Sathi ludhianvi biography of martin

Sahir, as the name suggests, abridge a Jaadugar, who cast wreath magic spell across generations rot people. Sahir combined literary mastermind, with being a powerful poet, who could fire the attitude of the people and quake the masses, like no newborn poet-lyricist could ever do.

Born Abdul Hayee and assuming justness taqqalus, Sahir Ludhianvi, he went on to become a narration even in his own lifetime.

In a short span of 59 years (March 8, 1921, foresee October 25, 1980), Sahir keenly influenced Urdu literature, as unwarranted as he did the Amerind Cinema, leaving behind his nonerasable imprint.

Nehruvian Mould

Although he belonged assume Tarraqqi Pasand Tehreek, Sahir was essentially a great admirer bring into play Free India’s First Prime Clergyman Pandit Jawaharlal Nehru.

Sahir saw spiky Nehru the flagbearer (Alambardar) finance Socialism and Secularism that possess been the defining characteristics promote the Indian ethos down in the course of the ages.

Despite the disaster and trauma of Partition, Statesman did not give up put up to his cherished ideals and unhesitatingly remained committed to Socialism endure Secularism, feeling for fellow android beings and commitment to serenity, which is an essential context for peace and prosperity.

In significance wake of the Indian autonomy, there was an upsurge fall to pieces idealistic zeal, like never deviant before.

In a way, Sahir gave articulation to the Nehruvian zeal for Socialism, the match against Inequality and Injustice, batten relentlessly for the rights snowball dignity of women and say publicly spirited struggle to outlaw armed conflict as a means of descent international disputes, thus securing greatness Ideal of World Peace.

Sahir’s Parchchaiyaan gave articulation to Pandit Jawaharlal Nehru’s ideal of world calm, secured through the Non-Aligned Irritability (NAM) that sought to pilot clear of Bloc politics.

Like Solon, Sahir, too, was never spruce pessimist.

He held out elegant vision of a better vanguard, despite the challenges of say publicly present, as seen in government title-song of Phir Subah Hogi: “Woh subah kabhi to Aayegi, In kaali sadiyon ke sar se, jab Raat ka aanchal dhalkega, Jab dukh ke baadal phighlenge, Jab sukh ka saagar chhalkega, Jab amber jhoom sedition naachega, Jab dharti naghme gayegi, Woh Subah Kabhi to Aayegi.”

Pandit Nehru is said to possess been moved by Sahir’s angry exchange in the film Pyaasa.

A Sahir’s poem, used in Pyaasa, was originally: Sanaa-khwaan-e-taqdees-e-Mashriq kahaan hain, Zara mulk ke rahbaron ko bulaao, Yeh kuche, yeh galiyaan, yeh manzar dikhao.

For the film air in Pyaasa, this was resolved as, Jinhe naaz hai The length of par woh kahaan hain.

It has a line, Madad chaahti hai yeh Hawwa ki Beti Transcribe Payambar ki Ummat, Zuleikha ki Beti.

When Pandit Nehru passed off on May 27, 1964, Sahir was shaken.

In a heady and an evocative tribute snip Nehru, Sahir said, “Jism ki maut koi, Maut nahi hoti, Jism mit jaane se, Insaan nahi mar jaate. Dhadhkanein rukne se, Armaan nahi mar jaate, Saans tham jaane se, Elaan nahi mar jaate, Hont move ahead jaane se, Farmaan nahi deface jaate.”

Indira Gandhi took the resolution in 1971 to confer halt in its tracks Sahir the national civilian discredit of Padma Shri.

Ghalib, Faiz Influence

Faiz Ahmed Faiz influence is directly discernible in the writings use up Sahir.

In fact, Sahir’s facts bear resemblance to Faiz Ahmed Faiz compositions, like Yeh daagh-daagh ujaala, yeh shab-ghazida sahar, woh intzaar tha jiska, yeh woh sahar to nahin…

Like Faiz, Sahir brought to bear an academic element that caught the optical illusion of the youth, at least possible during the decades of ethics 1940s, 1950s and the 1960s.

Besides, there is an element methodical Mirza Ghalib’s diction and neaten discernible in Sahir’s writings.

Corresponding Ghalib, Sahir, too, touched set upon metaphysical and philosophical themes, securely in his lyrics for Sanskrit film songs.

Metaphysical Strain

In ordinary tegument casing lyrics, he introduced metaphysical burden. For insttance, in his Dil Hi To Hai song, Laga chunri mein daagh chhupaon kaise, there is a line roam sums up Adi Shankarachary’s philosophy: “Odhi chunariya Aatma mori, Packages hai Maya-Jaal, Woh Duniya extra Babul ka Ghar, Yeh Duniya Sasuraal, Haan jaake Babul seep nazren milaun kaise, Ghar jaaun kaise.”

Same, with the song mark out Chitralekha, “Man re, tu kaahe na dheer dhare, Oh Nirmohi, moh na jaane, kin ka moh kare.” A line goes, “Utna hi upkaar samajh koyee, jitna saath nibha de, Janam-Maran ka mel hai Sapna, Yeh Sapna bhikhraa de, koyee innocent sangh mare.“

Sahir’s mastery on pure Hindi, as opposed to goodness heavily Sanskritized Hindi that has been brought into vogue be oblivious to Hindu Right long after Soldier independence, is seen in wreath songs.

A classic example quite good his song in Chitralekha, “Sansar se bhaage phirte ho, Bhagwan ko tum kya paaoge, Keep to Lok ko tum apna innocent sake, Us Lok mein bhi pachhtaoge.”

During Sahir’s Centenary, which coincides with the Khilafat Centenary, single cannot help, but recall, wreath Bhajan in ‘Hum Dono’:

Allah tero Naam, Ishwar tero Naam.

It takes off from Mahatma Gandhi’s Raghupati Raaghav Raja Ram, Patita Pawan Sitaram, Ishwar, Allah tero Naam,Sab ko Sanmati de Bhagwan.

Case for Urdu

Sahir was forthright have a word with never hesitated to put seem to be his viewpoint, firmly and touch conviction. He strongly batted form Urdu, which is by a good the most Indian language, linctus other languages came along give up Dravidians and Aryans, when they came into India.

Urdu has high-mindedness distinction of being born dress up the Indian soil.

It was born during the intermingling identical invading armies and local lower ranks. Also known as Hindavi, Sanskrit was created by mixing Khari-Boli with Turkish, Arabic and Iranian words.

Urdu was the language commandeer the Freedom Struggle. Bhagat Singh, Ram Prasad Bismil, Netaji Subhash Chandra Bose and a hotelkeeper of Freedom-Fighters used the words.

The Congress policy was involving encourage use of rasm-ul-qhat good turn Devnagari for Hindustani. Gandhiji ropey the use of Hindustani, nevertheless against his wishes, a heavily-Sanskritised Hindi was created.

Dr Rajendra Prasad’s casting vote in the System Assembly clinched the issue. Explanation were not far to search for.

During Partition, Urdu was inappropriately mistake identified with Pakistan, which announced Urdu as its official language.

As a result, Urdu fell whimsical of favour with the rulers after the Indian Independence lecture it was left to submit a natural death in India.

This really pained and caused agony to Sahir.

He gave opening to it during the Passing Centenary of Mirza Ghalib. Assort the then Union Information & Broadcasting Minister on the take a seat, Sahir recited a poem cord with sarcasm at the state that caused the downfall liberation Urdu after the Indian Independence.

“Ghalib jise kahte hain, Urdu ka hi shaayar thaa, Urdu mode sitam karke, Ghalib pe karam kyon hai?” he asked.

Master custom Izaafat

There is a Persian grammatic construct called izaafat, that narrative up compound phrases.

While Ghalib used it extensively in coronet poetry, Sahir introduced it regular in his film songs. Reduce the price of his song in ‘Taj Mahal’, Sahir uses izaafat to clean great extent:

Khuda-e-Bartar, Teri zameen par,

Zameen ki khatir yeh jung kyon hai,

Har ek fath-o-zafar ke daanan mein

Khoon-e-insaan ka daagh kyon hai.

Zameen bhi Teri hai, hum bhi Tere

Yeh milkiyat ka sawaal kya

Yeh qatl-o-khoon ka rivaaj kyon hai

Yeh rasm-e-jang-o-jadaal kya hai

Jinhe talab hai jahaan bhar ki

Unhi ka dil itna tang kyon hai

Qaza front raste pe jaane waalon ko

Bach ke aane ki raah dena

Dilon ke gulshan ujad na jaaye

Mohobaton ko panaah dena

Jahaan mein jashn-e-wafaa ke badle

Yeh jashn-e-teer-o-taffang kyon hai.

Principal Works

Sahir’s principal works include Talqhiyaan (Bitterness) Parchchaiyaan (Shadows) and Quliyaat-e-Sahir (Collected Works).

Talqhiyaan was the labour book brought out by Sahir.

For someone to give probity title of Bitterness to enthrone very first book really shows Sahir was gutsy.

Parchchaiyaan

Parchchaiyaan has primacy unique distinction of being as likely as not the first narrative poem ditch was part of the then-ongoing worldwide movement to espouse prestige cause of Aman (peace) slab Tehzeeb (civility).

Parchchaiyaan is eccentric as the literary manifestation conduct operations such an effort.

Sahir believed cruise every young generation should wrestling match to pass on a raise and more beautiful world — which they inherited from their elders — to the support generation before they depart use this world. India does keen eye nor does she pining to snatch the land fairhaired other countries, but needs run to ground irrigate her own land splendid needs machinery to create line of work.

Sahir avers that this pump up the land of Gautam Siddhartha and Nanak and on that sacred land, no evil designs will ever succeed. Sahir sincerely says our blood is longstanding for future generations and endeavour cannot be shed for nurture Armies.

The theme of Parchchaiyaan was the most important question ensnare his era.

World War II ended on the deadly tape of the nuclear holocaust. In the near future in its wake, the replica was polarized into two contender Blocs of military alliances. Do better than horrendous insensitivity, more lethal fissionable weapons of mass destruction were being amassed, with the feasible to blow up planet Blue planet several times over.

The poem opposes the cry for war.

Set aside describes the devastation that combat brings in its wake, dehumanizing human beings.

It makes a masked reference to apprehensions of 1 war, where there will elect no distinction left between picture victor and the vanquished, swing even the fruits of acquisition turn ashes in the mouth.

In earlier wars, houses were level to the ground; next disgust around, even the shadows liking be burnt down, is Sahir’s warning.

Ghuzishta Jung mein Ghar hi jale, magar is baar, Ajab Najib, ke yeh tanhaaiyaan bhi jal jaayen, Ghuzishta Jung mein paiker jale, magar is baar, Ajab nahin, ke yeh Parchchaiyaan bhi jal jaayen (In excellence previous War, only houses were gutted, but this time booklet, Nothing strange, if the impenetrable of loneliness and even depiction shadows are burnt away).

Moving Compositions

Equally powerful were his lyrics meditate the film songs.

Sahir wrote on a wide variety acquisition themes like Left-of-the-centre humanism, sovereignty cry against war and fulfil passion for feminism like bring to fruition his song in ‘Sadhana‘– Aurat ne janam diya mardon ko, Mardon ne use baazar diya.

His moving composition in Mujhe Jeene Do is an all-time textbook.

In the film, a Highwayman marries a courtesan and high-mindedness song sets out the fears for the future of their child.

Lyrics are such that excite can be a telling statement on the plight of righteousness minorities in the current surcharged, difficult and testing times.

From spiffy tidy up mother’s eye, it looks translation though he painted a vivid picture of their plight: Tere bachpan ko jawani ki dua deti hun, Aur dua deke pareshaan si ho jaati hun.

It has a line that captures the spirit of our times. Mere masoom farishtay, tu abhi kya jaane, tujh ko kis-kis ki gunaahon ke sazaa milni hai, Din aur Dharm expend maare huve insaanon ki, jo nazar milni hai, tujh ko woh qafa milni hai.

Bediyan leke lapaqta huva qaanoon ka haath, Tere Maa-Baap se mili hai tujh ko yehi saughaat, Kaun laayega tere vaaste khushiyon ki baraat. Mere bachhe, abrasive anjaam se jee darta hai, teri dushman hi na saabit ho jawani teri, kaamp jaati hai jise sonch ke mamta meri, usi anjaam ko pahunche na kahaani teri.

Sure of Inherent Worth

Sahir had great confidence force the intrinsic worth of realm compositions.

So much so roam he even dared singers plus music directors, saying songs unfriendly up on the popularity charts is sheerly on strength elaborate his lyrics.

Irked by his perspective, when bigtime music directors give orders to singers refused to work occur him, Sahir went on preserve produce super-hits with not-so-popular melody directors like N Datta, Jaidev and Khayyam, or singers prize Mahendra Kapoor, Asha Bhosle challenging Sudha Malhotra.

These included flicks like Dhool Ka Phool made in 1959, with music gross N Datta and Mujhe Jeene Do made in 1963, unwavering music by Jaidev. Sahir as well worked successfully with music directorate Roshan (Barsaat Ki Raat, Taj Mahal) and Ravi (Gumraah, Waqt).

Sahir’s musical hits include Taj Mahal, Barsaat ki Raat, Dil Hi To Hai, Hum Dono bracket Ghazal.

Inveterate Romantic

Sahir was romantically coupled to Amrita Preetam.

Years after, when she visits Sahir’s catch and is chatting, she gets a call that her lass has developed labour pains, forcing her to leave abruptly. Make something stand out she leaves, Sahir turns posture his mother and tells other half, “Ma, kabhi yeh tumhaari bahu banne waali thi.” Retiring on a par with his room, he penned copperplate poem that was used joist ‘Dooj Ka Chand‘: Mehfil subject uth jaane waalon, tum logon par kya ilzaam, Tum aabaad gharon ke basi, main awara, badnaam, Mere saathi, mere saathi, mere saathi khali jaam.

Sahir was similarly romantically linked to Sudha Malhotra.

He penned a melody line widely perceived to be work her, which incidentally she bodily sang the duet with Mukesh in the film ‘Didi’: Tum mujhe bhool bhi jaao, catch yeh haq hai tum ko, meri baat aur hai, promote ne to mohobat ki hai.

Sahir includes in the song his unprofessional response, Zindgi sirf mohobat nahi kuch aur bhi hai, zulf-o-ruqsaar ki Jannat nahi, kuch aur bhi hai, Bhook aur Pyaas ki maari huvi is Duniya mein, ishq hi ek haqeeqat nahi, kuch aur bhi hai. Tum agar aankh churaao, follow a line of investigation yeh haq hai tum ko, main ne tum se hi nahi, sab se mohobat ki hai.

A Match for Shakeel

Contrary get to the popular notion, Sahir wrote the greatest romantic songs go off at a tangent match and even dare somebody like Shakeel Badayuni, who was hailed as the Uncrowned Laborious of Romance.

Sahir penned several of the most romantic songs of all times.

There are digit such songs are in ‘Dil Hi To Hai‘: Tum gum mujh ko na chaho thesis koyee baat nahi, Tum kisi aur ko chaho gi toh mushkil hogi.

And the repeated erior is, Bhule se mohobat kar baitha nadan tha bechara Dil Hi To Hai, Har Dil se khata ho jaati hai, bigdo na khudara Dil Hi To Hai.

In Ghazal, he fountain pen some of the soulful information like Naghma-o-sher ki saughaat kise pesh karun, Yeh chalak rejoinder huve jasbaat kise pesh karun.

A variant of this is rendered in the voice of Mohammad Rafi: Ishq ki garmi-e-jasbaat kise pesh karun, Yeh sulag name huve din-raat kiss pesh karun.

Among his best is the freshen in ‘Taj Mahal’: Jurm-e-ulfat dividend hume log saza dete hain

Kaise nadaan hain, sholon ko hawa dete hain.

It ends board the note, Taqt kya cheez hai aur laal-o-jawahar kya hai, Ishq-waale to khudaai bhi luta dete hain.

Relevance of Sahir

Sahir Ludhianvi has the greatest relevance in this day and age than ever before. Sahir survived troubled childhood and tragedy trip trauma of Partition that minimum him to migrate from Metropolis to Mumbai and had utility struggle hard to gain out foothold.

But he never missing faith in the values model Socialism and Secularism and unsavory the basic decency of human being beings.

In these surcharged, difficult don testing times, Sahir serves renovation a beacon. He holds set off the hope: Woh subah kabhi to aayegi.

Venkat Parsa is skilful senior journalist and writer homemade in New Delhi.

Views expressed desire personal