Translator's Nightmare Quiz # 4
Abhay P
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"LITERARY LYRICISTS"
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INTRODUCTION
The world of "serious poetry" is normally seen as distinct from the world of
film lyrics. Many of the poets and connoisseurs who belong to the former world
tend to look down on film lyrics and refuse to dignify them with the title of
poetry. However, it cannot be denied that the Hindi film song has become an art
form by itself in the last six decades, and lyricists have played a major role
in the evolution of this art.
Unfortunately, most of the lyricists in Hindi films are derided as "songsters"
or - worse - as "rhymesters". While many of them do deserve to be called this
and worse, the generalisation is eminently unfair. Many of our lyricists have
risen to expressive, evocative heights in their use of language while working
under many constraints: their words have to be simple enough to be understood by
the "common man" (have any of you ever met this quasi-mythical creature?!); the
thematic content of their lyric is determined by the film script; they often
have to write to a pre-set melody; they have to chop and change words if the MD
cannot fit them into a tune. Despite all this, our lyricists have managed to
hold their own and have given us songs whose lyrics blend beautifully into the
mood and the situation. The lyrics may not stand out as great poetry if taken
away from their context, but within that context they fit the bill: which is all
they were supposed to do anyway!
Despite the apparent schism between the literary world and HFM, however, there
has been a great amount of give and take between them. This quiz focuses on that
bridge. The songs chosen here are written by "lyricists" who meet one of the
following criteria:
a) Primarily "serious poets" who are itinerant "lyricists";
b) Poets who are equally comfortable in both worlds;
c) Poets who have become "lyricists" by circumstance;
d) Lyricists whose work in films alone should qualify them as "poets".
As used in the quiz, the word "lyrics" would mean any song used in a Hindi film,
and "lyricist" would mean the person who wrote the song.
In the 15-question + tiebreaker format I have adhered to, chasing down all such
crossovers has not been possible. Maybe those who are left out this time will
find place in another quiz!
RULES
The rules of the quiz are simple:
1. The clues consist mainly of free translations into English - and the "free"
is important here! - of the "asthayii" of the song in question. The translation
could also contain some other allusion to the song, film, singer, music
director, etc.
2. Since this is a quiz on lyricists, the lyricists are not named. However, in
the sub-clues following each translation, some pointers are given to the
identity of the poet too.
3. As usual, the main aim is to IDENTIFY THE SONG. Each correct "mukhdaa" will
get one point.
4. In addition, SEPARATE scoring will be done for those identifying the poet
(one point apiece) and the film (one point apiece).
5. The final scores will accordingly be under four heads:
a) the song alone
b) the song and the film
c) the song and the poet
d) the song and the film and the poet.
Separate scores will be announced for each category. In case of a tie (in any
category), the tiebreaker will be used to identify the clear winner(s).
6. GOLDEN RULE for all RMIM quizzes: PLEASE DO NOT POST YOUR ANSWERS ON THE
INTERNET. Send your entries to me at apha...@hotmail.com
7. THE LAST DATE IS FRIDAY 20 NOVEMBER.
AGAIN, please remember: DO NOT POST YOUR ANSWERS ON THE INTERNET.
I would like to formally acknowledge the help given by Radha, my wife, in
reviewing the quiz and suggesting some necessary changes.
So on to the quiz, now. Happy solving, folks!
Warm regards,
Abhay Phadnis
<apha...@hotmail.com>
THE QUIZ
1.
When my lover crosses to yonder shore
Flow gently, o river, and guide his oar
This poet wrote Urdu ghazals that were marked by lyrical grace and simplicity.
Many of his ghazals have been rendered by malika-e-ghazal Begum Akhtar. He was
very successful as a lyricist in films too, and was one of the few lyricists who
apparently refused to "write to a tune".
The song chosen here is a beautifully rendered Lata number, filmed on board a
boat. The music director is Naushad, who often worked with our poet. Naushad's
obsession with the use of a chorus found full play in this film (and this song)
that ended in a macabre human sacrifice. (The last four words of the rhyme have
been added purely for maintaining rhyme and metre).
2.
How can I partake of wine without him?
Lonely, unbearable is life without him.
A famous ghazal in the Deccani dialect by a king-poet of the sixteenth century
comes alive in a 1970s film. Preeti Sagar's rendition under Vanraj Bhatia's
baton leaves much to be desired, but the essential beauty of the ghazal comes
through. The movie? Dawn. (Incidentally, the Pakistani poet Ahmed Faraz has
written a ghazal using the same metre and "quafiyaa", and has even acknowledged
our poet in the "maktaa". Both the original and the Faraz ghazal have been sung
beautifully by Malika Pukhraj.)
3.
The sky our pristine decanter,
Our goblet the brimming cloud;
Having sipped the nectar of moonlight
We are pagans in the pious crowd.
The poet is a famous literary figure known as much for her unorthodox lifestyle
as for her writings. Prose and poetry flow with equal felicity from her pen.
Though a celebrated rebel, she was later co-opted by the establishment. One of
her poems is inscribed in stone at the Wagah border post (on the India-Pakistan
border). She had a celebrated love affair with another poet who also features in
this quiz.
The song in question, sung by Asha and set to music by of one of India's most
famous classical instrumentalists, is perhaps our poet's only Hindi film lyric.
The film? Could be some prose she wrote!
4.
Her song lulled me to sleep:
Her eyes with love overflowing, her palms with blessings filled
She cradled my head in her lap and all my fears were stilled.
Her song lulled me to sleep.
A mixture of the short "sthayii" and the second "antaraa" from this song. The
poet is better known today as his son's father, but was a famous literary figure
of his time. His use of the cadences of Hindi is remarkable. His attempt at
rendering Omar Khayyam into Hindi, though not entirely successful in poetic
terms, has been much lauded.
Perhaps our poet's only "filmi" excursion, this song is also one of Yesudas's
(regrettably few!) worthwhile forays into HFM. The film's name? The initial,
word-less stage of a raga rendition.
(PS: Anyone with a quibble about the gender-specific translation is welcome to
attempt it otherwise!)
5.
My tears saw the night turn slowly to dawn
To memories of you each thought was drawn
Now we turn to a poet who is a veteran of both the mushaairaa and the recording
studio and commands great respect in both fields. He has been on the HFM scene
for over five decades. His deep, resonant voice was the ideal vehicle for the
recitations at mushaairaa-s that contributed immensely to his popularity. Both
his children are part and parcel of "Bollywood", though in different fields,
while his son-in-law is the "son" referred to in clue # 10. His wife too
occasionally appeared on screen, though she was better known as a stage artiste
in her day.
The song, one of my favourite Lata numbers, is composed by the senior Burman.
Should not be too difficult: abandoning the attempt will be the _coward's_ way
out!
6.
I was not destined to be united with my swain
Had I lived some more it would have been but further pain
A ghazal written by arguably the greatest-ever Urdu poet. His poetry defies
description: unkaa andaaz-i-bayaa.n kuchh aur hii tha! What does one write about
one of the most widely profiled poets ever? All over the world, his name is
synonymous with Urdu poetry. An interesting thing is our poet has been the
subject of a TV serial made by another poet!
A ghazal recorded by many singers (including Begum Akhtar), the film version
referred to here (from an eponymous film) is sung memorably by Suraiyya under
the baton of Ghulam Mohammed.
7.
When we are gone, they will talk of us
Tell tales of what has been
The blossoms of spring will search for us
But we will not be seen
Our next poet is also a veteran both of the mushaairaa and of films, and has
written lyrics of great beauty and elegance. A deserving winner of the Phalke
award, he unfortunately chooses to denigrate his film lyrics vis-à-vis his
"pure" poetry. While our poet has indeed written some forgettable lyrics (which
lyricist has not?), the good lyrics are surely enough to outweigh those!
The song in question will prove the point, with graceful lyrics tuned to
perfection by Shyam Sundar. This Lata gem will surely feature in any list of HFM
greats, and never mind the anti-Lata _rebels_!
8.
You know not your future, you can't control the past
This moment is all you have (as long as it will last)
The essential message of all enlightened beings: live in the moment! Our poet,
one of the most admired lyricists, was a sensitive artist who wrote feelingly of
the pain of the oppressed. He was particularly conscious of the suffering of
women, being deeply attached to his mother and his sisters to the extent that he
is reputed to have broken off a romantic attachment (to another of our poets) to
ensure that their lives were not affected. A master of the art of writing lyrics
that perfectly fit the situation, our poet could be counted upon to deliver
whatever the situation warranted, be it satire, a patriot's cry of despair, a
lament on the status of women in a male-driven world, a romantic nazm, or a
rebel's testament against society.
The song chosen here, though shot as a party song, talks of the impermanence of
life and of the inexorable march of time. The MD is Ravi; the singer, Asha.
9.
I remember well the days and nights
Of tears quietly shed
That time bygone when love held sway
And heart ruled over head
Our next poet was an active participant in the Indian freedom movement, though -
like many of his contemporaries including the illustrious Iqbal - he later
became an ardent votary of Partition. Like the poet in clue # 2 (though
centuries removed from him!), our poet has been brought into the HFM arena
posthumously, and by circumstance rather than design. The ghazal in question had
already been made famous by the singer concerned, and a Hindi film producer and
his MD wanted to ride piggyback on the fame of both singer and song!
To be fair, though, the song was used well in the film. The MD did not have to
take any effort: not a taan was changed from the singer's original rendition.
The film? More about divorce than _marriage_.
10.
When the flood of sorrow crosses all boundaries
Should one live, o heart, or in death seek release?
A poet/lyricist of the old school, this poet who is no more better known today -
like our poet in clue # 4 - as his son's father, the son being a successful film
personality with a poetic reputation that surely exceeds his demonstrated
talent. [Come to think of it, this son and the one in clue # 4 have had a lot to
do with each other's success!] Our poet has written quite a few film lyrics, and
has written them well.
The song in question is one of the brightest stars of the OPN-Asha galaxy; it
one of the few soft and gentle numbers this team produced. The movie boasted of
_imagination_, but did not display much of it!
12.
Your dreams and mine have melted deep into each other
Wherever our paths take us now, we always are together
One of the most prolific lyricists in Hindi films, this lyricist was famous for
his simple but elegant lyrics. Most of his lyrics are of a very high poetic
standard. [Whether this entitles him to be called a poet or not, let the
"culture-wallahs" decide!] Apart from writing lyrics, his contribution to Hindi
films has been the production of an offbeat film that unfortunately crashed at
the box-office.
On re-reading the translation, I strongly feel no additional clues are needed
for the song! Anyone who really needs more guidance may please contact the
tourism department.
13.
A gleaming sword the parting in those fragrant flowing tresses
That overwhelming cascade that no knot fully addresses
Yet another "royal" poet (after # 2) who has been posthumously dragged into the
HFM circle! Our 19th century poet, perhaps best known for his lament that his
mortal remains would not find place for burial in his "lover's house" (his
country), died in exile outside India. He was a contemporary of poets such as
Ghalib, Momin, and Zauq.
Since a full-fledged film was based on him, some of his poetry is well known to
HFM lovers. This song is from a film that deals with the _market_ rather than
the palace. Sung by an irritatingly frothy Preeti Sagar to Vanraj Bhatia's
music, the ghazal still manages to impress by its unusual imagery.
(TWO Preeti Sagar songs in one quiz? I could kill myself!)
14.
Tonight we talked again of flowers
Is it night or a train of flowers?
Yet another Urdu poet who has been posthumously brought into the HRM fold. I
have not been able to gather much information about him, but for the purpose of
getting the answer, the translation above seems to be more than enough! Another
instance where I think no further clues are needed. Lata and Talat Aziz render
this lovely bouquet of a ghazal under Khaiyaam's baton. Easily available in the
_market_!
15.
You may not accept it,
but I know it for a fact:
I do not love you, my love
(though like a lover I act).
We wind up this quiz (except for the tiebreaker) with a modern-day
poet-lyricist-film maker, controversial because of the sharply polarised
reactions to the innovative, startling images that characterise his poetry.
The song chosen here has more traditional images than he normally employs,
though other songs from the same "homely" film have aroused both adulation and
ire for the metaphors and similes they use. Set to music by Jaidev, it is one of
the few Hindi film songs of a Bangladeshi singer hailed by Jaidev as "a match
for the sisters"!
TIE-BREAKER
A lonely moon languishes
In a dark, desolate sky
At each step, a lonely heart
Is all that meets the eye
How does one describe this poet? As a person whose incredible histrionic talent
stayed trapped in a welter of stereotyped roles? As an emotional orphan whose
craving for love was often exploited? As a poet whose restless thoughts poured
forth as a cascade of haunting images in often-undisciplined verse? As yet
another unfortunate victim of alcoholism? Our poet was all this, and more.
The composition in question is sung (recited?) by our poet, whose unique and
expressive voice evokes perfectly the deep loneliness described in the poem. It
was originally released as part of a non-film album, and has been used in a film
that was a tacky, unfortunate "tribute" to our poet.
That's it for now, folks! Hope you had a great time solving it! Remember: DO NOT
POST ANSWERS ON THE INTERNET: SEND THEM TO ME AT <apha...@hotmail.com>.