Dev Anand reassures Waheeda Rehman that he’s the real deal singing “Tere Mere Sapne” from masterpiece film Guide (1965).

Today we present the lyrics and English translation to the love ballad “Tere Mere Sapne” from the film Guide (1965). I know, I know, we’ve been riding on a Guide high recently. But if you haven’t already relished in the provocative philosophy of this all-time masterpiece of Hindi cinema , cancel your Friday night plans right now.

“Tere Mere Sapne” is considered one of singer Mohammed Rafi’s finest moments–a romantic ballad that mingles gentle tenderness with unabashed passion. The song marks a transition point in the film as Guide’s hero (played by Dev Anand) re-invents himself from a tourist guide into a personal one, guiding a dancer with a broken first marriage (played by Waheeda Rehman) away from the fringes of society toward fulfillment (or, at least, so he wishes). Dev Anand will eventually undergo a final character re-invention that makes the multiple interpretations of the film’s namesake so famous.

Waheeda Rehman covers her head modestly, afraid of tainting Dev Anand with her dishonorable past in Guide (1965).

Shut your eyes. Listen to this song in its entirety, devoid of any of the film’s imagery, and you’ll feel yourself swaying. It’s because the song is written as a waltz–one of a handful of waltzes from classic Bollywood films that utilize the buoyant 3-beat meter that bursts with romance at every turn. That lilting instrument that fades in after the first chorus like a continuation of Rafi’s own heartbeat? It’s a saxophone, modernizing the classic waltz croon with jazz-like flair. Bollywood composers of this decade loved mixing styles and instruments from across the globe this way. Shout out to Guide‘s genius music composer S.D. Burman who helped usher in this golden era of Hindi film music!

Now open your eyes. Watch the choreographed way that Dev Anand and Waheeda Rehman engage and disengage with each other during the song: their yearning approaches followed by tense rejections. Interestingly, like the 3-beat waltz itself, the entire sequence is filmed in 3 fluid shots. The song, therefore, has only 2 cuts–each marking a new stage in Waheeda’s acceptance of Dev Anand’s offer. The camera itself swirls between them with the grace of a seasoned dancer, eschewing the traditional shot-reverse-shot approach to fully embrace capturing in real-time the space between them–and, in doing so, highlighting its slow diminishment. For me, this kind of camerawork that gives flight to the emotional fabric of the sequence, so unique to classic Bollywood film songs, is one of the reasons I fell in love with Hindi cinema. Moments like these earned Director of Photography Fali Mistry the Best Cinematography Filmfare Award for Guide. Songs like “Dekhi Zamane Ki Yaari” from Kaagaz Ke Phool (1959) or “Lag Ja Gale” from Woh Kaun Thi? (1964) come to mind as other exemplifications of this style.

We hope you enjoy our English translation of the lyrics to “Tere Mere Sapne” below. Follow along with the video here and let us know your thoughts in the comments!

Tere Mere Sapne Lyrics & English Translation:

Tere mere sapne ab ek rang hai
Your and my dreams are now the same colour
Jahaa.N bhii le jaaye raahe.N, ham sang hai.N
Wherever these paths take us, we are together

Mere tere dil kaa tai thaa ek din milnaa
It was decided that our hearts would one day meet
Jaise bahaar aane par tai hai.N phuul kaa khilnaa
Just as it is decided that flowers bloom with the coming of Spring
O mere jeevan-saathii…
O my life companion…

Tere dukh ab mere, mere sukh ab tere
Your sadness is now mine, my joy is now yours
Tere yeh do nainaa chaa.Nd aur suraj mere
Your two eyes are my moon and sun
O mere jeevan-saathii…
O my life companion…

Laakh manaa le duniyaa, saath na yeh chhuuTegaa
Society may appease us a hundred thousand times, but we will never be separated
Aake mere haatho.N mei.N, haath na yeh chhuuTegaa
Once you come to my hands, our hands will never be parted
O mere jeevan-saathii…
O my life companion…

Tere mere sapne ab ek rang hai
Your and my dreams are now the same colour
Jahaa.N bhii le jaaye raahe.N, ham sang hai.N
Wherever these paths take us, we are together

Glossary:

sapnaa: dream, rang: color; raah: path; sang: together; dil: heart; tai hai: to be decided; ek din: one day; milnaa: to meet; bahaar: Spring; phuul: flower; khilnaa: to bloom; jeevan–saathii: life companion; dukh: sadness; sukh: happiness; nainaa: eyes; chaa.Nd: moon; suraj: sun; laakh: 100,000; manaa lena: to appease; duniyaa: society; saath chhuuTnaa: to become separated; haath: hand

Dev Anand’s bouffant-to-forehead ratio exceeds all expectations in Guide’s beautiful “Tere Mere Sapne.”

This lovely Mohammed Rafi love song was requested by multiple fans: Naina Agnestia, Kiran, and Sunita! Thank you all for the touching request, you sentimental fools! For more on the music of Guide, check out our translation of “Aaj Phir Jeene Ki Tamana Hai!”

– Mrs. 55

Happy Valentine’s Day to our dear readers! We hope you a very romantic day with your loved one.

The Indian subcontinent has an amazing variety of terms of endearment for the word ‘lover’.  The origins of these terms arise from a wide diversity of languages within the South Asian diaspora, including Urdu, Hindi, Sanskrit, Punjabi, Farsi, Arabic and Nepali. It is important to note that even though the literal meanings of all the terms may not be the most flattering (e.g. bedardii, chhaliya, daghaabaaz, etc), the manner in which they are used in Bollywood is often romantic and flirtatious.

To our knowledge, the list below is one of the most comprehensive list of Urdu-Hindi terms of endearment compiled on the internet, and we hope you put this list to good use on  Valentine’s Day – and for the rest of the year!

Which of these endearment terms do you like the most? Leave us a note in the comments!

-Mr. ’55

A

aanevaalaa (m.) / aanevaalii (f.): one who arrives || aayegaa aanevaalaa – Mahal (1949)
aashiq​: lover || ham to tere aashiq hai.n sadiyo.n puraane – Farz (1967)
albelaa (m.) / albelii (f.): charming one || albelaa re ruk jaanaa – Raampur Ka Lakshman (1972)
anaaDii: inexperienced one || balmaa anaDii man bhaye – Bahurani (1962)

Babita and Jeetendra in  “Hum To Tere Aashiq Hain” from Farz (1967)

B

baa.nke chhoDaa: handsome one || gore gore o baa.nke chhoDe – Samadhi (1950)
baa.nke yaar: handsome one || thaaDe rahiiyo o baa.nke yaar – Pakeezah (1972)
baa.nvaraa (m.)/ba.nvarii (f.): crazy one || piyaa baa.nvarii – Khoobsurat (1980)
baabuu: gentleman || koii saharii baabuu dil laharii baabuu – Loafer (1973)
baadshaah: emperor || yaar baadshaah yaar dilrubaa – C.I.D. 909 (1967)
baalam: beloved ||  chhoD gaye baalam – Barsaat (1949)
baalamavaa:  beloved ||  jaa jaa re jaa baalamavaa – Basant Bahar (1956)
baaziigar: gambler || baaziigar o baaziigar – Baazigar (1993)
babuaa: gentleman ||  o babuaa yah mahuaa – Sadma (1983)
bahaar-e-husn: spring of beauty || sun ai bahaar-e-husn – Night in London (1967)
bairaagii: detached, recluse one || o mere bairaagii bhanvaraa –  Ishq Par Zor Nahin (1970)
bairii: vengeful one || bairii piyaa – Devdas (2002)
balmaa: beloved ||  baiyaa.n na dharo, o balmaa – Dastak (1970)
baliye:  beloved || nii baliye rut hai bahaar kii – Kanhaiya (1959)
bannaa (m.)/banno (f.): groom/bride || mere banne kii baat na puuchho – Gharana (1961)
bedardii: callous one || bedardii baalmaa tujh ko meraa man – Arzoo (1965)
beimaan: unfaithful one || mose chhal kiye jaaye saiyaa.n beimaan – Guide (1965)
bekhabar: ignorant one || beqadar bekhabar bevafaa baalmaa – Ram Lakhan (1989)
beliyaa: beloved || kitnaa pyaaraa vadaa…o beliyaa – Caravan (1971)
beqadar: cruel one || o beqadar bedardii – Desh Premee (1982)
bevafaa: unfaithful one || ek bevafaa se pyaar kiyaa – Awaara (1951)
bhanvaraa: bumblebee || bhanvaraa baDaa naadaan hai – Sahib Bibi Aur Ghulam (1962)
bholaa (m.) / bholii (f.): innocent, gullible one || o mere bhole baalam – Padosan (1963)
bulbul: nightingale || merii bulbul yuu.n na ho gul – Biwi O Biwi (1980)

Meena Kumari in  “Thade Rahiyo” from Pakeezah (1972)

C

chaa.nd/chaa.ndnii: the Moon/moonlight || chaudvii.n kaa chaa.nd ho – Chaudvin Ka Chand (1960)
chaa.nd kaa tukDaa: piece of the Moon || mere saamnevaali khiDkii me.n ek chaa.nd kaa tukDaa rehtaa hai – Padosan (1963)
chandramukhii: Moon-faced || o mrignayanii chandramukhii – Rang Birangi (1982)
chhail chhabiilaa (m.): handsome beau || o meraa baabuu chhail chhabiilaa – Man Ki Jeet (1972)
chhaliyaa: cheater || zaraa saamne to aao chhaliye – Janam Janam Ke Phere (1957)
chhammak chhallo (f.): stunning beauty || o merii chhammak chhallo – Pyaasa Sawan (1981)
chitchor: heart-stealer || baa.ndh priitii phuul Dor man leke chitchor – Malti Madhav (1951)

Guru Dutt and Waheeda Rahman in the title track from Chaudvin Ka Chand (1960)

D

daghaabaaz: deceitful one || bedardii daghaabaaz jaa – Bluff Master (1953)
dhokebaaz: deceitful one || saiyaa.n jhuuTho.n ka baDaa sartaj…baDaa dhokebaaz niklaa – Do Aankhen Barah Haath (1957)
Dholnaa: beloved ||  ere bin nahii.n jiinaa mar jaanaa Dholnaa – Kachche Dhaage (1999)
diivaanaa (m.)/diivaanii (f.):  crazy/passionate one || ai kaash kisii diivaane ko ham se bhii muhabbat – Aaye Din Bahar Ke (1966)
dilbar: heart-ravisher ||  dilbar mere kab tak mujhe – Satte Pe Satta (1982)
dildaar: heart-ravisher || chalo dildaar chalo chaa.nd ke paar chalo – Pakeezah (1972)
dilnashii.n: one who resides in the heart || aap-saa koii hasii.n dilrubaa o dilnashii.n – Chandi Sona (1977)
dilrubaa: heart-stealer || ai dilrubaa – Rustom Sohrab (1963)
dil toDnevaalaa (m.)/dil toDnevaalii (f.): heart-breaker || dil toDnevaale tujhe dil – Son of India (1962)
dil kaa sahaaraa: my heart’s solace || dil toDnevaale tujhe dil — Son of India (1962)
dulhaa (m.)/dulhan (f.): groom/bride || chalii meri dulhan kii Dolii – Darpan (1970)
dulhaniyaa: bride || le jaaye.nge le jaye.nge dilvaale dulhaniyaa – Chor Machaye Shor (1974)

Amitabh Bacchan and Hema Malini in “Dilbar Mere” from Satte Pe Satta (1982)

G

goraa (m.)/ gorii (f.): fair one || gorii teraa gaa.nv baDaa pyaaraa – Chitchor (1974)
goriyaa: fair one || goriyaa kahaa.n teraa desh re? – Caravan (1974)
gulbadan: rose-bodied one || ai gulbadan phuulo.n kii mahek – Professor (1962)

Amol Palekar and Zarina Wahab in “Gori Tera Gaon Bada Pyara” from Chitchor (1974)

H

hamdam: companion (who shares breaths) || koii hamdam na rahaa – Jhumroo (1960)
hamdard: companion (who shares pain) || manzile.n apnii jagah hai.n – Sharabi (1980)
hamjolii: companion (who shares age) || aaj na chhoDenge bas hamjolii – Kati Patang (1970)
hamnafas: companion (who shares breaths) || koii hamnafas nahii.n – Non-Film
hamnashii.n: companion (who shares a seat) || aa zara mere hamnashii.n – Poonam (1981)
hamnavaah: companion (who shares a voice) || mere hamnafas mere hamnavaah – Non-Film
hamqadam:  companion (who shares footsteps) || aa mere hamqadam – Humkadam (1980)
hamraahii:  companion (who shares a path) || chheD mere hamrahii koii giit aisaa – Mastana (1970)
hamraaz:  companion (who shares secrets) || o mere hamraaz, kaisaa hai yah raaz? –Ghungroo (1981)
hamsafar:  companion (who shares a journey) || tum jo hue mere hamsafar –  12 O’Clock (1958)
harjaayii:  unfaithful one || jaa re jaa o harjaayii – Kalicharan (1976)
hasiinaa: beautiful lady || o hasiinaa zulfo.nvaalii jaan-e-jahaa.n – Teesri Manzil (1966)
hiiriye: diamond-like one || o merii soniye, o merii hiiriye – Insaaniyat Ke Dushman (1987)
hoshiyaar: clever one || ek chatuur naar baDii hoshiyaar – Padosan (1968)
husnvaalaa (m.) / husnvaalii (f.):  beautiful one || husnvaale teraa javaab nahii.n – Gharana (1961)
huur: fairy || yuu.n to ham ne laakh hasii.n dekhe hai.n – Tumsa Nahin Dekha (1957)
huzuur: master || aao huzuur tum ko – Kismat (1968)

Rajesh Khanna and Asha Parekh in “Aaj Na Chhodenge Bas Humjoli” from Kati Patang (1970)

J

jaaduugar:  wizard, magician || jaaduugar saiyaa.n, chhoD morii baiyaa.n – Nagin (1954)
jaa.n:  soul, life, love || merii jaa.n, mujhe jaan na kaho – Anubhav (1971)
jaan-e-adaa: soul of charm || jo vaadaa kiyaa vah nibhaanaa paDegaa – Taj Mahal (1963)
jaan-e-bahaar:  life of Spring || jaan-e-bahaar, husn teraa bemisaal hai  – Pyar Kiya To Darna Kya (1963)
jaan-e-chaman:  life of the flower garden || jaan-e-chaman sholaa badan – Gumnaam (1965)
jaan-e-ghazal: soul of poetry || mere mahbuub tujhe merii muhabbat kii qasam –Mere Mehboob (1963)
jaan-e-hayaa:  soul of modesty || jo vaadaa kiyaa vah nibhaanaa paDegaa – Taj Mahal (1963)
jaan-e-jaa.n:  love of my life || aa jaan-e-jaa.n – Inteqaam (1969)
jaan-e-jaanaa: love of my life || jaan-e-jaanaa yuu.n na dekho mujhe aaj nafrat se – Faulad (1963)
jaan-e-jahaa.n: love of my world || dasht-e-tanhaayii me.n ai jaan-e-jahaa.n – Non-Film
jaan-e-janaana: love of my life || o mere shaah-e-khubaa.n, o merii jaan-e-janaana – Love in Tokyo (1966)
jaan-e-jigar:  love of my heart || are jaan-e-jigar duniyaa me.n – Pukar (1983)
jaan-e-man: love of my heart || jaan-e-man ek nazar dekh le – Mere Mehboob (1963)
jaan-e-tamanna: love of my desires || dil me.n ek jaan-e-tamanna ne jagaah paayii hai -Benazir (1964)
jaan-e-vafaa:  soul of faithfulness || ghairo.n pe karam apno.n pe sitam, ai jaan-e-vafaa – Aankhen (1968)
jaan-e-zindagaanii: love of my life || mujhe ishq hai tujh hi se, merii jaan-e-zindagaanii – Ummeed (1962)
jaanam: darling || jaanam samjhaa karo – Non-Film
jaanevaalaa (m.) / jaanevaalii (f.):  one who leaves || ruk jaa o jaanevaalii – Kanhaiya (1959)
jaanii:  darling || jaanii o jaanii – Raja Jani (1972)
jaanuu:  darling || jaanuu merii jaan, mai.n tere qurbaan – Shaan (1980)
janaab:  your honor/excellency || maanaa janaab ne pukaaraa nahii.n – Paying Guest (1957)
janaab-e-aalii: your honor/excellency || nain tumhaare mazedaar o janaab-e-aalii – Professor (1962)
jhuuThaa (m.) / jhuuThii (f.): liar || manmohanaa baDe jhuuThe – Seema (1955)
jiivan saathii: life partner || mere jiivan saathii – Ek Duje Ke LIye (1981)
jogii:  yogi/devotee (often refers to Lord Krishna) || jogii jab se tu aayaa mere dvaare – Bandini (1963)
jogiyaa:  yogi/devotee (often refers to Lord Krishna) || jogiyaa se priit kiye dukh hoye – Garam Coat (1955)

Nutan in “Jogi Jab Se Tu Aaya Hai from Bandini (1963)

K

kaanchaa (m.)/kaanchii (f.): young boy/girl (Nepali origin) || kaanchii re kaanchi re – Hare Rama Hare Krishna (1972)
kamsin: delicate one || tum kamsin ho nadaan ho – Aayi Milan Ki Bela (1966)
khilaaDii: player ||  manmohanaa baDe jhuuThe – Seema (1955)
khvaab kii taabiir: interpretation of my dreams || mere mahbuub tujhe merii muhabbat kii qasam –Mere Mehboob (1963)

Sadhana in the title track from Mere Mehboob (1963)

M

maahii:  beloved || maahii o maahii dupaTTa de de meraa de – Meena Bazaar (1950)
maahiyaa: beloved || mahiyaa terii qasam haaye jiina nahii.n jiinaa – Ghayal (1989)
maalik (m.)/malikaa (f.): emperor/empress || ai phuulo.n kii raanii, bahaaro.n kii malikaa – Arzoo (1965)
maashuuq (m.)/maashuqaa (f.): lover || maashuuqaa maashuuqaa – Aaj Ka Arjun (1990)
maharbaa.n:  merciful/gracious one || aaiye maharbaa.n baiThiye jaan-e-jaa.n – Howrah Bridge (1958)
mahbuub (m.)/mahbuubaa (f.):  beloved || mere mahbuub qayamat hogii – Mr. X in Bombay  (1964)
mahjaabii.n: moon-faced beauty || sun ai mahjabii.n – Dooj Ka Chand (1964)
makhnaa: beloved || mere pyaar kaa ras zaraa chaknaa, oye makhnaa – Bade Miyan Chhote Miyan (1988)
man-basiyaa: one who resides in the heart ||  aajaa rasiyaa more man-basiyaa – Pilot Officer (1961)
manbhaavan: one who pleases the mind || manbhaavan ke ghar jaaye gorii – Chori Chori (1956)
manmohanaa: enchanter of the heart (often refers to Lord Krishna) || manmohanaa baDe jhuuThe – Seema (1955)
mastaanaa/mastaanii: intoxicating one || diivaanii mastaanii – Bajirao Mastani (2016)
matvaalaa (m.)/matvaalii (f.): intoxicated one ||  koii matvaalaa aayaa mere dvaare – Love in Tokyo (1966)
miit: beloved || aa lauT ke aa jaa mere miit – Rani Roopmati (1957)
mitvaa:  beloved || mere mitvaa mere miit re – Geet (1970)
mrignayanii: doe-eyed || o mrignayanii chandramukhii – Rang Birangi (1982)
musaafir: traveler || path bhuulaa ek aayaa musaafir – Door Gagan Ki Chaaon Mein (1964)

Madhubala in “Aaiye Meherbaan” from Howrah Bridge (1958)

N

naadaa.n: innocent, naive one || balmaa baDaa naadaan re – Albela (1951)
naaznii.n: worthy of pride || naaznii.n baDaa rangii.n hai / hamdam mere – Phir Wohi Dil Laya Hoon (1963)
naazuk: delicate one || kahii.n ek maasuum naazuk-sii laDkii – Shankar Hussain (1977)
nargis-e-mastaanaa: one with intoxicating eyes || ai nargis-e-mastaanaa 
– Arzoo (1965)
natkhat: naughty one || jaa re haT naTkhaT ghunghaT ke paT – Navrang (1959)
naujavaa.n: youthful one || ai naujavaa.n hai sab kuchh yahaa.n – Apradh (1972)
nuurii: my light || aa jaa re aa jaa o mere dilbar…nuurii nuurii – Noorie (1979)

Helen and Feroz Khan in “Aye Naujawan Sab Kuch Yahan” from Apradh (1972)

P

pardaanashii.n: veiled one || sharmaake ye kyo.n sab pardaanashii.n – Chaudvin Ka Chand (1960) 
pardesii: foreign lover || ghar aayaa meraa pardesii – Awaara (1952)
​pardesiyaa: foreign lover || pardesiyaa yah sach hai piyaa – Mr. Natwarlal (1979)
parii: fairy || yuu.n to ham ne laakh hasii.n dekhe hai.n – Tumsa Nahin Dekha (1957)
patthar kaa sanam: stone-hearted lover || patthar ke sanam tujhe ham ne – Patthar Ke Sanam (1967) 
piharavaa: beloved || ab aage terii marzii – Devdas (1955)
pii: beloved || pii bin suunaa re – Hamdard (1953)
piyaa: beloved || piyaa tose naina laage re – Guide (1965)
priye (m.)/priyaa (f.): beloved || kaun hai jo sapno.n me.n aayaa…o priyaa! – Jhuk Gaya Aasman (1967)
priitam: beloved || priitam daras dikhaao – Chacha Zindabad (1959)
pyaar: love || o mere pyaar aa jaa – Bhoot Bangla (1965)

Waheeda Rahman in “Piya Tose Naina Lage Re” from Guide (1965)

Q

qaatil: dangerous one || jaadugar qaatil – Kohinoor (1960)

R

raajaa (m.)/raanii (f.):  king/queen || raajaa kii aayegii baaraat – Aah (1949)
raajkumaar (m.)/raajkumaarii (f.): prince/princess || aa jaa aayii bahaar…o mere raajkumaar – Rajkumar (1964)
raanjhanaa: beloved || aa mere raanjhanaa – Heer (1956)
raazdaar: secret-bearer || itnaa hai tum se pyaar mujhe mere raazdaar – Suraj (1963)
rangiilaa (m.)/rangiilii (f.): colorful one || tuu ne o rangiile kaisaa jaduu kiyaa – Kudrat (1981)
rang rasiyaa: one who romances with colors || o rang rasiyaa re – Paap Aur Punya (1974)
rasik (m.)/rasikaa (f.): passionate one || rasik balmaa – Chori Chori (1956)
rasiyaa: beloved || chalaa bhii aa aa jaa rasiyaa – Man Ki Aankhen (1970)

Nargis in “Rasik Balma” from Chori Chori (1956)

S

saa.nvalaa (m.)/saa.nvalii (f.): dark one (often refers to Lord Krishna) || jaa re saa.nvale salone natkhat baanvaarii – Payal (1957)
saa.nvaraa (m.)/saa.nvarii (f.): dark one (often refers to Lord Krishna) || saa.nvare saa.nvare – Anuradha (1960)
saa.nvariyaa: dark one (often refers to Lord Krishna) || mohe bhuul gaye saa.nvariyaa – Baiju Bawra (1952)
saajan: beloved || mere saajan hai.n us paar – Bandini (1963)
saaqii-e-maikhaanaa: wine-bearer of the tavern || ai nargis-e-mastaanaa – Arzoo (1965)
saaqiyaa: wine-bearer || saaqiyaa aaj mujhe nii.nd nahii.n aaye – Sahib Bibi Aur Ghulam (1962)
saathii: companion || o saathii re – Muqaddar Ka Sikandar (1978)
saathiyaa: companion || saathiyaa nahii.n jaanaa – Aaya Sawan Jhoom Ke (1969)
sahibaa: gentleman || sun sahibaa sun – Ram Teri Ganga Maili (1985)
saiyaa.n: beloved || saiyaa.n dil me.n aanaa re – Bahar (1951)
sajanavaa: beloved || sajanavaa bairii ho gaye hamaar –Teesri Kasam (1966=)
sajaniyaa: beloved ||  are chhoD de sajaniyaa – Nagin (1954)
sajnaa (m.)/sajnii (f.):  beloved || o sajnaa barkhaa bahaar aayii – Parakh (1960)
salonaa (m.)/salonii (f.): dark one (often refers to Lord Krishna) ||  o more saa.nvare salone piyaa – Kanhaiya (1959)
sanam: beloved || o mere sanam – Sangam (1964)
sangdil: merciless one || baDe bevafaa hai.n ye husnvaale – Roop Tera Mastana (1972)
sarkaar: overlord || badle badle mere sarkaar aate hai.n – Chaudvin Ka Chand (1960)
shaah-e-khubaa.n: empress of beauty || o mere shaah-e-khubaa.n – Love in Tokyo (1966)
shahazaadaa (m.)/shahazaadii (f.): prince/princess || vaadii-e-ishq se aaya hai meraa shahazaadaa – Non-Film
sharaabii: intoxicated one || mai.n huu.n saaqii, tuu hai sharaabii || Ram Aur Shyam (1967)
sharmiilaa (m.)/sharmiillii (f.): shy one || o merii sharmilii – Sharmilee (1972)
sonaa (m.)/sonii (f.): golden one || o mere sonaa re – Teesri Manzil (1966)
soniyaa (f.)/soniye (m.): handsome/beautiful one || ni soniye – The Train (1970)

Joy Mukherjee and Asha Parekh in “O Mere Shah-E-Khuban” from Love in Tokyo  (1966)

Y

yaar: friend/lover ||  nii mai.n yaar manaanaa nii – Daag (1973)
yaaraa: friend/lover ||  yaara silii silli – Lekin (1991)

Z

zaalim: cruel one ||  zaalim terii aa.nkho.n ne – Devta (1956)
zaalimaa: cruel one || sun sun sun zaalimaa – Aar Paar (1954)
zohraa-jabii.n: one with a forehead shining like Venus || ai merii zohraa-jabii.n – Waqt (1969) 
zulmii: cruel one || zulmii sang aa.nkh laDii – Madhumati (1958)

Vyjayanthimala in “Zulmi Sang Aankh Ladi” from Madhumati (1958)