SaaHir, like his name, was a "magician" of words. He wove fascinating images in songs and ghazals, spellbinding his listeners and readers for decades. For about thirty years, he remained associated with the Hindi film industry. He composed hundreds of songs for Hindi/Urdu films. Most of his songs became hugely popular and are even today sung and hummed by people of all generations. Sahir`s most remarkable contribution is that through his lyrics, he catapulted the standards of Hindi film songs to a level that became the benchmark for quality poetry. His lyrics have immortalized many songs in the memory of Hindi film lovers.
For a moment, imagine and visualize the scene from Guru Dutt`s Pyaasa (1957): "Jinhe naaz hai Hind par wo kahan hain!" The song succinctly portrays the decadence in Indian society, even as the accompanying visual is the camera tracking through a street of brothels. Or remember a dashing Devanand in Hum Dono (1961), bellowing curls of smoke and singing.Take a romantic Amitabh Bachchan, ambling about a bed of flowers and crooning in the sylvan color riot of Yash Chopra`s Kabhi Kabhi (1976).
Early life: A soul rending journey
Abdul Ha'ii (later SaaHir Ludhianvi) was born in 1921 in a jagirdar (feudal) family in Ludhiana, Punjab. He had several stepmothers but he was the only son of his father, a rich landlord. His childhood was hardly normal. When he was in his early teens, his parents separated. Sahir stayed with his mother choosing penury over luxury. His mother and uncle took care of him. The formative years of Sahir were steeped in fear and financial deprivation.
He studied at Khalsa High School, Ludhiana, and then went to the Government College there. He soon became popular for his extracurricular activities, especially poetry. He fell in love with one of his fans, the daughter of a rich man. But, the affair ended because of Sahir`s poverty and he was finally expelled from college. The streak of tragedy developed early in his life -- his mother`s suffering, while his father enjoyed a comfortable life, and his own failure to find love.
The result was a collection of Poems, Talkhiyaan (Bitterness Galore), his first serious work. He left Ludhiana for Lahore and after struggling for two years succeeded in publishing his work. He then took up the editorship of Adab-e-Latif, Shahkaar and later on, Savera, which were reputed Urdu magazines.
Sahir`s inflammatory writings in Savera got him an arrest warrant from the Pakistan government, and he had to leave Lahore. He fled to Delhi and stayed there for a few months. Finally, he went over to Bombay and settled there. For the next 30 years, he created history. He wrote more than 200 amazing ghazals, geets (songs), nazms (a genre of Urdu poetry), and songs, which have become a part of the evergreen and immortal body of Hindi film music. His style of writing lyrics revolutionized song writing in Bollywood.
Vignettes of tragedy and revolt
Ashkon me jo paya hai, woh geeton me diya hai...
SaaHir was basically a romantic poet. He had failed in love many times and therefore, his poetry is full of tragic emotions. He excels in portraying tragedy without going overboard. He talks of personal romance and the ensuing disillusionment. Then he talks of universal romance, and the inevitable frustration that follows it. His poetry is an amazing canvas of romantic shades.
"Bichchad gaya har saathi de kar, pal do pal ka saath Kisko fursat hai jo thaame deewanon ka haath Humko apna saaya tak, aksar bezaar mila Humne to jab kaliyan mangin, kaaton ka haar mila!"
The style is simple, straight, and direct. He minces no words. He expresses his thoughts directly without sublimating emotions. Sahir at times gets angry too. His anger can be against God or society. He challenges God and he challenges moribund traditions of society. He throws a gauntlet at the bourgeoisie members of society and their feudal mentality:
"Are O Aasmaanwale! Bata isme bura kya hai Khushi ke chaar jhonke gar idhar se bhi guzarjaaen
As a poet, Sahir belonged to the Progressive Writers` Movement. His poetry had a clear leaning towards socialist philosophy. Sahir was a multifaceted poet. Though his poetry was mostly tragic, romantic, and socialist, he also gave his perspectives on humanism, secularism, and feminism:
"Sansaar ki har ek besharmi, ghurbat ki god me palti hai Chaklon me hi aake rukti hai, faaqon me jo raah nikalti hai Mardon ki hawas hai jo aksar, aurat ke paap me dhalti hai"
The truth is, that Sahir, the magician of lyrics, was perhaps the last of his tribe. His place in Hindi film music remains at the top, unchallenged, and untouchable. We lost this magician to death, in 1980.
maiN is 'azeem shaa'ir ke kalaam kii laRii ka aaGhaaz unke is kalaam se kataa huN. ummeed hai ki aapko pasand aayegaa aur aap bhii baRh chaRh kar Hissa leNge. shukria.
is nazm ko film GUMRAH ke liye Mahendra Kapoor ne gaayaa thaa. yeh bahot hii Haseen nazm hai saaHir kii jise maiN ne COPY karne kii koshish kii hai apnii aawaaz meN so aap chaaheN to use is link par sun sakte haiN...shukria.
Great contributions Sara and MM waah bhia khoob kaam chal raha hai
wese aik baat batayee........kia farmayeshi programme nahee chal raha...nahee chal raha tu bhi chalayee.......woh Sahir ka he kalaam hai na
aik serkash say muhabbat.......
ussay bhi yahan ki zeenat ban na chahyee........
are waah...yeh tum kahaaN se Tapak paRiiN...chalo koii baat nahiiN ... der aayad, durust aayad...
achchhaa yeh bataao...tum ne koii nazm ya Ghazal kiuN nahiiN posTa? maiN naaraaz houN tum se ya tum ko bachchi samajh kar mu'aaf kar duN...chalo mu'aaf kiyaa. aisa karo ab DO Ghazal/nazm pesh karo tabhi tum KAALIYA aur GABBAR SINGH se mere HUKM par bach saktii ho.
avashyaa baalikaa, avashyaa...maiN tumhaarii farmaaish kaa kalaam aaj kal tak emN zaroor posT duNga...vaise agar "KISI SINGER" kii aawaaz meN chaahiye to mujhe bataanaa :winks:
aap bevajah pareshaan-sii kyo.n hai.n maadaam
log kahate hai.n to phir Thiik hii kahate ho.nge
mere ehabaab ne tahaziib na siikhii hogii
mere maahaul me.n i.nsaan na rahate ho.nge
nuur-e-saramaayaa se hai ruu-e-tamaddun kii jilaa
ham jahaa.N hai.n vahaa.N tahaziib nahii.n pal sakatii
mufalisii hiss-e-lataafat ko miTaa detii hai
bhuuk aadaab ke saa.Nche me.n nahii.n Dhal sakatii
log kahate hai.n to logo.n pe t’ajjub kaisaa
sach to kahate hai.n ki naadaaro.n kii izzat kaisii
log kahate hai.n – magar aap abhii tak chup hai.n
aap bhii kahiye Gariibo.n me.n sharaafat
nek maadaam! Bahut jald vo daur aayegaa
jab hame.n ziist ke adavaar parakhane ho.nge
apanii zillat kii qasam, aap kii azamat kii qasam
hamako taa’ziim ke me_aar parakhane ho.nge
hamane har daur me.n tazaliil sahii hai lekin
hamane har daur ke chehare ko ziyaa baKhshii hai
hamane har daur me.n mehanat ke sitam jhele hai.n
hamane har daur ke haatho.n ko hinaa baKhshii hai
lekin in talKh mubaahis se bhalaa kyaa haasil
log kahate hai.n to phir Thiik hii kahate ho.nge
mere ehabaab ne tahaziib na siikhii hogii
mere maahaul me.n i.nsaan na rahate ho.nge
aapne itnee meHnat se Saahir kee ghazaleN tarteebwaar post kee haiN.
aap kaa bohat bohat shukriyaa. PaRh kar jee baRaa khush huaa aur vo shaam yaad aa gayee jab maiN qareeban 35 saal qabl Bombay mein
kisi jalse meiN milaa aur sunaa tHaa jahaaN digar filmi hastiyaaN bhee mozood theeN.
aap se guzaarish hai k Saahir kee ye ghazal aap Urdu script meiN tabdeel kar ke paRhnewaaloN kee adabee taskeen ke liye, post kareN. BaRee meharbaanee hogee!
har waqt tere husn kaa hotaa hai samaaN aur
har waqt mujhe chaaHiye andaaz.e bayaaN aur!
pholooN sa kabhee narm hai, sholoN sa kabhee garm
mastanee adaayeN kabhee shokhee hai kabhee sharm
har subH gumaaN aur hai har shaam gumaaN aur !
milne naheeN patee tere jalwoN se nigaaheN
thakne naheeN patee gale lipTaa ke ye baaheN
chhoo lene se hotaa hai teraa jism jawaaN aur !
paltaa hai tere husn kaa toofaan.e baHaraaN
tu apnee misaal aap hai ai jaan.e baHaraaN
duniyaa ke haseenoN meiN naheeN tujh saa jawaaN aur !!
har waqt tere husn kaa hotaa hai samaaN aur
har waqt mujhe chaaHiye andaaz.e bayaaN aur
PK Swami
mujhe dil diyaa to taRap bhee de
jo hooN doosroN kaa sharik.e gham
mujhe aisey dil kee talab naheeN
jo kisii ke kaam na aa sake
aap donoN kii pesh_kash paRh kar aur Saara saaHiba aapkii 'akkaasii dekh kar dil be_Had Khush hua. saaHir saaHib ka kalaam baRa dil_kash aur dil ko chhoo lene waalaa hotaa hai.
Swami saaHib aapne jis meHfil ka zikr kiyaa hai jis meN aapne Mumbai meN shirkat kii vo to yaqeenan yaad_gaarii meHfil rahii hogii. ham sabko baRii Khushii hogii agar aap us meHfil ka kuchh aaNkhoN_dekhaa haal hameN sunaayeNge. shukria.
