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"Good night, good night! Parting is such sweet sorrow." - William Shakespeare, Romeo & Juliet

Parting maybe "Sweet Sorrow", but 'judai' songs that express such sorrow tend to be the sweetest melodies, especially in Hindi Movies. They express the lingering soft echoes of parting between lovers. Which is perhaps why they tend to be audience favorites.

After all, there are only two things that lovers do in Hindi Movies - run around trees, and pour their hearts out in songs of judai. Judai, tanhai, vaada nibhana, milna bichadna - what would a Hindi movie be without these sentiments?

My first Playlist was a tribute to Elizabeth Barret Brown's Sonnet No 43 - "How Many Ways Do I Love Thee?". I started that list with one of my all-time favorite songs written by Sahir Ludhianvi - "Abhi Na Jao Chod Kar" from Hum Dono. I don't think there's another song from a Hindi Movie that has expressed the sweet sorrow of judai as tenderly and poignantly as this song.

The combination of Sahir's lyrics, Jaidev's music and the exquisite rendition of the song by Rafi and Asha made an otherwise mediocre movie into a classic. A movie that I will gladly watch any time, any place. I like the song so much that I also used it as the title for my tribute to Asha Bhosle.

Much as I love that song, I cannot use it a third time, so I am including other songs that are expressing the same sentiment. If you're like me and the title immediately invokes the memory of Dev Anand looking pleadingly at Sadhana saying "abhi to kuch kaha nahin, abhi to kuch suna nahin", you can find it here..

Shakespeare's oxymoron reminds us that judai is both sorrowful and sweet. But not every judai is the same. Sometimes it is more sweet than sorrowful, but more often the sorrow dominates. I have selected songs from both ends of the spectrum for this playlist. It is sweet when the love is just starting to blossom. Even sweeter as the romance takes off, when the lovers cannot bear even the slightest distance. But as the relationship meets the harsh realities of life, sometimes it turns into sorrow and even reluctant acceptance of the parting. In this playlist, I have selected songs that show the evolution of the angst of judai through the different stages of the relationship.

Enjoy the songs, and gives us your feedback in the comments section.

1. "Mausam Hai Aashiqana" - Pakeezah (1972) - A Sweet Judai Song

Credits

Composer: Ghulam Mohammed

Lyricist: Kamal Amrohi

Singer: Lata Mangeshkar

Context

After my post "Two Legends, Two Tragedies, Two Classics", I can't think of a better song than this to begin my playlist.

Sahibjaan (Meena Kumari) is a tawaif in a kothi where she dances and entertains patrons for a living.

One day, as Sahibjaan is sleeping in a train, Salim (Raaj Kumar) sees her and is enthralled with her beauty. He leaves her a note. Sahibjaan reads the note and develops feelings for the unknown man who praised her beauty.

Later Sahibjaan is being attacked by elephants, and is rescued by a forest ranger, who happens to be the same person who left the note.

When Sahibjaan reads Salim's diary, she realizes that fate brought her to her secret admirer, and she begins to sing this song.

Music

Pakeezah was Ghulam Mohammed's swan song. The movie took more than 15 years to complete. Ghulam Mohammed finished recording all songs by 1968 and then passed away. Interestingly, his mentor Naushad took over and composed the background music for the movie.

This was undoubtedly Ghulam Mohammed's best composition, and it was a travesty that he did not get the Best Music Director award. Veteran actor Pran refused to accept his award for Best Supporting Actor in protest for this slight to Ghulam Mohammed.

Lyrics

Kamal Amrohi and Meena Kumari had a complicated relationship. On the one hand, his possessive attitude and controlling nature drove Meena Kumari to despair to the point of drowning her sorrow in alcohol, which ultimately led to her untimely death.

On the other hand, it is undeniable that he loved her obsessively. He conceived Pakeezah as a tribute to Meena Kumari and meticulously planned every detail of the movie.

While stalwarts like Kaifi Azmi and Majrooh Sultanpuri wrote the lyrics for most of the songs, Kamal himself wrote the lyrics for this song that starts her love story. Kamal comes from a literary family (his first cousin was the famous Pakistani poet Jaun Aulia) and was fluent in chaste Urdu.

In this song, he shows that he can write tender love songs as good as the best of them. See how he describes her longing here -

"मौसम है आशिक़ाना ऐ दिल कहीं से उनको ऐसे में ढूँढ लाना कहना के रुत जवां है, और हम तरस रहे हैं काली घटा के साए, बिरहन को डँस रहे हैं डर है न मार डाले सावन का क्या ठिकाना!"

"This ambience exudes love

Oh heart! Go find him for me

Tell him the night is young, and I am pining for him

These clouds, these shades, they're overwhelming me

Who knows, I might just succumb to the rains!

Please hurry up and get him for me!" - My interpretation (not a literal translation)

It is a time-honored tradition in poetry dating back to Kalidasa to enlist the help of nature to express the yearning for love - sometimes as a messenger, sometimes as a culprit. Many of the songs in this playlist follow this pattern.

Voice

I believe that every singer has one emotion that they can express better than anyone else. For Lata Mangeshkar it is judai. Whether it is "sweet sorrow" as in this song, or the tender yearning or even the anguish of having to forsake your love, no one can express it as good as Lata. Listen to the way she almost whispers the words "डर है न मार डाले सावन का क्या ठिकाना!".

Why this is a judai song

The heroine has just discovered who her secret admirer is. Now her heart is filled with joy. But when she wants to share that joy with him, he is nowhere to be found. She is impatient to meet with him and is beseeching her heart to bring him to her. The way she sings this is what "sweet sorrow" looks like.

2. "Chup Hai Dharti Chup Hai Chand Sitare" - House No 44 (1955)

Credits

Composer: S D Burman

Lyricist: Sahir Ludhianvi

Singer: Hemant Kumar

Context

House No 44 is the third movie in the "Bombay Noir" genre produced under the Navketan banner, following Baazi and Taxi Driver.

Ashok (Dev Anand) is a drifter who gets reluctantly pulled into a world of crime, where he runs into Nimmo (Kalpana Kartik) who is unknowingly acting as a courier for the gang. Concerned for her safety, he walks her home. Of course, by the time they reach her place he has fallen in love with her.

He drops her off and sits on a park bench, singing this song as he realizes that he is already missing her.

Music

S D Burman gave the music for most of the Navketan banner movies. The Dev Anand - S D Burman combination produced many gems. Dev Anand took an active interest in the quality of music, and S D Burman's creativity found and appreciating patron.

The picturization of this song shows Dev Anand going into a reverie thinking about the girl he just left, and the entire song unfolds almost like a dream. Sachin da uses a gentle lilting melody that amplifies the dreamy ambience of the song.

Lyrics

The early fifties saw a great collaboration between Dev Anand, S D Burman and Sahir Ludhianvi. Interestingly, some of Sahir's most memorable songs were from the Bombay Noir movies of the fifties.

As I mentioned in the previous song, nature is often the messenger between lovers in movies. It has been noted by many critics that Sahir has used nature masterfully in his songs. In this song, he characteristically enlists the help of nature to express how strong his yearning is for his beloved.

"चुप है धरती, चुप हैं चाँद सितारे मेरे दिल की धड़कन तुझको पुकारे खोये खोये से ये मस्त नज़ारे ठहरे ठहरे से यह रंग के धारे ढूंढ रहे हैं तुझको साथ हमारे"

("Heaven and Earth are listening silently

As my heartbeats are beckoning you

This dreamy intoxicating beauty of the night

And this languid splash of colors

Are helping me look for you.") - my interpretation (not a literal translation)

Voice

Hemant Kumar sang some of his best songs in the early days of S D Burman's career. Too bad they did not make more songs. As in the case of Sahir, some of Hemant's best songs were also from Bombay Noir movies like Jaal, Taxi Driver and House No 44. Hemants voice is perfect for the dream-like ambience of the song.

Why this is a judai song

Judai of the first crush is certainly sweet. This is a song of longing, but it is also a song of the first kindling of love. The hero has not yet expressed his love to the heroine, but he is already head over heels. For him this is more than love. She is his inspiration to rise above his crime-filled life and become a better individual. He ends the song with "आजा मेरी तन्हायी के सहारे". तन्हायी here is more than loneliness. It is the hopelessness of his life that he hopes her presence will liberate him from. The lyrics, the melody, the dream-like setting and Dev Anand's expressions combine to make this a perfect "Judai" song.

3. "Dil Tadap Tadap Ke Keh Raha Hai Aa bhi Ja" - Madhumati (1958)

Credits

Composer: Salil Chowdhary

Lyricist: Shailendra

Singers: Mukesh & Lata Mangeshkar

Context

Bimal Roy took a break from his trademark social realism to make a gothic love story based on reincarnation. Anand (Dilip Kumar) is an estate manager in a hill station and a part-time artist. He falls in love with Madhumati (Vyjayanthimala), a tribal girl. The fog filled valleys of Kumaon is where their love blossoms.

In this song, the hero arrives at their rendezvous, but the heroine is missing. Dil to tadpega hi! He is literally pouring his heart out and asking her to come out of hiding.

Music

Salil Chowdhary was inspired by a traditional Polish folk song for this composition. The music for Madhumati was immensely popular. Salil won his first Filmfare award for this movie, as did Lata Mangeshkar.

Lyrics

Shailendra's forte is alliteration and perfect matching of words to the mood of the song. Once again, through Shailendra's words, the hero makes nature his ally in expressing his feelings beautifully-

"तू नहीं तो ये बहार क्या बहार है गुल नहीं खिले के तेरा इन्तज़ार है"

("What good is spring if you're not with me?

Even the flowers are waiting for you to bloom") - my interpretation (not a literal translation)

Voice

Mukesh and Lata have given us some memorable duets over the years. To me this song belongs in the top two or three duets by these artistes. It is rare to find Mukesh singing for Dilip Kumar, but it really works well here. Mukesh excels in expressing vulnerability and expressing love earnestly, which suits this song perfectly. Lata of course has the sweetest devotion in her voice when she says "तुमसे मेरी ज़िन्दगी का ये श्रृंगार है, जी रही हूँ मैं के मुझको तुमसे प्यार है".

Why this is a judai song

The judai you experience when you're waiting to meet with your beloved makes even a few minutes of delay seem like a lifetime. You feel like your heart is crying out in pain. You feel like the world around you waiting as anxiously as you are. Finally, when she arrives all that anxiety disappears and you find the presence of love everywhere.

This is on the "sweet" end of the sweet sorrow spectrum.

4. "Suhani Raat Dhal Chuki" - Dulari (1949)

Credits

Composer: Naushad

Lyricist: Shakeel Badayuni

Singer: Mohammed Rafi

Context

Prem (Suresh), the son of a rich businessman falls in love with Dulari (Madhubala), a gypsy girl. Prem's father refuses to let him marry a gypsy girl, and Prem leaves his home to pursue the girl of his dreams.

Meanwhile Dulari has been detained by the son of the chief of the gypsies and is unable to go to the meeting place.

In this song the hero is waiting for his love as the night is passing by, and of course singing his heart out.

Music

Naushad composed music for many movies under the Kardar Productions in the '40s, for whom he produced gems like "Gham Diya Mushtakil", "Yeh Sawan Rut, Tum aur Hum", "Tu Mera Chand Main Teri Chandni", and many more. Most of Naushad's songs are based on classical raagas, and this song is no exception. It is based on Raag Pahadi, a gentle lilt that is perfect for a romantic song.

Lyrics

When it comes to expressing love in the most ardent way possible, Shakeel Badayuni is probably the best poet. His lyrics are lush with classical Urdu imagery. He too makes nature his ally in expressing his yearning for the beloved -

"तड़प रहे हैं हम यहाँ तुम्हारे इंतज़ार में खिज़ा का रंग, आ चला है मौसम-ए-बहार में हवा भी रुख बदल चुकी ना जाने तुम कब आओगे"

(Your absence burns my heart As I wait in silence for you Even spring has turned into autumn And the winds are turning away Wonder how long you'll take to come") - My interpretation, not literal translation

Voice

If Lata is the queen of Judai, Rafi is clearly the king. When he laments the absence of his love, you can hear the pain of not seeing his beloved in his voice. I think this song belongs in the top 10 list of Rafi songs.

Why this is a judai song

The hero has left everything behind just to be with his beloved, but she is not there at the rendezvous. The intezar can be an agony that can make spring look like autumn and the wind look like it's standing still in anticipation of her arrival. This is judai when the love has reached its peak, and any distance from the one you love simply unbearable. The wait is longer than in the previous song, so it is a song of sweet sorrow.

5. "Tumhe Yaad Karte Karte" - Amrapali (1966)

Credits

Composer: Shankar Jaikishan

Lyricist: Shailendra

Singer: Lata Mangeshkar

Context

Amrapali (Vyjayanthimala) is a court dancer in the kingdom of Vaishali. She gives shelter to a wounded soldier (Sunil Dutt) and nurses him back to health. In the process they fall in love.

Meanwhile, the wounded soldier turns out to be the dreaded emperor Ajatshatru of Magadh who was the one who waged war against Vaishali.

This song is sung by Amrapali after Ajatshatru leaves her as she pines for his return.

Music

This is not a typical Shankar Jaikishan composition. You don't hear their characteristically string-driven orchestra, nor the rhythm of their fast songs. All the songs are based on classical raag based melodies. This composition is reminiscent of Madan Mohan or Khayyam in its soothing melody and the slow tempo that reflects the mood of the song. Considering that 1966 was when they were at the peak of their popularity, it is a testament to their talent and self confidence that they were willing to experiment with this genre.

Lyrics

Shailendra's lyrics very carefully use the vocabulary of a court dancer of Vaishali, while still retaining the simplicity of words and perfect blend of rhyme and alliteration that he is known for.

He expresses the heroine's yearning for her love in the most endearing way possible -

"विरहा की इस चिता से तुम ही मुझे निकालो जो तुम न आ सको तो, मुझे स्वप्न में बुला लो मुझे ऐसे मत जलाओ, मेरी प्रीत है कुँवारी तुम ले गये हो अपने संग नींद भी हमारी तुम्हें याद करते करते जाएगी रैन सारी"

(“Rescue me from this searing pain of your absence

If you can’t be here, take me into your dreams

Don’t leave me with this anguish, my love is still tender

You have stolen my sleep

Now the night will be spent with your memories!”) - my interpretation, not a literal translation.

Voice

Lata shows in this song why she is the first choice for a "judai" song. The way her voice lingers on the words "तुम्हें याद करते करते" is so uniquely Lata!

Why this is a judai song

When you miss someone deeply, the first thing you lose is your sleep. From the moment Vyajayantimala starts gently strumming the Veena, you know this is a judai song. This song moves from the "sweet" end of the scale to the "sweet sorrow" stage. She knows that he is gone, but she is hopeful that he will be back, and she is urging him to remember her in his dreams.

6. "Tu Aaye Na Aaye Teri Khushi" - Bewafa (1952)

Credits

Composer: A R Qureshi (a.k.a Alla Rakha, the famous Tabla Player)

Lyricist: Sarshar Sailani

Singer: Talat Mehmood

Context

Raj (Raj Kapoor) helps his neighbor Roopa (Nargis) at her time of need, and the two fall in love. eventually circumstances cause their separation.

Later Roopa meets Ashok (Ashok Kumar) and the two of them collaborate on paintings. The paintings become popular and start to make a lot of money.

Raj then re-enters into Roopa's life and puts her in a dilemma, having to choose between the two men.

This song is sung by Raj as he waits for Roopa to come to him.

Music

Ustad Alla Rakha, the world renowned Tabla player, was an All India Radio artiste and a Hindi Movie music director before he became famous as a Tabla player. You can see the future Tabla maestro in this song. The song begins with a steady Tabla beat and the entire melody is woven around it.

Lyrics

Sarshar Sailani's lyrics are written in classic Urdu poetry style. This does not strictly fit within the definition of a ghazal or a nazm, but the imagery used is typical in those forms. In this song, he is expressing the hero's anguish of not being able to meet with his beloved in a poignant way -

"इतना तो बता दे ओ ज़ालिम अब नज़रों से क्यों दूर है तू मिलना ही तुझे मंज़ूर नहीं या मेरी तरह मजबूर है तू तू कह दे अगर हम उठ जायें हम तेरे बिठाये बैठे हैं तू आये न आये तेरी खुशी हम आस लगाये बैठे हैं"

(“Tell me o tormenter, Why are you avoiding me? Is it that you're not interested, Or are you under duress just like me? Just give the word and I'll be gone I am only here because you called me Whether you come or not is upto you But I am still holding on to hope!”) - my interpretation, not a literal translation.

Voice

Talat - Raj Kapoor is a rare combination. Given the storyline and Raj Kapoor's role in this movie, I think this worked really well. Talat sang three songs for Raj Kapoor, and all were popular, but I personally liked this the best. Raj Kapoor's expressions in this song match the tone of the voice quite well.

Why this is a judai song

The judai in this song is more bitter than sweet, as the hero returns to his beloved and finds that there is someone else in her life. He is still pursuing her, but he knows that the story of his love can now be only expressed in the language of tears ("अस्क़ों की ज़ुबानी किस्सा-ए-ग़म दुनिया को सुना के देख लिया").

7. "Tum Na Jaane Kis Jahan Mein Kho Gaye" - Saza (1951)

Credits

Composer: S D Burman

Lyricist: Sahir Ludhianvi

Singer: Lata Mangeshkar

Context

Sazaa is a somewhat complicated love triangle story involving Ashok (Dev Anand), Asha (Nimmi) and Kamini (Shyama). Ashok is run over by Kamini. She takes him to the hospital and takes care of him (and of course falls in love with him).

When he recovers, Kamini gets him a job with her father. But Ashok falls in love with Kamini's maid Asha who reciprocates the feelings.

However, Ashok comes with some baggage, and one day he disappears.

In this song, Asha is expressing her sorrow, lamenting that she is now left all alone in the world.

Music

1951 was the year when S D Burman established himself as a force to reckon with in the world of Hindi Cinema music. With hits like Naujawan, Baazi and Sazaa, he became the first choice for film makers like Guru Dutt and Dev Anand.

Sachin Da's music for this movie, especially in this song, touches the heart.

Lyrics

It is interesting to me that so many of the most beautiful romantic songs in Hindi movies have been written by a progressive poet who remained unmarried, despite multiple relationships that ended. Perhaps that experience is what gave his lyrics such poignant touch.

In this song, see how he expresses the intensity of her pain -

"एक जां और लाख ग़म, घुट के रह जाये न दम आओ तुम को देख लें, डूबती नज़रों से हम लूट कर मेरा जहाँ छुप गये हो तुम कहाँ तुम कहाँ, तुम कहाँ, तुम कहाँ तुम न जाने किस जहाँ में खो गये"

("So much sorrow for this little heart, I am afraid someday it will just stop beating Come give my sinking heart the solace of seeing you Where have you disappeared, after stealing my world from me") - my interpretation, not a literal translation.

Voice

There is a reason why I have so many Lata songs in this list. Clearly she is the master of judai songs. And this song is perhaps the best of them.

Why this is a judai song

Every word in this song reflects the pain of Judai. When you feel that you might have lost your love, the sorrow is no longer sweet. It's not just your sleep but your entire world that has he has taken from you.

8. “Teri Galiyon Mein Na Rakhenge Kadam” – Hawas (1974)

Credits

Composer: Usha Khanna

Lyricist: Sawan Kumar Tak

Singer: Mohammed Rafi

Context

Anil Kumar (Anil Dhawan) falls in love with Neetu (Neetu Singh), and she reciprocates. Her stepmother Kamini (Bindu) has other plans, and creates a misunderstanding between them.

This song is sung by Anil at a party where he is telling Neetu that he is going to get out of her life as someone else is taking his place.

Music

I am glad I am able to include an Usha Khanna song in this playlist. I believe she is one of the most underappreciated music directors in the industry. From "hum aur tum aur yeh sama" to "hum tum se juda ho ke, mar jayenge ro roke" to this song, she has composed some of the most memorable songs for Rafi.

This song came in 1974 when I was in Bhopal. It was one of the most frequently sung songs by amateur artists on stage that year. I think it was also one of the top songs (though not Paydan #1) on Binaca Geet Mala.

Lyrics

There is an interesting backstory about how producer-director Sawan Kumar Tak ended up writing the lyrics for this song. It is said that he approached Majrooj Sultanpuri for the song. Majrooh asked for a fee that Sawan Kumar felt was too much. So he decided to look for someone else. On the way back he started humming a few words so he could suggest something to the next lyricist. By the time he reached home he felt he could write the song himself, and so he did.

Here is how the hero bids farewell to his love -

“घिर के आएंगी घटाएं फिर से सावन की तुम तो बाहों में रहोगी अपने साजन की गले हम ग़म को लगाएंगे सनम, आज के बाद तेरे मिलने को ना आएंगे सनम, आज के बाद”

(“There will be monsoon rains in the future When you will be in the arms of your love, I on the other hand will be embracing my sorrow”) – my interpretation, not a literal translation.

Voice

Mohammed Rafi of the seventies is the softer, more mature version of the singer who sang "Suhani Raat Dhal Chuki", but you can still hear the same tender tug of the heart.

Why this is a judai song

This is not just a song of judai. This is alvida. The hero is bidding farewell to his love, knowing that she will belong to someone else. When he says "गले हम ग़म को लगाएंगे सनम" he is anticipating the pain of judai once she becomes someone else's wife.

9. “Dhadakte DIl Ki Tamanna Ho Mera Pyar Ho Tum” – Shama (1961)

Credits

Composer: Ghulam Mohammed

Lyricist: Kaifi Azmi

Singer: Suraiyya

Context

Shama (Nimmi) is in love with Parvez (Vijay Dutt). Unaware of her feelings for him, Parvez confides to her that he is in love with Roshan Ara (Suraiya), and seeks her help in winning her over. Shama sacrifices her love and helps Parvez marry Roshan Ara.

In this song she conveys to Parvez that she cannot be happy if he is not happy, and that she urges him to follow his heart.

Music

Ghulam Mohammed began his career as an assistant to Naushad and Anil Biswas. You can see their influence in his music in movies like Mirza Ghalib, Pakeezah etc.

The melody he composed for this song conveys a heartbreakingly exquisite longing and tenderness.

Lyrics

Kaifi Azmi's mastery of the romantic ghazal tradition is perfectly demonstrated in this song. Every verse presents a contradiction, and that contradiction highlights the irony of the fact that the love of her life is asking her to help with his pursuit of another woman.

Here's a great example of this contradiction -

“ज़ेहनासिब अता की जो दर्द की सौगात वो ग़म हसीं है जिस ग़म के ज़िम्मेदार हो तुम धड़कते दिल की तमन्ना हो मेरा प्यार हो तुम”

(“I am blessed that you have given me so much pain Any wound given by you will be a beautiful memory

You are the passion driving my heartbeat, You are the love of my life!") – my interpretation, not a literal translation.

Voice

Suraiya sang this almost at the end of her career. You wouldn't know that by listening to this song. If you did not know this was recorded in 1961, you could easily imagine this to be a song from the forties. Her voice overflows with emotional intensity in this song. Ironically, Suraiya acted as the "other woman" in this movie.

Why this is a judai song

When you realize that the very love that you considered the reason for your heartbeat wants someone else, it causes a sorrow that cannot easily be captured in words. Yet, that is exactly what Kaifi Azmi did in this song. And Suraiya's singing and Ghulam Mohammed's music make this the ultimate song of judai.

10. "Dil Jalta Hai To Jalne De" - Pehli Nazar (1945)

Credits

Composer: Anil Biswas

Lyricist: Aah Sitapuri

Singers: Mukesh

Context

I have not seen Pehli Nazar, and very little information is available about the plot and storyline. So unlike in other songs, I am not able to provide too much context, other than what can be gleaned from this video. And the video does not give us too much detail, except to infer that the hero and heroine are at a crossroads in their relationship, and the hero is reassuring himself through this song.

Music

Anil Biswas worked with stalwarts like Pannalal Ghosh and K L Saigal, and had established himself as a leading music director by 1945.

With very few instruments (I can only hear the tabla and violins in the background) he produced a haunting melody that launched the career of Mukesh.

Lyrics

Safdar Aah Sitapuri wrote a beautiful ode to heartbreak that remains popular more than eighty years later. This song teaches emotional endurance in the face of intense grief.

"दिल जलता है तो जलने दे आँसू ना बहा फ़रियाद ना कर दिल जलता है तो जलने दे तू परदा नशीं का आशिक़ है यूं नाम-ए-वफ़ा बरबाद ना कर दिल जलता है तो जलने दे"

"Don't make a big deal Just because your heart is broken After all, you are in love with the veiled beauty Do not sully the reputation of love With your tears and laments Let the heart suffer if it must!" - My interpretation, not a literal translation

Voice

Mukesh imitated K L Saigal in this song. But that imitation is perhaps the sincerest form of flattery. You can see a hint of Mukesh's soulful style even in this early song. Definitely a great debut.

Why this is a judai song

This is a song of judai at a stage when the lover is starting to accept that being with his love is not in his fate. He is giving himself the strength to endure the pain by saying "तू परदा नशीं का आशिक़ है यूं नाम-ए-वफ़ा बरबाद ना कर". Parting in this case is sorrow leading to acceptance.

What are your favorite songs of judai? Tell us in the comments section below.

Petal Pushers

hello angel i’m so proud of you for starting therapy <3 when it comes to self image… honestly, the biggest shift in me happened when i stopped obsessing over how i looked to other people and started focusing on how i felt to myself. and for me, the root of that was knowledge. learning. like genuinely just being endlessly curious and feeding my brain. i know this sounds very virgo of me but i get this strange euphoria when i understand something deeply; science, philosophy, art, history, anything. and that high? that rush of “wait i’m actually brilliant” it starts to replace the need for external validation.

and eventually i just stopped caring what people think because i realized no one owes me anything and i don’t owe anyone anything either, except basic decency. i don’t perform for anyone. i’m just me. and when you study, when you grow, when your inner world gets richer, you just naturally stop depending on others to define you.

also. and i say this with love: developing a healthy superiority complex helped a lot. not in an arrogant way but in a i know what i bring to the table and i’m not afraid to eat alone kind of way. my self esteem doesn’t come from people liking me, it comes from liking myself. from knowing i’m principled. i’m sharp. i have range. i know what i believe in. and i know how to walk away from anything that threatens my peace.

here’s what i have learned:

curiosity is the gateway drug to confidence

solitude is sacred. learn to enjoy your own company.

don’t underestimate the power of small rituals. books, good music, walks, lighting a candle while you study, it all adds up.

dress like you respect yourself. speak like your words matter.

and read. read a lot. read things that are older than you, smarter than you. let them change you.