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)

Dil Cheez Kya Hai Lyrics and Translation: Let’s Learn Urdu-Hindi

Posted on February 1, 2013 by mrandmrs55

Rekha stars as a courtesan and poetess in Umrao Jaan (1981), based on an Urdu novel by Mirza Muhammad Hadi Ruswa

Today, we continue our series on Umrao Jaan (1981) by providing the lyrics and English translation to what is arguably the film’s most popular song: dil chiiz kyaa hai? Based on Mirza Muhammad Hadi Ruswa’s novel Umrao Jaan Ada, this film narrates the tragic tale of a young girl who is kidnapped and forced to become a tawaif (courtesan).

Through the course of this film, we witness the transformation of an innocent young girl Amiran as she becomes Umrao Jaan Ada, one of Lucknow’s most sought after courtesans. At the brothel, young Amiran receives training in classical voice, Kathak dance, and Urdu poetry–a forbidden world of art and education that the average Indian girl of this time period would never get the chance to explore. When the brothel’s madam Khanum feels that she has been sufficiently groomed, Umrao Jaan begins performing and attracting the attention of wealthy patrons all over Lucknow. Umrao’s first public performance as a courtesan is marked by the song dil chiiz kyaa hai?

This gem is considered to be one of Asha Bhonsle’s career-defining songs, and she was awarded a National Film Award for her performance of this ghazal along with the rest of her contributions to this soundtrack. Khayyam bagged a well-deserved National Film Award for his compositions in this film, and Rekha took home the National Film Award for Best Actress. From her performance in this mujra in particular, it is clear that Rekha is worthy of all the critical acclaim she received for her work in Umrao Jaan. Although she may lack the technical precision of a trained Kathak dancer, she compensates with her compelling on-screen presence and natural elegance. With eyes like hers, would any man in Lucknow be able to resist the charms of Umrao Jaan Ada?

What is your favorite song from the Umrao Jaan soundtrack? Share with us in the comments! Until next time…

-Mr. 55

Rekha’s mujras in this film, especially dil chiiz kyaa hai?, are fan-favorites to this day.

Dil Cheez Kya Hai: Lyrics and Translation

dil chiiz kyaa hai? aap merii jaan liijiye
What is the heart worth? Take my life instead!
bas ek baar meraa kahaa maan lijiye
But just once, please accept what I say.

is a.njuman me.n aap ko aanaa hai baar baar
You must return to this gathering time and time again.
diivaar-o-dar ko ghaur se pahchaan liijiye
So, learn to recognize these surroundings carefully.

maanaa ki dosto.n ko nahii.n dostii kaa paas
I admit that friends may not always hold friendship in high regard.
lekin yah kyaa ki ghair kaa ahsaan liijiye?
Yet, does this mean you should accept kindness from strangers?

kahiye to aasmaa.n ko zamii.n par utaar laaye.n
If you ask for it, I shall bring down the sky to the ground.
mushkil nahii.n hai kuchh bhii agar Thaan liijiye
No task is difficult if you pursue it firmly.

dil chiiz kyaa hai? aap merii jaan liijiye
What is the heart worth? Take my life instead!
bas ek baar meraa kahaa maan liijiye
But just once, please accept what I say.

Glossary

maan lenaa: to accept; anjuuman: gathering; diivaar-o-dar: walls and doors, surroundings; ghaur se: carefully; pahchaan lenaa: to recognize; dostii: friendship; paas: regard, consideration; ghair: stranger; ahsaan: favor, kindness; utaar laanaa: to bring down; Thaan lenaa: to pursue firmly.

A quick note regarding the word paas. Those of you familiar with its common use in the phrase kisii ke paas (next to someone/something) may be confused by the line “maana ki dosto.n ko nahii.n dostii kaa paas.” Here, a less common use of the word paas is used to mean regard or consideration. So, there is no relation to proximity here; the whole line would be translated as: “I admit that that friends may not always hold friendship in high regard.” Tricky, tricky.

As Umrao Jaan, Rekha seduces wealthy men in Lucknow with her most tempting asset: her eyes!

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

Justiju Jiski Thi Lyrics and Translation: Let’s Learn Urdu-Hindi

Posted on July 14, 2012 by mrandmrs55

Rekha plays the role of Umrao Jaan with elegance and sophisticated grace.

Muzaffar Ali’s Umrao Jaan (1981) is one of Bollywood’s most treasured films in the courtesan genre. With Rekha in the starring role, this film narrates the tragic story of Umrao Jaan Ada, a poetess and tawaif from the Urdu novel of the same name written by Mirza Hadi Ruswa. In addition to Rekha’s touching performance of this role, this movie has been immortalized in the history of Hindi cinema for its music. The soundtrack composed by Khayaam and penned by Shahryar is almost exclusively filled with ghazals sung by the evergreen Asha Bhonsle. In a previous post, we discussed and translated “in aa.nkhon kii mastii,” on of this film’s unforgettable ghazals. Today, on the request of one of our readers (shoutout to Vasuki!), we will be taking a closer look at another gem from the same soundtrack: “justajuu jiski thii.”

While “in aa.nkhon kii mastii” showcases the playful and proud side of Umrao Jaan, this song takes a different route and depicts the tragedy that Umrao has endured as a fallen woman. The song “justajuu jiskii thii” is found in the film when Umrao is called upon to perform a mujra at a birthday celebration for the son of the begum of Kanpur. In an ironic twist of fate, the begum turns out to be Ram Dei, the girl who was kidnapped and sold at the same time as Umrao when they were both young. Deemed the less attractive of the two, Amiran (who would later become known as Umrao Jaan) was sold to Khanum’s brothel while Ram Dei was sold as a slave to a wealthy family. As the two women share a moment together recalling the tragedies of their past, Umrao is greeted by a painful surprise: Ram Dei is actually married to Nawab Sultan, the man that Umrao fell in love with during her younger years. In the presence of the couple, Umrao sings “justajuu jiskii thii,” a ghazal whose lyrics beautifully express the tragedy of unfulfilled love.

Rita Rani Kaul, as Ram Dei, listens to Umrao’s heart-wrenching poetry in admiration.

Musically, the tune for this song is probably my favorite among all of the ghazals found in Umrao Jaan. I think it must have been the favorite of music director Khayyam as well–if you listen carefully, you’ll hear snippets of this melody used as background music at various points in the film. In fact, before the proper song starts, Umrao recites a shair for Ram Dei in the same tune: “gardish-e-vaqt kaa kitanaa baDaa ahsaan hai aaj/ yah zamii.n chaa.nd se bahtar nazar aatii hame.n.” The lyrics and tune of this song are remarkably beautiful, but the real star of the show here is Asha Bhonsle. Asha excels throughout this soundtrack, but I feel that her rendition of this song is particularly outstanding for its emotional depth and maturity. Asha was 48 years old when she recorded these songs in 1981, but her voice sounds impressive and fresh as ever. An interesting tidbit about the songs from this film is that Khayyam had Asha sing them at a half-step lower than expected (in the key of C) to create a deeper, fuller sound. Regarding her renditions on this soundtrack, Asha has said:

‘I was skeptical about the results when Khayyam lowered my pitch by half a note. But I have always believed that the composer calls the tune, so I sang just as Khayyam wanted me to do.’

There was nothing to be skeptical about here! The Asha-Khayyam collaboration for the music of Umrao Jaan has been cherished ever since this film was released, and the songs are remembered today as some of the finest examples of ghazals in Bollywood cinema. Enjoy our translation of “justajuu jiskii thi” with the glossary below, and remember to send in any requests for future posts!

-Mr. 55

Rekha excels at expressing the pain of a fallen woman through her role in Umrao Jaan (1981)

Justiju Jiski Thi: Lyrics and Translation

justajuu jiskii thii usko to na paayaa ham ne
I did not get whom I desired,
is bahaane se magar dekh lii duniyaa ham ne
Yet, on this quest, I have seen the entire world.

tujhko rusvaa na kiyaa khud bhii pashemaan na hue
I did not disgrace you, nor did I bring shame to myself.
ishq kii rasm ko is tarah nibhaayaa ham ne
In this manner, I fulfilled the vows of our love.

kab milii thii kahaa.n bichhaDii thii hame.n yaad nahii.n
I do not remember when we met or where we departed.
zindagii, tujhko to bas khvaab me.n dekhaa ham ne
Life, I have only beheld you in my dreams.

ai adaa, aur sunaaye.n bhii to kyaa haal apanaa?
What more shall I tell you of my state?
umr kaa lambaa safar tai kiyaa tanhaa ham ne
I have resigned myself to traveling the long journey of life alone.

justajuu jiskii thii usko to na paayaa ham ne
I did not get whom I desired.

Glossary

justajuu: search, quest; bahaana: excuse, pretext; rusvaa: disgraced; pashemaan: ashamed; rasm: ritual, vow; bichhaDnaa: to separate, depart; adaa: pen name for Umrao Jaan; safar: journey; tai karnaa: to settle; tanhaa: alone.

Farooq Shaikh, as Nawab Sultan, reminisces about his unfulfilled love in Umrao Jaan (1981)

In Aankhon Ki Masti Ke Lyrics and Translation: Let’s Learn Urdu-Hindi

Posted on June 6, 2012 by mrandmrs55

Rekha gives a career-defining performance as a courtesan and poetess in Umrao Jaan (1981)

I recently rewatched Muzaffar Ali’s masterpiece Umrao Jaan (1981), a film that is so brilliantly crafted that it deserves multiple posts on this blog like Pakeezah and Mughal-e-Azam. The film is based on an Urdu novel written by Mirza Muhammad Hadi Ruswa that recounts the life of one of South Asia’s most influential literary figures: Umrao Jaan. Born in Faizabad, a young girl named Amiran is kidnapped and sold to a brothel in Lucknow. As she grows older, Amiran is grooomed by the brothel’s madam until she becomes Umrao Jaan (played by Rekha), one of Lucknow’s most desirable courtesans. Misfortune after misfortune falls upon Umrao Jaan, but the film ultimately portrays her as a resilient woman whose beautiful mujras and poetry serve as a lasting legacy to her indomitable spirit.

In addition to Rekha’s stunning performance as the tawaif Umrao Jaan, this film is especially memorable for its portrayal of the richness of Lucknow’s cultural heritage. The indulgent life of nawaabs around the turn of 20th century is visually apparent in the film’s costumes, artwork, and set design, but the luxurious atmosphere in the film is taken to a new level by the soundtrack composed by Khayyam and penned by Shahryar. Here, I’ve chosen to translate one of the unforgettable mujra numbers from this film: in aa.nkho.n kii mastii.

She’s not lying when she says her eyes are intoxicating…

In this song, Umrao Jaan engages in some self-indulgent vanity. She mildly chides her lover Nawab Sultan (played by Farooq Shaikh) by saying there are thousands of other madmen in Lucknow that admire her charm and beauty. In the third verse, she continues to brag by saying that all the taverns in the world cannot serve wine as intoxicating as the wine that she serves from her glances. Finally, in the last verse, Umrao makes a warning against those that attempt to suppress her grandeur using a common symbol found in Urdu-Hindi poetry: the moth. Like moths to a flame, she claims that there are thousands of admirers in the city who would sacrifice their lives to protect her. The poetry in this song is not overly complex, but there is a subtle beauty to it that is enhanced by Asha Bhonsle’s beautiful rendition and Rekha’s graceful expressions on screen. I managed to find a very high-quality print of this song on YouTube, so please do watch the link provided above and follow along with the translation/glossary–enjoy!

–Mr. 55

P.S. Whatever you do, please do not waste three hours of your life (like I did) watching J.P. Dutta’s 2006 remake of this movie starring Aishwarya Rai and Abhishek Bacchan. It is a travesty of a film that completely disrespects the beauty of the original. I think one of the worst parts is the atrocious Urdu pronunciations. I mean, even I can get the guttural khe sound right when I say “khudaa haafiz,” and they don’t pay me the big bucks. Why can’t Aishwarya or Abhishek? And let’s not even get started on Anu Malik’s tired and stale soundtrack…

The camera adds to the meaning of the lyrics here by bringing candles into the shot when Rekha sings “is shamm-e-farozaa.n…“

In Aankhon Ki Masti Ke Lyrics and Translation

in aa.nkho.n kii mastii ke mastaane hazaaro.n hai.n
The intoxicating beauty of these eyes attracts thousands of admirers.
in aa.nkho.n se vaabastaa afsaane hazaaro.n hai.n
Indeed, there are thousands of stories associated with these eyes.

ek tum hii nahii.n tanhaa ulfat me.n merii rusvaa
You are not the only one disgraced by your love for me,
is shahar me.n tum jaise diivaane hazaaro.n hai.n
There are thousands of madmen like you in this city.

ek sirf ham hii mai ko aa.nkho.n se pilaate hai.n
It is only I who can serve you wine with my eyes,
kahne ko to duniyaa me.n maikhaane hazaaro.n hai.n
Though it is said that there are thousands of taverns in this world.

is shamm-e-farozaa.n ko aa.ndhii se Daraate ho
Although you attempt to scare this bright candle with a storm,
is shamm-e-farozaa.n ke parvaane hazaaro.n hai.n
The light from this candle attracts thousands of moths.

in aa.nkho.n kii mastii ke mastaane hazaaro.n hai.n
The intoxicating beauty of these eyes attracts thousands of admirers.

Glossary

mastii: intoxication; mastaane: admirers; vaabasta: associated with; ulfat: love; rusvaa: disgraced; mai: wine; maikhaane: taverns; shamm-e-farozaa.n: bright candle; aa.ndhii: storm; parvaane: moths.