Har Ek Ghar Mein Diyaa Bhi Jale, Anaaj Bhi Ho -2
Agar Na Ho Kahin Aisaa To Ehatjaaj Bhi Ho -2
Har Ek Ghar Mein Diyaa Bhi Jale, Anaaj Bhi Ho
Hukumaton Ko Badalnaa To Kuchh Muhaal Nahin -2
Hukumatein Jo Badaltaa Hai Vo Samaaj Bhi Ho -2
Agar Na Ho Kahin Aisaa To Ehatjaaj Bhi Ho -2
Har Ek Ghar Mein Diyaa Bhi Jale, Anaaj Bhi Ho
Rahegi Kab Talak Vaadon Mein Qaid Khush-Haali -2
Har Ek Baar Hi Kal Kyun, Kabhi To Aaj Bhi Ho
Agar Na Ho Kahin Aisaa To Ehatjaaj Bhi Ho
Har Ek Ghar Mein Diyaa Bhi Jale, Anaaj Bhi Ho
Na Karte Shor Sharaabaa To Aur Kyaa Karte -2
Tumhaare Shahar Mein Kuchh Aur Kaam Kaaj Bhi Ho -2
Har Ek Ghar Mein Diyaa Bhi Jale, Anaaj Bhi Ho
Agar Na Ho Kahin Aisaa To Ehatjaaj Bhi Ho
Nida Fazli
Ehatjaaj = Revolution, Rebellion
Showing posts with label urdu poetry. Show all posts
Showing posts with label urdu poetry. Show all posts
Saturday, December 06, 2008
Har Ek Ghar Me Diya Bhi Jale Anaaj Bhi Ho
In these turbulent times I am reminded of this beautiful poem written by Nida Fazli, one of my favorite poets. Please take a read down this amazingly written nazm.
Monday, December 01, 2008
Is baar Nahin - Mumbai Terror Poem by Prasoon Joshi
Lyricist Prasoon Joshi wrote this poem after the Mumbai terror attacks.
Says the ad guru and film lyricist, “I believe it should reach as many people as possible because it is our collective pain and voice”.
Is baar nahin
Is baar jab woh choti si bachchi mere paas apni kharonch le kar aayegi
Main usey phoo phoo kar nahin behlaoonga
Panapney doonga uski tees ko
Is baar nahin
Is baar jab main chehron par dard likha dekhoonga
Nahin gaoonga geet peeda bhula dene wale
Dard ko risney doonga,utarney doonga andar gehrey
Is baar nahin
Is baar main na marham lagaoonga
Na hi uthaoonga rui ke phahey
Aur na hi kahoonga ki tum aankhein band karlo,
gardan udhar kar lo main dawa lagata hoon
Dekhney doonga sabko hum sabko khuley nangey ghaav
Is baar nahin
Is baar jab uljhaney dekhoonga,chatpatahat dekhoonga
Nahin daudoonga uljhee door lapetney
Uljhaney doonga jab tak ulajh sake
Is baar nahin
Is baar karm ka hawala de kar nahin uthaoonga auzaar
Nahin karoonga phir se ek nayee shuruaat
Nahin banoonga misaal ek karmyogi ki
Nahin aaney doonga zindagi ko aasani se patri par
Utarney doonga usey keechad main,tedhey medhey raston pe
Nahin sookhney doonga deewaron par laga khoon
Halka nahin padney doonga uska rang
Is baar nahin banney doonga usey itna laachaar
Ki paan ki peek aur khoon ka fark hi khatm ho jaye
Is baar nahin
Is baar ghawon ko dekhna hai
Gaur seThoda lambe wakt tak
Kuch faisleyAur uskey baad hausley
Kahin toh shuruat karni hi hogi
Is baar yahi tay kiya hai
… Prasoon Joshi
Says the ad guru and film lyricist, “I believe it should reach as many people as possible because it is our collective pain and voice”.
Is baar nahin
Is baar jab woh choti si bachchi mere paas apni kharonch le kar aayegi
Main usey phoo phoo kar nahin behlaoonga
Panapney doonga uski tees ko
Is baar nahin
Is baar jab main chehron par dard likha dekhoonga
Nahin gaoonga geet peeda bhula dene wale
Dard ko risney doonga,utarney doonga andar gehrey
Is baar nahin
Is baar main na marham lagaoonga
Na hi uthaoonga rui ke phahey
Aur na hi kahoonga ki tum aankhein band karlo,
gardan udhar kar lo main dawa lagata hoon
Dekhney doonga sabko hum sabko khuley nangey ghaav
Is baar nahin
Is baar jab uljhaney dekhoonga,chatpatahat dekhoonga
Nahin daudoonga uljhee door lapetney
Uljhaney doonga jab tak ulajh sake
Is baar nahin
Is baar karm ka hawala de kar nahin uthaoonga auzaar
Nahin karoonga phir se ek nayee shuruaat
Nahin banoonga misaal ek karmyogi ki
Nahin aaney doonga zindagi ko aasani se patri par
Utarney doonga usey keechad main,tedhey medhey raston pe
Nahin sookhney doonga deewaron par laga khoon
Halka nahin padney doonga uska rang
Is baar nahin banney doonga usey itna laachaar
Ki paan ki peek aur khoon ka fark hi khatm ho jaye
Is baar nahin
Is baar ghawon ko dekhna hai
Gaur seThoda lambe wakt tak
Kuch faisleyAur uskey baad hausley
Kahin toh shuruat karni hi hogi
Is baar yahi tay kiya hai
… Prasoon Joshi
Thursday, December 14, 2006
Nice Article on Sahir Ludhianvi
Published in
The Times of India Online timesofindia.indiatimes.com > Culture Curry
Har ek pal ka shayar[ 30 Oct, 2005 0252hrs IST TIMES NEWS NETWORK ]
Maana ki is zameen ko na gulzar kar sake Kuch khaar kam to kar gaye guzre jidhar se hum (Yes, I could not flower gardens on this earth/But I did lessen a few thorns on the paths I travelled) Sahir Ludhianvi, poet, humanist, rebel and incurable romantic, wrote those lines with characteristic self-deprecation. But of one thing there is no doubt: as far as the film world went, he flowered it in a way no lyricist before or after him did, changing the paradigm of the film song and elevating it to a standard that set a benchmark for generations. Much has been written about Sahir: the pain and rejection of his childhood and early youth that echoed in his poetry; the sublimation of that pain into a humanist vision that embraced the helpless and dispossessed of the world; his style, rich in thought, yet unburdened by complexity, so simple and direct that it went straight to the heart; his social conscience that gave the Hindi film world its most landmark lyrics in films like Pyaasa, Phir Subah Hogi, Sadhana and Dhool Ka Phool. And of course the beauty of his layered, mostly anguish-filled, romantic poetry in films from Girlfriend to Gumraah to Kabhi Kabhie.
But—and this is a personal take, no doubt—the magic of Sahir lay as much in his less celebrated songs. At a time when romantic lyrics didn't go too far beyond chaand, raat and judaai, his takes on love were more innovative: Tum agar mujhko na chaho to koi baat nahin/Tum kisi aur ko chahogi to mushkil hogi or Tum mujhe bhool bhi jaao to yeh haq hai tumko/Meri baat aur hai maine to mohabbat ki hai or indeed Chalo ek baar phir se ajnabi ban jaayen hum dono. In Dhund, a little known B film, there is a gooseflesh-inducing song Sansar ki har shai ka itna hi fasana hai/Ek dhund se aana hai ek dhund mein jaana hai. A verse goes: Ek pal ki palak par hai thehri hui yeh duniya/Ek pal ke jhapakne tak har khel suhana hai. Innumerable Hindi film songs have been written on the life-death enigma but few as original as this one. Indeed, Sahir could suffuse the most ordinary film situation with meaning. Take Aage bhi jaane na tu, a mere 'club song' like Zindagi ittefaq hai years after it. In this lyric, on the ephemerality of the moment and the consequent need to live it fully, he spotlighted the elusive pal, garbing yesterday and tomorrow in an ominous darkness: Anjaane saayon ka raahon mein dera hai/Andekhi baahon ne hum sab ko ghera hai/Yeh pal ujala hai baki andhera hai/Yeh pal gawana na, yeh pal hi tera hai.
If you listen to it carefully, it is an amazing song, and possibly the inspiration for two lovely seize-the-moment lyrics that followed later: Gulzar's Aane waala pal and Javed Akhtar's Har ghadi badal rahi hai roop zindagi. Whatever the context, few songs of Sahir were mundane. Not too many lyricists would have embedded philosophy in a rag-bone man's call: Khali dabba khali botal le le mere yaar/Khali se mat nafrat karna khali sab sansar. Or imbued a seemingly flip song revolving around a cigarette lighter (Main zindagi ka saath nibhata chala gaya/Har fikr ko dhuen mein udata chala gaya) with such depth. Main zindagi ka saath... is no smoker's anthem, it is virtually a Vedantic paen to equanimity, and so simply and beautifully expressed at that. To try and bring out the genius of Sahir Ludhianvi in a few hundred words is a frustrating exercise in futility. Does one talk about the little surprises in his songs—a stray line or two that take your breath away when you least expect it—like Marne ka salika aate hi/Jeene ka shaoor aa jaata hai, a line in the essentially romantic song Chehre pe khushi chha jaati hai from Waqt? Does one focus on his uncanny gift of expression, the sheer beauty of his words? Suffice it to say that he was a class apart. Years ago, in one of his most famous songs, Main pal do pal ka shaayar hoon, he wrote 'Kal aur aayenge naghmon ki/Khilti kaliyan chunne waale/Mujhse behtar kehne waale/Tumse behtar sunne waale'. Sahir was wrong. Forget anyone better, there has never been anyone who even came close to him.
The Times of India Online timesofindia.indiatimes.com > Culture Curry
Har ek pal ka shayar[ 30 Oct, 2005 0252hrs IST TIMES NEWS NETWORK ]
Maana ki is zameen ko na gulzar kar sake Kuch khaar kam to kar gaye guzre jidhar se hum (Yes, I could not flower gardens on this earth/But I did lessen a few thorns on the paths I travelled) Sahir Ludhianvi, poet, humanist, rebel and incurable romantic, wrote those lines with characteristic self-deprecation. But of one thing there is no doubt: as far as the film world went, he flowered it in a way no lyricist before or after him did, changing the paradigm of the film song and elevating it to a standard that set a benchmark for generations. Much has been written about Sahir: the pain and rejection of his childhood and early youth that echoed in his poetry; the sublimation of that pain into a humanist vision that embraced the helpless and dispossessed of the world; his style, rich in thought, yet unburdened by complexity, so simple and direct that it went straight to the heart; his social conscience that gave the Hindi film world its most landmark lyrics in films like Pyaasa, Phir Subah Hogi, Sadhana and Dhool Ka Phool. And of course the beauty of his layered, mostly anguish-filled, romantic poetry in films from Girlfriend to Gumraah to Kabhi Kabhie.
But—and this is a personal take, no doubt—the magic of Sahir lay as much in his less celebrated songs. At a time when romantic lyrics didn't go too far beyond chaand, raat and judaai, his takes on love were more innovative: Tum agar mujhko na chaho to koi baat nahin/Tum kisi aur ko chahogi to mushkil hogi or Tum mujhe bhool bhi jaao to yeh haq hai tumko/Meri baat aur hai maine to mohabbat ki hai or indeed Chalo ek baar phir se ajnabi ban jaayen hum dono. In Dhund, a little known B film, there is a gooseflesh-inducing song Sansar ki har shai ka itna hi fasana hai/Ek dhund se aana hai ek dhund mein jaana hai. A verse goes: Ek pal ki palak par hai thehri hui yeh duniya/Ek pal ke jhapakne tak har khel suhana hai. Innumerable Hindi film songs have been written on the life-death enigma but few as original as this one. Indeed, Sahir could suffuse the most ordinary film situation with meaning. Take Aage bhi jaane na tu, a mere 'club song' like Zindagi ittefaq hai years after it. In this lyric, on the ephemerality of the moment and the consequent need to live it fully, he spotlighted the elusive pal, garbing yesterday and tomorrow in an ominous darkness: Anjaane saayon ka raahon mein dera hai/Andekhi baahon ne hum sab ko ghera hai/Yeh pal ujala hai baki andhera hai/Yeh pal gawana na, yeh pal hi tera hai.
If you listen to it carefully, it is an amazing song, and possibly the inspiration for two lovely seize-the-moment lyrics that followed later: Gulzar's Aane waala pal and Javed Akhtar's Har ghadi badal rahi hai roop zindagi. Whatever the context, few songs of Sahir were mundane. Not too many lyricists would have embedded philosophy in a rag-bone man's call: Khali dabba khali botal le le mere yaar/Khali se mat nafrat karna khali sab sansar. Or imbued a seemingly flip song revolving around a cigarette lighter (Main zindagi ka saath nibhata chala gaya/Har fikr ko dhuen mein udata chala gaya) with such depth. Main zindagi ka saath... is no smoker's anthem, it is virtually a Vedantic paen to equanimity, and so simply and beautifully expressed at that. To try and bring out the genius of Sahir Ludhianvi in a few hundred words is a frustrating exercise in futility. Does one talk about the little surprises in his songs—a stray line or two that take your breath away when you least expect it—like Marne ka salika aate hi/Jeene ka shaoor aa jaata hai, a line in the essentially romantic song Chehre pe khushi chha jaati hai from Waqt? Does one focus on his uncanny gift of expression, the sheer beauty of his words? Suffice it to say that he was a class apart. Years ago, in one of his most famous songs, Main pal do pal ka shaayar hoon, he wrote 'Kal aur aayenge naghmon ki/Khilti kaliyan chunne waale/Mujhse behtar kehne waale/Tumse behtar sunne waale'. Sahir was wrong. Forget anyone better, there has never been anyone who even came close to him.
Subscribe to:
Posts (Atom)