Duniya Ki Sair Karlo


Dinesh Shankar Shailendra, who writes in his series DIRECTOR’S CUT on director Pachhi      and one song written by Shailendra in this film
film Around the world के लिए इमेज परिणाम


The fifties and sixties ….. Known as the golden period for Hindi Film Music, had the greatest Music Directors, who gave GREAT music….. But unfortunately, the same cannot be said about all the Directors of that period.

Many times, some good music scores were lost to these directors.
One such example is a director called Pachhi…. whose only claim to fame was that he was character actor Om Prakash’s brother.
Pachhi made almost all his films in foreign countries.

Shooting in foreign countries had its benefits…. In the eighties, one of the most reputed directors was under the scanner for his involvement in ” Kabootarbaazi”..the code word for the smuggling of illegal immigrants.

Producers, under the pretext of shooting abroad, would carry a few people who paid handsomely to be taken abroad as part of the shooting crew…. These people would stay back as illegal immigrants. They would pay so much, that the producer would recover most of the shooting expenses !!!
Some producers were blatant smugglers !
They would carry old equipment from here ( cameras and sound equipment ) and would return with brand new equipment…. showing that as what they had taken in the first place….

That was just a little ‘aside’…. I am not casting aspersions on anybody.

Coming back to Paachhi… he got Shanker Jaikishen, Hasrat and Shailendra to give songs for ‘Around the World’…. they gave him music that we still listen to and enjoy…. after 50 years…. but the film and picturisation of songs left much to be desired.

Take the title song of the film, written by Shailendra.

Shanker Jaikishen start with the roll of drums and trumpets….. close your eyes and listen…. it is like an announcement….Heralding the Greatest Show on Earth !!!

Violins and guitar join in, playing the melody…

The ‘mukhda’ on an ageing Raj Kapoor and a fairly good looking Rajshree…They are riding a horse-cart through the snow….

” Duniya ki sair kar lo, duniya ki sair kar lo,
insaan ke dost ban kar, insaan se pyar kar lo…”

The refrain:

” Around the world in eight Dollars,
around the world in eight Dollars…. “

Many people…. especially the younger generation wonder why ” Eight Dollars ” ?
At that time, eight Dollars ( or its equivalent ) was all the currency one was allowed to officially carry on a trip abroad…!!!! Unthinkable but true…. !

A guitar, violins and an accordion bring up the interlude…. the pacy rhythm needs a special mention…

” Los Angeles bhadkeela,
jahan Hollywood hai rangeela,
dekho Disneyland mein aakar,
pariyon ka desh dharti parr… “

Accordion and violins are used in the second interlude…

” Jab Grand Canyon dekha,
yaad aa gaya woh andekha,
nahin tera koyi saani,
arrey wah re wah Miami “

Guitars, violins and trumpet join in to add to the grandeur…

Shailendra comes into his own in this stanza…. His INDIAN roots speaking up….
A lesson for mankind ….
He goes back into the flow of the song in the last two lines…

” Hum aman chaahney waaley,
hum pyar pe marney waaley,
ek baat kahengey sabse,
nafrat ko mitaa do jag se…”

“Insaan ke haath ka tonaa,
mitti ko banaaya sonaa,
yeh Washington albelaa,
New York sheher ka melaa…”

The last interlude…. guitar and violins with an accordion…

” London ki daud diwani,
Paris ki shaam mastaani,
kudrat ke yeh khel niraaley,
zaraa dekh le dekhney waaley…”

” Berlin ka badaltaa chehraa,
aur Rome ka rang sunehraa,
Venice mein naav ki sairein,
yeh geet gaati hui lehren… “

” Duniya ki sair kar lo, duniya ki sair kar lo,
Insaan ke dost bankar,insaan se pyaar kar lo… “

” Around the world in eight Dollars,
around the world in eight Dollars….”

You give this song to a ten year old… He/ she will shoot it better if not as well as Pachhi has….
It seems as if, after listening to the song a couple of times, Pachhi has called his cinematographer and sent him to take shots of all the places mentioned in the song… Then, on the editing table, the editor has just matched picture with sound, added a few shots of the actors and ” Eureka ” !!!! the song is ready for viewing… It is sad…

Listen to the excitement Shanker Jaikishen have created with their peppy music…Listen carefully to the words…. written by a man, Shailendra, who has only traveled to Moscow and Cairo…. He describes the world so beautifully…. and ….he adds to an apparently simple song his thoughts…. the quest for love and peace to make this beautiful world better….

” Hum aman chaahney waaley,
hum pyaar pe marney waaley,
ek baat kahengey sabse,
nafrat ko mitaa do jag se….”

The praise for our achievements…. ” Insaan ke haath ka tonaa, mitti ko banaaya sonaa…”

The sensitivity to gauge what is happening around him…. He writes, prophetically about Berlin…. ” Berlin ka badaltaa chehraa…”
The Berlin wall, which caused so much misery to the world, was finally brought down in 1989….about 25 years after Shailendra wrote this ….

Give it a thought…. Listen…..

Remembering Shailendra, the Balladeer of Hindi Cinema


Image may contain: 1 person, sunglasses

Kisiki muskuraahaton pe ho nisar
Kisika dard mil sake to le udhar
Kisike vaste ho tere dil me pyar
Jeena isi ka naam hai

Anyone growing up in India in the 1950s and 1960s, in fact, anyone living in India even today would most certainly have heard one or more of Shailendra’s songs. Writer of numerous hits, many of his songs have become anthems of modern India. ‘Awara hoon’ and ‘Mera jooota hai Japani’ are perhaps the most recognisable Hindi songs of all time, not just in India, but the world over. His name is associated with most of the big hits of the of the ‘50s and the ‘60s.

His easy to understand, catchy and folksy lyrics made Shailendra an instant success in big bad Bollywood, from his very first film song ‘Barsaat mein humse mile tum’. Films and film music were the only pan Indian cultural thread then. Cinema had not reached the interiors of India, but due to the radio’s popularity, millions of people hummed his songs, even if they may not have been aware of the writer’s name.

Also Read: Rahi Masoom Raza, the Scholar Who Strayed Into Bollywood

Shailendra’s forte was his ability to write songs which were easy to sing, but had a hook which led you to a deeper meaning. The finesse with which he could switch from the philosophical to the trivial is extraordinary. His songs talk about nature, childhood, romance, melancholy, pain, love, optimism, spirituality and occasionally with humour and irony – his diversity is unmatched even today. (This makes him, for me, the best film lyricist of all time.)

Many of his contemporaries also have hits that have eternal appeal, but if you were to compile a list of Hindi film song favourites between 1948 and 1966, Shailendra’s songs will perhaps find the most mentions.

A tough childhood

Shailendra was born in Rawalpindi (now in Pakistan) to a poor family. He had a tough childhood, which he spent in Mathura, where his family had migrated to. It is not widely known that he was a Dalit (he never ever talked about his caste). He was a good student and started writing poetry at a young age. His familarity with UP folk and mythological traditions and his love for literature aided him throughout his career.

In 1947, he got a job as a welding apprentice in Central Railways and was transferred to Mumbai. While he worked at the Matunga Railway Workshop, he started attending mushairas and kavi sammelans. Around this time, the Indian Peoples Theatre Association(IPTA) became active in the city and Shailendra became a member. It was at the IPTA that he befriended composer Salil Chowdhary, a friendship which would last a lifetime; they collaborated for many films and also recorded a couple of songs for the IPTA.

However, like Sadat Hasan Manto, he was never considered a part of the Progressive Writers Group. Shailendra in his early years had left leanings, and much of his literary output and some of his film songs had a socialist theme that was so popular in post-independent India.

Around the same time, his poem ‘Jalta hai Punjab’ on the Partition had become quite popular in literary circles. Raj Kapoor heard him recite this poem at an IPTA function. Kapoor was planning his first directorial film Aag and thought that the poem would be ideal. He offered to buy the rights from Shailendra for a princely sum of Rs 500. The poet in his idealism refused.

Entering the film business

A few months later, in a state of financial emergency, Shailendra remembered Kapoor’s offer. He went to the film maker and said he was willing to write for him. Kapoor, who was shooting Barsaat, asked the poet to write two songs. ‘Barsat mein humse mile tum’ and ‘Tirchi nazar hai’ were the result. The songs and the film were both a hit. An enduring and rewarding relationship developed between Raj Kapoor, Shankar-Jaikishan, Shailendra and another struggling poet, Hasrat Jaipuri. Shailendra would write some of RK Films’s most iconic songs, until his untimely death in 1966. Raj Kapoor would affectionately call him Kaviraj and Pushkin.

In a career spanning 17 years, Shailendra wrote about 900 songs. He worked the most with Shankar-Jaikishan (over 400 songs in about 70 films), followed by Salil Chowdhary, S.D. Burman and Roshan, though he also collaborated with veterans like Anil Biswas and youngsters like R.D. Burman. He wrote the dialogues for Bimal Roy’s Prem Patra. Many of his contemporaries told me that he had a good grasp over filmmaking, as well as of music, which may have helped him compose his songs.

Poets often specialise in one genre, but Shailendra’s sheer diversity of thought is quite unique. Some of his songs are romantic (‘Yeh raat bheegi bheegi’, ‘Tere mere sapne’), some metaphysical (‘Wahan kaun hai tera’, ‘Zindagi khwab hai’, ‘Sajan re jhoot mat bolo’, ‘Jao re Jogi’) others of longing (‘Aja re Padesi’, ‘Oh jaanewalae ho sake’, ‘O basanti pawan pagal’) anguish (‘Kya se kya ho gaya’, ‘Dost dost na raha’, ‘Sajanwa bairi ho gaye’), abandon (‘Mud mud ke na dekh’, ‘Suhana Safar’, ‘Aaj phir jeene ki’), or even nonsensical (‘Tin kanastar’, ‘Chuhe mama’).

But they are always evocative (‘Pyar hua’, ‘Kisi ki muskarahaton pe’, ‘Uparwala jaan kar anjan hai’, ‘Raat ke humsafar’, ‘Main gaon tum so jao’). The list is endless. He was also perhaps the first lyricist to use folk motifs in his songs (‘Chad gayo papi bichua’).

When you talk of Shailendra, it is impossible to slot him into a genre, a style, a mood or philosophy. On the face of it, Shailendra’s lyrics are simple. You don’t need to dive for the dictionary every now and then to search for the meaning of his words. Simplicity is his hallmark.

But is that all there is to his poetry? Far from it. Those seemingly simple lines are layered with meaning, with purpose and with the deepest thoughts, feelings, emotions memories and dreams.

When I began my professional association with movies in the late sixties, a few of my icons had already passed on: Mehboob Khan, Bimal Roy, Guru Dutt and my favorite lyricist Shailendra among them. It was much later, after writing a couple of hundred songs myself and seriously listening to film music that I realised Shailendra was much more than a mere lyricist – he was a balladeer of Hindi Cinema.

Although other contemporaries like Majrooh, Sahir, Kaifi, Shakeel, Jan Nisar Akhtar were regarded as poets who drifted from literature to film songs, Shailendra was generally thought primarily as a lyricist. Besides, Urdu writers dominated the language of films. A few Hindi poets like Gopal Singh Nepali, Pradeep, Bharat Vyas had ventured into lyric writing, but most of the top writers were Urdu poets (though some of them went on to write some memorable songs in chaste Hindi, such as Sahir Ludhianvi in Chitralekha).

Urdu and Hindu poetry

Urdu poetry has a definite structure based on a fixed behar (meter) and kafiya (rhyme) and is limited to 19 such patterns. Hindi (derived from Sanskrit) has a wider range of over sixty rhythmic meters. Shailendra was the first to combine the two distinct patterns.

Shailendra was not a lesser poet than any of his contemporaries either in Hindi or Urdu. However, his film repertoire unfortunately always overshadowed his literary output. Shailendra wrote several outstanding poems. Read this, written in 1945.

Jis din arun adhron se
Tumne hari vyatheyein
Kardi preet geet mein mein pramint
Meri karn kathayen
Us din priye hi priye janam janam ki
Saadh ho chuki poori
Jis din tumne bahon mein bhar
Tan ka tap mitaya
Pran kar diye punh
Safal kar di mitti ki kaaya
Us din priye hi priye janam janam ki
Saadh ho chuki poori

Or some of the songs he wrote as a member of IPTA in the forties.

Buri hai aag pet ki,
Bure hain dil ke daag ye
Na dab sakenge
Ek din banenge inquilab ye
Girenge zulm ke mahal
Banenge fir naveen ghar
Agar kahin hai swarg toh
Utaar laa zameen par
Tu Zinda hai,
Tu Zindagi kii
Jeet par yekeen kar
Agar kahin hai swarg to
utaar laa zameen par

Uthta hai toofan zanmana badal raha
Jaga Hindutan zamana badal raha
Kaali Kutiyaon se dekho
Phoote hai Ujyale
Thar thar thar thar
Kanp rahe hain
Gori chamdi wale

Har zo zulm ki takkar mein hartal hamara nara hai
Tumne mangen thukrai jhain,tumne toda har wada hai
Chheni hamse sasti cheezen,tum chhatni par aamada ho
Toh apni bhi tayyari haitoh haumne bhi lalkara hai
Har zo zulm ki takkar mein hartal hamara nara hai

Shailendra has the largest vocabulary ever in Hindi film songs (I was always of conscious to use newer words in my songs, perhaps inspired by Shailendra subliminally) and would usually come up with unusual similes or imagery. Look at songs like ‘Dum bhar ju udar muh phere’, ‘Ai mere dil kahin aur chal’, ‘Chad gayo papi bivhua’, ‘Khoya khoya chand’, ‘O basanti pawan pagal’, ‘O re Majhi’, ‘Ajeeb dastan hai’, ‘Bahut diya denwale’, ‘Yeh raten yeh mausam’, ‘Chand sa aaj kal mein dhal gaya’, ‘Tadap yeh din raat ki’, ‘Jin raton ki bhor nahin’, ‘Jeena yahan marna yahan’ or even ‘Jungle mein mor nacha’.

Over the years, everyone I have spoken to about Shaiendra – S.D. Burman, Lata Mangeshkar, Kishore Kumar, Vijay Anand, Majrooh Sutltanpuri, Gulzar or Javed Akhtar – spoke of him with great respect and fondness.

I was told about an incident from 1964, when a Filmfare award for best lyricsist went to Sahir for the song ‘Jo wada kiya wo’ from Taj Mahal. Ludhianvi went up to the stage and announced that the true winner of the award ought to be Shailendra for the song ‘Mat ro mata’ from Bandini, which Sahir termed as the best patriotic song he had ever heard. He called a reticent Shailendra to the stage and handed him his trophy.

Also Read: How the Partition Saga ‘Buniyaad’ Captured the Imagination of the Entire Nation

His son Shaily Shailendra (also a popular lyricist in the 70s and 80s) became a friend of mine in 1972 and I visited the poet’s home Rim Jhim in Khar a few times. I met his wife, three sons and two daughters. One could see the values ingrained in them by the late poet – humility and grace. His youngest son Dinesh is a filmmaker now .

Shailendra turned a producer in 1963 and launched Teesri Kasam directed by debutante Basu Bhattacharya, who was Bimal Roy’s assistant and Shailendra’s close friend, starring Raj Kapoor and Waheeda Rehman. The film was inordinately delayed and the poet was suddenly under a cloud of debt. Though the film won a National Award, it was only after he passed away. He was disconsolate at the problems of producing a film. His legacy is immortal – as he said in his famous song from Do Beegha Zameen, ‘Apni kahani chhod ja, kuch toh nishani chod ja’.

My favourite Shailendra songs

Its very difficult to curate a list of my favourite Shailendra songs. It is too long. I present it in no order of preference.

‘Awara hoon’ (Barsat)
‘Mera Joota hai Japani’ (Shree 420)
‘Dharti kahe pukar ke’ (Do Bigha Zamin)
‘Kisi ne apna bana ke mujhko’ (Patita)
‘Ai mere dil kahin aur chal’ (Daag)
‘Ye raat bheegi bheegi’ (Chori Chori)
‘Jeena isi ka naam hai’ (Anari)
‘Yeh mera diwnapan hai’ (Yahudi)
‘O re majhi’ (Bandini)
‘O jaanewale’ (Bandini)
‘Uparwala jaan kar anjaan hai’ (Kala Bazar)
‘Koi Humdum na raha’ (Jhumroo)
‘Aa ab luat chalen’ (Jis Desh Mein Ganga Behti Hai)
‘Sajan re jhoot mat bolo’ (Teesri Kasam)
‘Bahut diya denewale ne tujhko’ (Soorat Aur Seerat)
‘Dost dost na raha’ (Sangam)
‘Aaj phir jeene ki tamnna’ (Guide)
‘Wahan Kaun hai tera’ (Guide)
‘Ghar aja ghir ayee’ (Chote Nawab)
‘Raat ke humsafar’ (An Evening in Paris)
‘Main gaon tum so jao’ (Brahmachari)


Courtesy : https://thewire.in/film/remembering-lyricist-shailendra

Har Dil Jo pyar karega in the eye of a director


Dinesh Shankar Shailendra


Raj Kapoor…

We always wonder why songs from the past stand out compared to recent songs .
There is no doubt that there are music directors and lyricists who do great work even today.
Then what is lacking???
Screenplay writers and directors have, over the years, lost faith in lyricists.
I would not name anybody in particular but in the seventies eighties and nineties very few lyricists have been able to impress.
It has been a two way traffic…there has been a dearth of good screenplay writers and directors…and stars have taken over the business of film-making.
Raj Kapoor, the director, from the very beginning, believed that songs were an essential part of narrating a story on screen.
After making ‘Aag’, in ‘Barsaat’, he discovered the talent of Shanker Jaikishan and Hasrat Jaipuri….
Towards the end of ‘Barsaat’, Shailendra joined them. RK knew, he had a team that would literally rewrite the history of Hindi film music.
All his films depended on songs to take his story forward…His first colour film ‘Sangam’ was no exception.
Effectively, Sangam had two theme songs….one at the beginning of the film and one towards the end. The first is a joyful party song where, the three main characters in the film…Raj Kapoor, Vyajantimala and Rajendra Kumar actually introduce themselves to the audience….They in fact reveal to the audience the part they will be playing as the story of the film unfolds.
The second is a song that comes towards the end…after most of the story has unfolded (Dost dost na raha…)
“Harr dil jo pyaar karega…”, taken at face value, is a party song full of fun….started by Raj Kapoor, true to his character of a fun loving, good for nothing person who is madly in love with Radha played by Vajyantimala.
BUT the words Shailendra has written, take the song to a different level….Added to this, the little touches that the director has contributed, have the desired effect on the audience.
In this song, like so many of his songs, Shailendra chooses his words like a highly talented screenplay writer. According to where the song comes in the film, his words reveal certain things to the audience, yet, he makes them curious about what will happen as the film progresses…..Writing a good screenplay is tough….but to do it with lyrics??? JUST OUT OF THIS WORLD !!!

The song starts with Raj Kapoor playing the accordion that makes up the introduction music….he sings the mukhda…

” Harr dil jo pyar karegaa, woh gaana gaayega,
diwana saikdon mein, pehchaana jaayega….”

In the interlude, he moves towards Vyajantimala, who moves away towards Rajendra Kumar, who, in turn moves away to isolate himself…
Raj Kapoor sings the verse…

” Aap hamare, dil ko churaa kar,
aankh churaaye jaatey hain,
yeh ek tarfaa, rasme wafaa hum,
phir bhi nibhaaye jaatey hain,
chaahat ka dastoor hai lekin, aapko hi maaloom nahin…
jiss mehfil mein shamaa ho, parwana jaayega…”

Vyajantimala joins in… she sings the mukhda… Raj is ecstatic… he thinks she is addressing him…

After the interlude, she sings…

” Bhooli bisri, yaadein mere,
hanstey gaatey bachpan ki,
raat biraat, chali aati hain,
neend churaaney nainan ki,
ab keh doongi, kartey kartey, kitney saawan beet gaye…
jaane kab in aankhon ka, sharmaana jaayega…”

She is addressing Rajendra Kumar… he understands…. but his loyalty towards his friend makes him awkward….

The next verse is sung by Rajendra Kumar….

” Apni apni, sab ne keh li,
lekin hum chup chaap rahey,
dard paraaya, jisko pyara,
woh kya apni baat kahey,
khaamoshi ka, yeh afsaana, reh jaayega, baad mere….
apnaake harr kisiko, begaana jaayega…..”

When one is watching this film for the first time, the words, the expressions of the actors and the movements, sound nice and look good…. But in turn, they churn up a kind of curiosity in the mind of the audience….

Raj Kapoor’s lines are a blatant expression of love and a little complaint as to how, the love of his life is not really understanding how much he loves her…He will pursue relentlessly….. ” Jis mehfil mein shamaa ho, parwaana jaayega…. “

Vyjantimala expresses that she feels the pangs of love …. the seeds of which were sown in her childhood itself…. ( Her love for Rajendra Kumar ) But, her shyness, ( the typical Indian upbringing ) has stopped her, many a time from expressing this love overtly to him…. She complains…. ” Jaaney kab inn aankhon ka, sharmaana jaayega…”

Rajendra Kumar expresses anguish…. He loves Vyjantimala too…. But his friendship with Raj Kapoor, and the fact that he knows how crazy his friend is about the lady, is forcing him to remain silent….” Dard paraaya, jissko pyara, woh kya apni baat kahey….”

The song ends… Raj Kapoor asks people to dance… he is still playing the accordion…Rajendra Kumar requests Vyajantimala to partner him … she eagerly joins him… Raj is happy to see his best friend dance with the woman he is madly in love with… In a compact shot…. there is a romantic exchange between Rajendra Kumar and Vyajantimala… she puts her head on his shoulder… Raj notices and he is a tad envious…

He suddenly starts playing the ‘Anniversary Waltz’…. ( Used as the RK theme in all his films )… it borders on sadness… Raj, then picks himself up and goes back to playing the happy notes of the song…

Shanker Jaikishen stand out among the crowd of music directors…. They use the piano, the accordion and violins to perfection… Note the subtle changes in these three instruments when required to go from gaiety to seriousness…. They understand exactly what their beloved ‘Rajsahab’ wants ….. The deliver…. AND HOW !!!
Very few people, including many music directors understand the importance of balancing sound levels to perfection….. They should listen to any song composed by Shanker Jaikishen…. They were the undisputed champions !

The subtle changes in expressions of the three main actors…. handled excellently by the director, make this great song greater… Raj Kapoor gives his co-actors proper screen space and manages to bring out the best performances…

Shailendra’s words are great… but Raj Kapoor, the director, does not let his Kaviraj down !!!!!

Movie: Sangam Music Director: Shankar Jaikishan Singers: Lata Mangeshkar, Mukesh & Mahendra…
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Yatin Shrikant Dalvi
Yatin Shrikant Dalvi Dineshji…
You bloom like the ‘Brahmakamal’, once in a long time ! The wait for your post is long but worth the trouble.
As usual, a Great post!!! But, please do not keep us waiting for long….😊

Like · Reply · 1 · 3 hrs
Dinesh Shankar Shailendra replied · 1 Reply
Shashibhushan Hegde
Shashibhushan Hegde How amazingly Shailendra could condense the entire film in to 3 stanzas of a song – this one or awara hoon or Ramayya vastavayya…..this was something only Shailendra could do.

Like · Reply · 2 · 3 hrs
Dinesh Shankar Shailendra replied · 1 Reply
Subhash Tiwari
Subhash Tiwari The words, voice and music blend together and flow so smoothly which you rarely get to hear elsewhere. The pianno interlude before Mahendra Kapoor takes over for Rajendra Kumar, and the accordion pieces of RK theme are the soul of this song carrying the meaningful words riding together.

Like · Reply · 1 · 3 hrs
Dinesh Shankar Shailendra replied · 1 Reply
Latha Rajgopal
Latha Rajgopal Amazing ! Great analysis of director’s point of view in fact Dineshji you hv widely covered every minute aspect of this song sequence lack words to express my feeling ! Thanks so much for sharing one of my favorite songs !

Sureshkumar G. Vithalani
Sureshkumar G. Vithalani Very nice narration as usual.

Lakshmi Kanta Tummala
Lakshmi Kanta Tummala Shailendra is matchless when it comes to songs like this one which tell the entire story in a few stanzas. Thank you, Dinesh, for your bi-weekly contributions to this group. They are eagerly awaited by all members. Your narratives take us back down memory lane to the times we enjoyed the songs in the theaters.


राह देखते ‘श्री लक्ष्मी’ के शुभागमन की,

बरबस आंख मुंदी निर्धन की!

तेल हो गया ख़त्म, बुझ गे दीपक सारे,

लेकिन जलती रही दीवाली मुक्त गगन की!

चूहे आए कूदे-फांदे, और खा गए–

सात देवताओं को अर्पित खील-बताशा;

मिट्टी के लक्ष्मी-गनेश गिर चूर हो गए

दीवारें चुपचाप देखती रहीं तमाशा !

चलती रही रात भर उछल-कूद चूहों की

किन्तु न टूटी नींद थके निर्धन की;

सपने में देखा उअसने आई है लक्ष्मी

पावों में बेड़ियां, हाथ हथकड़ियां पहने !

फूट-फूट रोई वह और लगी यों कहने :

“पगले, मैं बंदिनी बनी हूं धनवालों की


English interpretation of Bhaiya Mere Rakhi Ke Bandhan Ko Nibhaanaa

by : Swaminathan Narayan

Epic ….. historical song … written with so much affection for the auspicious day of Raksha bandhan ….

Wah Sir Shailendraji wah ….

bhaiyaa mere, raakhi ke badhan ko nibhaanaa
bhaiyaa mere, chhoti bahan ko na bhulaanaa
dekho ye naataa nibhaanaa, nibhaanaa
bhaiyaa mere

Oh my brother dearest,
The holy tradition of Rakhi follow,ever,
Oh my brother as nearest,
Forget your little sister never,
This pure relation of love ,accede, to your best…..
My brother dearest….

ye din ye tyohaar khushi kaa, paavan jaise nir nadi kaa
bhaai ke ujale maathe pe, bahan lagaae magal tikaa
jhume ye saavan suhaanaa, suhaanaa
bhaiyaa mere

This day is the festival of happiness,
As pure as the waters of the rivers,
On your radiant forehead my brother, I bless,
The red tikaa which as your protector serves….
The monsoon today is also dancing to the opus….
My brother dearest….

baandh ke hamane resham dori, tum se vo ummid hai jodi
naazuk hai jo daant ke jaise, par jivan bhar jaae na todi
jaane ye saaraa zamaanaa, zamaanaa
bhaiyaa mere

By tying this silk thread on your wrist,
I have forged my hopes with you,
Though it seems delicate at first,
But for life time it is un-breakable as new….
The whole world knows this best….
My brother dearest…..

shaayad vo saavan bhi aae, jo bahanaa kaa rang na laae
bahan paraae desh basi ho, agar vo tum tak pahunch na paae
yaad kaa dipak jalaanaa, jalaanaa
bhaiyaa mere

Maybe even such a monsoon may occur,
That may not the pure scent of the sister get,
The sister may be very far from succour,
That she may not be able to be present ,yet,
You burn the lamp of remembrance with fervour…
My brother dearest …..

Baba Nagarujna on shailendra – गीतों के जादूगर का मैं छंदों से तर्पण करता हूँ

‘गीतों के जादूगर का मैं छंदों से तर्पण करता हूँ ।’

सच बतलाऊँ तुम प्रतिभा के ज्योतिपुत्र थे,छाया क्या थी,
भली-भाँति देखा था मैंने, दिल ही दिल थे, काया क्या थी ।

जहाँ कहीं भी अंतर्मन से, ॠतुओं की सरगम सुनते थे,
ताज़े कोमल शब्दों से तुम रेशम की जाली बुनते थे ।

जन मन जब हुलसित होता था, वह थिरकन भी पढ़ते थे तुम,
साथी थे, मज़दूर-पुत्र थे, झंडा लेकर बढ़ते थे तुम ।

युग की अनुगुंजित पीड़ा ही घोर घन-घटा-सी छाई
प्रिय भाई शैलेन्द्र, तुम्हारी पंक्ति-पंक्ति नभ में लहराई ।

तिकड़म अलग रही मुस्काती, ओह, तुम्हारे पास न आई,
फ़िल्म-जगत की जटिल विषमता, आख़िर तुमको रास न आई ।

ओ जन मन के सजग चितेरे, जब-जब याद तुम्हारी आती,
आँखें हो उठती हैं गीली, फटने-सी लगती है छाती । ………………[.Baba nagarujna on shailendra]


Contributed by Shri Ajay Kanagat ji Ajay Kanagat