Husnwale Tera Jawab Nahin Lyrics and Translation: Let’s Learn Urdu-Hindi

RajendraKumar_AshaParekh_Gharana
Rajendra Kumar serenades Asha Parekh in the Vrindavan Gardens of Mysore, India in Gharana (1961)

Today, we present the lyrics and English translation to “Husnwale Tera Jawab Nahin” from Gharana (1961).

Penned by Shakeel Badayuni and composed by Ravi, this song stands out as an eternal favorite in the genre of Bollywood courtship songs, which includes gems such as “Chaudavin Ka Chand Ho” and “Mere Mehboob Tujhe.” Here, Mohammed Rafi lends his silky vocals to Rajendra Kumar, a pairing that dominated the silver screen throughout the ’60s.

This song is filled with several common tropes found in Urdu poetry that are employed to describe a woman’s beauty. These include similes to the Moon, the flowers of springtime, and the intoxication of wine. Interestingly, while “black cloud” has a negative connotation in English, the phrase kaalii ghataa is used here and frequently in other Urdu-Hindi poems to admire the dark color of a woman’s tresses.

The grammar police out there may be wondering: why has the poet chosen to refer to the object of affection here using the male vocative husnvaale instead of the feminine husnvaalii? The answer to this question can be found by understanding the historical origins of the Urdu ghazal, a form that borrows heavily from the Persian tradition. Unlike Urdu-Hindi, the Persian language does not distinguish gender among pronouns/objects. In keeping with this tradition of gender neutrality, Urdu poetry often refers to female objects of affection using masculine pronouns, leaving it up to the reader to perceive gender using other contextual clues. Now you know!

-Mr. 55
RajendraKumar_AshaParekh_Gharana
Despite being a quintessential romantic here of the 1960s, Rajendra Kumar never received a Filmfare Award.

Husnwale Tera Jawab Nahin: Lyrics and English Translation

husnvaale teraa javaab nahii.n
Oh, beautiful one! There is no match for you. 
koii tujh-saa nahii.n hazaaro.n me.n
Among thousands, you are peerless.

tuu hai aisii kalii jo gulshan me.n
You are the flower bud that invites
saath apne bahaar laayii ho
the new Spring to the rose garden.
tuu hai aisii kiran jo raat Dhale
You are the ray of light that, upon nightfall,
chaa.ndnii me.n nahaa ke aayii ho
arrives bathed in the moonlight. 
yeh teraa nuur ye tere jalve
Your luster and resplendence shine
jis tarah chaa.nd ho sitaaro.n me.n
like the Moon among the stars.

terii aa.nkho.n me.n aisii mastii hai
Your eyes evoke a deep intoxication,
jaise chhalke hue ho paimaane
like a goblet overflowing with wine. 
tere ho.nTho.n me.n voh khamoshii hai
You lips contain the silence of
jaise bikhre hue ho afsaane
hidden tales scattered in the wind.
terii zulfo.n kii aisii rangat hai
The dark hue of your tresses is colored
jaise kaalii ghaTaa bahaaro.n me.n
like the black clouds of springtime.

terii surat jo dekh le shaayar
If a poet were to behold your face,
apne shero.n me.n taazgii bhar le
it would fill his couplets with new passion.
ek musavviir jo tujh ko paa jaaye
If a painter were to meet you,
apne khvaabo.n me.n zindagii bhar le
it would fill the creations of his dreams with new life.
naghmagar DhuunDh le agar tujh ko
If a songster were to find you,
dard bhar le voh dil ke taaro.n me.n
his tune of melancholy would pull at the heartstrings.

husnvaale teraa javaab nahii.n
Oh, beautiful one! There is no match for you. 

Glossary

husnvaale: beautiful one; javaab: match; tujh-saa: like you; kalii: flower bud; gulshan: rose garden; chaa.ndnii: moonlight; nahaanaa: to bathe; nuur: light, luster; jalvaa: passion, resplendence; chaa.nd: moon; sitaaraa: star; mastii: intoxication; chhalke hue: spilled, overflowing; paimaanaa: goblet; khamoshii: silence; bikhre hue: scattered; afsaanaa: tale; zulfe.n: tresses; rangat: color; ghaTaa: cloud; surat: face; shaayar: poet; sher: couplet; taazgii: freshness, passion; musavviir: painter; naghmagar: songster; dil ke taar: heartstrings.

RajendraKumar_AshaParekh_Gharana
Rajendra Kumar and Asha Parekh star in their first film together in Gharana (1961)

 

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Neele Gagan Ke Tale Lyrics and Translation: Let’s Learn Urdu-Hindi

Neele Gagan Ke Tale 2
Rajkumar gets romantic with his co-star Vimi in “Neele Gagan Ke Tale” from Humraaz (1967)

Next we showcase the lovely lyrics and English translation of “Neele Gagan Ke Tale” from Humraaz (1967). Set against a peaceful blue sky, Rajkumar and Vimi express their young love for each other as the voice of Mahendra Kapoor floats above. Because of this, the song carries a timeless quality marked by omniscience, as if everything we see is approved by Heaven. Whether a gentle horseback ride or riverside rendez-vous, “Neele Gagan Ke Tale” focuses just as much attention on the protagonists as it does on the wonder of nature. With an opening number as famously idyllic as this, Humraaz effectively lulls the viewer into a false sense of security. A highly underrated mystery thriller, the film shifts gears radically, filled with exciting turns and unexpected cameos until the shocking, but artistically very satisfying end. But that Elysian paradise of “Neele Gagan Ke Tale” where lovers dream and Earth is in bloom will continue to live on forever.

Rajkumar Vimi Neele Gagan ke Tale Humraaz 1967
Mahendra Kapoor’s  “Neele Gagan Ke Tale” is appropriately filmed against a beautiful deep blue sky.

Humraaz is also a rare showcase of Mahendra Kapoor’s talent as a singer. Music director Ravi is often credited as making Kapoor’s career with opportunities and expressiveness that other music directors famously denied him. A devoted Mohammed Rafi disciple, Mahendra Kapoor was often brushed aside by music directors like O.P. Nayyar, who unfairly referred to Kapoor as “besuraa” or “tuneless” in comparison! Ravi, however, believed in Kapoor’s unique talent and freely demonstrated his ability with Sahir Ludhianvi lyrics from the tragic “Chalo Ek Baar Phir Se” to the romantic “Kisi Patthar Ki Murat Se” also from Humraaz. The evergreen hit “Neele Gagan Ke Tale” won Kapoor the filmfare award for Best Playback Singer in 1967! And indeed, one listen of Kapoor’s resonant, tender vocals in this sweet ballad will quickly quell any dissent (which, coming from myself, a fight-to-the-death Rafi groupie, says a lot)! Paired with the blissfully romantic landscapes of India’s beloved tea estates in Darjeeling, the song is truly one of the most gorgeous classic Bollywood has to offer.

Rajkumar Vimi darjeeling Humraaz
Rajkumar and Vimi enjoy the peaceful Darjeeling landscapes in Humraaz (1967).

We hope you enjoy the full lyrics and English translation of “Neele Gagan Ke Tale” below. Follow along with the video and let us know how much you love the escapist fantasy of it all in the comments!

Neele Gagan Ke Tale Lyrics and Translation:

Hey neele gagan ke tale
Beneath the blue sky
Dhartii ka pyaar phale
The love of earth blossoms
Aise hii jag mei.N aate hai.N subahe.N
In this place the morning arrives
Aise hii shaam Dhale
In this place the evening falls
Hey neele gagan ke tale
Beneath the blue sky
Dhartii ke pyaar phale
The love of earth blossoms

Shabnam kii motii phoolo.N pe bhikre
The pearls of morning dew spread upon the flowers
Dono.N kii aas phale
And both of their desires flourish
Hey neele gagan ke tale
Beneath the blue sky
Dhartii ke pyaar phale
The love of earth blossoms

Bhalkaatii bele.N mastii mei.N khele
The sprawling branches play joyfully
PeDo.N se milke gale
And meet the embrace of the trees
Hey neele gagan ke tale
Beneath the blue sky
Dhartii ke pyaar phale
The love of earth blossoms

Nadiyaa kaa paanii dariyaa se milke
The water of the stream meets the river
Saagar kii or chale
And travels toward the ocean
Hey neele gagan ke tale
Beneath the blue sky
Dhartii ke pyaar phale
The love of earth blossoms

Glossary:

neelaa: blue; gagan: sky; tale: below; dhartii: earth; pyaar: love; phalna: to blossom; jag: place; subaah: morning; shaam: evening; Dhalnaa: to set, to diminish; shabnam: dew; motii: pearl; aas: desire; bhalkaatii: sprawling, winding; bel: branch; mastii: intoxication, joy; peD: tree; gale: embrace; nadiyaa: stream: paanii: river; dariyaa: river; saagar: ocean; or: toward, direction

Rajkumar Vimi Humraaz Neele gagan ke tale
Rajkumar is one heck of a handsome soldier as he bids a tender farewell to Vimi in Humraaz (1967).

Fun fact: “Neele Gagan Ke Tale” also makes our list of favorite “horse songs” found in Bollywood films because of its opening trot!

-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

Jaane Kaise Sapnon Mein Lyrics and Translation: Let’s Learn Urdu-Hindi

Two Bharat Ratnas come together: Pt. Ravi Shankar and Lata Mangeshkar

Today, we present a guest blog entry by one of our favorite readers Pothik Chatterjee:

“The classical sun of India has set and a darkness has come over. There is no artist who spread Indian music this rapidly across the world.”

–Lata Mangeshkar, on the passing of Ravi Shankar

Legendary Indian classical musician and composer Pandit Ravi Shankar, passed away recently on December 11, 2012 at the age of 92 near his home in Encinitas, California. Shankar, a winner of the prestigious Bharat Ratna award, was a proponent of  “world music” before the term became fashionable in the field. He is most famous in the West for his collaborations with violin virtuouso Yehudi Menuhin, minimalist composer Phillip Glass, and Beatles singer George Harrison. Shankar’s legacy is a testament to the fact that truly great music can overcome cultural barriers and achieve appreciation on a universal scale.

In 2006, I received the opportunity to hear Pandit-ji and his daughter Anoushka Shankar perform live in Washington D.C.  It was a sublime musical experience that I cherish fondly to this day. Even as a child, I have memories of watching Satyajit Ray’s film, Pather Panchali (1955)  and being moved to tears by the touching story of a Bengali family in rural India. The soundtrack that Shankar composed for Ray’s film and the entire Apu Trilogy was so powerful and emotionally stirring that it could be regarded as one of the film’s major characters in itself. Shankar also composed the soundtrack for Richard Attenborough’s Gandhi, earning him a coveted Oscar nomination.

Pt. Ravi Shankar teaches George Harrison on the sitar.

It is less well-known that that Pandit-ji also composed a handful of soundtracks in the arena of Bollywood cinema, including Anuradha (1960), Godaan (1963) and Meera (1979). As a tribute to Ravi Shankar’s contributions to Hindi film music, we provide the lyrics and English translation for jaane kaise sapno.n me.n from Anuradha (1960). Directed by Hrishikesh Mukherjee, this film is based on a short story by Sachin Bhowmick that was originally inspired by Gustave Flaubert’s novel Madame Bovary. The film tells the story of  Anuradha (played by Leela Naidu), who goes against her father’s wishes by marrying an idealistic doctor (Balraj Sahni). Anuradha sacrifices her singing career to move to the village with her husband, and the film depicts her ensuing feelings of marginalization and entrapment.

The soundtrack to this film is especially memorable for Ravi Shankar’s collaboration with Lata Mangeshkar. Lata navigates effortlessly through the difficult classical compositions of this soundtrack, matching Shankar’s musical genius every step of the way. In this particular song, Shankar crafts a pleasant melody based on raga Tilak Shyam, a hybrid creation of Pandit-ji himself that fuses the evening ragas Tilak Kamod and Shyam Kalyan. Appropriately enough, the picturization here depicts the beautiful and expressive Leela Naidu walking with Balraj Sahni through a grove of coconut trees in the evening with the sun setting behind them.  As a joyous and exuberant raga, Tilak Shyam is often performed at a fast tempo, evoking a sense of romantic delirium that is also reflected in this song’s lyrics penned by Shailendra.

Leela Naidu makes her debut as a Bollywood heroine in Anuradha (1960)

Even diehard fans of vintage Hindi cinema may not recognize the name Leela Naidu. Born to an Indian father and Irish-French mother, Naidu received an elite education in Switzerland and began her training as an actress under the renowned French director Jean Renoir. In 1954, she was named Miss India and made Vogue magazine’s top ten list of most beautiful women in the world. In 1960, Naidu made her Bollywood debut in Anuradha. However, despite her beauty and competence as an actress, she failed to achieve success in the Bollywood industry. There are some interesting parallels between Shankar and Naidu’s experiences in Hindi cinema: the Western exposure and upbringing of both artists alienated them as outsiders in some ways, and this may have prevented them from reaching their full potential in the industry. Perhaps they could only be fully appreciated by the classes, and not the masses of Bollywood fans.

On the other hand, Ravi Shankar did command immense respect from the music directors and singers in the Hindi film world. Such was his aura that when music director Ravi (of Chaudhvin ka Chand fame) entered the film industry, he happily gave up the last part of his name out of reverence. Initially, he was called Ravi Shankar but he did not want to be confused with Pandit-ji.

To conclude, I’ll leave you with an interesting tidbit of controversy about Ravi Shankar and Lata Mangeshkar that originated from their work together during the recordings for Anuradha. Because Lata had failed to show up to one of her recording sessions for the this film without prior notice, tensions flared between these two legendary artists. Years later, Ravi Shankar returned to mainstream Hindi cinema in 1979 to compose the music of Gulzar’s directorial venture Meera. In place of Bollywood’s reigning playback queen, Vani Jairam sang all the compositions on this soundtrack, and she even received a Filmfare Award for her work! Clearly, it doesn’t always pay to be a diva…

-Pothik Chatterjee (@pothik on Twitter)

Jaane Kaise Sapnon Mein: Lyrics and Translation

jaane kaise sapno.n me.n kho gayii.n a.nkhiiyaa.n?
Who knows in which dreams my eyes have become lost?
mai.n to huu.n jaagii, morii so gayii.n a.nkhiyaa.n
I am awake, yet my eyes have fallen asleep.

ajab diivaanii bhayii, mose a.njaanii bhayii
My eyes have become wondrously mad and unfamiliar to me.
pal me.n parayii dekho ho gayii.n a.nkhiiyaa.n
in a moment, my own eyes have turned into strangers.
mai.n to huu.n jaagii, morii so gayii.n a.nkhiyaa.n
I am awake, yet my eyes have gone to sleep.

barsii yah kaisii dhaaraa, kaa.npe tan-man saaraa
Such a torrent has rained upon me that my entire body and soul is quivering.
ra.ng se a.ng bhigo gayii.n a.nkhiyaa.n
Along with my body, my eyes have become soaked in color.
mai.n to huu.n jaagii, morii so gayii.n a.nkhiyaa.n
I am awake, yet my eyes have gone to sleep.

man ujiyaaraa chhaayaa, jag ujiyaaraa chhayaa
When my mind was illuminated, the world lit up.
jag-mag diip sanjo gayii.n a.nkhiyaa.n
The glimmering candles in my eyes have become enshrined.
mai.n to huu.n jaagii, morii so gayii.n a.nkhiyaa.n
I am awake, yet my eyes have gone to sleep.

koii man bhaa gayaa, jaaduu vah chalaa gayaa
Someone has pleased my mind; he has cast his magic upon me.
man ke do motiyaa.n piro gayii.n a.nkhiyaa.n
The two pearls of my mind have been joined together as my eyes.
mai.n to huu.n jaagii, morii so gayii.n a.nkhiyaa.n
I am awake, yet my eyes have gone to sleep.

jaane kaise sapno.n me.n kho gayii.n a.nkhiyaa.n?
Who knows in which dreams my eyes have become lost?

Glossary:

sapnaa: dream; kho jaanaa: to become lost; a.nkhiiyaa.n: eyes; morii: my, an archaic form of merii; jaagii: awake; so jaanaa: to go to sleep; ajab: strange, wondrous; diivaanaa: mad, crazy; mose: from/to me, an archaic form of mujhse; anjaanii: unknown, unfamiliar; paraayaa: stranger, foreign; barasnaa: to rain; dhaaraa: torrent, tide; kaa.npnaa: to quiver; tan-man: body and soul; a.ng: body; bhigo jaanaa: to become soaked; ujiyaaraa chhanaa: to be illuminated, to light up; jag-mag: glimmering; diip: candle; sanjo jaanaa: to become enshrined; man bhaanaa: to please the mind; jaaduu chalaanaa: to cast magic; motii: pearl; piro jaanaa: to be joined together.

Leela Naidu experiences her first love with Balraj Sahni in Anuradha (1960)
Leela Naidu experiences her first love with Balraj Sahni in Anuradha (1960)

Kisi Patthar Ki Murat Se Lyrics and Translation: Let’s Learn Urdu-Hindi

Sunil Dutt serenades Vimmi at an evening soiree in Hamraaz (1967)

The soundtrack of B.R. Chopra’s Hamraaz (1967) is remembered today for its showcasing of Mahendra Kapoor’s voice. Music director Ravi composed some unforgettable tunes for Mahendra Kapoor in this film, including “niile gagan ke tale,” “tum agar saath dene kaa vaadaa karo,” “na muu.nh chhupaake jiiyo,” and the gem that I’ve chosen to translate today: “kisii patthar kii muurat se.

This song is found toward the beginning of Hamraaz, an entertaining murder mystery starring Sunil Dutt and newcomer Vimmi among a supporting cast of well-known names like Balraj Sahni, Helen, Mumtaz, Madan Puri, and Raaj Kumar. In the film, Sunil Dutt plays the role of a popular stage actor who falls in love with Vimmi, the daughter of a wealthy contractor, during a trip to Darjeeling. With this particular song, he serenades Vimmi around the piano at an evening soiree.

Sahir Ludhianvi was right on point when he described the film’s heroine Vimmi as a “patthar kii muurat” (a statue of stone) in this song. In an otherwise entertaining and well-produced film, Vimmi sticks out as a sore thumb for her tepid and expressionless acting. While Vimmi certainly had the beauty to make it in films, it is clear from her debut performance here that she was not cut out to become an actress. Introduced to B.R. Chopra by music director Ravi after meeting at a dinner party in Calcutta, Vimmi struggled immensely during the production of Hamraaz. Next to some of the stalwarts involved with film, Vimmi appeared to be a novice as she struggled to deliver her lines and required take after take to complete the simplest scenes. Interestingly, in spite of Vimmi’s lackluster performance, Hamraaz was a big hit when it was released. Unfortunately, Vimmi could not capitalize on the success of her debut and she failed to make a successful career for herself in the industry. Like many individuals associated with Bollywood, Vimmi’s life ended in tragedy: her family disowned her after she signed Hamraaz, her marriage fell apart a few years later, and it is said that she even turned to prostitution to finance an addiction to alcohol before her death. Quite sad, indeed. You can learn more about her tragic life by reading a surprisingly detailed Wikipedia biography here.

In any case, this song is a pure delight to listen to because of Sahir’s exquisite use of Urdu poetry combined with Mahendra Kapoor’s silky vocals. For a seemingly simple song, some of the Urdu here is quite advanced–do you know what the words parastish, taqalluf, and baghaavat mean? If not, find out by reading the glossary and translation that we’ve provided below! To learn more about another classic song produced by the Mahendra Kapoor-Sahir-Ravi combo, see our previous post on “chalo ek baar phir sehere.

-Mr. 55
Songs picturized around the piano are so classy.

Kisi Patthar Ki Murat Se Lyrics and Translation

kisii patthar kii muurat se muhabbat kaa iraadaa hai
I have intentions of loving a statue of stone.
parastish kii tamanna hai, ibaadat kaa iraadaa hai
I desire to worship it; I intend to pray to it.

jo dil kii dhaDakane.n samajhe, na aa.nkho.n kii zubaa.n samajhe
She understands neither the beating of my heart nor the language of my eyes.
nazar kii guftaguu samajhe, na jazabo.n kaa bayaa.n samajhe
She understands neither the dialogue of my glances nor the expression of my emotions.

usii ke saamane uskii shikaayat kaa iraadaa hai
I intend to air my grievances about this woman in her presence.

sunaa hai har javaan patthar ke dil me.n aag hotii hai
I have heard that a flame resides in the hearts of these young stones.

magar jab tak na chheDo, sharm ke parde me.n sotii hai
Yet, until you inflame it further, it remains asleep behind a veil of modesty.
yeh sochaa hai ki dil kii baat uske ruubaruu kah de.n
I have resolved to express my heart’s feelings to her face-to-face.

natiija kuch bhii nikale aaj apanii aarazuu kah de.n
Regardless of the outcome, I will reveal my desires to her. 

har ek bejaan taqalluf se baghaavat kaa iraadaa hai
I intend to rebel against every spiritless formality today.

muhabbat berukhii se aur bhaDakegii voh kyaa jaane
Little does she know that her indifference will further arouse my love,
tabiiyat is adaa pe aur phaDakegii voh kyaa jaane
Little does she know that my disposition will be further agitated by her charm,
voh kyaa jaane ki apnaa kis qayaamat kaa iraadaa hai
And little does she know of my disastrous intentions. 

kisii patthar kii muurat se muhabbat kaa iraadaa hai
I have intentions of loving a statue of stone.

Glossary

muurat: statue; iraadaa: intention; parastish: worship; tamanna: desire; ibaadat: worship; zubaa.n: language; guftaguu: dialogue, conversation; jazbaa: emotion; bayaa.n: expression; shikaayat: complaint; chheDnaa: to tease, inflame; ruubaru: face-to-face; natiija: outcome; aarazuu: desire; bejaan: spiritless; taqalluf: formality; baghaavat: rebelion; berukhii: indifference; bhaDakanaa: to arouse, flare up; tabiiyat: disposition; adaa: charm; phaDakanaa: to quiver, agitate; qayaamat: disaster.

Despite her looks, Vimmi falls very flat in her debut role as Meena in Hamraaz (1967)