Sarfaroshi Ki Tamanna Lyrics & Translation: Let’s Learn Urdu-Hindi

Manoj Kumar as Bhagat Singh in Shaheed 1965

Manoj Kumar shines as the revolutionist Bhagat Singh who was executed by the British in Shaheed (1965).

In honor of India’s 70th Independence Day celebrations, today we present the lyrics and English translation of “Sarfaroshi Ki Tamanna.” An Urdu ghazal written in 1921 by Bismal Azimabadi, “Sarfaroshi Ki Tamanna” became a battle cry of freedom fighters through the 1940s. The poem was adapted for the film Shaheed (1965) starring Manoj Kumar about the life of freedom fighter Bhagat Singh. Known popularly as Mr. Bharat, Manoj Kumar would go on to make a name for himself glorifying the traditional Indian way of life in other patriotic films like Upkar (1967) and Purab Aur Paschim (1970). In Shaheed, Manoj Kumar settles comfortably into his niche, earning the Best Feature Film award.

Revolutionist Ram Prasad Bismil is sometimes incorrectly attributed with having written the ghazal himself, made more confusing by being a writer himself and sharing part of his name with the real poet. Nonetheless, Bismil, along with many other freedom fighters, helped spread the poem’s popularity.

Prem Chopra as Sukhdev in Shaheed 1965

Prem Chopra breaks from his typecast as the urbane villain to portray freedom fighter Sukhdev Thapur in Shaheed (1965).

In Shaheed, “Sarfaroshi Ki Tamannaa” is sung by Mohammed Rafi, Manna Dey, Rajendra Mehta who lend their voices to the characters of freedom fighters Bhagat Singh, Sukhdev Thapur, and Shivaram Rajguru, who were hung for their roles in the Lahore Conspiracy case in 1929. Rich in Urdu ornamentation, “Sarfaroshi Ki Tamannaa” highlights the fighters willingness to die for their country while awaiting execution. The poem describes the gentle, courageous nature of the revolutionists who are proud to rise to the occasion demanded of them by history.

We hope you enjoy the lyrics and English translation of the elegiac ghazal “Sarfaroshi Ki Tamanna” below. Follow along here with the music video from the film, and for the Urdu-inclined, the complete original poem can be found here!

Sarfaroshi Ki Tamanna Lyrics and Translation:

Ek se kartaa nahii.N kyuu.N duusraa kuchh baat-chiit?
Why does no one make conversation with others?
Dekhtaa huu.N mai.N jise woh chhup terii mehfil mei.N hai
Whomever I see is silent in your company
Woh chhup terii mehfil mei.N hai…
They are silent in your company

Sarfaroshii kii tamannaa ab hamaare dil mei.N hai
The desire to sacrifice is now in my heart
Dekhnaa hai zor kitnaa baazu-e-qaatl mei.N hai
I shall see how much strength is in the arms of my assassin

Waqt aane par bataa de.Nge tujhe, O aasmaan
I will tell you when the time comes, O sky
Hum abhii se kyaa bataaye.N kyaa hamaare dil mei.N hai?
What can I tell you now of what is in my heart?
Kyaa humaare dil mei.N hai…
What is in my heart…
Sarfaroshii kii tamannaa ab hamaare dil mei.N hai
The desire to sacrifice is now in my heart

Khai.Nch kar laayii hai sab ko qatl hone kii ummiid
Everyone has been pulled here by the hope of becoming killed
Aashiqo.N kaa aaj jamghaT kuuchaa-e qaatl mei.N hai
A congregation of lovers is in the street of their murderers today
Kuuchaa-e qaatl mei.N hai
They are in the street of their murderers
Sarfaroshii kii tamannaa ab hamaare dil mei.N hai
The desire to sacrifice is now in my heart

Glossary:

baat-chiit karnaa: to make conversation, chit-chat; chhup: silent; mehfil: company, gathering; sarfaroshii: sacrifice [literally: cutting of the head]; tamannaa: desire; dil: heart; zor: strength; baazuu: arms; qaatl: murderer, assassin; waqt: time; aasmaan: sky; khai.Nchnaa: to pull; ummiid: hope; aashiq: lover; aaj: today; jamghat: congregation; kuuchaa: street

It would be remiss to discuss this beautiful Urdu poem and its meaning for Indian independence without an inclusion of its equally profound legacy in Pakistan. Let us never forget that the movements that would eventually separate Pakistan and India during the partition were once far weaker than the hopes that united Hindu and Muslim freedom fighters in brotherhood against the British Raj. The dark shadow of partition that marred the celebration of Independence for thousands in the summer of 1947 is a subject close to my heart that I discuss more here along with the tragic decline of Urdu in Bollywood films.

The real Bhagat Singh who lived from 1907 to 1931 (left), Manoj Kumar in the film Shaheed from 1965 (middle), and Shammi Kapoor (right) in the film Shaheed Bhagat Singh from 1963.

The real Bhagat Singh who lived from 1907 until his execution in 1931 (left), Manoj Kumar in the film Shaheed from 1965 (middle), and Shammi Kapoor (right) in the film Shaheed Bhagat Singh from 1963.

“Sarfaroshi Ki Tamanna” was also adapted for the more recent film The Legend of Bhagat Singh starring Ajay Devgan (2002). A charismatic young man whose terroristic methods clashed with the non-violence advocated by Mahatma Gandhi, Bhagat Singh has been the subject of numerous Bollywood films, including a portrayal by Shammi Kapoor in Shaheed Bhagat Singh (1963) and Sunny Deol in 23 March 1931: Shaheed (2002).

In Gandhi’s own words upon Bhagat Singh and his associates’ executions: “These heroes had conquered the fear of death. Let us bow to them a thousand times for their heroism. But we should not imitate their act. In our land of millions of destitute and crippled people, if we take to the practice of seeking justice through murder, there will be a terrifying situation. Our poor people will become victims of our atrocities. By making a dharma of violence, we shall be reaping the fruit of our own actions. Hence, though we praise the courage of these brave men, we should never countenance their activities. Our dharma is to swallow our anger, abide by the discipline of non-violence and carry out our duty.”

As we celebrate our freedoms today, we reflect on these moral dilemmas faced by the oppressed whose sacrifices spared us from knowing them.

-Mrs. 55

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The Top 30 Best Classic Bollywood Soundtracks of All Time

The best music albums from classic Bollywood have been chosen. Which songs made the list of Bollywood’s top 30 greatest?

Raj Kapoor Nargis Iconic BarsaatIntroduction

Welcome to the greatest music of classic Bollywood! We at Mr. and Mrs. 55 – Classic Bollywood Revisited! have compiled our ultimate list of the top 30 best classic Bollywood film soundtracks of all-time. Music is the very soul of classic Bollywood, a legacy of beauty and style that once lit the world. These soundtracks showcase the most talented artists of Bollywood and are as diverse and transformative as the films to which they lent their magic. Long after the cinema lights fade, this music remains in the air, haunting us with desire, sustaining us through tragedy, and enchanting our daily experiences in the world.

Soundtracks of all Hindi films released between the years of 1945 to 1985 were considered and ranked based on the merit of lyrics, musical composition and complexity, historical and cultural value, vocal performance, and accomplishments of the soundtrack elements as an ensemble. Topping our list are composers Sachin Dev Burman, Rahul Dev Burman, Naushad, and the duo Shankarsingh Raghuwanshi and Jaikishan Dayabhai Panchal (often credited as Shankar-Jaikishen) whose works both defined and reinvented Bollywood. Like our enormously popular list of the Top 30 Greatest Classic Bollywood Films of All Time, these soundtracks embrace the unexpected.

The advent of music in Bollywood binds the stormy history of a shackled India emerging from depression and war with the golden age of Hollywood musical film. Many believe that films with de rigeur musical numbers is a unique hallmark of Hindi cinema. However, the early “talkie” pictures of India such as Alam Ara (1931) were heavily influenced by the popular western films like The Jazz Singer (1927) and Showboat (1929) in which the new sound technology instantly propelled musical film as the most profitable genre. Hollywood directors like Busby Berkeley whose signature spectacle was the mass ornament and nimble-footed singer-dancers like Fred Astaire and Ginger Rogers helped contribute to the hundreds and hundreds of musical films cherished by the western world during the 1930s-1950s. The then universal convention of five to seven musical numbers peppering a film was easily embraced and adapted by Hindi movie directors who introduced Hindustani musical traditions to their work. Playback singers such as Lata Mangeshkar, Mohammed Rafi, Kishore Kumar, and Asha Bhonsle were as celebrated as the actors for whom they lent their voices. Often before a film was released, a Bollywood movie’s soundtrack was played repeatedly on the radio, reaching the hearts of millions across the country who may not have afforded the luxury to see the actual film in theatres.

While Hollywood eventually diverged from the musical film genre by the late 1960s, India was awakening to its own golden era of film in which music dominated the sensory milieu. Perhaps it was the escapism of music with its perfect harmonies and piercing poetry that touched the newly freed country still finding its identity. From solemn hymns of the countryside to feverish cabarets of city nightlife, from extravagant orchestras to solitary sitar solos, and from singers whose voices seem to descend from heaven, these soundtracks unleashed new eras of possibility and romance. The music of classic Bollywood will change you forever. For a few fleeting minutes, the ideals you dreamed of are made real.

Take this journey with us through the best music albums of yesteryear Hindi cinema. This music the way is was meant to be. This is classic Bollywood.

The Top 30 Best Classic Bollywood Soundtracks of All Time:

1. Pakeezah

Pakeezah Meena Kumari Chalte Chalte

Ghulam Mohammed and Naushad, 1971

2. Guide

Guide

S.D. Burman, 1965

  • Din Dhal Jaaye – Mohammed Rafi
  • Aaj Phir Jeene Ki – Lata Mangeshkar
  • Piya Tose – Lata Mangeshkar
  • Tere Mere Sapne – Mohammed Rafi
  • Gaata Rahe Mera Dil – Lata Mangeshkar and Mohammed Rafi
  • Kya Se Kya Ho Gaya – Mohammed Rafi
  • Saiyan Beiman – Lata Mangeshkar

3. Mughal-e-Azam

Mughal-e-Azam

Naushad, 1960

  • Teri Mehfil Mein Qismat – Lata Mangeshkar and Shamshad Begum
  • Pyar Kiya To Darna Kya – Lata Mangeshkar
  • Mohe Pangat Pe – Lata Mangeshkar
  • Mohabbat Ki Jhooti Kahani – Lata Mangeshkar
  • Aye Mohabbat Zindabad – Mohammed Rafi
  • Prem Jogan Ban Ke – Ustad Bade Ghulam Ali Khan
  • Yeh Dil Ki Lagi – Lata Mangeshkar
  • Title Music

4. Nagin

Nagin

Hemant Kumar, 1954

  • Man Dole Mera – Lata Mangeshkar
  • Jadugar Saiyan – Lata Mangeshkar
  • Tere Dwar Khada Ek Jogi – Hemant Kumar
  • Mera Dil Yeh Pukare Aaja – Lata Mangeshkar
  • Sun Ri Sakhi – Lata Mangeshkar
  • Yaad Rakhna Pyar Ki Nishani – Asha Bhonsle and Hemant Kumar

5. Aradhana

Aradhana

S.D. Burman, 1969

  • Roop Tera Mastana – Kishore Kumar
  • Mere Sapnon Ki Rani – Kishore Kumar
  • Kora Kaagaz Tha – Lata Mangeshkar and Kishore Kumar
  • Gunguna Rahe Hai Bhanware – Asha Bhonsle and Mohammed Rafi
  • Baghon Mein Bahar Hai – Mohammed Rafi and Lata Mangeshkar
  • Saphal Hogi Teri Aradhana – S.D. Burman

6. Teesri Manzil

Teesri Manzil

R.D. Burman, 1966

  • Aaja Aaja – Asha Bhonsle and Mohammed Rafi
  • Deewana Mujhsa Nahin – Mohammed Rafi
  • O Haseena Zulfonwali – Asha Bhonsle and Mohammed Rafi
  • O Mere Sona Re – Asha Bhonsle and Mohammed Rafi
  • Tumne Mujhe Dekha – Mohammed Rafi

7. Barsaat

Barsaat

Shankarsingh Raghuwanshi and Jaikishan Dayabhai Panchal, 1949

  • Hawa Mein Udta Jaye – Lata Mangeshkar
  • Chhod Gaye Balam – Lata Mangeshkar and Mukesh
  • Jiya Beqarar Hai – Lata Mangeshkar
  • Mujhe Kisise Pyar – Lata Mangeshkar
  • Patli Kamar Hai – Lata Mangeshkar and Mukesh

8. Anarkali

Anarkali

C. Ramachandra, 1953

  • Yeh Zindagi Usiki Hai – Lata Mangeshkar
  • O Zindagi Ke Denewale – Hemant Kumar
  • O Aasmanwale – Lata Mangeshkar
  • Jaag Dard-e-Ishq – Lata Mangeshkar and Hemant Kumar
  • Mohabbat Aisi Dhadhkan Hai – Lata Mangeshkar
  • Mujhse Mat Pooch – Lata Mangeshkar
  • Aaja Ab To Aaja – Lata Mangeshkar

9. Kati Patang

Kati Patang

R.D. Burman, 1970

  • Jis Gali Mein – Mukesh
  • Yeh Jo Mohabbat Hai – Kishore Kumar
  • Na Koi Umang Hai – Lata Mangeshkar
  • Yeh Shaam Mastani – Kishore Kumar
  • Pyaar Diwanaa Hota Hai – Kishore Kumar
  • Aaj Na Chhodenge – Lata Mangeshkar and Kishore Kumar

10. Chori Chori

Chori Chori

Shankarsingh Raghuwanshi and Jaikishan Dayabhai Panchal, 1956

  • Panchi Banoon Udti – Lata Mangeshkar
  • Aaja Sanam – Lata Mangeshkar and Manna Dey
  • Jahan Main Jaati Hoon – Lata Mangeshkar and Manna Dey
  • Yeh Raat Bheegi Bheegi – Lata Mangeshkar and Manna Dey
  • Rasik Balma – Lata Mangeshkar
  • Man Bhavan Ke Ghar – Lata Mangeshkar and Asha Bhonsle

11. Taj Mahal

Taj Mahal

Roshan, 1963

12. Hum Dono

Hum Dono Abhi Na Jao Dev Anand Sadhana

Jaidev, 1961

13. Jewel Thief

Jewel Thief

S.D. Burman, 1967

  • Honton Pe Aisi Baat – Lata Mangeshkar
  • Aasman Ke Neeche – Lata Mangeshkar and Kishore Kumar
  • Dil Pukare – Lata Mangeshkar and Mohammed Rafi
  • Rulake Gaya Sapna – Lata Mangeshkar
  • Yeh Dil Na Hota – Kishore Kumar
  • Title Music

14. Caravan

Caravan

R.D. Burman, 1971

  • Piya Tu Ab To – Asha Bhonsle
  • Chadti Jawani – Lata Mangeshkar and Mohammed Rafi
  • Kitna Pyara Wada – Lata Mangeshkar and Mohammed Rafi
  • Goriya Kahan – Asha Bhonsle and Mohammed Rafi
  • Ab Jo Mile Hai – Asha Bhonsle

15. Bobby

Bobby Main Shayar To Nahin

Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma, 1973

  • Main Shayar To Nahin – Shailendra Singh
  • Bahar Se Koi Andhar – Lata Mangeshkar and Shailendra Singh
  • Jhoot Bole Kauwa Kate – Lata Mangeshkar and Shailendra Singh
  • Mujhe Kuch Kehna Hai – Lata Mangeshkar and Shailendra Singh
  • Na Mangoon Sona Chandi – Manna Dey and Shailendra Singh

16. Pyaasa

Pyaasa

S.D. Burman, 1957

  • Jaane Woh Kaise – Hemant Kumar
  • Aaj Sajan Mohe – Geeta Dutt
  • Hum Aap Ki Ankhon Mein – Geeta Dutt and Mohammed Rafi
  • Jane Kya Tune Kahi – Asha Bhonsle
  • Yeh Duniya Agar Mil Bhi Jaaye – Mohammed Rafi

17. Abhiman

Abhiman

S.D. Burman, 1973

18. Anand

Anand

Salil Choudhury, 1971

19. Kabhi Kabhi

Kabhi Kabhi

Mohammed Zayur Khayyam, 1976

20. Baiju Bawra

Baiju bawra

Naushad, 1952

  • O Duniya Ke Rakhwale – Mohammed Rafi
  • Man Tarpat Hari Dar – Mohammed Rafi
  • Mohe Bhool Gaye Sanwariya – Lata Mangeshkar
  • Jhoole Mein Pawan Ke – Lata Mangeshkar and Mohammed Rafi
  • Tu Ganga Ki Mauj – Lata Mangeshkar and Mohammed Rafi

21. Mother India

Mother India

Naushad, 1957

22. Madhumati

Madhumati

Salil Choudhury, 1958

  • Aaja Re Pardesi – Lata Mangeshkar
  • Dil Tadap Tadap – Lata Mangeshkar and Mukesh
  • Suhana Safar – Mukesh
  • Ghadi Ghadi Mora Dil – Lata Mangeshkar
  • Chadh Gayo Papi Bichua – Lata Mangeshkar and Manna Dey

23. Basant Bahar

Basant Bahar

Shankarsingh Raghuwanshi and Jaikishan Dayabhai Panchal, 1956

  • Duniya Na Bhaye Mohammed Rafi
  • Bhaye Bhanjana – Manna Dey
  • Ja Ja Re Ja – Lata Mangeshkar
  • Main Piya Teri – Lata Mangeshkar
  • Nain Mile Chain Kahan – Lata Mangeshkar and Manna Dey

24. Aar Paar

Aar Paar

O.P. Nayyar, 1954

  • Babuji Dheere Chalna – Geeta Dutt
  • Sun Sun Sun Zalima – Geeta Dutt and Mohammed Rafi
  • Kabhi Aar Kabhi Par – Shamshad Begum
  • Yeh Lo Main Haari Piya – Geeta Dutt
  • Hoon Abhi Main Jawan – Geeta Dutt

25. Kashmir Ki Kali

Kashmir Ki Kali

O.P. Nayyar, 1964

26. Bandini

Bandini

S.D. Burman, 1963

  • Ab Ke Baras Bhej – Asha Bhonsle
  • O Re Mahji – S.D. Burman
  • Mora Gora Ang Laile – Lata Mangeshkar
  • Jogi Jab Se Tu Aaya – Lata Mangeshkar
  • O Janewale Ho Sake – Mukesh

27. Sangam

Sangam

Shankarsingh Raghuwanshi and Jaikishan Dayabhai Panchal, 1964

28. Yaadon Ki Baraat

Yaadon Ki Baraat

R.D. Burman, 1973

  • Chura Liya Hai – Asha Bhonsle and Mohammed Rafi
  • Aapke Kamre Mein – Asha Bhonsle and Kishore Kumar
  • Lekar Hum Deewana Dil – Asha Bhonsle and Kishore Kumar
  • Meri Soni Meri Tamana – Asha Bhonsle and Kishore Kumar
  • Yaadon Ki Baraat – Mohammed Rafi and Kishore Kumar

29. Amar Prem

Rajesh Khanna Amar Prem

R.D. Burman, 1972

  • Chingari Koi Bhadke – Kishore Kumar
  • Raina Beeti Jaaye – Lata Mangeshkar
  • Kuch To Log Kahenge – Kishore Kumar
  • Yeh Kya Hua – Kishore Kumar
  • Bada Natkhat Hai Yeh – Lata Mangeshkar

30. Umrao Jaan

 

Rekha2_UmraoJaan

Mohammed Zayur Khayyam, 1981

Find out more about these and other classic Bollywood soundtracks on our song pages! Which soundtracks do you consider among classic Bollywood’s all-time best and why? Leave us a comment and let us know!

– Mrs. 55

Interview with Bollywood Playback Singer Minoo Purushottam: A Mr. & Mrs. 55 Exclusive!

Minoo Purushottam tanpura

Minoo Purushottam, renowned Hindi film playback singer. Photo: Personal collection of Minoo Purushottam.

Last year, we published a popular post on the career of one of our favorite yesterday playback singers, Minoo Purushottam. In one of those great twists of fate taken straight from a 60s masala flick, shortly afterwards, we received an email from Minoo-ji’s son who re-connected Mrs. 55 with her Hindi classical voice teacher, Minoo-ji herself, from years before! Minoo-ji was gracious enough to grant Mr. and Mrs. 55 – Classic Bollywood Revisited! an exclusive interview about her career. After spending many years in Houston since leaving Bombay, Minoo-ji has now settled into her new home in Illinois near her son where she continues to teach new students and perform at concerts. We are honored to share with you a transcript of our delightful conversation with her that includes reminiscing about her early schooldays when she was first recognized as a musical prodigy, that time Mukesh blew his 16th take during a recording session, and what advice she has for aspiring singers!

MRS. 55: Could you tell us a little bit more about your early music training?

MINOO: I grew up in Bombay. There were music classes in school. A South Indian teacher used to come and teach us the ragas. At that time, I was chosen to lead the school prayers. That was a great time for me, I was not thinking then that I would become a singer when I was at school. I wanted to become a schoolteacher actually. I had very simple ambitions. When suddenly I realized I was a singer, I started seriously practicing, four hours every day, every day, every day. This was because I had to prepare for my exams: 25 ragas for the sangeet visharad in the first year. It was very difficult. But I always loved to teach, and I still love it. Everybody now thinks they can sing without practice. I think karaoke messed things up that way. If you know the Bhagavad Gita, Krishna said we have 4 Vedas, and there is a Samaveda based on music. The whole universe is singing if you carefully listen to it. All the sounds are like singing. It affects one a lot.

MR. 55: Who was your favorite duet partner in the past?

MINOO: All these singers are great humans. I was working all my life with Mohammed Rafi. At that time I was very young and toured with Asha Bhonsle too. But after the great singers were gone, I was not interested in staying in Bombay. With whom should I sing? I was feeling sad. But still I love to work, I love to sing. Even now I practice every day.

Minoo Purushottam and Asha Bhonsle rehearsing

Playback singers Minoo Purushottam and Asha Bhonsle rehearsing together in a recording studio. Photo: Personal collection of Minoo Purushottam.

MRS. 55: Some singers have commented on the difficult of breaking into the industry when it was dominated by a few select singers. How did you overcome that?

MINOO: I didn’t have any difficulty. It seemed that everybody loved me so much, they wanted to give me a chance. I was doing my job well. All the music directors were very happy with me when I was working with them. I never said that, “I want this, I want that.” I never made demands, so I was very easy to work with. At that time music was so great. The stories in the films were so good. You can see those films 100 times. From my childhood, I saw the film Mahal. It’s a very old movie. I can see that film over and over. I love all those songs. I can see it 1000 times. But my time was after that, mostly colour movies.

MR. 55: You worked with many great music directors. What lessons did they teach you?

MINOO: I was working a lot with Madan Mohan. He was my teacher, teaching me ghazals and pronunciation and accent of ghazals. Jaidev was also my teacher.

MRS. 55: I remember when I took lessons from you, you talked fondly about the actors you worked with, especially Sanjeev Kumar.

MINOO: You know, Sanjeev Kumar’s sister is in Houston and used to come to meet me. We were very good friends. But things change a lot. Madhumati was very good friend of mine as well.

Minoo Purushottam and Manna Dey

Bollywood playback singers Minoo Purushottam and Manna Dey. Photo: Personal collection of Minoo Purushottam.

MR. 55: Are there any new artists that you enjoy?

MINOO: I have a habit of listening to old songs from singers like Talat Mehmood. It’s hard to change that. But some students do want to learn new songs, and then I help them. We should be open-minded, it’s a part of the job.

MRS. 55: What is your favorite film song that you sang?

MINOO: I love all of them. You put so much time and effort into each one. You have to concentrate very hard, you can’t play around with it. One should be very serious. Nowadays they can break the song down in pieces to record just the pieces, and then put them together. But in those days, you and all the musicians had to sing it perfectly all the way through. If you make a mistake, you’d be rejected. One day I was sitting for the recording and Mukesh-ji was making so many mistakes! He was on his 16th take and he said, “If I don’t get it right this time, I’m going to forget this song.” I think my voice has changed with age, and it suits bhajans and ghazals now. And anyway, who would compose film music now the way S.D. Burman and C. Ramchandra did? This time people just want to make money, not make real music.

MRS. 55: Is there anything you’d like to tell your fans?

MINOO: If you really want to sing, you must learn something. Find a teacher. But I can tell you, it’s hard to find time to devote just to music. But you must do it.

– Mr. and Mrs. 55

Minoo Purushottam and Mohammed Rafi

Playback singers Minoo Purushottam and Mohammed Rafi often toured together in the 60s and 70s. Photo: Personal collection of Minoo Purushottam.

Zindagi Kaisi Hai Paheli Lyrics and Translation: Let’s Learn Urdu-Hindi

Rajesh Khanna Anand Zindagi Kaisi Hai Paheli

Dangerously attractive Rajesh Khanna proves that real men wear lavender in Anand (1971).

Next we showcase the lyrics and English translation of “Zindagi Kaisi Hai Paheli” from the sentimental mega-hit Anand (1971). Diagnosed with terminal lymphosarcoma of the intestine, Rajesh Khanna is determined to raise the spirits of those around him. With a smile, he explains his philosophy to his bewildered physician, Amitabh Bachhan:

“Babumushai, zindagii badii honii chahiye, lambii nahii.N.” [“Babumushai, life should be big, not long.”]

Brimming with rich symbolism from floating balloons to boatmen in the ocean, “Zindagi Kaisi Hai Paheli” explores the outlook of a man whose journey is approaching its destination. Rajesh Khanna give a tour de force performance as a character at peace with the mysteries of the world.

Rajesh Khanna gives out balloons at Juhu Beach

Rajesh Khanna buys out a lucky balloon-wala in “Zindagi Kaisi Hai Paheli” from Anand (1971).

The song begins with a distinctive, uplifting trumpet solo, establishing the tone. While other gorgeous songs of Anand such as “Kahin Door Jab Din” are sung by the gentle Mukesh, Manna Dey was chosen for “Zindagi Kaisi Hai Paheli.” Known better for his masterful Hindustani classical numbers of the 1960s, Manna Dey’s film career began to falter with the rise of Kishore Kumar’s heroic romantic vocals. But his popularity revived in the 70s with Anand when Rajesh Khanna himself asked music director Salil Chaudhary for a chance to lip-sync a Manna Dey song. As Manna Dey recalled in a 2012 interview,

“I loved the way he [Rajesh Khanna] picturised music. The success of a song depends upon how an actor picturises it. He was the number one in picturising songs. I will ever be indebted to him.”

We hope you enjoy the lyrics and English translation of “Zindagi Kaisi Hai Paheli” from Anand (1971). Follow along with the video here while reflecting on film lyricist Yogesh’s philosophical poetry!

Zindagi Kaisi Paheli Lyrics and Translation:

Zindagii kaisii hai pahelii, haaye!
Oh, what a riddle life is!
Kabhii to ha.Nsaaye kabhi yeh rulaaye
Sometimes it makes us laugh, sometimes it makes us cry

Kabhii dekho man nahii.N jaage, peechhe peechhe sapno.N ke bhaage
Sometimes the mind does not awaken, it chases dreams
Ek din sapno.N ka raahii chalaa jaaye sapno.N ke aage, kahaa.N?
One day that traveler of dreams will go beyond the dreams, but where?

Jin hone sajaaye yahaa.N mele sukh dukh sang-sang jhele
Those who bring people together, they experience joy and sorrow together
Wohii chunkar khaamoshii yuu.N chalii jaaye akele, kahaa.N?
Those same people choose silence and depart alone, but where?

Glossary:

zindagii: life; pahelii: riddle, puzzle; haaye: oh, sigh; ha.Nsaanaa: to make [someone] laugh; rulaanaa: to make [someone] cry; man: mind; jaagnaa: to awaken; peechhe: behind; bhaagnaa: to run; ek din: one day; sapnaa: dream; raahii: traveler; aage: ahead, future; melaa sajaanaa: to arrange a fair (literal), to bring people together; sukh: happiness; dukh: sadness; sang-sang: together; jhelnaa: to experience; chunnaa: to choose; khamoshii: silence; akelaa: alone

Juhu Beach Rajesh Khanna Zindagi Kaisi Hai Paheli Anand

“Zindagi Kaisi Hai Paheli” was famously filmed at suburban Bombay’s Juhu Beach, made even more gorgeous by the delicate silhouette of Rajesh Khanna against the shoreline.

It’s hard to believe we lost a legend like Manna Dey 6 months ago, a little more than a year after losing Rajesh Khanna. The singer was 95 years old. This beautiful tribute to those dream chasers we wish were with us, “Zindagi Kaisi Hai Paheli,” was requested by fan Ajay.

-Mrs. 55

Aye Meri Zohra Jabeen Lyrics and Translation: Let’s Learn Urdu-Hindi

balraj sahni aye meri zohra jabeen waqt

Balraj Sahni plays a wealthy, family-loving merchant whose good fortune takes a disastrous turn in Waqt (1965).

We now present the lyrics and English translation to “Aye Mere Zohra Jabeen” from Waqt (1965). Young at heart Balraj Sahni plays a loving father of three young children who celebrates his business success with pomp and splendor. So overjoyed by where he believes Fate is taking his family, he dedicates a love song to his wife at a party. The film’s hit opening number “Aye Mere Zohra Jabeen” brims with a sense of carpe diem in the lives of a couple whose youth is coming to an end. Achala Sachdev plays the gentle wife fittingly embarrassed by the attention, but clearly loving the compliments. Their picture-perfect world is too wonderful to last–and before the night is over, tragedy strikes that separates the family. And from there unfolds one of the best Hindi masala films of the 60s!

The well-known opening line carries the Urdu vocabulary lover’s favorite, “zohra jabeen.” The meaning of this term has confused many a Hindi film goer over the ages. Actually a combination of two separate words, zohra and jabeen, the term is used loosely to mean “beautiful one,” but the true definition is far more fascinating. Zohra is the Arabic term for the Roman goddess of beauty, Venus, and also the planet easily identifiable as a shining star in the sky. Jabeen translate literally as forehead, a delicate part of the woman’s face to which praise has been given for centuries of Urdu ghazalry. So when addressing your sweetheart as zohra-jabeen, you are implying that her face shines with the beauty of Venus! Pretty flattering, right?

shy achala sachdev aye meri zohra jabeen

With the coyness of a young bride, Achala Sachdev blushes at her husband’s public display of affection in Waqt (1965).

In an interview on Bangalore’s Radio City in 2005, Manna Dey recalls being requested for the number by music director Ravi with surprise:

“When Ravi called me to sing “Aye meri zohra-jabeen” for Waqt, I asked him, ‘Why me? You use only Rafi or Mahendra Kapoor.’ Ravi said it was Balraj Sahni’s personal request that I sing.”

Although Mahendra Kapoor and Rafi do indeed sing the other fabulous songs of the film, none ever became as famous than this Manna Dey chart-buster. Sung at almost any sangeet or wedding, “Aye Meri Zohra Jabeen” endears listeners across generations with excitement and sentimentality. Although often categorized as a qawwali, the song does not quite fit into the genre–despite its best attempts at synchronized group clapping. Check out the video to see class act Balraj Sahni get into character and witness one of the only Bollywood love songs uniquely targeted at couple of any age! Cutie-pie Achala Sachdev would later play Kajol’s grandmother’s in Dilwale Dulhaniya Le Jayenge where the song was memorably revived!

We hope you enjoy the evergreen Sahir Ludhianvi lyrics and our full English translation to “Aye Meri Zohra Jabeen” below:

Aye Meri Zohra Jabeen Lyrics and English Translation:

Aye merii zohra-jabeen
Oh, my beautiful one
Tujhe ma’aluum nahii.N
You are not aware
Tuu abhii tak hai hasii.N
that you are still lovely
Aur mai.N jawaa.n!
and I am still young!
Tujhpe qurbaan merii jaan merii jaan!
I would sacrifice my life for you!

Yeh shokhiyaa.N yeh baa.Nkpan jo tujh mei.N hai kahii.N nahii.N
This coyness, this attractiveness of yours is nowhere else
Dilo.N ko jiitne kaa fan jo tujh me hai kahii.N nahii.N
The art of winning hearts that you possess is nowhere else
Mai.N terii! maii.N terii aankho.N mei.N paa gayaa do jahaa.N!
In your eyes, I have found my heaven and earth!
Aye merii zohra jabeen…

Tuu miiThe bol, jaan-e-man, jo muskuraake bol de
If you speak sweet words to me, my love, and smile
To dhaDakano.N mei.N aaj bhii sharaabii ra.Ng ghol de
Then even today, you infuse my heartbeats with an intoxicating colour
O sanam! O sanam mai.N teraa aashiq-e-jaavedaan!
Oh darling, I am your lover for eternity!
Aye merii zohra jabeen…

Glossary:

zohra-jabeen: beautiful (literally zohra: Venus and jabeen: forehead = beautiful one with the face that glows like Venus); ma’aluum: aware, information; hasii.N: beauty; jawaa.N: youth; qurbaan: sacrifice; jaan: life; shokhiyaa.N: coyness; baa.Nkpan: attractiveness; fan: art; do jahaa.N: two worlds, heaven and earth, realm; miiThaa: sweet; bol: words; jaan-eman: beloved; muskuraanaa: to smile; dhaDkan: heartbeat; sharaabii: intoxicating, drunken; ra.Ng: colour; ghol: mixture, infusion; sanam: beloved; aashiq: lover; jaavedaan: eternal, never-ending

handkerchiefs waqt

When the flirty handkerchiefs come out, there’s really no going back. I think we all have uncles who have pulled this flamboyant dance move at parties, much to their wives’ chagrin.

Aye Meri Zohra Jabeen” is actually based on a musical composition by Afghanistan’s Abdul Ghafoor Breshna (1907-1974), a famous painter, poet, director, and musician who also composed the national anthem for the Republic of Afghanistan just before his death. “Aye Meri Zohra Jabeen” was requested by two fans, Kuldip Babbar and Hema Fonseka! Thanks for the fantastic suggestion, and keep those requests coming!

– Mrs. 55

Yeh Ishq Ishq Hai Lyrics and Translation: Let’s Learn Urdu-Hindi

Bharat Bhushan Barsaat Ki Raat qawwali
Bollywood Qawwali Barsaat Ki Raat Shyama Ratna

Ratna (left) and Shyama (right) lead the qawwali “Yeh Ishq Ishq Hai” from the hit Bollywood film Barsaat Ki Raat (196)

For our next post, we provide an English translation of “Yeh Ishq Ishq Hai” qawwali (and its prelude “Na to Caravan ki Talaash Hai“) from the all-time classic film Barsaat ki Raat (1960). For anyone familiar with the beautiful lyrics of this Sahir Ludhviani masterpiece, you know that “Yeh Ishq Ishq Hai” is the crowning jewel of the qawwali genre. The ultimate in lyrical poetry, allusions, wit, and transcendent symbolism, “Yeh Ishq Ishq Hai” was no easy task to translate and dissect. Sahir Ludhviani, who also later penned the gems from films like Taj Mahal (1963), wrote an album of love poetry for Barsaat Ki Raat--from “Zindagi Bhar Nahii.N Bhoolegi” to “Mai.N Ne Shaayad Tumhe” to la pièce de résistance, “Yeh Ishq Ishq Hai.”

Bharat Bhushan Barsaat Ki Raat qawwali

Bharat Bhushan jumps in to save the girls’ qawwali team in “Yeh Ishq Ishq Hai” from Barsaat Ki Raat (1960)

Through this culmination piece of the film’s ongoing qawwali competition, both hero (Bharat Bhushan) and the heroine (Madhubala) are reunited after a long and painful separation. Mohammed Rafi, Asha Bhonsle, and Manna Dey vie to out-do each other in this clever, powerful discussion of the meaning of love, but at the song’s climax Rafi brings the qawwali to a heart-stopping triumphant finish that wins his team the competition. It is a real pleasure to appreciate the many levels on which the qawwali can be understood–from religious, to romantic, to quite literal–after singing “ilaaj koi to maut hai,” Shyama literally falls sick to her deathbed, or as Bharat Bhushan croons, “nikalii Radha saj ke,” Madhubala appears miraculously at the doorway from the prison of her house. Come follow along with our translation of this epic qawwali and it will be clear why “Yeh Ishq Ishq Hai” made Bollywood film history!

Madhubala Barsaat Ki Raat

Madhubala hears Bharat Bhushan on the radio and decides to find him in Barsaat Ki Raat (1960)

Yeh Ishq Ishq Hai Lyrics and Translation

MALE:

Na to caaravaan ki talaash hai
I am not in search of a caravan
Na to humsafar ki talaash hai
I am not in search of a fellow traveler
Mere shauq-e-khaana kharaab ko teri rehguzar ki talaash hai
That ruined place of my desire searches for the path that leads to you

FEMALE:

Mere naamuraad junoon ka hai ilaaj koi to maut hai
If there is any cure for my unfortunate obsession, then it is death
Jo davaa ke naam pe zehar de
Give me that medicine whose name is poison
Usi chaaraagar ki talaash hai
I am in search of such a healer

Tera ishq hai meri aarzoo,
Your love is my desire
Tera ishq hai meri aabroo,
Your love is my honor
Dil ishq, jism ishq hai, aur jaan ishq hai
My heart is love, my body is love, and my life is love
Imaan ki jo poochho to imaan ishq hai
If you ask for faith, then that is love too
Tera ishq mai.N kaise ChhoD doo.N?
How could I ever leave your love?
Meri umr bhar ki talaash hai
That love is what I have been searching for all my life

MALE:

Yeh ishq ishq hai, ishq ishq, yeh ishq ishq hai, ishq ishq
This is love, this is love, this is love
Jaan-soz ki haalat ko jaan-soz hi samjhegaa
Only one in torment can understand the condition of a fellow sufferer
Mai.N shamaa se kehta hoo.N mehfil se nahii.N kehta
I am speaking to the flame, not to the company gathered here
Kyonki yeh ishq ishq hai, ishq ishq, yeh ishq ishq hai, ishq ishq
For this is love, this is love, this is love

FEMALE:
Sahar tak sab ka hai anjaam jal kar khaak ho jaana
By dawn, everything will burn and be reduced to ashes
Bhari mehfil mei.N koi shamaa yaa parvaana ho jaaye
Everyone in this gathering shall became either flame or moth
Kyo.N ki yeh ishq ishq hai, ishq ishq, yeh ishq ishq hai, ishq ishq
For this is love, this is love, this is love

MALE:

Vehshat-e-dil rasn-o-daar se roki na gayi
Love is not stopped by the madness of the heart or ropes and the gallows
Kisi khanjar, kisi talvaar se roki na gayi
It is not stopped by any dagger, by any sword
Ishq Majnu ki woh aavaz hai jiske aage koi Laila kisi deewaar se roki na gayi,
Love is that voice of Majnu’s which Laila followed and which no barrier could stop
Kyo.N ki yeh ishq ishq hai, ishq ishq, yeh ishq ishq hai, ishq ishq
For this is love, this is love, this is love

Woh hanske agar maa.Nge.N to hum jaan bhi dede.N,
If she laughs and asks, then I would even give my life
Haa.N yeh jaan to kya cheez hai? Imaan bhi dede.N!
Yes, after all what is this life? I would even give up my faith!
Kyo.N ki yeh ishq ishq hai, ishq ishq, yeh ishq ishq hai, ishq ishq
For this is love, this is love, this is love

Naaz-o-andaaz se kehte hai.N ki jeena hoga,
I am told that I must live with my fate gracefully
Zehar bhi dete hai.N to kehte hai.N Ki peena hoga
They give me poison, and say I must drink
Jab mai.N peetaa hoo.N to kehte hai.N ki marta bhi nahii.N,
But when I drink it, then they say I won’t die
Jab mai.N martaa hoo.N to kehte hai.N ki jeenaa hogaa
When I am dying, they say I must live
Yeh ishq ishq hai, ishq ishq, yeh ishq ishq hai, ishq ishq
For this is love, this is love, this is love

Mazhab-e-ishq ki har rasm kaDi hoti hai,
The laws and customs of love are very strict
Har qadam par koi deewaar khaDi hoti hai
At every step, there is a barrier standing
Ishq aazad hai, Hindu Na Musalmaan hai ishq,
Love is free, love is neither Hindu nor Muslim
Aap hii dharm hai aur aap hii imaan hai ishq
Your own duty and your own faith alone is love
Jis se aage nahii.N shekh-o-Brahaman dono.N,
Both Hindu and Muslim religious men cannot surpass this
Us haqeeqat ka garajtaa hua ailaan hai ishq
The reality of that thundering proclamation is love

(FEMALE in Panjabi):

Ishq na puchhe deen dharm nu, ishq na puchhe jaataan
Love does not ask your religion or creed, love does not ask your social class or caste,
Ishq de haatho.N garam lahu vich doobiyaan laakh baraataan ke
Love has drowned thousands of wedding revelers in its fiery blood
Yeh ishq ishq hai, ishq ishq, yeh ishq ishq hai, ishq ishq
This is love, this is love, this is love

MALE:
Raah ulfat ki kaThin hai ise aasaan na samajh
The path of love is dangerous, do not think it easy
Yeh ishq ishq hai, ishq ishq, yeh ishq ishq hai, ishq ishq
This is love, this is love, this is love

FEMALE:
Bahut kaThin hai Dagar panghat ki
The path to the riverside is very dangerous
Ab kya bhar luau.N mai.N Jamuna se matki?
Now how can I fill my jug with water from the banks of the Jamuna River?
Mai.N jo chali jal jamuna bharan ko dekho sakhi ji mai.N jo chali jal jamuna bharan ko
As I was on my way to fill my jug with water from the Jamuna,
Nand kishor mohe roke jhaadon
The young boy of Nanda [Krishna] stopped me
To kya bhar luau.N mai.N Jamuna se matki?
So how can I fill my jug with water from the banks of the Jamuna River?

MALE:
Ab laaj raakho more ghoonghat pat ki
Now protect my honor, this veil of mine
Jab jab Krishn ki bansi baaji,
When Krishna played his flute
Nikali Raadhaa saj ke
Radha emerged, dressed up
Jaan ajaan ka dhyaan bhulaa ke,
Forgetting all she was taught
Lok laaj ko taj ke
She left the honor of society
Haaye ban ban Doli Janak dulaari,
The darling child of King Janak [Sita] swayed into the forest
Pehenke prem ki maalaa
And wore a garland of love
Darshan jal ki pyaasi Meera
Meera thirsty for her a glimpse of her Lord
Pii gayii vishh ka pyaalaa aur phir araj kari
Drank a glass of poison and then pleaded
Ke laaj raakho raakho raakho, laaj raakho dekho dekho,
Protect my honor, protect my honor, protect my honor
Yeh ishq ishq hai, ishq ishq, yeh ishq ishq hai, ishq ishq
This is love, this is love, this is love

Allah rasool ka farmaan ishq hai
The commands of God and Mohammed are love
Yaanii Hadith ishq hai, Quraan ishq hai
The teachings of Mohammed are love, the Quraan is love
Gautam kaa aur Maseehaa kaa armaan ishq hai
The wishes of Bhudda and Christ are love
Yeh kaayanaat jism hai aur jaan ishq hai
This material existence and this life are love
Ishq sarmad, ishq hii mansoor hai
Love is everlasting, love alone is victorious
Ishq Moosa, ishq Koh-e-Toor hai
Love is Moses, love is Mt. Sinai
Khaaq ko but, aur but ko devtaa karta hai ishq
Love turns clay into idols, and idols into Gods
Intahaa yeh hai ke bande ko khuda karta hai ishq
The pinnacle is that love has the power to turn a man into a revered God
Haan.N yeh ishq ishq hai, ishq ishq, yeh ishq ishq hai, ishq ishq
Yes, this is love, this is love, this is love

Glossary:

caravaan: caravan; talaash: search; humsafar: fellow traveler; shauq-e-khaana; desires, hobbies; barbaad: ruined; rehuguzar: pathway; naamuraad: unfortunate; junoon: obsession; ilaaj: cure; maut: death; davaa: medicine; zeher: poison; chaaragar: one who treats you, doctor, healer; aarzuu: desire; aabruu: honor; jism: body; imaan: faith; jaansoz: torment, soul-burning; sahar: the time before dawn; anjaam: conclusion; khaak: ashes; parvaanaa: moth (used allegorically as one blinded by love); vehshat: madness; rasn: rope; daar: gallows; khanjar: dagger; talwar: sword; LailaMajnu: legendary ill-fated lovers; awaaz: voice; deewaar: barrier, wall; cheez: thing; naazoandaaz: pride and style, grace; mazhab: law; kaDi: strict, harsh; qadam: step; azaad: free; dharm: Hindu religious duty; haqeeqat: reality; garajnaa: to thunder; ailaan: proclaimation; deen: Islamic obedience; jaataan: caste; lahu: blood; ulfat: love; kaThin: dangerous; aasaan: easy; Dagar: pathway; maTki: jug, pot; Nand kishor: young Krishna laaj: honor; ghuunghat: veil; bansi: type of flute; dhyaan: meditation; lok: people, society; ban: forest; Dolna: to sway; Janak Dulari: The darling daughter of the mythological King Janak [Sita]; prem: love; maalaa: garland; darshan: glimpse of a deity; pyaasi: thirsty; vish ka pyaalaa: glass of poison; araj: plea; rasool: messenger [of God, Mohammed]; farmaan: commands; hadith: a report of the deeds and the teachings of Muhammed, Gautam: Buddha; Maseehaa: Jesus Christ; kaayanaat: material creation; sarmad: everlasting; mansoor: victorious, Moosaa: Moses; Koh-e-Toor: Mt. Sinai; khaaq: clay; but: idol; devtaa: God; intahaa: pinnacle, culmination

Yes, that glossary was a mouthful. Even as it is, I must warn that many of these words have a far deeper religious meaning to them that cannot be summed up in the one or two words as I have defined them. But no one said the Hindustani language was easy, and this song is just loaded with Arabic-based and Sanskrit-based vocabulary as well as references from both Hindu and Islamic traditions. It’s part of why Urdu-Hindi is such a complex, beautiful and absolutely fascinating language. Let’s take a more in-depth look at some of these lines:

  • “Ishq Majnu ki woh awaaz hai…” according to the Arab legend, similar to Romeo and Juliet, Laila and Majnu (whose nickname means “madly in love”) were two star-crossed lovers from rival families. However, Laila fled from her house to be with the one she loved and it is said that as Majnu was caught and whipped, their love was so strong that Laila screamed and blood appeared to flow from Laila’s skin instead.
  • “Bahut kaThin hai Dagar panghat ki…” is actually a line from the great Amir Khusrau qawwali written during the 13th century. The qawwali refers in one sense to the risks of dishonor faced by Radha as she attempted to fetch water, another sense explores the risks of standing up for religious beliefs (in Khusrau’s case, an allegiance to Sufi saint Nizamuddin Auliya.) The line has now become a sort of idiomatic warning to not underestimate the burden of any difficult task.
  • “Jab jab Krishna ki bansi baaji…” refers to the tales of Hindu folklore of childhood lovers Krishna and Radha, the latter of whom risked familial honor and suffered teasing and torment from her girlfriends in her love for the young Lord.
  • “Janak dulari ban ban Doli…” is a reference to the Ramayan in which Sita, upon learning of her husband Ram’s banishment to the forest, renounced her title as well. Sita, it should be recalled, had a very lavish upbringing as she was the daughter of King Janak, so this was no simple sacrifice to live in the dangerous jungle. But Sita’s love was unparalleled, and although she was not otherwise compelled to accompany Ram to the jungle, did indeed join him out of pure devotion.
  • “Darshan jal ki pyaasi Meera…” refers to the legend of Krishna devotee and Rajput Princess, Meera Bai of the 16th century. Her zealous worship and love of Krishna inspired not only many famous bhajans we know and sing today, but the resentment of her brother-in-law who frowned upon her actions (eg. mingling with the poor, ignoring her husband, etc.) He made several notorious attempts to kill her, including forcing her to drink a glass of poison that Lord Krishna is said to have transformed into nectar and saved her when she pleaded for the Lord to protect her honor.

As you can probably tell, I LOVE this qawwali. I discover new things every time I enjoy it (for example, anyone else notice how the background clappers only start shrugging their shoulders cliched bhangra-style ONLY when Ratna starts singing in Panjabi? Coincidence? I think not!) The song indeed transcends all religious and material loyalties, bringing the audience a dazzling, other-wordly experience. For anyone who’s tired of all the allegories and vocabulary quizzes, here’s the long-awaited behind-the-scenes gossip:

Did you know Bharat Bhushan actually got married in real life to Ratna (who ironically played the only character in the film NOT in love with him!) Surprise, right!? She was his second wife, and some even say that later mild-mannered Bharat Bhushan had had an affair with none other than Meena Kumari. Did the scandals never end in this town?

For more Urdu bliss, check out our post on the beauty of Urdu poetry in Hindi films!

-Mrs. 55

Ratna Barsaat Ki Raat

Ratna, wife of Bharat Bhushan, plays a sassy side-kick in the film Barsaat Ki Raat (1960)