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K.L.Saigal
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Jaag Aur Dekh
aaa aaa jaag aur dekh zaraa, aalam-e-veeraan meraa subah ke bhes mein nikla hai ghareebaan mera subah ke bhes mein nikla hai ghareebaan mera jaag aur dekh zaraa, aalam-e-veeraan meraa subah ke bhes mein nikla hai ghareebaan mera subah ke bhes mein nikla hai ghareebaan mera band aankhen kiye yoon jaag rahaa hoon shab-e-gham band aankhen kiye yoon jaag rahaa hoon shab-e-gham ke unhey aaye nazar khwaab-e-pareishaan meraa ke unhey aaye nazar khwaab-e-pareishaan meraa muddaton boo-e-wafaa aayegi butkhaanon se muddaton boo-e-wafaa aayegi butkhaanon se ood ban ban ke jalaa hai dil-e-sozaan meraa ood ban ban ke jalaa hai dil-e-sozaan meraa tumhen kyun madde-nazar ab haaye tumhen kyun madde-nazar ab hai kharaabi is ki tumhen kyun madde-nazar ab hai kharaabi is ki tum to kehtey thhe ke ghar hai dil-e-insaan meraa tum to kehtey thhe ke ghar hai dil-e-insaan meraa pad gayee kis ki nigaah-e- ma-tabassum 'seemaab' pad gayee kis ki nigaah-e- ma-tabassum 'seemaab' ho gayaa harf-e-halak daftar-e-isyaan meraa ho gayaa harf-e-halak daftar-e-isyaan meraa jaag aur dekh zaraa, aalam-e-veeraan meraa
jaag aur dekh zaraa, aalam-e-veeraan meraa subah ke bhes mein nikla hai ghareebaan mera O the keeper of my destiny, wake up and be aware of my circumstance of desolation and deprivation. My indigence is such that even the dawn for me has come cloaked in darkness. This lead in verse is so powerful and hard hitting. The concept of dawn being cloaked in darkness simply shakes up the mind; what is the state of mind of a person for whom dawn is without light, and then what would be the night for him. The second line is very significantly crafted. The word 'ghareebaan' is referring to shaam-e-ghareebaan. Shaam-e-ghareebaan is literally the night of the helpless (mazloom). As per history, it is the 11th night of the month of Muharram. This night is night of the battle between the army of Prophet Mohammed and his grandson Hazrat Hussein, and the forces of Ubayd-allah ibn Ziyad, the governor of Kufa province. This battle was the martyrdom of Hazrat Hussein, and most of the men in the army of Prophet Muhammad. After the battle, the governor's army overran the camp of Prophet Mohammed, burnt down the tents and captured the women and children of the tribe. This day is observed as a day of mourning amongst the Moslems. The evening of this day (maghrib = after sunset) is called shaam-e-ghareebaan, in the memory of the helpless and defenseless women and children at the camp. On this evening, the believers will not put on lights in their homes till very very late in the night. Hence, in this line, the word ghareebaan is used in the context of darkness, or night without lights. jaag = be awake, be cognizant, be aware aur = and dekh = see, to view zaraa = little, somewhat dekh zaraa = (used as a directive) please see, or do see aalam = condition, circumstance; also environment, ambience veeraan = desolate, uninhabited, bereft of human presence, lonely aalam-e-veeraan = circumstance of loneliness, desolation mera = mine subah = dawn, morning ke = of bhes = disguise mein = in nikla hai = emerge, come out, dawn ghareebaan = darkness (as discussed above) mera = mine band aankh kiye yoon jaag rahaa hoon shab-e-gham ke unheyn aaye nazar khwaab-e-pareishaan meraa In this night full of unhappiness, I cannot sleep; but I am lying down with my eyes closed, pretending as if asleep, so that they (she/Him) may witness my distressed sleeplessness. The use of the phrase khwaab-e-pareishaan – in the first line, the poet says that he is not asleep; the state of sleeplessness is self-induced, rather self-inflicted, because of distress and anguish. Khwaab-e-pareishaan literally is dreams of distress. The poet says that his attempt to feign sleep by lying down and keeping his eyes closed is the state of extreme distress. band = closed aankh = eye, eyes kiye = having done band aankh kiye = having closed my eyes yoon = this way, in this manner jaag = awake shab = night gham = sorrow, unhappiness, anguish shab-e-gham = night of sorrows, night full of sorrows ke = so that unheyn = to them, for them, unto them nazar = eyesight, to view, to see unheyn aaye nazar = so that they are able to see 更多更詳盡歌詞 在 ※ Mojim.com 魔鏡歌詞網 khwaab = dream pareishaan = distress, troubled state khwaab-e-pareishaan = dreams of distress, of restlessness; in this context, actually it is the grief of being not able to sleep, of pretending to sleep; being in a dreamlike state of distress while pretending to be asleep mera = mine muddaton boo-e-wafaa aayegi butkhaanon se ood ban ban ke jalaa hai dil-e-sozaan meraa My aggrieved heart is burning like ood (a fragrant material of plant origin). For ages to come, my friends (or people) would remember my dedication and steadfastness in love. Or, for ages to come, the memories, the aroma of my dedication and loyalty in love will be manifest. The poet is alluding to the fact that his dedication and steadfastness will be remembered as exemplary; that although the beloved was unmindful and indifferent, yet he continued to be steadfast in his love. This is a commitment of a romantic – 'Tu Pyaar Karey Ya Tthukraaye, Hum To Hain Tere Deewaanon Mein' The use of word butkhaanaa is also very interesting. 'butt' means image or statue, 'butkhaanaa' is a place where statues and images are kept. In the urdu literature and poetry, this word is often used to represent the Hindu temple (with its images and statues of God). Additionally, another context emerges; 'butkhaanaa' is this world, which is populated by different images i.e. people (as in man is an image of God). Continuing this logic further, the 'butkhaanaa' for an individual is his immediate circle of friends and relatives, i.e. my images or images known to me. With this interpretation the first line can also be understood as – 'for ages to my friends will remember my steadfastness and dedication in love.' muddat = long period of time muddaton = for a long period of time, for ages boo = smell, fragrance, aroma; in this context, can also be interpreted as memory, remembrance wafaa = loyalty, dedication, steadfastness aayegi = will come, will be existing, will be manifest butkhaanaa = a place where images or statues are housed se = from ood = a fragrant flammable material of plant origin ban = to become ban ban ke = in context, transformed into, or becoming like ood ban ban ke = transformed / became like ood jalna = to burn jalaa hai = has burnt, is burning dil = heart soz = burning, or grief dil-e-sozaan = a heart full of anguish and sorrow, or a heart burnt mera = mine tumhen kyun madde-nazar ab hai kharaabi is ki tum to kehtey thhe ke ghar hai dil-e-insaan meraa Why is it so that now it is no longer acceptable to you; you who used to claim that you live in the heart. Read with the previous verse, this is once again a very powerful indictment directed at the beloved or even more so towards God. In present circumstances, when my heart is burning (or full of sorrow), now it is not acceptable to you, you who had told me that you prefer living in the heart. The reproachment and the censure is even more grave, in the context that in the first place the poet is already holding the beloved (or God) responsible for the sorrow and anguish that now resides in his heart. And on top of that, the beloved (or God) now does not want to be in this heart. The reprimand and the blame is very forceful. tumhen = to you kyun = why madde-nazar = a phrase in urdu meaing – in view of the situation or circumstances ab = now hai = is is ki = of this – 'this' is referring to the idea in the next line tum = you to = literally means 'so', in context, used for placing emphasis on the verb 'kehtey' keh = say tum to kehtey thhe ke = you used to say that ghar = abode, home, place where one resides hai = is dil = heart insaan = human being dil-e-insaan = heart of a human person pad gayee kis ki nigaah-e-ma-tabassum 'seemaab' ho gayaa harf-e-halak daftar-e-isyaan meraa Someone's smiling glance fell on my sins and disobediences, and the entire record of my transgressions faded away. pad gayee = fell kis ki = whose nigaah = glance tabassum = smile ma-tabassum = with a smile, with a smiling face; or a smiling face ho gayaa = (it) happened; in context, it transformed harf = letter, vowel; in context this refers to written word or written record halak = variant of halkaa – meaning light or faded harf-e-halak = faded or unreadable letters / words daftar = the literal meaning in present usage is 'office'; but this is not the true meaning. 'daftar' means a register or a journal in which things get written. Over years, the usage got transformed to 'office', the place where such registers are kept and worked on. isyaan = sin, transgression, failing daftar-e-isyaan = record of transgressions and failings mera = mine.
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