To begin with, there are very few blessed names in Hindi Cinema who remained witness to the changing eras, right from the early decades of the black and white films to the new digital age of Cable revolution and hundreds of TV channels airing 24 hours of content just for the sake of it.
The one name that quickly strikes our mind is no doubt of Gulzar, beginning from the early 60s and still writing for the young filmmakers in the present decade of the new millennium. However the other veteran who even surpasses Gulzar is Majrooh Sultanpuri who began from Shahjehan in 1946 (before independence) with the stars K.L. Saigal and Naushad. And then continued working with the sons/next generations of all legendary music directors till the end of the century including the world legends as Ustad Nusrat Fateh Ali Khan and youth-icons as Salman Khan, Sunny Deol, Aamir Khan, Shah Rukh Khan and A. R. Rahman.
One of the most versatile and flexible lyricists of Hindi cinema who knew the art of changing with the changing times, there is actually so much to share about the rare legend, which I will surely be doing in my next book assignment becoming its key feature. But this particular write-up is to share another rare and not so talked about creation of the maestro Majrooh Sultanpuri, written in the praise of our national treasure – the one and only Lata Mangeshkar. The nazm specially penned for the Bharat Ratna, is all praises for her divine voice and uses some rare metaphors describing the blessed phenomenon.
Here it is, shared in both Roman and Hindi text with word-meanings for convenience.
“Mere Lafzon Ko Jo Chhoo Leti Hai Aawaz Teri,
Sarhaden Tod Ke Ud Jaate Hain Aashaar Mere,
Tujhko Maloom Nahin, Ya Tujhe Maloom Bhi Ho,
Voh Siyaah-Bakht Jinhe Gham Ne Sataaya Barson,
Ek Lamhe Ko Jo Sun Lete Hain Naghma Tera,
Phir Unhe Rehti Hain Jeene Ki Tamanna Barson,
Jis Ghadi Doob Ke Aahang Mein Tu Gaati Hai,
Aayaten Padhti Hai Saazon Pe Sada Tere Liye,
Dum-Ba-Dum Khair Manaatey Hain Teri Chang-o-Rabaab,
Seena-E-Nay Se Nikalti Hai Dua Tere Liye,
Naghmo-O-Saaz Ke Zevar Se Rahe Tera Singhaar
Ho Teri Maang Mein Tere Hi Suron Ki Afshan,
Teri Taanon Se Teri Aankh Mein Kaajal Ki Lakeer,
Haath Mein Tere Hi Geeton Ki Hina Ho Raqsaan,
Mere Lafzon Ko Jo Chhoo Leti Hai Aawaz Teri,
Sarhaden Tod Ke Ud Jaate Hain Aashaar Mere”
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“मेरे लफ़्ज़ों को जो छू लेती है आवाज तेरी,
सरहदें तोड़ के उड़ जाते हैं अशआर मेरे,
तुझको मालूम नहीं, या तुझे मालूम भी हो,
वो सियाह-बख़्त जिन्हें ग़म ने सताया बरसों,
एक लम्हे को जो सुन लेते हैं नग़मा तेरा,
फिर उन्हें रहती है जीने कि तमन्ना बरसों,
जिस घडी डूब के आहंग में तू गाती है,
आयतें पढ़ती हैं साज़ों पे सदा तेरे लिए,
दम-ब-दम खैर मनाते हैं तेरी चंगो-रबाब,
सीना-ए-नै से निकलती है दुआ तेरे लिए,
नग़म-ओ-साज़ के जेवर से रहे तेरा सिंगार
हो तेरी मांग में तेरे ही सुरों कि अफ़्शां,
तेरी तानों सी तेरी आंख में काजल की लकीर,
हाथ में तेरे ही गीतों की हिना हो रक़्सां,
मेरे लफ़्ज़ों को जो छू लेती है आवाज तेरी,
सरहदें तोड़ के उड़ जाते हैं अशआर मेरे”
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(Siyaah-Bakht / सियाह-बख्त – Unfortunate
Aahang / आहंग – Harmonic Melody, Rhythmic compositon
Aayten / आयतें – Verses of The Holy Books - Quran
Chang-o-Rabaab / Chang-o-Rabaab – A kind of Guitar (musical instrument)
Seena-E-Nay / सीना-ए-नै – From the heart of flute like musical instrument.
Afshan / अफशां – Golden sparkles used in make-up by women.
Raqsaan / रकसां – Dancing)
No doubt, the above expression is an exceptional, unique creation conceived by one of the most respected stalwarts of our Indian heritage for another, which truly deserves to be passed on to the next generations. It was thankfully recited by S.M. Mehdi in one of his interviews and this sharing has been made with that humble motive itself to reach all young cinema, music and poetry loving friends, saluting our blessed masters.
With warm wishes and HIS BLESSINGS
Bobby Sing
bobbytalkscinema.com
(28th April 2020)
