Song- Shama ka jalna hai ya sozash e parwaanaa hai (Saigal NFS)(1940) Singer-K L Saigal, Lyrics-Kidar Sharma "Hasrat"
Aaa aaa
Shamaa ka jalna hai yaa sozash-e-parwaanaa hai
Shamaa ka jalna hai yaa sozash-e-parwaanaa hai
Chand lafzon mein yahi ishq ka afsaana hai
Chand lafzon mein yahi ishq ka afsaana hai
Shamaa ka jalna hai
Ye junoon hai ke yahaan tak mera badh jaaye junoon
Ye junoon hai ke mera yahaan tak badh jaaye junoon
Hans ke deewaangee keh de ke ye deewaanaa hai
Hans ke deewaangee keh de ke ye deewaanaa hai
Shamaa ka jalna hai
Phir shikastaa liye baithhaa hai umangon ka wajood
Phir shikastaa liye baithhaa hai umangon ka wajood
Ek tootey huye paymaane mein maikhaanaa hai
Ek tootey huye paymaane mein maikhaanaa hai
Shamaa ka jalna hai
Aabilaah dil ka tassallee ke liye hai hasrat
Aabilaah dil ka tassallee ke liye hai hasrat
Yehi saagar yehi sheeshaa yehi paymaanaa hai
Yehi saagar yehi sheeshaa yehi paymaanaa
Shamaa ka jalna hai yaa sozash-e-parwaanaa hai
Chand lafzon mein yahi ishq ka afsaana hai
The burning flame of the lamp, and the moth that comes to it to be consumed in its fire – that the story of love can be summed up in just these few expressions.
The poet alludes to the consumption and grief by burning, both of the lamp and of the moth that is attracted by it. The lamp burns with flames, and is consumed fully till there is oil (or wax) to burn; the moth, attracted by the glow, will come to the flame, not knowing what the flame can do, will try to embrace the glow, and then gets burnt in the process. One departs this life, a slow but continuous burning death; one tries to take the glow, and also departs this life in a flash of contact with the flame. That is the summary of the tale of passion and love.
This symbolism is narrated and dealt with, in poem after poem, by many poets. This imagery is the cornerstone of a large body of poetry, especially in Urdu.
Shamaa = lamp, candle
Ka = of
Jalna = to burn
Hai = is
Yaa = or
Sozash = the root word is soz, meaning burning or grief. Sozash is singed, (almost) burnt, consumed with grief
Parwaanaa = moth
Sozash-e-parwaanaa = a moth that is consumed with grief, close to death or dying on account of the encounter with the flame of the candle
Chand = few, not many
Lafzon = words, expressions
Mein = in
Yahi = this
Ishq = love, passion
Ka = of
Afsaanaa = tale, story, narrative
Ye junoon hai ke mera yahaan tak badh jaaye junoon
Hans ke deewaangee keh de ke ye deewaanaa hai
There is an obsessive desire that my obsessions may reach those limits of madness, where even the (emotion of) obsession itself acknowledges – oh yes, here is one true obsessed being.
The desires, the obsessions of the one in love are beyond reason; the only redemption of this obsession is the unending upsurge of the obsession itself. This defines the vicious circle where in the obsession feeds on itself, surging upwards forever, till the contact happens with the flame, and the obsessions escalate beyond infinity.
In that one instant before the flash consumes the moth, everything in this universe, including the obsession itself, will marvel at the single minded tenacity of the moth to embrace the glow; and will speak out and acknowledge – here this one is the one truly and singularly obsessed.
Ye = this
Junoon = madness, lunacy, obsession
Hai = is
Ke = that
Mera = mine
Yahaan tak = till this limit
Badh jaaye = increase
Hans ke = with a smile
Deewaangee = craze, obsession, fanaticism
Keh de = say
Ke = that
Ye = this, him; in context, poet is referring to self
Dewaanaa = fanatical, passionate
Phir shikastaa liye baitthaa hai umangon ka wajood
Ek tootey huye paymaane mein maikhaanaa hai
Although vanquished, but yet again, waiting in expectation, with a spirit full of waves of passion and enthusiasm, holding a broken goblet that holds the promise of a tavern.
No matter how many times, or how many lives the moth will expend on this disastrous endeavor, yet every time it gets a new life, its undertaking is spurred by the same waves of passion, to yet once again try to consummate the deathly embrace. This broken lifeline of many incarnations, holds the promise of salvation, forever.
Phir = yet again
Shikastaa = defeated, overwhelmed
Liye = alongwith
Baithhaa = literally means 'sitting'; in context, implies 'waiting, with expectations'
Hai = is
Umang = a wave of passion / enthusiasm / delight
Ka = of
Wajood = existence, reality, spirit, essence
Ek = one
Tootey = broken, damaged
Paimaanaa = goblet, cup, chalice; generally used in the context of wine – a goblet of wine
Mein = in
Maikhaanaa = tavern, a place where drinkers of wine come together to drink
Aabilaah dil ka tassallee ke liye hai 'hasrat'
Yehi saagar yehi sheeshaa yehi paymaanaa hai
The wounds of the heart are the solace of the desires in themselves. These wounds are the wine, the pouring jug, and the cup with which to drink it.
These wounds of the heart are everything for the lover, there is no greater consolation. For they are the antidote, the giver of the antidote, and the application of the antidote, all together.
Aabilaah = blister, wound
Dil = heart
Ka = of
Aabilaah dil ka = wounds of the heart
Tassallee = consolation, comfort, solace
Ke liye = for
Hai = is
Saagar = literally means 'ocean'; poetic context is 'wine'
Paymaanaa = goblet or cup for drinking wine...