English Translation of ‘Ganga Behti ho kyon?” from 2003 hindi film Gangajal

English Translation of Song

“Ganga Bahti ho kyon”

from 2003 Hindi film Gangajal (The holy water from river Ganges.)

 

This song has its origin in Paul Robson’s Old Man River. Noted Indian signer and lyricist, Dr Bhupen Hazarika rendered this song into Assamese, then into Bangla, and finally for the film Gangajal, into Hindi.
The words in brackets [] are not part of the original song. I added them for description and amplification. Click the link below to view  this song on youtube.

http://www.youtube.com/watch?v=J0muyIMaVy8&feature=related

The songs starts with a verse  in Assamese language. The English translation in brackets ().

Bistirna paarore
( On your wide/mighty banks)
Axonkhya jonre
(That are home to countless people)
Hahakar xuniu
(In spite of hearing their anguished cries)
Nixobde nirobe
(so silently and unmindfully)
Burha luit tumi
(Oh you Old Luit – Luit is another name of Brahmaputra river.)
Burha luit buwa kiyo?
(why do you or how can you flow?)

[ I am thankful to Mohan Bhuyan for translating the Assamese verse  into English]

MAIN SONG

[Opening line] The people who live in the vast stretches on your both side are screaming in grief, yet meekly, as always, O Ganga, you! O Ganga, why do you flow [without a protest]?

[1] Morality is destroyed and humanity is corrupted, yet shamelessly why do you flow [without a protest]?  With a loud voice of anger, the history  beacons, O stream of Ganga,   yet why do you not turn weak into strong warriors and complete doers?

[2] There are uncountable numbers of uneducated, illiterate, and unfed  people, yet like a blind that cannot see, O Ganga, why do you keep silent  ? With a loud voice of anger,  the history is beaconing, O stream of Ganga,   yet why do you not turn weak into strong warriors and complete doers?

[Female Voice] The people who live in the vast stretches on your both side are screaming in grief, yet meekly, as always, O Ganga, you! O Ganga, why do you flow [without a protest]?

[3] People are self-centered and society is bereft of a character. O Ganga, why do you not dissolve the lifeless society? With a loud voice of anger,  the history beacons, O stream of Ganga,   yet why do you not turn weak into strong warriors and complete doers?

[Female voice] The people who live in the vast stretches on your both side are screaming in grief, yet meekly, as always, O Ganga, you! O Ganga, why do you flow [without a protest]?

[4] Why did you stop being a source of action and energy? Why did you become inanimate? Why you stopped giving inspirations to lives. Where are the battle cries of Avani or Kuruskshetra  ?  O mother Ganga, in the newIndia, why do you not beget a victorious son like Bhishma, the great warrior?

[Female Voice] The people who live in the vast stretches on your both side are screaming in grief, yet meekly, as always, O Ganga, you! O Ganga, why do you flow [without a protest]?

[ Link to Paul Robeson’s English Version:

http://www.youtube.com/watch?v=lPDqc2yz-Y0&playnext=1&list=PL24E47A94916EF860

]

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Humne dekhi hai un aankhoon ki mehekti khushboo

	Film: Khamoshi (1969) Singer: Lata Mangeshkar Lyricist: Gulzar Music Director: Hemant Kumar _____________________ English Annotation by Ratnendra Pandey (Translation of meaning) Link to the video :  http://www.youtube.com/watch?v=8WRlSSwpBg8
1	Humne dekhi hai un aankhon ki mahakti khusboo Haath Se chhu ke ise rishton ka ilzaam na do Sirf ehsaas hai ye rooh se mehsoos karo Pyar ko pyar hi rehne do koi naam na do [I understand the love in those eyes. Love is a feeling that can be sensed only by soul.  Do not stain it by touch; or belittle it as a relation.]
2	Pyar koi bol nahi, pyar aawaz nahi Ek khamoshi hai sunti hai kaha karti hai Na ye bujhtee hai, na rukti hai, na thahri hai kahin Noor ki boond hai sadiyon se baha karti hai Sirf ehsaas hai ye rooh se mehsoos karo Pyar ko pyar hi rehne do koi naam na do sirf ehsaas………………. [Love cannot be expressed with sounds or words.  It is a silence that tells and can be heard. It has never stopped or has ever been put off. It is like a trace of light illuminating for centuries.]
3	Muskarahat si khili rehti aankhon mein kahin Aur palkon pe ujaale se jhuke rehte hain Honth kuch kehte nahi kaanpte hothon pe magar Kitne khaamsoh se afsaane ruke rehte hain sirf ehsaas………………. [There is always a smile in eyes and brightness beneath eyelids. The lips do not tell; yet, on the trembling lips, many silent stories wait to be told.]
	Sunday, November 14, 2010 Silicon Valley

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Happy Diwali 2010

When I was a child, the best part of Diwali used to be bursting crackers.  As a little boy of about age 10, my friends and I used to test our bravery  by letting a bomb burst in our hands.  We would take one of those bombs that  used to be about a match stick long and about a pencil thick and used to be made by  rolling many layers of red paper over a small pouch of explosive powder. We would  put the fuse of the bomb on fire by putting it over a flame of nearby candle, and then stretching out  hand as for as away from face, wait for the bomb to blow. They did not have good quality control  those days;  many bombs did not blow. So, we would wait for it to blow.  Some of us who were impatient  would just go and tap the feet on the bomb hoping it might burst. Needless to say, some of them would refuse to burst, and some of them would do so at worst time.

Yet, the superstars of Diwali were the boring little flames who kept up all night. They would brave  strong wind, abusive children, and falling debris. Sometime they would flicker  violently making you think they were about to die, only to discover they were just dodging a strong gust of wind out  on an ugly mission to put the flames off.  The battle between  the good and evil would continue all night or till the  time the lamps ran out of oil or there was no more wick  to burn. They were the real heroes.

O little flame, my hero, may I ask you lighten up my  heart and my mind, and those of my friends, and of everyone else.

–Ratnendra Pandey

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English Translation of Shiv Kumar Batalavi’s Maye ni Maye, by Ratnendra Pandey

	English Translation of Shiv Kumar Batalavi’s Maye ni Maye By Ratnendra Pandey
1	Maye ni maye mere geetan de nainan vich birhon di radak pave [O mother! like rub of a tiny piece of stone  beneath eyelid, separation is hurting my songs’ eyes.]
2	adhi adhi raati uth ron moye mittran nu maye sanu neend na pave [To grief the dead friends, I get up in the middle of  night. O mother, I can not fall asleep.]
3	bhen bhen sugandhiyan ch bhannah phehe chanani de tavin sadi peer na saven [I dip (the wound) in various fragrances and wrap moonlight around it (as a bandage). Still, the pain does not ease.]
4	kose kose sahan di main karan je takor maye sagon sanu khan nu pave [I blow a gentle warm breathe over (the wound) to soothe the pain. O mother, the wound, instead, pounces back on me to bite.]
5	aape ni balri main halle aap mattan jogi  matt kehra es nu dave [I am a young boy/girl in a need of advice. Who will come forward to advise her?]
6	akh su maye ehnu rove bulh chith ke nee jagg kite sun na lave [Tell him/her to weep with lips shut tight lest the world hears him/her crying.]
7	akh su ni kha laye tuk hijjran da pakkiya lekhan de nee puthre tave [Ask him/her to eat the bite of separation baked by destiny on a flipped girdle.] [Metaphorically, separation is equated with an improperly baked loaf of bread.]
8	Chatt lai tarel looni gaman de gulab ton ni kalje nu hausla rahve. [Lick the salty liquid oozing out of roses of sufferings to give heart courage to bear pain.]
9	Kehriyan saperiyan ton manga kunj mel di main mel di koi kunj na dave. [Which snake keeper has a skin that does not peel off the snake’s body ? No one is giving me a skin that stays with the body forever.] [Metaphorically, snake’s skin is equated with separation that is inevitable.]
10	Kehra ehna damman diyan lobhiyan de daran utte wang khada jogiya rahve [Like an ascetic, who will beg at the door of the greedy people to pay such a huge price?]
11	peere ni peere pyar aisi titli hai jehdi sada sool te bahve. [O pain, Love is like a butterfly nailed to a cross forever.]
12	pyar aisa bhaur hai ni jihde kolon vaashna vi lakhan kohan door hi rahe [Love is such a bee from whom lechery stays a millions of miles away.]
13	pyar oh mahal hai nee jihde ch pakherooan de bajh kujh hor na rahe [Love is a palace where no one but the souls live.]
14	pyar aisa aangna hai jihde ch ni vaslan da ratra na palangh dhave [Love is such a courtyard where the bed of nuptial night is never laid.]
15	akh maye adhi adhi raati moye mittran de uchi uchi na na lave [Tell him/her not to take the names of dead friend aloud in the middle of the night.]
16	mate sade moyan pichhon jag eh shreekra nee geetan nu vi chandra kahve. [I am afraid that after I am dead, this vicious world would label my song as evil.]

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Dard to Hamara Hai

	By Ratnendra Pandey
1	Dil tumhara hai to kya, Dard to hamaaraa hai. naam tumhara hai to kya, zakhma to hamaraa hai. [So what if you took my heart, its pain is still mine. So what if it has your name on it, the wound is still mine.]
2	Kaise keh dein ki hai kismet ka koi bair humse? Hai yeh phoota to kya, naseeb to hamaraa hai. Dil yeh tumhara hai… [How can I accuse the destiny of holding some kind of grudge against me? So what if it is bad, the fate is still mine.]
3	Kisko fursat hai ki duniya se koi darke rahe? hua badnaam to kya, naam to hamaara hai. Dil yeh tumhara hai… [Who has time to fear that people will ridicule me? So what if it is dishonored, the name is still mine.]
4	Kis kis ne kiyaa vaar hum pe kaun jane? ghaav chaahe ho koi, daag to hamaara hai. Dil yeh tumhara hai… [Who keeps the count of who all have hit me. So what if I was wounded, the scar left on my body is still mine.]
5	Khija mein lutataa hai chaman to kaun roota hai? jharh gaya phool to kya, kaantaa to hamaara hai. Dil yeh tumhara hai… [Who cares for the garden that has decayed in the autumn? So what if the flower fell down, the thorn still on the branch is mine.]
	Saturday, September 3, 2010

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Phir Yaad Unki Aaee

	Unable to escape the memories of the past, my thoughts, in a pensive evening, weaved some words together; and all that I got out of it was this Ghazal that I am sharing with you. PHIR YAAD UNKI AAEE By Ratnendra Pandey
1	phir yaad unki aaee, unka paigam aayaa. Beetie hue dinon ka, koi salaam aayaa. [His/her memories again returned to my mind. They brought a message and a greeting from the days long gone.]
2	In rahon me chal chal kar, ab thak se gaye hain hum. Tab kyon nahin phir ab tak apna mukaam aaya? phir yaad unki aaee… [Why have I not reached my destination even after exhausting   myself travelling on this path?]
3	Jinko bhulane ke liye, khud ko bhula diyaa. Kyon aaj phir othon per unka hi naam aaya? phir yaad unki aaee… [Why did on my lips come the name of person to forget whom I erased my identity?]
4	khud ko bachaa ke rakhaa, duniyan ki nigaahon se, Phir kya khata hui joo     ki ye inaam aaya? phir yaad unki aaee… [What did I do wrong to be rewarded like this even though I had kept myself safe from the predatory eyes of people (around me)?]
5	Bachte rahe thei hum, ki bhatak jayein na kahin. Phir bekhudi** ka hum pe kaisaa ilzaam ayaa? phir yaad unki aaee… [Why was I accused of being unself** even though I had taken measures to keep myself from drifting aside?
	*Unself= This word does not exist in standard English lexicon. Used as placeholder for Bekhud. **Bekhudi= This word comes so often in Hindi Film songs/dialogues. Probably indicates disorientation of mind caused by intense emotional stress making a it  difficult for a person to manage himself/herself.
	Monday, July 26, 2010

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Jaane Yeh Kaise Uljhan Hai

Folks, this is my first gazal style composition therefore it is very special to me. I have written many isolated sher style couplets that generally start with an opening line leading to the key idea in the second.  Here we have something complete that can be rendered into a song.

Jaane Yeh Kaisi Uljhan Hai

jane yeh kasi uljhan hai,

jo woh kahne se darte hain.

jane kya baat hai man mein,

jo who kahne se darte  hain.

[I wonder what the predicament that s/he is afraid to tell is. I wonder what is in his/her mind that she is afraid to tell. ]

jab khud ko khojte chale unki gali se ham.

dekha ki woh bhi meraa  intezaar karte hain.

jane yeh kasi uljhan hai….

[When I went by his/her street searching myself, I noticed s/he still awaits me. (Alternatively said, I am not alone in searching myself.)]

daava tha unka   ki woh humko bhool jayenege

fir bhi mujhe woh aajtak kyon yaad rakhte hain?

jane yeh kasi uljhan hai….

[S/he claimed s/he will forget me. Yet, she has s/he kept my memories alive.]

rutba hai  unke paas aur daulat jamaane  ki,

meri kami ki phir bhi woh fariyaad karte hain.

jane yeh  kasi uljhan hai….

[S/he has all the status and wealth possible in this world. Yet, s/he resents my absence from his/her life.]

deewane unke naam ke hai saikron lekin,

fir bhi mujhe hi  apna talabdar ginte hain.

jane  yeh kasi uljhan hai….

[S/he has hundreds of people in this town crazy about her. Yet, s/he counts only me of his/her sympathizers. ]

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Ranjish hi Sahi with more verses

To Ranjish hi Sahi, I wished to add one or two verses of mine, but ended up adding five.

Inviting Trouble or a perverse form of “No pain No gain”:

Ranjish hi Sahi is one of those  ghazals that tell story of a person  searching satisfaction  in his/her sufferings.  S/he invites troubles. What are the  kind of troubles one can invite? Let’s find out.

Ranjish hi Sahi [The opening from  Ahmed Fazaz’s lyric]

Ranjish hee sahee dil hee dukhaane ke liye aa
aa phir se mujhe chhod ke jaane ke liye aa
Ranjish hi sahi…………

[The anguish is acceptable if that is all you have for me. Come still if only to give me sorrows and leave me in torment.]

Ratnendra’s verses below:

Ruswa teri mehfil se hum laute hain  kai baar.
ek baar phir be-abroo karne ke liye aa.
Ranjish hi sahi…………

[I have returned disappointed from your party on numerous occasions before. Come still if only to humiliate me one more time.]

Kahtein hain mere dard mein hai toon nahin shaamil,
in jakhmon pe phir namak lagaane ke liye aa.
Ranjish hi sahi…………

[The story has that my sufferings are not your given. Come still if only to rub the wounds with salt.]

Humko khabar nahin hai mera kya  hai tera kya.
jo bhi hai mera  woh  toon le jane ke liye aa.
Ranjish hi sahi…………

[ I cannot tell apart what is yours and what is mine. Come still if only to take with you whatever is mine.]

wo aankhen jo karti thi   kabhi  meraa  intezaar.
unki  nazar mein mujhko  giraane ke liye aa.
Ranjish hi sahi…………

[Come still if only to make me fall from the grace of the eyes that used to wait for me.]

mujh pe uthi hain  sare jamane ki ungaliyaan.
ilzaam toon bhi mujh pe lagaane ke liye aa.
Ranjish hi sahi…………

[I have been pointed fingers at by so many people. Come still if only to put on me a blame of yours as well.]

The  film rendering of this ghazais available at this link:

http://www.youtube.com/watch?v=adBGsnYiaZk

Sincerely,
Ratnendra Pandey

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Themes in songs on unrequited love in Hindi Films by Ratnendra Pandey

Themes in songs on unrequited love in Hindi  films

by Ratnendra Pandey

Love has been a common theme  in literary work  since the time unknown and across cultures.  Poets and writers have vividly captured the thoughts of  people in love.   For the last 70-80 years, Bollywood (or Hindi Film Industry) has been a very powerful medium of literary expression. Some of the best songs of our times have been written for Hindi films. It may be safe to assume that the songs that are really good and even if not specifically for  Hindi films  end up in Hindi films. In this essay, I have compiled the some common themes that appear in Hindi songs on unrequited love.

1. I shall leave your town.

This is very common theme  in love literature.  As a child I was always intrigued by  the  song,  “Teri duniya se hoke majboor chala” from 1970 film Pavitra Papi  (The Holy Sinner).  Why would someone want  to go away to a far off land?  The song was a great hit in its time and is played over and over even today.   The 1976 song from film Hawas  “Teri Galiyon me na rakhenge kadam, aaj ke baad”   shot up in popularity charts.   The best song in my opinion in this category came from Pakistani Movie “Shama aur Parwana” in 1970 . The song is like this, “Main tera shehar chor jaunga” .  Literally meaning, “I shall leave your town’.  About a decade and half later, Hindi film Nazarana (1987) had a song  with somewhat similar opening lines ending with “main tera shehar chor jaunga“.

The 1967 song from film Ram aur Shyam  “Aaj ki raat mere dil ki salami le le, kal teri bazm se dewaana chala jayega” and the 1969 song from Pakistani film Dag “Teri mehfil se yeh dewaana chala jayega” do a good job in expressing this theme.

These songs express the intense unhappiness in love, the resolve of the  unloved person to never comeback or to bother the beloved. And, to make sure if ever the memories of the beloved  arise then he would just keep quite. Often, there is a promise to not talk about the beloved and to protect her from getting bad name in society.

2. I shall forever wait for you.

I believe this theme is exact opposite of “I shall leave your town”. Here the unloved does not leave the place.  Instead promises to keep waiting for the beloved till eternity.  Richard Marx has captured this thought very well in the song, “Wherever you go, Whatever you do, I will be right here waiting for you.” The 1967 Hindi Film Bahu Begum had song,  “Hum intezaar karenge tera qayamat tak“.  Literally meaning, “I shall wait for you till the end of this world”.

Many songs have this idea  expressed in different form such as,   “You may return anytime”,  You shall return one day, “Door to my home shall always be open for you”.  In all these works, the character offers the option to the beloved to return to him should things do not work out. Some good examples are song in Purab aur Paschim  “koi jab tumhara hridya tor de” .  The 1977  song  “Chand mera dil, chandani ho tum”  from film “Hum Kisi Se Kam Nahin” says the same thing.   Underlying this is the idea that beloved is temporarily distracted and when she or he  realizes the true love is missing, she or he would want to return. Unloved is usually very confident in such songs that he is offering the most genuine love that the beloved will not find anywhere else.

3. I shall never forget you.

This is obvious.  But, unloved ones seem to find solace  in telling that he or she would never forget the beloved. It is so obvious. Still, it has been theme of many songs.  Some songs have dealt this with a little more sophistication.  The 1995 Imtehan song  “Ek yaad ke sahare zindagi guzar denge, ja bewafa tujhe hum dil se utar denge”  [Translated –  I shall stay alive with the help of your memories. But, Oh unfaithful !  I shall take you out of my mind.]  is quite interesting.  The irony is that  unloved needs the memories to live, yet in the next sentence he resolves to forget the beloved so that he can live. There cannot be any greater contradiction. Memories of beloved can be fatal or be lifesaver.

In the 1962 film Hariyali or Rasta , one of the song metaphorically compares the memories of the beloved with the identity.  The song “Teri yaad dil se bhoolane chala hoon, ke khud apni hasti mitane chala hoon“.  [Translated – I wish to forget you, even if it makes me a person with no identity.]

In a  song in 1979 Pakistani film the unloved equates the memories of the beloved the life. The memories of beloved cannot be done apart from the life of unloved one. So the song “main jis din bhoola doon tera pyar dil se, woh din akhiri ho meri zindagi ka” sung by Mehnaz.

4. You shall never forget me.

Some unloved ones are overconfident that the beloved shall never forget them.  This theme has shown up again and again in Bollywood songs.  The 1970 movie PAGLA KAHI KA had a rather long song sequence, ” Tum Mujhe Yun Bhula Na Paoge“.  Pakistan’s  legendary singer Mehdi Hasan sang ” mujhe tum nazar se giraa to rahe ho, mujhe tum kabhii bhii bhulaa naa sakoge” for 1952 Pakistani movie Doraha. This song goes into vivid details about how the memories of the unloved one would haunt the beloved for long.

Mehdi Hasan has another beautiful song to his credit dealing with same theme from a 1969 Pakistani Film Zindagi Kinti Haseen Hai.  “Jab Koi Pyar Se, Tum ko aik shakhs yaad aayega“.  The treatment of the concept in this song is very similar to the one in song “mujhe tum nazar se” reminding the beloved that she will not be able to forget.

Back in India, in Film  Ji Chahta Hai 1964,  the song “Ham chorh chale hain mehfil ko” written by Hasarat Jaipuri and sung by Mukesh, advises beloved not to weep when memories of the unloved  come to mind.

5. You shall appreciate me when I am gone.

Many unloved ones believe that beloved would come to know of theirs true worth one day.  The American song ‘Why don’t you tell me so?’  by Flatt and Scruggs nicely  captures this idea in the stanza:

“Now there’ll come a time little darling
When you will want me you know
But darling, it will then be too late
For you to tell me so”

The song “Dil Aaj Shayar Hai” from 1971 film ” Gambler”  has the verse “Hum jab n hoonge to ro ro ke duniya doondhegi mere nishan“. The song “Atharah baras ki tu hone ko aie re”  from 1979 film has a verses with similar thought.  In all the cases the message to the beloved  is that the no else would take better care of her.

6. End of Relation with either good wishes or curses.

Writers face a difficult choice about how to end a bad relation. In most songs, the unloved one accepts the end of relation with grace and offer best wishes and good life ahead to the beloved.  This theme is usually hidden in a stanza in main song. In  1992 film Deewana, the stanza “jaan-e-wafa tujhko kya dein? dil kaha raha hai dua deen” of the song “Tere dard se dil abad raha” the unloved is willing to ignore the pain and offer good wishes. In the 1970 song from Khilona “Khush rahe tu sada”  good wishes are offered through out.  Occasionally, the unloved one ends relation with curses and swears like in song from 1966 film Aaye Din bahar Ke “Mere dushman tu meri dosti ko tarse“, or  the song from 1973 film Anamika, “meri bheegi bheegi si palkon pe reh gaye jaise mere sapne bikhar ke” .  Both songs have strong  words and powerful poetry. Critics argue that both songs are unduly harsh on women.  As it turns out in both movies, the unfaithfulness is in part a due to some  misunderstanding and part due to complex reasons not all within control of the women.

###

Links to video of  songs referred in this essay

1. Teri duniya se hoke majboor chala
2. Teri Galiyon me na rakhenge kadam, aaj ke baad
3. Main tera shehar chor jaunga (Shama aur Parwana  – 1970)
4. main tera shehar chor jaunga (Nazarana – 1987)
5. Aaj ki raat mere dil ki salami le le, kal teri bazm se dewaana chala jayega
6. Teri mehfil se yeh dewaan chala jayega
7. Wherever you go, Whatever you do, I will be right here waiting for you. by Richard Marx
8. Hum intezaar karenge tera qayamat tak
9. koi jab tumhara hridya tor de
10. Chand mera dil, chandani ho tum
11. Ek yaad ke sahare zindagi guzar denge, ja bewafa tujhe hum dil se utar denge
12. Teri yaad dil se bhoolane chala hoon, ke khud apni hasti mitane chala hoon
13. main jis din bhoola doon tera pyar dil se, woh din akhiri ho meri zindagi ka
14. Tum Mujhe Yun Bhula Na Paoge
15. mujhe tum nazar se giraa to rahe ho, mujhe tum kabhii bhii bhulaa naa sakoge
16. Jab Koi Pyar Se, Tum ko aik shakhs yaad aayega
17. Ham chorh chale hain mehfil ko
18. Why don’t you tell me so?  By Flatt and Scruggs.
19. Hum jab n hoonge to ro ro ke duniya doondhegi mere nishan
20. athraah baras ki tu hone ko aie re
21. Tere dard se dil abad raha
22. Khush rahe tu sada
    
23. Mere dushman tu meri dosti ko tarse
24. meri bheegi bheegi si palkon pe reh gaye jaise mere sapne bikhar ke

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Jaane Kyon Log Mohabbat Kiya Karte Hain? English Translation

English Translation of Song :  Jaane kyon log mohabbat kiya karte hain?

Movie Name: Mehboob Ki Mehandi (1971)
Singer: Lata Mangeshkar
Music Director: Laxmikant Pyarelal
Lyrics: Anand Bakshi Year: 1971

Translator: Ratnendra Pandey

Is Zamaane Men Is Mohabbat Ne
Kitane Dil Tode Kitane Ghar Phuunke
(jaane Kyon Log Mohabbat Kiyaa Karate Hain) – 2
Dil Ke Badale Dard-e-dil Liyaa Karate Hain
Jaane Kyon Log Mohabbat Kiyaa Karate Hain

[Love has broken many hearts and burned down many houses, yet why do people love and trade heart for pain?]

Tanhaai Milati Hai, Mahafil Nahin Milati
Raahen Mohabbat Men Kabhi Manzil Nahin Milati
Dil Tut Jaataa Hai, Naakaam Hotaa Hai
Ulfat Men Logon Kaa Yahi Anjaam Hotaa Hai
Koi Kyaa Jaane, Kyon Ye Paravaane,
Kyon Machalate Hain, Gam Men Jalate Hain
(aahen Bhar Bhar Ke Divaane Jiyaa Karate Hain) – 2
Jaane Kyon Log Mohabbat Kiyaa Karate Hain

[They seek gathering. But, all they get is loneliness.  Love is a path that reaches no destination. There is no success. The  heart eventually breaks.  This is how love concludes. World will never understand why the moth gets so uneasy and burns itself in flame. Life of Passionate people is full of sighs. Why do people still love?]

Saavan Men Aankhon Ko, Kitanaa Rulaati Hai
Furaqat Men Jab Dil Ko Kisi Ki Yaad Aati Hai
Ye Zindagi Yuun Hi Barabaad Hoti Hai
Har Vaqt Honthon Pe Koi Fariyaad Hoti Hai
Naa Davaaon Kaa Naam Chalataa Hai
Naa Duaaon Se Kaam Chalataa Hai
(zahar Ye Phir Bhi Sabhi Kyon Piyaa Karaten Hain) – 2
Jaane Kyon Log Mohabbat Kiyaa Karate Hain

[ The month of  Sawan makes separation unbearable. When heart yearns for someone tears come out of eyes.  The life becomes useless.  Some complain is there all the time.  Medicines become  ineffective. Even the prayers do not heal. How does everyone  still accept this and swallow the poison (of love)?]

[Furkat=seperation]

Mahabuub Se Har Gam Manasuub Hotaa Hai
Din Raat Ulfat Men Tamaashaa Khuub Hotaa Hai
Raaton Se Bhi Lambe Ye Pyaar Ke Kisse
Aashiq Sunaate Hain Jafaa-e-yaar Ke Qisse
Bemuravvat Hai, Bevafaa Hai Vo,
Us Sitamagar Kaa Apane Dilabar Kaa,
(naam Le Le Ke Duhaai Diyaa Karate Hain) – 2
Jaane Kyon Log Mohabbat Kiyaa Karate Hain

[ This happens all the time in love. The beloved is accused of all the pain. This spectacle repeats day and night. The stories of love become longer than the nights.  People in love tell tales of  beloved’s tyranny.   That the beloved is untrustworthy. That the beloved is unfaithful. They call names to the tyrant whom they love so much. Why do they do all this?  Why do people love?]

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