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Listen to the mystic voice of Rafi

Nice songs

Written by -Bahadur Shah Zafar-Sung exceptionally sweet in Raag Pahadi by Mehdi hasan

Baat karni mujhe mushkil kabhi aisi to na thi
Jaise Ab hai teri Mehfil, Kabhi Aisi To Na Thi.
le gayaa chheen ke kaun aaj teraa sabr-o-qaraar?
beqaraari tujhe, ae dil! kabhi aisi to na thi

un ki aaNkhoN ne, KHudaa jaane, kiyaa kyaa jaadoo
yeh tabeeyat meri maa'il kabhi aisi to na thi

Chashme saqui meri dushman thii hameshaa lekin

Jaisi ab ho gayi quateel, kabhi vaisi toh na thi…

kyaa sabab tu jo bigaD.taa hai 'zafar' se har baar?
KHoo teri hoor-e-shimaa'il kabhi aisi to na thi

Meaning
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Conversing was never a big deal as it is now,

your gathering was never [so lively] as it is now

Who has snatched away your peace and patience,

O my heart, you were never so restless ever before…

God alone knows what magic her eyes have wrought

I had never felt thus inclined ever before…

The eyes of the lovely wine-server had always been deadly,

But the deadliness they have now was never like this ever before…

What makes you upset with 'Zafar' all the time

Hey you exalted houri, you never had this habit ever before…

Translation courtesy by Max babi

Na kisi ki aankh ka nuur huun



Na Kisi Ki Aankh Ka Noor Hoon
Na Kisi Ke Dil Ka Qarar Hoon
Jo Kisi Ke Kaam Na Aa Sake
Main Woh Ek Mushth-E-Ghubaar Hoon
Na Kisi Ki Aankh Ka Noor Hoon

I am not the light of anyone’s eyes,

Not a harbinger of peace to someone’s heart,

Not of any use to any one,

But just a handful of dust.
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Na To Main Kisi Ka Habeeb Hoon
Na To Main Kisi Ka Raqeeb Hoon
Jo Bigad Chala Gaya Woh Naseeb Hoon Jo Ujad Gaya Woh Dayaar Hoon

I am lover of no one,

I am rival of no one,

I am the fate of my ruins,

I am the river of a wilderness.

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Mera Rang Roop Bigad Gaya
Mera Yaar Muhjse Bichad Gaya
Jo Chaman Khizaan Mein Ujad Gaya
Main Usi Ki Fasl-e-Bahar Hoon

My colors of self-image are now gone,

My beloved from me is now stranded away.

The garden which the spring turned into wilderness,

I am the spring harvest of that garden now.
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Pae- Faatiha Koyi Aaye Kyon
Koyi Chaar Phool Chadaye Kyon
Koyi Aake Shama Jalaye Kyon
Main Woh Be-Kasi Ka Mazaar Hoon

Why should anyone sing a requiem?

Why should anyone place four flowers on my tomb?

Zafar asks: why should anyone shed tears,

As I’m buried helplessly in a vault underground.
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Not translated and not in these poems
nahin huun naghma-e-jaaN fizaa; koi sun ke mujh ko karega kya?
main baRe biruug ki huun sada, kisi dil jale ki pukaar huun.

I am not a life-giving verse,

No use to someone who listens to me.

I am a cry in the wilderness,

A call of a heart gone on flames.


Mein kaha rahoon mein kaha basoon
na ye mujhse kush na wo mujhse kush
Mein jameen ki peeth ka bhoj huun
Mein palak ke dil ka ghubaar huun

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Abu Zafar Sirajuddin Muhammad Bahadur Shah Zafar also known as Bahadur Shah or Bahadur Shah II was the last of the Mughal emperors in India, as well as the last ruler of the Timurid Dynasty . He was the son of Akbar Shah II by his Hindu wife Lalbai

Because Zafar's court was the court of Zauq and Ghalib;was the greatest love poet in Urdu, and arguably the greatest modern Indian poet in any language. Along with Zauq, Zafar's court is responsible for some of the greatest poetry written in modern India.This last moment of Mughal Delhi is one of the most culturally and intellectually exciting of any of the periods of Mughal rule. And Zafar is at the centre of this

Zafar himself is a remarkable calligrapher; in Zafar's poetic notebooks, even if you can't read the Urdu, you can see the impression of inspiration pouring onto the page, of this man filling couplet after couplet, line after line, in every available corner of space.

It was Zafar's fate to live to see the extraordinary reversal of fortunes between his dynasty and the East India Company.But by the time that Zafar was born, and certainly by the time of 1832, that vast empire has shrunk down to the walls of the Red Fort. Zafar is born in 1775 when the East India Company was still really only a coastal power, with factories and forts in Calcutta, Madras and Bombay, but within this one man's life he lives to see his own dynasty shrink down to the Red Fort, while the East India Company transforms itself from a trading organisation into an aggressively expansionist military force.
And poor old Zafar, by the time he comes to throne aged 63 already an old man, a grey-bearded man, who inherits virtually nothing, an empty treasury, no army, no empire, and only the prestige of the name of the Mughals to differentiate him in any way from a small prince in Rajasthan or something, Zafar none the less it is his huge achievement to provoke and act as a catalyst for a really remarkable last renaissance in Delhi: a last great flickering of the Mughal lamp before it's extinguished.

And if Zafar had died in 1856 he would be remembered as one of the most remarkable men of his great dynasty. It was his fate however to live to be on the throne during this great catastrophic uprising. And exactly the same qualities which made him such a remarkable ruler for the period before the uprising and such a cultural catalyst were the very qualities that made him a quite spectactularly unsuitable leader during a time of military revolt. Mystic poets rarely make great generals, particularly when they're 82 years old! And this was certainly the case with poor old Zafar.

And he had that terrible fate of living not only to see most his sons killed before he himself dies, but to see this entire city that he has nourished and beautified with gardens, the poetry and the culture which he has exemplified, completely destroyed.

Bahadur Shah Zafar dies in exile, banished to a prison in Rangoon, and his body is tipped into an anonymous grave, and the turf carefully replaced so that within a month or two no mark will remain to indicate the place of burial.

The following famous poem was written by Bahadur Shah Zafar as his epitaph; this is an English translation.
English Translation


EPITAPH


My heart is not happy in this despoiled land
Who has ever felt fulfilled in this transient world

The nightingale laments neither to the gardener nor to the hunter
Imprisonment was written in fate in the season of spring

Tell these emotions to go dwell elsewhere
Where is there space for them in this besmirched (bloodied) heart?

I had requested for a long life a life of four days
Two passed by in pining, and two in waiting.

He pathetically concluded his poems with this couplet:

Hai kitna badnaseeb Zafar, dafan ke liye
Do gaz zameenj bhi na milee kooi yar main


How unlucky is Zafar! For burial
Even two yards of land were not to be had, in the land (of the) beloved.

Written by Sahir ludhiyanvi,from Chitralekha,music by Roshan
Mann Re Tu Kaahe Na Dheer Dhare

Oh Nirmohi! Moh Na Jaane, Jinka Moh Kare

Mann Re Tu Kaahe Na Dheer Dhare


Is Jeevan Ki Chadti Dhalti, Dhoop Ko Kis Ne Baandha

Rang Pe Kis Ne Pehre Daale, Roop Ko Kis Ne Baandha

Kaahe Yeh Jatan Kare, Mann Re Tu Kaahe Na Dheer Dhare


Utna Hi Upkar Samajh Koi, Jitna Saath Nibhaa De

Janam Maran Ka Mel Hai Sapna, Yeh Sapna Bisraa De

Koi Na Sang Mare, Mann Re Tu Kaahe Na Dheer Dhare


Oh Nirmohi! Moh Na Jaane, Jinka Moh Kare

Mann Re Tu Kaahe Na Dheer Dhare

ChitraLekha, Mohd. Rafi,Sahir Ludhianvi, Roshan.

meaning of the song.

Oh Dear Heart, Why do you not have patience? Oh Dear Heart, Why do you despair?

For whom you yearn so much, does not understand love or know desire

When one cannot control the joy and sorrow of life, when one cannot control the beauty and youth, why does the heart keep trying to do the impossible? Why does it keep loving the one that does not know what love means? Why is the heart in so much despair when it knows nothing is in its hands?

Life and Death are mere moments that pass by at the same time. The only thing that is worth-while is the time you spend these moments in. Why does heart want to search for something that are are only mere words? In the end you die alone, so why does heart even despair, for, the one you yearn for does not know desire or understand love.

Voice of P.Suseela is mesmarising


Harir iha mugdha-vadhü-nikare
viläsini vilasati keli-pare (refrain) (refrain
candana-carcita-néla-kalevara-péta-vasana-vanamälé
keli-calan-maëi-kuëòala-maëòita-gaëòa-yuga-smita-çälé

Translation
“O playful Rädhä, look! Dressed in yellow cloth and a garland of forest flowers,
with sandalwood paste smeared upon his dark limbs, Kåñëa feels the utmost
elation as he enjoys pastimes with captivated young brides in this Våndävana
forest. His earrings swing to and fro, the beauty of his cheeks is astonishing and
his face displays a wondrous sweetness with the honey of his playful laughter.”


käpi viläsa-vilola-vilocana-khelana-janita-manojam
dhyäyati mugdha-vadhür adhikaà madhusüdana-vadana-sarojam
harir iha mugdha-vadhü-nikare...


Translation
“Look, sakhi ! This gopé is meditating on Kåñëa. He arouses lust in the hearts of
sensuous young ladies with the romantic sidelong glances of his restless eyes,
and she is greedy to drink the honey of his lotus face.”
Commentary
Describing an enchanted heroine (mugdhä näyikä), Rädhä’s Rädhä’s näyikä sakhé
says, “This says, “This gopé
is meditating on Kåñëa’s lotus face. As Çyämasundara revels in loving is meditating on Kåñëa’s lotus face. As Çyämasundara revels in loving

çliñyati käm api cumbati käm api
käm api ramayati rämäm käm api ramayati rämäm paçyati sa-smita-cärutaräm aparäm anugacchati vämäm
harir iha mugdha-vadhü-nikare...

Translation
“Impelled by his craving for çåìgära-rasa, Kåñëa is embracing one of his
beloveds; he is kissing another and somewhere else he enjoys passionate
congress with another. Elsewhere he gazes expectantly at the face of another
lover, while appreciating the nectar of her sweet smile. Somewhere else he is
following a woman who has left him in a huff.”
Commentary
Çré Kåñëa has assumed many forms to enjoy varieties of romantic activities
simultaneously with all the heroines who are intent on sporting with him.
Impelled by a craving for the happiness of sensual union, Kåñëa sometimes
embraces one impassioned woman; sometimes he kisses another. Somewhere
he is strolling with one gopé
and elsewhere he is glancing with intense thirst and elsewhere he is glancing with intense thirst for the ravishing beauty of another. Sometimes he accidentally addresses a fine
young woman, “O Rädhä!” Consequently she becomes indignant and leaves in
a huff.

Hindi --old

Some nice hindi instumental songs