Aayega Aanewala Lyrics and Translation: Let’s Learn Urdu-Hindi

Posted on June 17, 2014 by mrandmrs55

Ashok Kumar is haunted by a mysterious voice echoing through his palace in Mahal (1949)

Today we showcase the haunting lyrics and English translation of “Aayega Aanewala” from Kamal Amrohi’s Mahal (1949). The film is a landmark in the history of Indian cinema, representing a visionary shift to director-focused auteurism that ushered in India’s Golden Era of filmmaking. Upon its release, director Kamal Amrohi shot to super-stardom along with the then unheard of songstress Lata Mangeshkar and the enchanting teenage Madhubala. A quintessential Bollywood ghost story, Mahal tells the tale of businessman (Ashok Kumar) who inherits a palace in Allahabad and discovers that it is haunted by his lover in a previous life (Madhubala).

With its famous opening chimes of an echoing grandfather clock, “Aayega Aanewala” is a cinematographer’s fantasy, stringing one beautiful image of surrealist delusion after another. From the revealing dolly-shot, shrouded by branches, of a shadowy woman on a swing with a dupatta that chases the wind to the wide shot of a an empty ballroom whose chandelier rocks back-and-forth from an unseen presence, German-born cinematographer Josef Wirsching infuses an intoxicating wonder into each shot that is as much frightening as it is gorgeous. Traces of that languid hallucinatory world he constructs can be seen in his later work, Pakeezah (1971).

Above: The ethereal Madhubala is found swinging below in the palace gardens. Below: By the time Ashok Kumar approaches, the swing is empty, swaying eerily in the breeze.

At the age of 22, Kamal Amrohi arrived in Bombay with nothing but Rs. 17 and his own creativity. He wrote for a few films such as Shahjahan (1946) with the help of K.L. Saigal who became his supporter. Originally paid to simply write the script for Mahal, Amrohi insisted that he be allowed to direct as well. After much dispute the legendary Bombay Talkies studio relented–and made Bollywood history.

When recording the song “Aayega Aanewala” in the large empty Bombay Talkies studio, Amrohi had Lata Mangeshkar stand 20 feet away from the microphone when she sung the song’s opening notes. With each few words, she took another step closer until she reached the microphone for the chorus “Aayega, aayega, aayega.” They rehearsed this multiple times until they achieved the sound he desired. The effect was to capture the echoing nature of a voice floating through the large palace. With Lata’s angelic voice and Madhubala’s ghostly grace, the haunting femme fatale was created. Bimal Roy, who worked as an editor on the film, later drew upon Mahal‘s establishment of the Indian film noir genre when directing his own acclaimed Madhumati (1958).

If for no other reason, you’ve got to see this film just to be amazed at what Madhubala looked like as a teenager. I definitely didn’t look like that when I was 16 (although apparently Vyjayanthimala did). We dedicate this translation to our yesteryear fan Satya Khanna! Be sure to watch the film’s beautiful cinematography here as you follow along with our lyrics and English translation of “Aayega Aanewala” below!

Aayega Aanewala Lyrics and English Translation:

Khaamosh hai zamaanaa, chhup-chhaap hai.N sitaare
The earth is silent, the stars are quiet
Aaraam se hai duniyaa, bekal hai.N dil ke maare
The world is at rest, but the lovers are restless
Aise mei.N koii aahaT is tarah aa rahi hai
In the stillness, footsteps are approaching like this
Jaise ki chal rahaa hai man mei.N koi hamaare
As if someone is passing through my soul
Yaa dil dhaDak rahaa hai? ik aas ke sahaare
Or is it only my heart that is beating? I have this one hope for support

Aayegaa, aayegaa, aayegaa
He will come, he will come, he will come
Aayegaa, aayegaa, aanewaalaa
He will come, he will come, he who is to come

Deepak baghair kaise, parwaane jal rahe hai.N?
How are the moths burning without a flame?
Koi nahii.N chalaataa, aur teer chal rahe hai.N
No one fired, yet an arrow is flying
TaDpegaa koii kab tak, be-aas be-sahaare
How long will someone be tormented, without hope and without support?
Lekin yeh keh rahe hai.N dil ke mere ishaare
Yet the signals of my heart are saying
Aayegaa, aayegaa, aayegaa
He will come, he will come, he will come
Aayegaa, aayegaa, aanewaalaa
He will come, he will come, he who is to come

BhaTkii huii jawaanii manzil ko DhoonDhti hai
My wandering youth is searching for a destination
Maajhi baghair nayyaa, saahil ko dhoondhti hai
As if a boat without an oarsman searches for the shore
Kyaa jaane dil ki kashTii, kab tak lage kinaare
What does the boat of my heart know of how long until we reach the river bank
Lekin yeh keh rahe hai.N dil ke mere ishaare
Yet the signals of my heart are saying
Aayegaa, aayegaa, aayegaa
He will come, he will come, he will come
Aayegaa, aayegaa, aanewaalaa
He will come, he will come, he who is to come

Glossary:

khaamosh: silence; zamaanaa: earth; chhup-chhaap: quiet; sitaraa: star; aaraam se: restful; duniyaa: the world; bekal: restless; dil ke maare: lovers; aahaT: footsteps; man: heart, soul; dhaDaknaa: to beat [heart]; aas: hope; sahaaraa: support; deepak: flame; [kisi ke] baghair: without; parwaanaa: moth; jalnaa: to burn; taDapnaa: to be tormented; be-aas: without hope; be-sahaaraa: without support; ishaaraa: signal, symbol; bhaTaknaa: to wander; jawaanii: youth; manzil: destination; DhoonDnaa: to search; maajhi: oarsman; nayyaa: boat; saahil: shore; kashTii: boat; kinaaraa: [river] bank

Now that that’s over, let’s take a brief moment to discuss ye olde moth and flame analogy. A favorite fall-back of Hindi film lyricists, the analogy of a kamikaze moth yearning for unity with fire has intrigued many a Bollywood romantic. With roots in Sufi mysticism, the classic moth and flame analogy has been lovingly immortalized by everyone from Rumi to Charles Dickens.

At its essence, the male lover (or metaphorical moth) is so blinded by love for a woman (the metaphorical flame), that he is willing to burn and die in order to join her. Very well. But in Bollywood, the analogy is so abused, the mere drop of the word parwaanaa in any context can denote a sinister Fate without even going into mention of the flame and burning alive. Interestingly, in the lyrics to “Aayegaa Aanewala“, the poet Nakshab Jarchavi constructs a fascinating twist on the hackneyed metaphor: instead of the male representing the moth, he represents the flame in whose absence our heroine is suffering! I love a good poetic gender role reversal. Is it getting hot in here, or is it just me?

-Mrs. 55

Ashok Kumar cleverly burns his hand with his cigarette to check if he is dreaming. Yeah, no. He’s still awake.

Chhupa Lo Yun Dil Mein Lyrics and Translation: Let’s Learn Urdu-Hindi

Posted on October 20, 2013 by mrandmrs55

Suchitra Sen wishes her daughter will never meet a Fate like her own in Mamta (1966).

Today we showcase the lyrics and English translation to the soulful “Chhupa Lo Yun Dil Mein” from Mamta (1966). One of Majrooh Sultanpuri’s greatest pieces, the calming lyrics set the tone for both the song’s music and its picturization, entering the film as fluidly as it ebbs away, as if an extension of the dialogue the audience so yearns to hear. “Chhupa Lo Yun Dil Mein” is an expression of unwavering romantic devotion set to a soothingly monastic pace.

Suchitra Sen and Ashok Kumar play two lovers who were unable to wed because of class differences, but never forget their love for one another. Suchitra later marries an abusive husband, and ultimately is forced into becoming a courtesan to survive. She tearfully gives up her only daughter so that her child can escape her mother’s ignominious shadow. In the aftermath, “Chhupa Lo Yun Dil” is not lipsynced, but rather the female voice is picturized on a lingering image of Suchitra Sen fading behind a drawn curtain, while the male is picturized on Ashok Kumar shrouding his eyes behind a pair of sunglasses. Poetically fitting, both literally conceal themselves from the viewer in a song dedicated to the beauty of hidden worship.

Ashok Kumar pensively shields his emotions in Mamta (1966).

Roshan’s soundtrack of Mamta is as gorgeous as it is diverse (see our earlier translation of “Rahe Na Rahe Hum“). “Chhupa Lo Yun Dil” employs a rare paucity of musical instrumentation: from the opening chimes of temple manjira to the traditional bansuri echoing alone in the empty cinematic space, the song emphasizes the ascetic nature of their devotion. To match, the romantic lyrics are infused with religious imagery, and director Asit Sen carefully constructs shots that instead of bring the hero and heroine closer together, in fact emphasize their distance (even their eyelines don’t match!). Indeed, perhaps the song is not two lovers singing to each other after all. The song can be read instead as a mother singing to the daughter she will leave forever, and a father discovering a new meaning to his life by caring for the child in her mother’s memory.

Based in Bollywood’s favorite raaga Yaman, “Chhupa Lo Yun Dil” is one of the most moving Hemant Kumar-Lata Mangeshkar duets of all time. We hope you enjoy our English translation to the lyrics of “Chhupa Lo Yun Dil Mein” below!

Chhupa Lo Yun Dil Mein Lyrics and Translation:

MALE:
Chhupaa lo yuu.N dil mei.N pyaar meraa
Hide my love inside your heart
Ki jaise mandir mei.N lau diye kii
Like the flame of a candle inside a temple

FEMALE:
Tum apne charano.N mei.N rakh lo mujhko
Keep me by your feet
Tumhaare charano.n ka phuul huu.N mai.N
For I am the flowers beneath your footsteps
Mai.N sar jhukaaye khaDii hoo.n priitam
I am standing with my head bowed, my beloved one
Ki jaise mandir mei.N lau diye kii
Like the flame of a candle inside a temple

MALE:
Yeh sach hai jeenaa thaa paap tum bin
It is true that to live without you was a sin
Yeh paap mai.N ne kiyaa hai ab tak
I have committed this sin until now
Magar thii man mei.N chhabii tumhaariI
But your image was always in my mind
Ki jaise mandir mei.N lau diye kii
Like the flame of a candle inside a temple

FEMALE:
Phir aag birhaa ki mat lagaanaa
Please do not light the fire of separation again,
Ki jal ke mai.N raakh ho chukii hoo.N
For I have already burned into ashes

MALE:
Yeh raakh maaThe pe mai.N ne rakh lii
I have worn those ashes upon my forehead
Ki jaise mandir mei.N lau diye kii
Like the flame of a candle inside a temple

BOTH:
Chhupaa lo yuu.N dil mei.N pyaar meraa
Hide my love inside your heart
Ki jaise mandir mei.N lau diye kii
Like the flame of a candle inside a temple

Glossary:

chhupaanaa: to hide; mandir: temple; lau: flame; diyaa: candle; charan: footsteps; phuul: flower; sar jhukaanaa: to bow [one’s] head; khaDaa: standing; priitam: loved one; jiinaa: to live; paap: sin; man: mind; chhabii: image; aag: fire; birhaa: separation; jalna: to burn; raakh: ashes; maaThe: forehead

Suchitra Sen’s glittery teal eyeshadow brilliantly matches her sari before becoming soaked in tears in Mamta (1966).

Famous Bengali director Asit Sen was well-known for making films with a refreshingly strong female lead, from Khamoshi (1969) starring Waheeda Rehman to Safar (1970) starring Sharmila Tagore. His mentor was none other than auteur Bimal Roy of Parineeta (1953) fame, which undoubtedly influenced the stories he chose to tell in his own directorial works. This beautiful Mamta song was requested by fan Jiyati Verma! Thank you for the great request!

– Mrs. 55

Rahe Na Rahe Hum Lyrics and Translation: Let’s Learn Urdu-Hindi

Posted on August 21, 2013 by mrandmrs55

Ashok Kumar and Suchitra Sen star in the beautiful Asit Sen film Mamta (1966).

Today we showcase the lyrics and English translation of the melodious “Rahe Na Rahe Hum” from the film Mamta (1966). This gentle beauty sung by Lata Mangeshkar captures an inspiring philosophy on losing a loved one. An optimistic melody balances the tragic sentiments of its lyrics. While Ashok Kumar must leave Suchitra Sen to study law abroad, he pledges his loyalty to her upon the forthcoming separation and asks her to sing for him before he leaves.

The film Mamta explores the sacrifices Suchitra makes upon becoming a mother and like the thematically-similar blockbuster Aradhana (1969) demonstrates the resilience of a woman wronged by society. Majrooh Sultanpuri wrote the lyrics to Roshan’s superb compositions for Mamta that have kept the film’s legacy alive today. “Rahe Na Rahe Hum” continues to be a favorite with its playful chime opening and nectar-sweet vocals that betray the heartache of the scene.

Suchitra Sen tears the petals from a flower on the eve of her separation from Ashok Kumar (right) and tosses the torn petals into the pond (left). The imagery of Suchitra’s identification with a flower recurs throughout the song and film–note how even her saari is decorated with a floral pattern!

“Rahe Na Rahe Hum” captures an appreciation of transience, framed as a neglected yet wonderous consequence of continuity, and highlights the transcendence of attachment to worldly phenomena such as seasons, physical proximity, and even time itself.

The tender line “ashqo.N se bhiigii chandnii mei.N ek sadaa si sunoge chalte chalte” allows simultaneously for mourning and recovery. While Suchitra acknowledges he will miss her, those tears of sadness will not last through the end of his journey that both know he must continue without her. Like the flowers petals that fall away drifting into the pond, Suchitra’s presence is not fettered by a set manifestation. Ultimately “Rahe Na Rahe Hum” is far more than mere words of consolation—it is an ode to love that celebrates the permanence of memory.

Suchitra Sen sings “Rahe Na Rahe Hum” as a parting gesture to the man she loves in Mamta (1966).

We hope you enjoy the full lyrics and English translation to the beautiful “Rahe Na Rahe Hum” below. Note that the plural pronoun “hum” can be translated as either “we” or “I.” I’ve chosen the singular for poetic purposes, but you can see how this no-doubt deliberate subtlety on the part of Sultanpuri sahib may color the translation slightly differently with each read. Watch the original song here!

Rahe Na Rahe Hum Lyrics and Translation: Let’s Learn Urdu-Hindi

Rahe na rahe hum mahakaa kareN.ge
Whether or not I am here, this fragrance will remain
Banke kali banke sabaa baagh-e-wafaa mei.N
As if a flower, as if a breeze in our devoted garden

Mausum koi ho, is chaman mei.N rang barse rahe.Nge hum khiraamaa
Whatever the weather may be in our garden, I will fill it gracefully with color
Chaahat ki khushbuu yuu.N hii zulfo.N se uDegii khizaa ho ya bahaare.N
The sweet fragrance of our love will still fly from my hair, whether Autumn or Spring
Yuu.N hii jhuumte aur khilte rahe.Nge
I will continue to sway and blossom
Banke kali banke sabaa baagh-e-wafaa mei.N
As if a flower, as if a breeze in our devoted garden
Rahe na rahe hum…
Whether or not I am here…

Khoye hum aise kyaa hai milnaa kyaa bichhaDnaa nahii.N hai yaad humko
I am so deeply lost in love that I no longer know separation from unity
Kooche mei.N dil ke jab se aaye sirf dil ki zameen hai yaad humko
Ever since you entered the lanes of my heart, I can only remember its world of love
Ise sarzameen pe hum to rahe.Nge
In that realm I will remain
Banke kali banke sabaa baagh-e-wafaa mei.N
As if a flower, as if a breeze in our devoted garden
Rahe na rahe hum…
Whether or not I am here…

Jab hum na ho.Nge, jab hamaare khaak pe tum rukoge chalte chalte
When I am gone, when you pause by my ashes as you walk
Ashqo.N se bhiigi chaandnii mei.N ek sadaa si sunoge chalte chalte
In the rainy moonlight that is wet from my tears, you will hear my call as you walk
Wohii pe kahii.N hum tum se mile.Nge
There somewhere, we both will meet again
Banke kali banke sabaa baagh-e-wafaa mei.N
As if a flower, as if a breeze in our devoted garden

Rahe na rahe hum mahakaa kareN.ge
Whether or not I am here, this fragrance will remain
Banke kali banke sabaa baagh-e-wafaa mei.N
As if a flower, as if a breeze in our devoted garden

Glossary:

mahaknaa: [a fragrance] to spread, kali: flower; sabaa: breeze; baagh: garden; wafaa: loyalty, devotedness; mausam: weather, atmosphere; chaman: garden; rang: color; khiraamaa: gracefully; chaahat: love, desire; khushbuu: sweet fragrance; zulf: hair; khizaa: Autumn; bahaar: Spring; jhuumnaa: to sway; khilnaa: to blossom; milnaa: to meet; bichhaDnaa: to separate; kooche: lane; zameen: world; yaad: memory; sarzameen: realm, society; khaak: ashes; ashq: tears; bhiigii: wet, rainy; chaandnii: moonlight, sadaa: call, voice

You may be interested to note that there is a duet version of this gem that is reprised at the end of the film by Mohammed Rafi and Suman Kalyanpur. Yes, it was the days of the famous Rafi-Mangeshkar feud–hence why the duets of the film necessitated recruiting additional singers (also from the same film, the flirtatious hit “In Baharo.N Mei.N Akeli” by Rafi and Asha as well as “Chhupa Lo Yuu.N Dil” featuring Lata and Hemant Kumar).

This song was requested by the one and only “lalten“! Let us know in the comments, does this song make you feel happy or bring tears to your eyes?

– Mrs. 55

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

Posted on May 31, 2012 by mrandmrs55

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)

Dil Jo Na Keh Saka Lyrics and Translation: Let’s Learn Urdu-Hindi

Posted on April 12, 2012 by mrandmrs55

A vengeful Pradeep Kumar taunts Meena Kumari at her engagement party in Bheegi Raat (1965)

Bheegi Raat (1965) stars Ashok Kumar, Meena Kumari, and Pradeep Kumar in a classic Bollywood love triangle story full of messy drama and heartache. The film is not particularly memorable for its plot, but the soundtrack composed by Roshan and penned by Majrooh Sultanpuri contains a beautiful Raga Yaman-based gem that is still remembered today: “dil jo na keh saka.” Here, I’ve provided the lyrics and translation for both the female version (sung by Lata Mangeshkar) and the male version (sung by Mohammed Rafi) found in the film. The lyrics for the female version are standard Bollywood fare, but the male version is surprisingly vengeful and caustic. Hearing these lyrics in context of the film makes more sense: a jealous Pradeep Kumar taunts Meena Kumari using this song at a party celebrating her engagement to Ashok Kumar during the film’s conclusion. Even still, some of these lyrics are pretty wild. For example, he implores Meena’s character to drink blood from the heart (!) (piyo chaahe khuun-e-dil ho, ki piite pilaate hi…). The bitter sentiments found in these lyrics really drive home a theme expressed in Hindi films from this era that we’re all forced to grapple with at some point — love really hurts sometimes, doesn’t it?

–Mr. 55

P.S. Obviously, the Rafi version of this song is more popular than the Lata version, but I really think Lata holds her ground in this case with the tandem rendition. Her version has a segment of humming during the introduction that isn’t found in the Rafi version, which has always sounded absolutely heavenly to me.

Dil Jo Na Keh Saka Lyrics and Translation:

[Male]

dil jo na kah sakaa, vohii raaz-e-dil kahne kii raat aayii
The night has come to uncover that secret which my heart could not reveal.

naghmaa saa koii jaag uThaa badan me.n
A melody has awakened in my soul,
jhankaar kii sii thharthharii hai tan me.n
and a tinkling sensation quivered throughout my body.
mubaarak tumhe.n kisii kii laraztii sii baaho.n me.n rahne kii raat aayii
Congratulations to you, for the night has come to spend in someone else’s quivering arms.

taubaa! yeh kis ne anjuman sajaa ke
Oh! Who has organized this gathering
tukDe kiye hai.n gunchaa-e-vafaa ke?
and destroyed the flowerbud of love?
uchhaalo gulo.n ke tukDe ki rangii.n fizaao.n me.n rehne kii raat aayii
Toss up the pieces of those flowers, for the night has come to spend in this colorful atmosphere.

chaliye mubaarak jashn dosti kaa,
Felications on this celebration of friendship;
daaman to thaamaa aap ne kisii kaa
you have accepted someone else’s embrace.
hame.n to khushii yahii.n hai, tumhe.n bhi kisii ko apnaa kahne kii raat aayii
I am pleased, as the night has come for you to call someone else your own.

saaghar uThaao, dil kaa kis ko gham hai?
Raise your wine glass; who sulks for the heart?
aaj dil kii qiimat jaam se bhi kam hai
Today, the value of a heart is worth less than that of wine.
piiyo chaahe khuun-e-dil ho ki piite pilaate hii rahne kii raat aayii
Drink the blood of the heart if you so desire, for the night of endless drinking has come.

dil jo na kah sakaa, vohii raaz-e-dil kehne kii raat aayii
The night has come to uncover that secret which my heart could not reveal.

[Female]

dil jo na kah sakaa, vohii raaz-e-dil kahne kii raat aayi
The night has come to uncover that secret which my heart could not reveal.

naghmaa saa koii jaag uThaa badan me.n
A melody has awakened in my soul,
jhankaar kii sii thharthharii hai tan me.n
and a tinkling sensation quivered throughout my body.
pyaar kii inhii.n dhaDaktii fizaao.n me.n rahne kii raat aayii
The night has come to spend in this pulsating ambience of love.

ab tak dabii thii ek mauj-e-armaa.n
Until now, a wave of desire was suppressed within me.
lab tak jo aayii ban gayii hai tuufaa.n
When it reached my lips, it became a storm.
baat pyaar ki bahakti nigaaho.n se kahne kii raat aayii
The night has come to speak about love to those wandering eyes.

guzare na yah shab, khol duu.n ye zulfe.n
As the night passses slowly, I shall let down my hair.
tum ko chhupaa luu.n muund ke ye palake.n
And I will hide you by shutting these eyelids.
beqaraar sii laraztii sii chhaa.nvo.n me.n rahne ki raat aayii
The night has come to spend in these restless and quivering shadows.

dil jo na kah sakaa, vohii raaz-e-dil kahne kii raat aayi
The night has come to uncover that secret which my heart could not reveal.

Meena Kumari looking beautiful (and sad) as usual in Bheegi Raat (1965).

Glossary:

raaz-e-dil: secret of the heart; naghmaa: melody, song; thharthharaanaa: to quiver; jhankaar: tinkle; laraztii: trembling; baaho.n: arms; tauba: oh!; anjuman: gathering; tukDe karna: to crush, destroy; gunchaa-e-vafaa: flowerbud of love; uchhaalna: to throw, toss up; gul: flower; fizaa: atmosphere, ambience; jashn: celebration; daaman thhaamnaa: to accept an embrace; saaghar: wine glass; qiimat: price, value; jaam: wine; khuun-e-dil: blood of heart; dabnaa: to suppress; mauj-e-armaa.n: wave of desire; bahakna: to wander; shab: night; muundna: to shut; palake.n: eyelids; beqaraar: restless