#meera

Mushq Shava

दिल पे गहरी थकन छा रही है।

कभी एक पल को कभी एक अर्सा सदाएँ सुनी हैं मगर ये अनोखी निदा आ रही है

बुलाते बुलाते तो कोई न अब तक थका है न आइंदा शायद थकेगा

मिरे प्यारे बच्चे मुझे तुम से कितनी मोहब्बत है देखो अगर

यूँ किया तो

बुरा मुझ से बढ़ कर न कोई भी होगा ख़ुदाया ख़ुदाया

कभी एक सिसकी कभी इक तबस्सुम कभी सिर्फ़ तेवरी

मगर ये सदाएँ तो आती रही हैं

इन्ही से हयात-ए-दो-रोज़ा अबद से मिली है

मगर ये अनोखी निदा जिस पे गहरी थकन छा रही है

ये हर इक सदा को मिटाने की धमकी दिए जा रही है

तेवरी (Tevari): भौंहें सिकोड़ना या चढ़ाना। जब कोई व्यक्ति गुस्से में अपनी आँखें या माथे को सिकोड़ता है, तो उसे 'तेवरी चढ़ाना' कहते हैं।

तबस्सुम (Tabassum): हल्की मुस्कान या मुस्कुराहट।

अबद (Abad): हमेशा रहने वाला, शाश्वत, या अनंत काल (यह 'आबाद' से अलग है, जिसका अर्थ बसा हुआ होता है)।

हयात-ए-दो-रोज़ा (Hayat-e-do-roza): दो दिन की ज़िंदगी। यह अक्सर प्रतीकात्मक रूप से इस्तेमाल किया जाता है, जिसका अर्थ है बहुत छोटी या नश्वर (खत्म होने वाली) ज़िंदगी।

सदाएँ (Sadaaen): आवाज़ें, पुकार, या صدا (sada) का बहुवचन।

सरगोशियाँ (Sargoshiyan): कानों में फुसफुसाना या बहुत धीमी आवाज़ में की गई बातें।

sharad chandra ki poornima,

ras-barsa ki raat,

kadam-tale kanha khade,

liye muraliya haath. (x)

One of my absolute favourite bollywood retakes on old bhakti-era literature, this song holds a special place in my heart alongside songs such as Radhike Tune Bansari Churayi (x), Radha Na Bole (x), Bansuri Tihari Nanda-lal (x), Thumak Thumak Mat Chalna (x), and Murali Manohar Krishna Kanhaiya (x).

It's very interesting to see the sub-genres of Radha maan-bhanjan (x) or Shuk-Shari conversationals (x) (prominently seen in Bengali folk as a unique genre, but elements of it are obviously found countrywide and beyond) living on, beyond Geeta-Govindam, and resurfacing at honestly, very unexpected moments!

It invokes a special feeling, when songs such as these explore Radha and Krishna navigating a normal (albeit tumultuous) relationship with the tadka of constant 'break-ups' and 'patch-ups', with the flute, standing in for 'intimacy', and it's interpretations standing in between. Dehi pada-pallavam-udaaram...(x)

It is truly heartwarming to see how this one historically controversial couple have somehow saturated the soul of our country with such an indelible passion, that even in the present day at least 1/10 songs chosen in random will include at least a cheeky nod to their love. In so many forms, in so many contexts, with almost every state in India contributing at least one unique chapter in their story.

It would be true academic achievement too to be able to delve into the Radha-Krishna traditions of each Indian state, and map their dependence as well as independence from each other!

Another interesting facet to be observed is how fluidly bollywood has always adapted regional literature (here I must say, I can only speak for Hindi/Bengali remakes). While the foremost example would obviously be the infamous "Piya Ghar Aaya" by Bulle Shah (x), but there have been so many such songs that have quietly slipped under the radar. Another semi-famous example would be Turab's Neeki Lagat Mohe (x), being remade into the famous "Pyar Kiya Toh Darna Kya" (x).

In the context of Radha-Krishna, one example that comes to mind is Md. Rafi's Radhike Tune Bansari Churayi (x), which is adapted from K L Saigal's rendition of Surdas' Radhe Pyari De Daro Na (x), which was then also adapted synonymously into a Hindi-language Meera Bhajan (x) by Hridayanath and Lata Mangeshkar.