisii kaa jhumkaa” from Parakh (1960), “terii bindiyaa re” from Abhimaan (1973), “dhuu.nDo dhuu.nDo re sajna, more kaan kaa baalaa” from Ganga Jamuna (1961), and another song with the same title as this number sung by Shamshad Begum in Dekhoji (1947). Moreover, Mera Saaya is a remake of the Marathi film Pathlag (1964), so there is a similar scene with an accompanying song that shares a resemblance with “jhumkaa giraa re.”

Even a folk number can’t stop Sadhana from showing off her characteristic fringe!

The city of Bareilly gets referenced occasionally in various Bollywood songs (especially in relation to jhumkaas!), so I was interested in learning more about its historical and cultural background. Bareilly is a prominent city situated in Uttar Pradesh, and according to Wikipedia:

“Bareilly is famous for its zari work (a type of fabric decoration), dari (a common type of carpet use in most of the Indian houses), jhumkaa (an intricate type of earrings), and surmaa (eyeliner).”

A montage of sights and attractions in Bareilly, India.

Who knew? After taking in our small cultural lesson for the day, make sure you listen to this classic fok dance gem and follow along with our glossary/translation below. You might expect a light-hearted song like this to be very easy to understand, but there is definitely some interesting vocabulary to be learned here! Enjoy!

-Mr. 55

P.S: Don’t you just love it when the random male interrupts with the “phir kyaa huaa?” each time? It’s my favorite part!

Jhumka Gira Re: Lyrics and Translation

jhumkaa giraa re barelii ke bazaar me.n
My earring fell in a market in Bareilly.
jhumkaa giraa, jhumkaa giraa, jhumkaa giraa
My earring fell, my earring fell, my earring fell.
haay, haay, haay!
Oh, oh, oh!

saiyaa.n aaye nai.n jhukaaye ghar me.n chorii-chorii
My beloved came into the house furtively with a lowered gaze.
bole “jhumkaa mai.n pahnaa duu.n, aaja baa.nkii chhorii“
He said: “Come, dear, let me help you put on your earrings.”
mai.n bolii “naa naa naa baabaa, naa kar joraajorii“
I said “No, no, no, dear. Please don’t be so aggressive.”
laakh chhuDaayaa, saiyaa.n ne kalaiyaa naahi.n chhoDii
I tried to release myself several times, but my beloved did not let go my wrist.
haay! kalaiyaa nahii.n chhoDii
Oh! He did not let go of my wrist.
[Male: phir kyaa huaa? ]
Then, what happened?
phir? phir jhumkaa giraa re ham dono.n kii Takraar me.n
Then? Then, my earring fell during our ensuing quarrel.
jhumkaa giraa re
My earring fell.

ghar kii chhat pe mai.n khaDii, galii me.n dilbar jaanii
I stood on my house’s rooftop terrace while my beloved stood in the alley below.
ha.nske bole “niiche aa, ab niiche aa diivaanii
He smiled and said: “Come down, oh crazy one,
yaa anguuThii phe.nk apnii yaa chhallaa de nishaanii”
or throw me your ring as a sign of our love.”
ghar ki chhat pe khaDe-khaDe mai.n huii sharam se paanii
Standing on the roof, I became filled with shame.
mai.n huii sharam se paanii
I became filled with shame.
[Male: phir kyaa huaa?]
Then, what happened?
daiyaa! phir jhumkaa giraa re ham dono.n ke is pyaar me.n
Oh lord! Then, my earring fell in the midst of our love.
jhumkaa gira re
My earring fell.

bagiyaa me.n balmaa ne merii laT uljhii suljhaayii
In the garden, my beloved tied and unraveled my braids.
thaamke aa.nchal bole “gorii, tu mere man bhaayii“
Holding the end of my sari, he said: “Fair one, you have pleased my mind.”
aa.nkh jhukaake kuchh naa bolii, dhiire se muskaayii
With a lowered gaze, I said nothing; I smiled quietly.
saiyaa.n ne jab chheDaa mujh ko ho gauii haathaapaayii
When my beloved teased me, a scuffle ensued.
haay! ho gayii haathaapayii
Oh! A scuffle ensued.
[Male: phir kyaa huaa?]
Then, what happened?
phir jhumkaa giraa re, mai.n kyaa boluu.n bekaar me.n?
Then, my earring fell. What shall I say in vain?
jhumkaa giraa re
My earring fell.

jhumkaa giraa re barelii ke bazaar me.n
My earring fell in a market in Bareilly.
jhumkaa giraa, jhumkaa giraa, jhumkaa giraa
My earring fell, my earring fell, my earring fell.
haay, haay, haay!
Oh, oh, oh!

Glossary

jhumkaa: earring; Bareilly: a city in Uttar Pradesh, India; saiyaa.n: beloved; nain jhukaanaa: to lower one’s gaze; chorii-chorii: quietly, furtively; pahnaa denaa: to help someone wear; baa.nkii chhorii: dear; joraajorii: aggression; chhuDaanaa: to release, disengage; kalaiyaa: wrist; Takraar: quarrel; chhat: rooftop; galii: alley; dilbar jaanii: beloved; anguuThii: ring; chhalla: ring; nishaanii: sign; sharam se paanii honaa: to become filled with shame; daiyaa: oh lord, an exclamation; bagiyaa: garden; balmaa: beloved; laT uljhaana: to tie braids of hair; laT suljhaanaa: to unravel braids of hair; thaamnaa: to hold, embrace; gorii: fair girl; man bhaanaa: to please the mind; dhiire se: quietly, slowly; chheDnaa: to tease; haathaapaayii: scuffle; bekaar me.n: in vain.

An audience of male creepers can’t help but stare at Sadhana’s moves in Mera Saaya (1966)

Pal Pal Dil Ke Paas Lyrics and Translation: Let’s Learn Urdu-Hindi

Posted on October 25, 2012 by mrandmrs55

Rakhee daydreams about the ever-handsome Dharmendra in Blackmail (1973)

Blackmail (1973) is considered to be one of Vijay Anand’s most romantic directorial ventures. Starring Dharmendra and Rakhee, this film has all the ingredients to make a great Bollywood film: bogus science, outrageous costumes, and of course, a memorable soundtrack. This album’s shining jewel is none other than “pal pal dil ke paas,” a beautiful expression of love that is remembered today for Kishore Kumar’s romantic and sensitive rendition.

To understand this song in context of the film, let’s take a look at a brief synopsis of the plot. Kailash (played by Dharmendra) is in charge of operating a power plant that provides electricity to homes across India. His quirky uncle Dr. Khurana (played by Madan Puri) is a scientist that is researching novel approaches to generating electricity via solar sources–how innovative for the 1970s! A local man named Mr. Mehta is unhappy about these advances because solar-powered energy is likely to put an end to his battery business. His business partner Jeevan (played by Shatrugan Sinha) is aware of Dr. Khurana’s research because he is a dear friend of Kailash.

Jeevan is set to marry Asha (played by Rakhee), Mr. Mehta’s daughter, but things change once Kailash unknowingly confesses his love for Asha to him. Taking advantage of this situation, Jeevan plans to get Kailash and Asha married so that he can eventually use Asha to get access to Dr. Khurana’s profitable “formula.” Jeevan arranges to meet Asha in a beautiful garden, but he sends Kailash in his place. They have a conversation about their dreams and hopes, and Asha warms up to the sincerity and purity of Kailash’s heart. In a bold move, Kailash hands over a packet of love letters he has written to Asha over the years to express his deepest desires, and he subsequently flees the scene to avoid embarrassment.

At this point in the film, we hear “pal pal dil ke paas,” song composed by music director duo Kalyanji-Anandji and penned by Rajinder Krishan. Unlike many instances where the on-screen portrayal of a song fails to do it justice, director Vijay Anand has done an excellent job to ensure that this picturization enhances the beauty of the music in the context of the film. In a nutshell, this song describes the progression of love between Kailash and Asha over time. At the beginning, Asha expresses restrained pleasure as she begins to read Kailash’s letters with a coy smile; by the end, she is so smitten by the poetry in his letters that she cannot stop daydreaming about him.

Does the love story between Kailash and Asha reach a happy conclusion? You’ll have to watch the film to find out! Even if the plot doesn’t appeal to you, there’s a particularly steamy scene between Dharmendra and Rakhee during “mile mile do badan” that is worth watching for the scandal factor alone. Enjoy, and remember to send us your requests for song translations — we haven’t received one in a while!

-Mr. 55

Does anyone even write love letters like this anymore?

Pal Pal Dil Ke Paas: Lyrics and Translation

pal pal dil ke paas tum rahtii ho
You reside forever near my heart,
jiivan miiThii pyaas yah kahtii ho
And you call this life a sweet thirst.

har shaam aa.nkhon par teraa aa.nchal laharaaye
Every evening, the end of your sari flutters over my eyes.
har raat yaado.n ki baaraat le aaye
And every night, it brings a parade of memories.
mai.n saa.ns letaa huu.n, terii khushbuu aatii hai
With each breath, I smell your fragrance.
ek mahkaa-mahkaa saa paighaam laatii hai
It brings along a scented message.
mere dil kii dhaDkan bhii tere geet gaatii hai
Even my heartbeat sings a song for you.
pal pal dil ke paas tum rahtii ho
You reside forever near my heart.

kal tujh ko dekhaa thaa, mai.ne apne aangan me.n
Yesterday, I saw you in my own courtyard.
jaise kah rahii thii tum, mujhe baa.ndh lo bandhan me.n
It was as if you were saying, “Bind me in an eternal bond”
yah kaisaa rishtaa hai? ye kaise sapne hai.n?
What kind of bond is this? What kind of dreams are these?
begaane ho kar bhii kyo.n apne lagte hai.n?
Despite being so foreign, why do I find them to be intimate?
mai.n soch me.n rahtaa huu.n, Dar Dar ke kahtaa huu.n
I remain in contemplation as I hesitatingly declare:
pal pal dil ke paas tum rahtii ho
You reside forever near my heart.

tum sochogii kyo.n itnaa mai.n tum se pyaar karuu.n
You might question why I love you so dearly.
tum samjhogii diivaanaa, mai.n bhii iqraar karuu.n
You might think I am crazy, and I would confess to that.
diivaano.n kii ye baate.n, diivaane jaante hai.n
Only a person crazy in love can understand the actions of another,
jalne me.n kyaa mazaa hai, parvaane jaante hai.n
And only moths understand the pleasure found in burning.
tum yuu.n hii jalaate rahnaa, aa aa kar khvaabo.n me.n
Please continue to ignite my passion as you come into my dreams.
pal pal dil ke paas tum rahtii ho
You reside forever near my heart.

Glossary

miiThaa: sweet; pyaas: thirst; aa.nchal: decorative end of a sari; laharaanaa: to flutter; baaraat: parade, procession; khushbuu: fragrance; mahka: scented; paighaam: message; aangan: courtyard; bandhan: bond; begaanaa: foreign, alien; Dar Dar ke: hesitaingly, fearfully; iqraar karnaa: to admit, confess; mazaa: pleasure; parvaanaa: moth; jalaanaa: to ignite; khvaab: dream.

Dharmendra and Rakhee get cozy together in Blackmail (1973).

Jaane Woh Kaise Log Lyrics and Translation: Let’s Learn Urdu-Hindi

Posted on October 12, 2012 by mrandmrs55

Guru Dutt evokes classic Christ-like imagery in his depiction of Vijay the struggling poet in Pyaasa (1957).

We now present the lyrics and full English translation to one of my all-time favorite Guru Dutt songs “Jaane Woh Kaise” from Pyaasa (1957). I think my undying love for Guru Dutt is pretty evident at this point, but in case you need some convincing to get over the bold Clark Gable ‘stache, start here. Pyaasa is no ordinary film. When released to roaring accolades in 1957, Pyaasa broke precedent upon precedent in both impact and style. Notice how every song in this film seems to flow naturally as a consequence of the plot, as if the lyrics of the songs were a poetic continuation of the spoken dialogue? It was a technique pioneered by Guru Dutt that was later emulated by every great director in Bollywood. And the film hit some hard topics. I discuss more of the political stance of the film and the fascinating struggle Guru Dutt faced behind-the-scenes earlier, but now let us look instead to the classic “Jaane Woh Kaise” hit from the immortal pen of Sahir Ludhviani. It’s a mixture of everything right in the world: Guru Dutt as actor, Hemant Kumar with vocals, S.D. Burman composing, and Sahir in the back with the words of wisdom. This Hemant Kumar gem is truly the industry standard for awkward dinner party songs–even copied in modern times by Mira Nair in her film Vanity Fair (2004)!

Guru Dutt is employed as a dinner party waiter for his rich boss, Rehman, where he is confronted by the reality of his former lover, Mala Sinha, having abandoned him for wealth by marrying none other than the man currently employing him. The injustice of it all gets to him, and by chance, he’s a poet at heart who does what any other tragic poet would do in the situation: drop everything and throw a pity party.

Mala Sinha plays a cold-hearted social climber in Pyaasa (1957).

I love the cinematography in this song–Guru Dutt and his brilliant Director of Photography V.K. Murthy were known for their overblown yet graceful dolly-ins (watch the camera fly in “Waqt Ne Kiya“!), and so too in this song, the camera acts as a silent messenger of emotional turmoil, extracting a beautifully devastating toll on each of the key players in the room. And Guru Dutt holds his ground with arms outstretched as if crucified–a soft-spoken martyr against a background of bookshelves in which his own spoken words will later be immortalized and massacred. Again, you really need to see the film to appreciate the poetic genius of Guru Dutt film-making.

So enough talk, onto the lyrics and English translation of “Jaane Woh Kaise” from Pyaasa (1957)! Check out the picturization on youtube and let us know what you think in the comments!

Jaane Woh Kaise Log Lyrics and Translation

Jaane woh kaise log the jinke pyaar ko pyaar mila
I wonder what kind of people find their love reciprocated
Humne to jab kaliyaa.N maangii kaa.NTo.N kaa haar milaa
Whenever I asked for flowers, I received a garland of thorns

Khushiyo.N kii manzil DhoonDii to gham kii gard milii
I searched for a destination of joy, but I found a circle of sadness
Chaahat ke naghme chaahe to aahe.N sard milii
I desired tales of love, but I received only the coldness of sighs
Dil kii bojh ko duunaa kar gayaa, jo ghamkhwaar milaa
The burdens of my heart only doubled if I met someone meant to relieve my sorrow

BichhaD gayaa har saathii dekar pal do pal kaa saath
Every companion gave me a few moments of company, and left
Kisko fursat hai jo thaame diiwaano.N kaa haath
After all, who has the free time to hold a crazy man’s hand?
Humko apnaa saayaa tak aksar bezaar milaa
Even my own shadow is often weary of me

Isko hii jiina kehte hai.N to yuu.N hii jii le.Nge
If this is what they called life, then I will live like this
Uff na kare.Nge, lab sii lenge, aa.Nsuu pii lenge
I will not sigh, I will seal my lips, and swallow my tears
Gham se ab ghabraana kaisaa, gham sau baar milaa
After all, how can I be concerned by sadness? I have met sadness a hundred times

Humne to jab kaliyaa.N maangii.N kaaTo.N kaa haar milaa
When I asked for flowers, I found a garland of thorns
Jaane woh kaise log the jinke pyaar ko pyaar mila
I wonder what kind of people find their love reciprocated

Glossary:

kali: flower; kaanTaa: thorn; haar: garland; manzil: destination; gham: sadness; gard: circle; chaahat: love, desire; naghma: tale; aah: sigh; sard: chilly, cold; bhoj: burden; duunaa karna: to double; ghamkhwaar: a remover of sadness (note: the w is silent, as in khwaab); bichhaD jaanaa: to become separated; saathi: companion; fursat: free time; haath thaamnaa: to hold hands; saayaa: shadow; bezaar: fed up, weary; lab: lips; aa.Nsuu: tears; gham: sadness: ghabraanaa: to become anxious, concerned

Singing his heart out, Guru Dutt transforms Rehman’s classy dinner gathering into a awkwardly personal pity party in Pyaasa (1957).

Guru Dutt revives the martyr-style mis-en-scene in the reprise of “Yeh Duniya Agar Mil Bhi Jaaye” at the famous finale of the film! The scene has got to be one of the all-time greatest of Hindi cinematic history. For this and about a million other reasons, Pyaasa is absolutely mandatory classic Bollywood viewing!

-Mrs. 55

Ek Pyar Ka Nagma Hai Lyrics and Translation: Let’s Learn Urdu-Hindi

Posted on October 4, 2012 by mrandmrs55

Nanda runs in two directions at once, coming and leaving, in “Ek Pyaar Ka Naghma Hai” from Shor (1972).

We next present the lyrics and full English translation to the eternal love ode “Ek Pyar Ka Nagma Hai” from Shor (1972). What makes “Ek Pyar Ka Nagma” so timeless? It is on everyone’s list of favorites. Part of it is that the lyrics are some of the best poetry written in accessible language (don’t get me wrong, personally if someone wants to burst into the Urdu-textbook “Mere Mehboob Tujhe,” I’m down for that too!). “Ek Pyar Ka Nagma” is rendered with almost magical emotion by Lata Mangeshkar and Mukesh–simultaneously a song of dream-like ecstasy and of tender nostalgia. It’s incomparable. The song speaks to a deep love between two souls undergoing hardship, to cherishing those brief precious moments spent together in happiness, and most of all, to remaining hopeful. The song is simple and evocative–and one of the most beautiful you’ll ever hear.

Manoj Kumar picturizes the famous violin introduction to “Ek Pyaar Ka Naghma” at a family beach outing.

Arriving about midway through the politcally-charged film, Shor, the song is partly told in golden-hued flashback of a family trip to the beach. Manoj Kumar plays a hard-luck activist and single father who’s wife, Nanda, is killed in a train accident.

Now some of you may at first be confused, if not disturbed, by Manoj Kumar’s radical cinematography in this sequence, typical of his edgy style. He experiments with several epigenetic, if you will, modifications at once that create an entirely signature effect: slow-motion, still photography inserts, split mirror screens. It was the 70s, and it was the time to experiment–and he’s one of the few Indian directors who did indeed drizzle these new techniques into his big screen productions. It’s unexpected, but upon closer analysis, I’ll argue works brilliantly. Manoj Kumar is no fool. To picturize a song about ephermal bliss, of prolonging a brief moment–he actually freeze frames his film to highlight the transience and importance of memory. His split frames, showing Nanda walking in and out of the center of the screen, of two halves of the beach merging, capture the duality of life that the lyrics speak of. In context, these techniques actually bring together the reflective themes of the film itself and of the love shared between its protagonists. For it, Manoj Kumar won the Filmfare Award Best Editing in 1972!

Nanda’s own reflection stares back at her as a symbolic representation of past and future in Manoj Kumar’s radical cinematography of Shor (1972).

So follow along below with our English translation of this lovely ode to carpe diem and unconditional devotion, “Ek Pyar Ka Nagma Hai” and watch the youtube version here!

Ek Pyaar Ka Naghma Hai Lyrics and Translation

Ek pyaar kaa naghmaa hai
Life is a tale of love
Maujo.N kii ravaani hai
Life is the flowing of waves
Zindagii aur kuch bhi nahii.N, terii merii kahaanii hai
Life is nothing more than your and my story

Kuch paakar khonaa hai
In gaining something, we lose something
Kuch khokar paanaa hai
In losing something, we gain something
Jeevan ka matlab to aanaa aur jaanaa hai
The meaning of life is to come and to go
Do pal ke jeevan se, ek umr churaani hai
From a few moments of existence, we must steal a whole lifetime
Zindagii aur kuch bhi nahii.N, terii merii kahaanii hai
Life is nothing more than your and my story
Ek pyaar kaa naghmaa hai…
Life is a tale of love…

Tu dhaar hai nadiyaa kii
You are the waters of a river
Mai.N teraa kinaaraa hoo.N
I am your shore
Tu meraa sahaaraa hai, mai.N teraa sahaaraa hoo.N
You are my support, I am your support
Aankho.N mei.N samandar hai, aashaao.N ka paanii hai
In my eyes is an ocean, it contains the water of hopes
Zindagii aur kuch bhi nahii.N, terii merii kahaanii hai
Life is nothing more than your and my story
Ek pyaar kaa naghmaa hai…
Life is a tale of love…

Toofaan to aanaa hai
Storms will come
Aakar chale jaanaa hai
But in the end, they will pass
Baadal hai yeh kuch pal kaa, chhaakar dhal jaanaa hai
These clouds are only momentary, after rising they will diminish
Parachhaaiiyaa.N reh jaatii, reh jaatii nishaanii hai
But these shadows remain, these symbols of you remain
Zindagii aur kuch bhi nahii.N, terii merii kahaanii hai
Life is nothing more than your and my story
Ek pyaar kaa naghmaa hai…
Life is a tale of love…

Glossary:

naghma: tale, ravaani: flowing, turning; zindagi: life; kahaanii: story; matlab: meaning; umr: age, lifetime, dhaar: water; nadiyaa: river; kinaaraa: shore; sahaaraa: support; samandar: ocean; aashaa: hope, wish; paanii: water; toofaan: storm; baadal: cloud; parchaaii: shadow; nishaanii: symbol, sign

Manoj Kumar remembers his dead wife and the love she left behind in Shor (1972).

The film, as in many Manoj Kumar patriotic hits, ends on a defiantly tragic note. Like Shaheed (1965), in which he is martyred with pride, or Upkar (1967) in which he loses his limbs for the glorious cause, in Shor too, Manoj Kumar becomes deaf–a poetic price for his son to gain back his lost voice. The film is a must-see for many reasons, if only to complete your understanding of the role Manoj Kumar played in Bollywood and defining the political tensions of his era. Although Manoj Kumar can no longer hear his late wife sing “Ek Pyar Ka Nagma Hai” to him, and from now on will no longer be able to hear his son, he remains hopeful and comforted by memories of the moments he once spent in happiness.

– Mrs. 55

Lag Ja Gale Lyrics and Translation: Let’s Learn Urdu-Hindi

Posted on September 28, 2012 by mrandmrs55

Maybe only a hardcore fanatic like me would know this, but today (September 28th) is Lata Mangeshkar’s birthday! Mrs 55 and I would like to wish our favorite melody queen many happy returns of the day as she turns 83 years young.

Lata Mangeshkar (1929- )

Given this special occasion, I have decided to share one of my all-time favorite songs sung by Lata Mangeshkar: lag jaa gale from Raj Khosla’s classic film noir Woh Kaun Thi? (1964). I am often asked to name my favorite Lata song, but I find this request to be challenging because there are simply too many gems to narrow it down to one choice. Instead, I feel compelled to produce a list and I can say that this song consistently makes my top ten compilation of personal favorites rendered by India’s beloved nightingale.

Sadhana displays an ethereal beauty in Woh Kaun Thi? (1964)

Penned by Raja Mehndi Ali Khan and composed by Madan Mohan, this song has been immortalized as a veritable gem of the Hindi film music industry. Through an expression of carpe diem philosophy, these lyrics encourage listeners to live in the moment and cherish their loved ones now before the opportunity escapes in the future. The beautiful simplicity of these lyrics is enhanced by a sublime melody crafted by Madan Mohan–one of his career’s finest. Lata Mangeshkar’s voice is also at its heavenly best here, and her flawless rendition takes this song to the next level. It is certainly no mystery why this song has survived the test of time as one of Bollywood’s most cherished musical numbers. As you follow along with our translation and glossary below, I hope that you enjoy this masterpiece whose beauty has brought joy to countless listeners (myself included!) over the years.

-Mr. 55

Lag Ja Gale: Lyrics and Translation

lag jaa gale ki phir yah hasii.n raat ho na ho
Embrace me, for this beautiful night may come no more.
shayad phir is janam me.n mulaaqaat ho na ho
Perhaps, in this life, we may never meet again.

ham ko milii hai.n aaj ye ghaDiyaa.n nasiib se
We are fortunate to share these moments today.
jii bhar ke dekh liijiye ham ko qariib se
Wholeheartedly take a look at me from up close,
phir aap ke nasiib me.n yah baat ho na ho
As your fate may never hold this opportunity again.
shayad phir is janam me.n mulaaqaat ho na ho
Perhaps, in this life, we may never meet again.

paas aaiye ki ham nahii.n aaye.nge baar baar
Come close to me, for I will not return again and again.
baahe.n gale me.n Daal ke ham ro le.n zaar-zaar
Wrapping my arms around your neck, I will continue to weep.
aa.nkho.n se phir yah pyaar kii barsaat ho na ho
My eyes may never shed such a storm of love again.
shayad phir is janam me.n mulaaqaat ho na ho
Perhaps, in this life, we may never meet again.

lag jaa gale ki phir yah hasii.n raat ho na ho
Embrace me, for this beautiful night may come no more.

Glossary

gale lag jaanaa: to embrace; hasii.n: beautiful; janam: birth, life; mulaaqaat: meeting; ghaDiyaa.n: moments; nasiib se: fortunately; nasiib: fate, destiny; jii bhar ke: wholeheartedly; qariib se: up close; baahe.n: arms; galaa: neck; zaar-zaar ro lenaa: to weep continuously; barsaat: storm.