Kabhi Kabhi Mere Dil Mein Lyrics and Translation: Let’s Learn Urdu-Hindi

Posted on February 14, 2013 by mrandmrs55

Shashi Kapoor and Rakhee celebrate their wedding night with song in Kabhi Kabhi (1976).

Happy Valentine’s Day! In honor of the occasion, we present the lyrics and full English translation to one of the great love poems of Hindi films: “Kabhi Kabhi Mere Dil Mein” from the 1976 star-studded mega-hit Kabhi Kabhi.

Penned by that evergreen poet Sahir Ludhianvi, “Kabhi Kabhi” remains on top of any list of Bollywood love songs. The lyrics are written from the heart in adoration of a woman on a couple’s wedding night. The song is reflective and gentle, but bursting with a beautiful excitement of what lies ahead. Kabhi Kabhi revolves around the love affairs of the protagonists and their effects on the next generation. The ageless devotion expressed in this song continues to evolve and evoke new meanings as the film progresses from one revelation to the next.

An interesting aspect of this song is that it is sung from a male perspective by a female heroine (after all, the song was dedicated to her in the first place by Amitabh Bachchan!) Lines like “Suhaag raat hai, ghunghaT uTaa rahaa hoo.N mai.N” evoke tragic irony as Rakhee feels her veil lifted by a man she does not love. Similarly, the final line “Mai.N jaantaa huu.N ki tuu gher hai, magar yuu.N hii” can be interpreted as both as an understanding that husband and wife still must get to know one another, but also as Amitabh Bachhan accepting that Rakhee now belongs to someone else. And just further to wring your heart, blind-to-reality Shashi Kapoor insists to her that if they ever meet the great poet who wrote these words, they must thank him for being with them on their wedding night. (Naturally, they all do meet up somehow–and it’s every bit a circus you can imagine!)

Rakhee sings from the anthology of poems written by a former lover in Kabhi Kabhi (1976).

You don’t need to know or appreciate the background of this song to fall head over heels for its melody and blissful lyrics. So celebrate the love in your life and enjoy our English translation of “Kabhi Kabhi Mere Dil Mein” below!

Kabhi Kabhi Mere Dil Mein Lyrics and Translation:

Mukesh:

Kabhi kabhi mere dil mei.N khayaal aataa hai
Sometimes this thought enters my heart

Lata:

Kabhi kabhi mere dil mei.N khayaal aataa hai
Sometimes this thought enters my heart
Ki jaise tujhko banaayaa gaya hai mere liye
That you were created only for me
Tu ab se pehle sitaaro.n mei.N bas rahii thii kahii.N
Before now you lived somewhere among the stars
Tujhe zameen pe bulaayaa gayaa hai mere liye
You were called to earth only for me

Kabhi kabhi mere dil mei.N khayaal aataa hai
Sometimes this thought enters my heart
Ki yeh badan, yeh nigaahe.N merii amaanat hai.N
That this body and these eyes belong to me
Yeh gesuuo.N kii ghanii chaao.N hai.N merii khaatir
These dark shadows of your hair are for me alone
Yeh honTh aur yeh baahe.N meri amaanat hai.N
These lips and these arms belong to me

Kabhi kabhi mere dil mei.N khayaal aataa hai
Sometimes this thought enters my heart
Ki jaise bajatii hai shahanaaiiaa.N sii raaho.N mei.N
As if wedding music is being played in the streets

Mukesh:

Suhaag raat hai, ghunghaT uTaa rahaa huu.N mai.N
It is our wedding night, I am lifting your veil

Lata:

Suhaag raat hai, ghunghaT uTaa rahaa huu.N mai.N
It is our wedding night, I am lifting your veil
SimaT rahii hai tuu sharmaake apne baaho.N mei.N
You shyly blush as I wrap you in my arms

Kabhi kabhi mere dil mei.N khayaal aataa hai
Sometimes this thought enters my heart
Ki jaise tuu mujhe chaahegii umr bhar yuu.N hii
That you will love me forever like this
UThegii merii taraf pyaar kii nazar yuu.N hii
That you will always lift this loving gaze to me

Mukesh:

Mai.N jaantaa huu.N ki tuu gher hai magar yuu.N hii
I know you are still a stranger, however
Kabhi kabhi mere dil mei.N khayaal aataa hai
Sometimes this thought enters my heart

Glossary:

kabhi kabhi: sometimes, from time to time; khayaal: thought; sitaaraa: star; zameen: earth; badan: body; nigaahe.N: glances, eyes; amaanat: property; gesuu: hair; ghanii: dark; chaao.N: shadow; [kisii kii] khatir: [for someone’s] sake; honTh; lips; baahe.N: arms; amaanat: belonging; shahanaaii: a wind instrument usually played at weddings; raah: path, streets; suhaag raat: wedding night; ghunghaT: veil; sharmaanaa: to become shy; umr bhar: whole life; [kisii kii] taraf: [in someone’s] direction; gher: stranger

By the end of “Kabhi Kabhi”, the already awkward suhaag raat scene inevitably becomes more awkward.

This special Valentine’s day post is dedicated to my fiancé! It’s been two years since we’ve been together and I’ve loved every moment. Thank you for putting up with my singing old Lata songs outside my range while you’re trying to study, and for finally appreciating the epicness that is Mughal-e-Azam!

My adorable fiancé and I met at as undergrads at Harvard where he was in the class ahead of me. He proposed two years later, and now we’re busy planning the wedding!

– Mrs. 55

Mata Saraswati Sharda Lyrics and Translation: Let’s Learn Urdu-Hindi

Posted on February 11, 2013 by mrandmrs55

Saraswati, the Hindu goddess of knowledge and music, is worshipped each year on Basant Panchami.

Basant Panchami is a Hindu festival that celebrates the arrival of Spring through the worship of Saraswati, the goddess of knowledge and music. On this day, Ma Saraswati is worshipped with great fervor and devotion, especially by students in educational institutions across India. In addition, many young children are given their first lesson in writing on this holiday through a ritual called haathe-korii. Since this auspicious holiday is coming up in just a few days on Friday, we are presenting the lyrics and English translation to one of Bollywood’s only homages to goddess Saraswati: maataa sarasvatii shardaa from Alaap (1977).

As many of you probably know, bhajans dedicated to Saraswati are a rare commodity in the arena of Bollywood cinema. The majority of the film industry’s references to Hinduism focus on Vishnu in the form of Krishna and his consort Radha. What is the reason behind Bollywood’s obsession with Radha and Krishna? The most obvious answer is that the love stories presented in Hindi films lend themselves easily to comparisons to the romance shared between these two figures of Hinduism. Bollywood heroes can identify with flirtatious Krishna who uses his charm to seduce Radha whose delicate coyness resembles that of Bollywood heroines. An austere deity like Saraswati, symbolizing wisdom and education, finds little glamor in an industry that is driven primarily by themes based on love and romance.

In what context does Saraswati receive prominence in Hrishikesh Mukherjee’s Alaap (1977)? Tuned by Jaidev in Raga Bhairavi, a version of this bhajan sung by Yesudas, Madhurani, and Dilraj Kaur opens the film as Amitabh Bachhan prays to Saraswati for her blessings at the music school where he studies classical vocal. This bhajan also concludes the film when a version sung by Lata Mangeshkar and Dilraj Kaur is reprised on Rekha singing along with her son for her husband Amitabh who has contracted a severe case of tuberculosis. The homage to Saraswati is fitting in Alaap because the film’s plot is driven in part by music. In Alaap, Amitabh Bachhan desires to become a classically trained vocalist against the wishes of his conservative father Om Prakash who refuses to accept music as a legitimate profession. He pressures Amitabh to become a lawyer like himself and the ensuing resentment leads to a bitter conflict between father and son that culminates in a tragic conclusion.

As the holiday of Basant Panchami approaches with its celebration of learning and new beginnings, we hope that you enjoy this beautiful bhajan and our English translation provided below. May Ma Saraswati bless all of us in our academic and musical pursuits during the upcoming year. Until next time…

-Mr. 55

P.S. This non-filmi Saraswati Vandana recorded by Lata is also divinely enchanting: yaa kundendu tushaar haar dhavalaa.

Amitabh Bacchan looks pious in white during prayers to Ma Saraswati in a music school in Alaap (1977)

Mata Saraswati Sharda: Lyrics and Translation

maataa sarasvatii sharadaa,
Mother Saraswati,
he maataa sarasvatii sharadaa!
Oh mother Saraswati!
vidyaadaanii dayaanii dukh-harinii
You are the giver of knowledge, the goddess of compassion, and the remover of sorrow.
jagatajananii jvaalaamukhii
You are the fire-mouthed mother of this world.
maataa sarasvatii sharadaa!
Mother Saraswati!

kiije sudrishTi
Please cast an auspicous glance upon us,
sevak jaan apnaa
and know us as your humble servants.
itnaa vardaan diije
Please grant us these boons:
taan, taal, aur aalaap
musical mastery of passagework, rhythm, and preludes.
buddhii ala.nkaar, sharadaa
Knowledge is your jewel, Saraswati.

he maataa sarasvatii shardaa!
Oh mother Saraswati!

Glossary

maataa: mother; sarasvatii: Hindu goddess of learning and music; sharadaa: another name for Saraswati; vidyaadaanii: giver of knowledge; dayaanii: goddess of compassion; dukh-harinii: remover of sorrow; jagatjananii: mother of the world; jvaalaamukhii: fire-mouthed; sudrishTii: auspicious glance; sevak: servant; vardaan: boon; taan: musical passagework; taal: rhythm; aalaap: prelude to a raag; buddhii: knowledge; ala.nkaar: jewel, ornamentation.

Rekha sings a reprise of this bhajan with her son for her ailing husband Amitabh in the conclusion of Alaap (1977)

Dam Bhar Jo Udhar Lyrics and Translation: Let’s Learn Urdu-Hindi

Posted on January 26, 2013 by mrandmrs55

Raj Kapoor and Nargis Awara Dum Bhar Jo Udhar

Raj Kapoor and Nargis huddle together on a love-boat in Awaara (1951).

Our next lyrics and English translation is of the great love duet “Dum Bhar Jo Udhar” from the film Awaara (1951). It’s practically impossible to not love this song. Raj Kapoor plays an underworld criminal who falls for the wealthy ward of a rich judge played by his favorite leading lady Nargis. The film launched both of their careers to mega-stardom and for good reason. Packed with musical gems like the evergreen “Awaara Hoon” or “Ghar Aaya Mera Pardesi,” the film is a scathing social drama that weaves Raj Kapoor’s own respectable father, Prithviraj Kapoor, into the heart of its scandalous and surprising twist. The film was so well-received and brilliantly made that it was nominated for a Grand Prize at the Cannes Film Festival in 1953! Propelled by a tempting bad-boy with a tragic past storyline, the film arguably contains the greatest performance of Raj Kapoor’s career. Awaara is a historical and artistic must-see!

“Dum Bhar Jo Udhar” is a Mukesh-Lata duet sung on a small boat in the middle of the night. Shailendra’s lyrics embody a theme common in Hindi films, which emphasizes the shyness of the woman and the boldness of the man. Both man and woman address the only other witness to their tryst–the beautiful moon above. However, the woman begs the moon to look away and not make her feel shy, while the man eagerly urges the moon to shine upon him and witness their love blossom. The importance of moon imagery in Urdu-Hindi poetry is legendary–most often taking the form of a feminine metaphor that epitomizes beauty. In this case, however, the playful moon evokes the male gaze as a trusty ally to the hero and a source of embarrassment to the heroine. It’s so adorable I could squirm.

The eternally lovely Nargis glows in the moonlight in Awaara (1951).

Here are the full lyrics and English translation to “Dum Bhar jo Udhar” from Awaara (1951). Enjoy our interpretation of the song’s meaning and follow along on youtube with this link!

Dam Bhar Jo Udhar Lyrics and Translation

Lata:

Dam bhar jo udhar muu.N phere, O Chandaa
O Moon, if you would turn your face away for one moment
Mai.N unse pyaar kar luu.Ngii
I will make love to him
Baate.N hazaar kar luu.Ngii
I will say a thousand things to him

Dil kartaa hai pyaar ke sajade
My heart has prayed for such love
Aur mai.N bhii unke saath
And now I am with him
Chaand ko chandaa roz hii dekhe
The moon sees moonlight every day
Merii pehlii raat, ho, merii pehlii raat
But this is my first night, oh, this is my first night!
Baadal mei.N ab chhup jaa re! O Chandaa
Now go hide in the clouds, O Moon!
Mai.N unse pyaar kar luu.Ngii
For I will make love to him
Baate.N hazaar kar luu.Ngii
I will say a thousand things to him

Mukesh:

Dam bhar jo idhar muu.N phere, O Chandaa
O Moon, if you would turn your face here for one moment
Mai.N unse pyaar kar luu.Ngaa
I will make love to her
Nazare.N do-chaar kar luu.Ngaa
I will steal a few glances from her

Mai.N chor hoo.N kaam hai chorii
I am a thief, and my job is to steal
Duniyaa mei.N hoo.N badnaam
I am dishonored in society
Dil ko churaataa aayaa hoo.N mai.N
I have come to steal your heart
Yehii meraa kaam, ho, yehii meraa kaam
This alone is my job
Aanaa tuu gavaahi dene, O Chandaa
You must come and be a witness, O Moon
Mai.N unse pyaar kar luu.Ngaa
For I will make love to her
Nazare.N do chaar kar luu.Ngaa
I will steal a few glances from her

Lata:

Dil ko churaake kho mat jaanaa
Do not steal my heart and then become lost
Raah na jaanaa bhool
Do not forget your way back to me
In qadmo.n se kuchal na denaa
Do not crush with your footsteps
Mere dil kaa phool, ho, mere dil kaa phool
The flower of my heart, oh, the flower of my heart!
Yeh baat unhe.N samjhaa de, O Chanda
You make him understand this, O Moon
Mai.N unse pyaar kar luu.Ngii
I will make love to him
Baate.N hazaar kar luu.Ngii
I will say a thousand things to him

Glossary:

dam bhar: one full moment; udhar: in that direction; muu.N: face; pherna: to turn; hazaar: a thousand; pehlii; first; baadal: clouds; idhar: in this direction, here; do-chaar: a few; badnaam: a person of ill-repute; gavaahi denaa: to serve as witness; raah: path, way; qadam: footsteps; kuchal dena: to crush; phool: flower; samjhaa denaa: to make [someone] understand

Now before anyone gets their knickers in a twist, let’s just talk briefly about the phrase “Mai.N unse pyaar kar luu.Ngii” and what that really means. I have translated it somewhat literally for simplicity’s sake as “I will make love to him,” but that phrase in English carries with it more physical connotations than what it means in this context. Although the verb “pyaar karna” means simply “to love” as in the general English sense, the way it is used in this song carries a more immediate sense of both action and personal gain–by adding the coloring verb “lena” (“to take”), the phrase now implies that the girl is about to do something for her own benefit. We can safely say that these lyrics are not a prelude to actual Victorian “love-making” on that rocky boat of theirs, but rather an expression of desire and courtship. When she says, “Mai.N unse pyaar kar luu.Ngii,” I argue that this means no more than whispering sweet nothings, holding hands, stealing glances, and other forms of expressing tenderness and passion short of actually “making love.” See my point? And don’t let Nargis’ pole dancing throw you off.

Yeah, no seriously I wasn’t kidding. Nargis takes the phrase “pole-dance” to a whole new level in Awaara (1951).

You know what’s really great about this movie? The fact that ages before women were given anything close to social equality, Nargis plays a powerful lawyer who ends up bringing justice to her lover Raj Kapoor. She stands strong in a court filled with men, and really makes us all proud. Granted, she’s really rich and let’s Raj Kapoor SLAP her in a different scene (kill me now), but we can appreciate what she stood for at least in that regard. It’s one of the best courtroom scenes of the industry! This song was requested by die-hard fan lalten–hope you enjoyed!

– Mrs. 55

What is Solah Singaar?

Posted on January 22, 2013 by mrandmrs55

Fans of vintage Hindi films are intimately familiar with the theme of female ornamentation, which is expressed beautifully through song lyrics from this period of cinema. Countless songs from the Golden Era describe the charms of a woman’s kajraa (kohl), gajraa (flower garland), jhumkaa (earring), bi.ndii (beauty spot), ka.nganaa (bangle), and so on. In addition to these words, another common term that you might encounter in this genre of songs is solaah si.ngaar, which literally means “sixteen embellishments.”

Meena Kumari is beautifully adorned as a sensitive courtesan in the classic film Pakeezah (1972).

The most famous example of this phrase occurs in a song from the eternally beautiful film Pakeezah. In “ThaaDe rahiiyo, o baa.nke yaar,” Lata Mangeshkar, on Meena Kumari, sings:

mai.n to kar aauu.n solaah si.ngaar / (I will come, adorned with the sixteen embellishments)
ThaaDe rahiiyo, o baa.nke yaar / (Keep waiting, oh beautiful lover)

The term solaah si.ngaar refers to sixteen ways in which brides of ancient India adorned themselves before meeting their groom. Although sources conflict over the inclusion of certain ornaments, I am presenting a list of the most commonly accepted beautification aids associated with solaah si.ngaar below.

1. bi.ndii, a beauty spot adorning the forehead.

2. si.nduur, a sacred mark of vermillion lining the parting of a bride’s hair. si.nduur is still applied as a sign of marriage by modern Indian women.

3. maa.ng tiikaa, a gold pendant that hangs over the bride’s forehead.

4. a.njanaa or kaajal, the decoration of the bride’s eyes using kohl.

5. naath, a hoop-shaped nose ring.

6. haar, intricate necklaces made of gold and precious stones. The most auspicious necklace offered to the bride during a Hindu wedding is the mangalsutra, which symbolizes the inseparable bond between husband and wife.

Mangalsutras often contain a gold pendant on a chain of black beads as shown here.

7. karan phuul, large earrings that cover the bride’s entire ear.

8. maha.ndii, henna designs drawn on the bride’s hands and feet.

9. chuuDii, sets of bangles adorning the bride’s wrists.

10. baajuba.nd, armlets adorning the bride’s upper arms.

11. aarsii, a flat jeweled mirror worn as a ring. Supposedly, it was used by brides to check their appearance and possibly sneak a look at their grooms before the official unveiling!

12. keshaa-pashaa-rachnaa, the styling of the bride’s hair in traditional patterns and adornment of the hair with jewelry and gajraa (flower garlands).

13. kamarba.nd, a waist band made of gold and precious gems. The etymologists among our readers might notice the uncanny similarity of this word to cummerbund, the broad waist sash worn by men with tuxedos.

14. paayal, a chain adorned with small bells, often made of silver, worn around the ankle.

15. itar, fragrant oils and perfumes to keep the bride smelling fresh throughout the ceremony.

16. saarii/laha.ngaa, the bridal dress. Popular colors include red, green, and gold.

In Utsav (1984), Rekha is bedecked with many of the common ornaments that constitute solaah si.ngaar: maa.ng tiikaa, kaajal, maa.ng tiikaa, naath, haar, karan phuul, chuuDii, baajuba.nd, and kamarba.nd.

As you can see, solaah si.ngaar takes make-up to a whole new level of complexity and depth! Thankfully, modern Indian brides aren’t expected to keep up most of these practices past their wedding day in order to please their husbands. We can only imagine how much time and effort brides in ancient India must have spent on perfecting their appearances through this elaborate regimen of beautification.

This post was inspired by a question about solaah si.ngaar by one of our readers paasha. If you have any more burning questions about vintage Hindi cinema, feel free to shoot us a line–we’ll do our best to solve your Bollywood mystery! Until next time…

-Mr. 55

Karvaten Badalte Rahe Lyrics and Translation: Let’s Learn Urdu-Hindi

Posted on January 13, 2013 by mrandmrs55

Rajesh Khanna and Mumtaz frolic in pre-marital bliss in the title track from Aap Ki Qasam (1974)

Today, we present the lyrics and English translation to the title track from Aap Ki Qasam (1974): karvate.n badalte rahe.n. Directed by J. Om Prakash, this film stars Rajesh Khanna, Mumtaz, and Sanjeev Kumar in a story that illustrates how suspicion can be the ultimate enemy to marital bliss.

As Mumtaz’s jealous husband, Rajesh Khanna begins to doubt his wife’s fidelity when his best friend Sanjeev Kumar comes into the picture. Although Mumtaz and Sanjeev Kumar share a platonic brother-sister friendship, Rajesh Khanna’s suspicion blinds him from reality until he destroys his own marriage. Refusing to dignify the false accusations of infidelity placed on her with a response, Mumtaz leaves him and returns to her father’s home. When she realizes that she is pregnant with Rajesh Khanna’s daughter, she enters a second marriage (with her father’s blessings!) so that her child can be raised in a loving home. In the mean time, Rajesh Khanna comes to his senses and realizes that his suspicion towards his wife was misguided. Unable to apologize properly to Mumtaz for his unacceptable behavior, guilt drives Rajesh Khanna to become a homeless wanderer. Several years later, Mumtaz invites him to his daughter’s wedding where all parties receive closure of sorts. However, a tragedy strikes to create an ending that seeps with melodrama in true Bollywood fashion.

Aap Ki Qasam is remarkable in its portrayal of marital suspicion for avoiding the chauvinistic bias present in similar films of this era. Typically, female characters accused of infidelity were vilified and forced to appease their husbands regardless of whether the accusations placed upon them were were valid or not. This film breaks the patii-parameshvar (husband is God) mold by supporting a woman’s right to leave an unhappy marriage in which she is treated disrespectfully by her husband. In particular, the support that Mumtaz receives from her father (played by Rehman) in divorcing her husband and entering a second marriage is unusually refreshing for this period of cinematic history. Although it can be argued that Mumtaz’s father makes much of the decisions for her, the fact that she is not compelled to beg for forgiveness at her husband’s feet is sufficiently progressive to merit attention. Indeed, valuing a woman’s dignity and self-worth over her duty to preserve a dysfunctional marriage is the ground-breaking message that makes Aap Ki Qasam stand out among other movies from this time.

In addition to being a cherished Rajesh Khanna-Mumtaz hit, this film is remembered today for its fantastic soundtrack composed by R.D. Burman. Aside from the Pahadi-based duet sung by Lata Mangeshkar and Kishore Kumar presented here, this album contains the popular duets “suno, haa.n kaho,” “jai jai shiv sha.nkar,” “paas nahii.n aanaa,” the beautiful Lata solo “chorii chorii chup ke chup ke,” and the philosophical Kishore solo “zindagii ke safar me.n.” Anand Bakshi’s lyrics in “karvate.n badalte rahe.n” are marked by simplicity in their expression of the romance and trust shared between two lovers as they yearn in separation. Moreover, the beautiful snow-filled Himalayan landscape and the on-screen chemistry exhibited by Rajesh Khanna and Mumtaz add to the appeal of this duet.

Finally, as an aside, the 1973 BBC documentary Bombay Superstar profiling Rajesh Khanna and his influence on Hindi cinema actually features a behind-the-scenes look at the making of Aap Ki Qasam through interviews with the superstar himself, director J. Om Prakash, and co-star Mumtaz. My favorite part of this documentary is the scene that depicts the amount of work that went into picturizing a playback song for a Bollywood film (the filming of “suno, haa.n kaho” is shown in the documentary). Check out the full documentary here on YouTube if you haven’t seen it yet! Until next time…

-Mr. 55

The on-screen chemistry between Rajesh Khanna and Mumtaz allowed this pair to dominate the box office during the early 1970s.

Karvaten Badalte Rahe: Lyrics and Translation

karvate.n badalte rahe.n saarii raat ham
Tossing and turning in bed, I have been restless the entire night.
aap kii qasam, aap kii qasam
I swear by you.
gham na karo, din judaayii ke bahut hai.n kam
Do not be sad; the days of our separation are very limited.
aap kii qasam, aap kii qasam
I swear by you.

yaad tum aate rahe ek huuk sii uThtii rahii
As I remembered you, a sharp pain kept arising in my heart.
nii.nd mujhse, nii.nd se mai.n, bhaagtii chhuptii rahii
Sleep and I kept fleeing and hiding from each other.
raat bhar bairan nigoDii chaa.ndnii chubhtii rahii
The hostile, wretched moonlight continued to pierce through the entire night.
aag sii jaltii rahii, girtii rahii shabnam
A fire kept burning, as the dew continued to fall.
aap kii qasam, aap kii qasam
I swear by you.

jhiil sii aa.nkho.n me.n aashiq Duub ke kho jaayegaa
Your beloved will get lost by drowning in the loch of your eyes.
zulf ke saaye me.n dil armaan bharaa so jayegaa
Under the shadows of your tresses, his hope-filled heart will fall into slumber.
tum chale jaao, nahii.n to kuchh na kuchh ho jaayegaa
Please go away, or else something will happen between us.
Dagmagaa jaaye.nge aise haal me.n qadam
Our steps will falter out of control under these circumstances.
aap kii qasam, aap kii qasam
I swear by you.

ruuTh jaaye.n ham to tum ham ko manaa lenaa sanam
Should I sulk, please console me, oh beloved.
duur ho.n to paas ham ko tum bulaa lenaa sanam
Should you be far away, please call me to your side, oh beloved.
kuchh gilaa ho to gale ham ko lagaa lenaa sanam
Should I make a mistake, please embrace me in forgiveness, oh beloved.
TuuT na jaaye kabhii yah pyaar kii qasam
May this vow of love never be broken by us.
aap kii qasam, aap kii qasam
I swear by you.

Female lines in red are sung by Lata Mangeshkar. Male lines in green are sung by Kishore Kumar. Lines in black are sung together by Lata Mangeshkar and Kishore Kumar.

Glossary

karvate.n badalnaa: to toss and turn in bed (i.e. to be restless at night); qasam: a sworn oath or vow; gham karnaa: to be sad; judaayii: separation; huuk: a sharp pain; nii.nd: sleep; bhaagna: to flee; chhupnaa: to hide; bairan: hositle, cruel; nigoDii: wretched; chubhnaa: to pierce; aag: fire; shabnam: dew; jhiil: loch, lake; aashiq: beloved; zulf: tresses; saaye: shadows; armaan: hope; Dagmagaaanaa: to falter, stagger; haal: circumstances, state; qadam: steps, feet; ruuTh jaanaa: to sulk; manaa lenaa: to console; sanam: beloved; paas bulaa lenaa: to call to one’s side; gilaa: mistake; gale lagaa lenaa: to embrace; TuuT jaanaa: to be broken.