Significance of word 'Bhawra ' in lyrics
kamalakar pasupuleti
an event
like arraival of a guest and an incoming message from a long distance
.
Some popular vintage songs based on these are -
1. Mori atariya pe kaaga bole -- koi aaraha hai
2. Kaaga re ja re --mere piya ka sandesva laare
3. Kabutar sandesa la rahe hai
4. Mere mundere na bol - ja kaaga ,kaaga ja
While listening to songs yesterday I noticed two beautiful vintage
songs on bhawra . I do not understand the usage of this word clearly
and what does it signify.
1. Goonjat kyon bhawara rasiya , sankat van me - Miss Ratnaprabha
2. Phul bagiya more aana bhawara rain bhaye - Miss Meera
Can some knowledgeable person in the NG let me know the significance
of the word bhawara in lyrics .
Regards,
- kp
Satish Kalra
news:d3eaeae5.03090...@posting.google.com...
"bha.nwaraa" or 'bhramar' or 'bhuumro' is used in the context of love,
esp.between a bud (kalii) and the big, dark colored bug. Poets have since
long used this analogy to symbolize the (smitting of) love between a male
and female.
You may recall the scene from Kora Kaagaz (or was it Parichay?) in which
Jaya Bhaduri, is trying to shoo away the bug in her room, and finally calls
it "haraamii"! A beautiful piece of direction to symbolize her having fallen
in love.
One of the most beautiful songs in this genre is the Geeta Dutt gem from Har
Har Mahadev, "gun gun gun gun gun gun gunjan karataa bhanwaraa, tum kaun
sandesaa laaye...". The ultimate is the Habib Wali Mohd. nazm "raatein
thiin chaandanii, joban pe thii bahaar..". Once you hear this last
mentioned song, you would not need an explanation of the word "bhanwaraa".
Happy Listenings.
Satish Kalra
PS: I do not claim to be a "knowledgable" person, just because I replied to
your query.
animesh kumar
Hello
Satish ji pointed out the meaning and provided some other songs. But he
missed to explain the lyrics in particular. I am trying my hand at that.
> While listening to songs yesterday I noticed two beautiful vintage
> songs on bhawra . I do not understand the usage of this word clearly
> and what does it signify.
>
> 1. Goonjat kyon bhawara rasiya , sankat van me - Miss Ratnaprabha
Here she is amazed, why is bhanwra humming in a desperate/hopeless/fearful
situation of hers. Meaning, its not the time for love, its hard time (the
bug hums in gardens/flowers, or signifies in some sense bahaar).
>
> 2. Phul bagiya more aana bhawara rain bhaye - Miss Meera
>
Seems here she is calling her lover to come at night.
Afzal A. Khan
kamalakar pasupuleti wrote:
Let me first repeat the caviat offered by Mr.
Kalra --- I do not claim to be a knowledgable
person !
One significant aspect of "bhaNwra" is that its
love or affection is supposed to be fickle. It
keeps on flitting from "kali" to "kali". I think there
is a reference to this in that brilliant SNT composition
in "Kavi Kalidas" --- "Un par kaun kare ji vishwaas",
"Ras ke lobhi chain na paayeN"........
Another beautiful number (where "bhaNwra" makes
an appearance) is from "Bees Saal Baad". I am
referring to the Lata number filmed on Waheeda
Rehman "Sapne suhaane.....Mere nainoN men doleN".
Also the "Sahib Bibi Ghulam" number, "BhaNwra
baRa naadaan haye". Quite incidentally, again
picturised on Waheeda, and music by Hemant K.
Afzal
Satish Kalra
news:3F575773...@yahoo.com...
...snipped...
> One significant aspect of "bhaNwra" is that its
> love or affection is supposed to be fickle. It
> keeps on flitting from "kali" to "kali".
I would change "flitting" to 'flirting' to accurately convey the
"bhanwaraa's" character. :-)
Happy Listenings.
Satish Kalra
Srinivas Ganti
"Satish Kalra" <Satish...@verizon.net> wrote
> One of the most beautiful songs in this genre is the Geeta Dutt gem from
Har
> Har Mahadev, "gun gun gun gun gun gun gunjan karataa bhanwaraa, tum kaun
> sandesaa laaye...".
Two more similar songs
gun gun gun bole re bha.Nvar (Afsar, Suraiyya, SDB)
gun gun gun bole bha.Nvaravaa (Parul Gosh, Anil Biswas)
The word has been used in SDB's non-filmi songs also
dhiire se jaanaa bagiya.n me.n, re bha.Nvaraa
dhiire se jaana bagiya.n me.n
aaj hai chaa.Ndanii raatii
mere jiivan kaa saathii hai jo
sovat hai nii.nd magan me.n, re bha.Nvaraa
dhiire se jaanaa bagiya.n me.n
mere jauvan kii phulavaarii me.n bha.Nvaraa tuu kyuu.N aataa hai
sg.
Afzal A. Khan
Satish Kalra wrote:
Mere "flirting" can be harmless. But the
"bhaNwra" is (as the KK song asserts)
"ras ka lobhi". The "flitting" part
commences when it has had its fill.
Afzal
Srinivas Ganti
"Afzal A. Khan" <il_...@yahoo.com> wrote
> Mere "flirting" can be harmless. But the
> "bhaNwra" is (as the KK song asserts)
> "ras ka lobhi". The "flitting" part
> commences when it has had its fill.
That reminds me of another KK song
"bha.Nvre kii gu.njan hai meraa dil"
sg.
naniwadekar
"Afzal A. Khan" <il_...@yahoo.com> wrote -
>
> One significant aspect of "bhaNwra" is that its
> love or affection is supposed to be fickle.
>
If I may presume to offer my (not-so-)knowledgeable input,
the conditions of the imagery often get ignored as the essence
of it takes hold in popular imagination. There are many
(oh-so) knowledgeable fellows in the NG, like Kalra-ji
and Afzal-ji, who are far, far better versed in the topic than I
and they may have more examples to relate but I will start
with one concerning a Saint's desperate desire to meet his Lord.
(Animesh's post offered excellent insight on the line about
'sankaT and bhanwaraa'.)
Though the bhanwaraa is supposed to be a fickle lover,
sometimes the fickleness part may get overlooked and
he may be used to convey just love. The Jaya Bhaduri
scene cited in the thread strikes me as one such example.
This has happened particularly remarkably in the case of crow.
It is NOT enough for the crow to just appear. He MUST crow
to suggest good omen. Sometimes kaagaa just makes an
appearance and observes maun-vrata and is yet taken to bring
tidings of a guest. The condition about crowing is forgotten.
But the interesting thing is that in the original set of conditions,
even the crowing is not enough. After crowing, the crow must
fly away. Only then can he be taken as an omen for a guest.
There live sane people who actually believe these associations
to be true rather than merely superstitious. But the condition
that the crow must fly away has practically been forgotten.
He is sent away these days only to carry a message. One man
who did not forget any condition was Dnyaneshwar. Listen to
Lata's 'pail-toge kaauu kokataahe, shakun ge maaye saangataahe'.
The kaau comes, crows (kokataahe). Dnyaneshwar is pining to
meet his lover Krishna/Viththal and he immediately thinks the
crow might have brought an omen. To confirm it, he desperately
asks the crow to fly away and offers him the bribe that he will
paint the crow's feet in gold. (The crow must have been a female
as only giddy females want to paint their feet.) Dnyaneshwar offers
to feed him with curd-rice and milk if the crow confirmed that
the Lord was about to visit him.
uD uD re kaauu, tujhe sone nii maDhaviin paauu
(Fly away, fly away, crow. I will paint your feet in gold.)
doodhe bharalii vaaTii, laaviin tujhe oThii
satya saange goThii, viThuu yeiil kaa ge
(I will offer you a kaTorii of doodh.
But tell me the truth : Will Lord Krishna come today?)
- dn
Afzal A. Khan
naniwadekar wrote:
I thought that, originally, the thread was
about "bhaNwra" and not the Crow !
Also, "bhaNwra" as a symbol of love is
something fairly comonplace. It is the
"fickleness" that is really significant, IMHO.
And Mr. Kamalakar's post was also about
"significance".
BTW, if the Sant's crow was a female, why not
use "it" ("her" may perhaps be inappropriate),
rather than "him" in the very next line ?
Perhaps another case of the "Prejudice" hang-over ? !
Afzal
Surjit Singh
Here is a reference to the origin of such bhramar geet stuff:
http://www.geocities.com/bhagvatjee/bhaag/kathaa/skandh10/poorvaardh/p20bhramargeet.htm
Surdas has written bhramar geets and so have many others.
naniwadekar
> about "bhaNwra" and not the Crow !
>
What is wrong in expanding the scope of the discussion?
I did comment how bhanwara may solely be remembered
as lover and its fickleness occasionally forgotten. Then
I moved to a necessary condition about the crow which
has been forgotten today.
>
> Also, "bhaNwra" as a symbol of love is
> something fairly comonplace. It is the
> "fickleness" that is really significant, IMHO.
> And Mr. Kamalakar's post was also about
> "significance".
>
That is fine. I only pointed out that in some cases (like
Jaya Bhaduri's) the 'really significant' fickleness angle has
played no part.
>
> BTW, if the Sant's crow was a female, why not
> use "it" ("her" may perhaps be inappropriate),
> rather than "him" in the very next line ?
> Perhaps another case of the "Prejudice" hang-over ? !
>
The crow is always treated as a male except by the Vets and
particularly by the poets (kaagaa RE, jaa re jaa re) AFAIK
and Dnyaneshwar is no exception. I was just being flippant.
(But you *have* caught me there.)
OTOH, the sparrow is always seen as female unless the
story involves dialogue betn Mr Sparrow and Mrs Sparrow.
The very word chiDiyaa rhymes with nanadiyaa and jaThaniyaa.
As a wit has remarked, these quirks are strange. The word
mankind automatically omits in womankind half of the species.
- dn
kamalakar pasupuleti
> <snipped>
>
>
> Hello
>
> Satish ji pointed out the meaning and provided some other songs. But he
> missed to explain the lyrics in particular. I am trying my hand at that.
>
>
> > While listening to songs yesterday I noticed two beautiful vintage
> > songs on bhawra . I do not understand the usage of this word clearly
> > and what does it signify.
> >
> > 1. Goonjat kyon bhawara rasiya , sankat van me - Miss Ratnaprabha
>
> Here she is amazed, why is bhanwra humming in a desperate/hopeless/fearful
> situation of hers. Meaning, its not the time for love, its hard time (the
> bug hums in gardens/flowers, or signifies in some sense bahaar).
Great Animesh , you have analised it correctly , the song is probably
in desperation both the style of rendering and orchestration is
evidant but I am unable to co-relate the next line ,
' Goonjat kyon bhawara rasiya , sankat van me kyon bhawara
Ketaki malati rang bhavan me tejan me chaayi rasiya '
The song is from film Chaaya - 1936 .
>
> >
> > 2. Phul bagiya more aana bhawara rain bhaye - Miss Meera
Yes , this song is on a very happy note .
> >
>
> Seems here she is calling her lover to come at night.
>
> >
> >
> > Regards,
> > - kp
Afzal A. Khan
naniwadekar wrote:
Interestingly, Shri Animesh Kumar has also
referred to "bhaNwra" as a female in his fine
analysis. I quote from the relevant post :
> Here she is amazed, why is bhanwra humming in a desperate/hopeless/fearful
> situation of hers. Meaning, its not the time for love, its hard time (the
> bug hums in gardens/flowers, or signifies in some sense bahaar).
>
> >
> > 2. Phul bagiya more aana bhawara rain bhaye - Miss Meera
> >
>
> Seems here she is calling her lover to come at night.
>
Afzal
Afzal A. Khan
"Afzal A. Khan" wrote:
Okay, I just goofed badly there.
Please forget the earlier post.
Afzal
naniwadekar
> referred to "bhaNwra" as a female in his fine
> analysis. I quote from the relevant post :
>
>
>
> > Here she is amazed, why is bhanwra humming in a
desperate/hopeless/fearful
> > situation of hers. Meaning, its not the time for love, its hard time
(the
> > bug hums in gardens/flowers, or signifies in some sense bahaar).
> >
????
Animesh has not referred to 'bhaNwara' as female.
Like kaagaa, bhaNwara is always seen as male, with the
difference that I am sure female crows exist but have no
idea whether bumble-bees are all uni-sex.
'gunjan *karataa* bhanwaraa' - has bhanwaraa as male.
- dn
Surjit Singh
>
>
> Great Animesh , you have analised it correctly , the song is probably
ANALISED, Excellent!
> in desperation both the style of rendering and orchestration is
> evidant but I am unable to co-relate the next line ,
>
>>>Regards,
>>>- kp
Afzal A. Khan
naniwadekar wrote:
Please see my second (consecutive) post.
Afzal
animesh kumar
Hello
After seeing all the posts on bhaNwraa and his actions, I felt like adding a
few more instances where his name has been used.
muni maanas pa.nkaj bhRRi.ng bhaje (tulsi)
this line belongs to chhand "jay raam ramaa ramanam samanam" (posted
earlier), from Uttarkand, Raamcharitmanas. bhRRi.ng means bha.Nwaraa and my
interpretation (imho) of the line is "Just as bha.Nwaraa incessantly
worships a lotus (humming sound corresponds to worship), saints and humans
worship you OR your (Raam's) name".
Using bha.Nwaraa as for bhakt!
madhukar shyaam hamaare chor (soor)
madhukar = bha.Nwaraa
Suurdaas used madhukar for Krishna, I feel in the ways bha,Nwaraa is talked
about.
I tried to find more examples from Manas (subconscious calls make me feel I
have read it somewhere) without success. I will try to post them after
digging them out,
A few more songs
- bha.Nware ne khilaayaa phuul (Suresh Wadkar, Prem Rog)
- madhukar shyaam hamaare chor (K L Saigal, Bhakt Soordas)
- jay raam ramaa ramanam samanam (Lata, Ram Ratan Dhan Paayo (non film))
- gungunaa rahe.n hai.n bha.Nware khil rahii hai kalii kalii (Lata-Kishore,
Aradhna)
- One ARR and One Mission Kashmir song (where are his fans ;-))
best regards
Animesh
animesh kumar
>
>
> Interestingly, Shri Animesh Kumar has also
> referred to "bhaNwra" as a female in his fine
> analysis. I quote from the relevant post :
just call me Animesh ;-)) i dont deserve the paraphernalia
best regards
Animesh
animesh kumar
> >
> > Here she is amazed, why is bhanwra humming in a
desperate/hopeless/fearful
> > situation of hers. Meaning, its not the time for love, its hard time
(the
> > bug hums in gardens/flowers, or signifies in some sense bahaar).
>
> Great Animesh , you have analised it correctly , the song is probably
> in desperation both the style of rendering and orchestration is
> evidant but I am unable to co-relate the next line ,
>
> ' Goonjat kyon bhawara rasiya , sankat van me kyon bhawara
> Ketaki malati rang bhavan me tejan me chaayi rasiya '
>
> The song is from film Chaaya - 1936 .
>
>
Are you perfectly sure about the words? I tried making sense of the couplet,
and if I reword it a little, it makes some sense
goonjat kyon bhanwaraa rasiyaa
sankat wan me kyon bhanwaraa
ketakii maalatii rang bhavan me
*te jaa* mai.n (chh)aaii rasiyaa
(tejan me chhaaii rasiyaa) ~~ orig
last two lines meaning "just go to the rang bhavan having all the flowers of
ketakii and maalatii, you go and I will come (or I will surround you)
there". I am guessing, please confirm the lyrics though, (te jaa = you go),
best regards
Animesh
PS: I dont have the song.
naniwadekar
"animesh kumar" <ani...@eecs.berkeley.edu> wrote -
>
> After seeing all the posts on bhaNwraa and his actions, I felt like
> adding a few more instances where his name has been used.
>
Referring to the bhanwar as 'him' ('his name') is, how should
I put it ..., a bit too much.
Animesh, the Male Chauvinistic Bhanwar? <grin>
- dn
animesh kumar
>
> I tried to find more examples from Manas (subconscious calls make me feel
I
> have read it somewhere) without success. I will try to post them after
> digging them out,
>
so pragaT karuunaa ka.nd sobhaa bRRi.nd ag jag soha_ii
mam hRRiday pa.nkaj bhRRi.ng a.ng ana.ng bahu chhabi soha_ii
(look before Doha 32, aranyakaand, where geedhraaj saw Raam before leaving
this world).
In second line Tulsi uses it beautifully to convey the following meaning
(IMHO, I may be wrong/off the mark)
In my heart, you (Raam) whose name/entity persistently hums (or is present)
like a bha.Nwaraa on lotus, your pretty and pristine image is very
pleasing. (another interpretation that comes out is --- my heart which in
presence of Raam (and his name) gets the same pleasure as lotus gets in
presence of bha.Nwaraa, is very happy on your personal appearance).
best regards
Animesh
Vinayak K.Gore
> >
> "bha.nwaraa" or 'bhramar' or 'bhuumro' is used in the context of love,
> esp.between a bud (kalii) and the big, dark colored bug. Poets have since
> long used this analogy to symbolize the (smitting of) love between a male
> and female.
>
> You may recall the scene from Kora Kaagaz (or was it Parichay?) in which
> Jaya Bhaduri, is trying to shoo away the bug in her room, and finally calls
> it "haraamii"! A beautiful piece of direction to symbolize her having fallen
> in love.
>
Some more examples where bha.Nwara has been used in connection with
romance , love are
1. lines from Raag Rang song "yahii bahaar hai duniyaa ko bhuul jaane
kii"
kali kali se bha.Nware ne muskuraa ke kahaa
nazar mila ke kahaa
nazar se kaam na nikalaa to budbudaa ke kahaa
gale lagaa ke kahaa
kiya hai pyar to 2
parvaa naa kar zamaane kii
ha.nsii uDaane kii
2.lines from Malhar song "dil tujhe diya thaa rakhane ko"
bha.Nware ke labo.n par fariyaade
kaliyo.n ke labo.n par musakaane
bha.Nware kaa kalejaa hai kisane
kaliyo.n me.n chhupaake rakh diyaa
mera dil ta.Dapaa ke rakh diyaa
3.song from Prem Rog
bha.Nware ne khilaayaa phuul
phuul ko le gayaa raaj ku.Nwar
4.lines from Hamdard song "ritu aaye ritu jaaye"
phuul phuul par bhramar guu.Njat
sakhii aaye nahii.n bha.Nwar hamaar rii
5.line from Bawre Nain song "terii duniyaa me.n dil lagataa nahii.n"
bha.Nwar kaa sar naa chakaraae
na dil lehero.n ko duube
le qashtii aap kar dii mai.ne tuufa.N ke havaale
In some songs bha.Nwar is used because it fits the metre e.g."uD jaa
bha.Nwar suunaa hai ghar suunii Dagar aajaa aajaa"
Vinayak
>
Sudhir
thing is almost certain
Bhanwara was the favorite pet of:
Kumar Sachin Dev Burman (both as Singer, as well as the
Music Director)
This fellow is featured in so many of his songs, that it is
hard to keep track. Some songs were listed by other members.
Few more are:
Ud Gaya Bhanwara, Kali Udaas (Non-Film / by: Self)
Gunguna Rahe Hain Bhanware, Khil ahi Hai Kali Kali (Aradhna)
And there are many many more songs plus the film with this
title (featuring: K.L. Saigal), which refer to Mr. Bhanwara
Main Bhanwara Tu hai Phool (Mela)
Jeene Ke Dhangh Sikhaye Ja (has a line referred to Mr. Bhanwara)
Another symbolism for Bhanwara (Black & Ugly) and Kali (Beautiful
and lovely) is that Love is free of physical appearance.
Sudhir
---------------
"Srinivas Ganti" <gant...@hotmail.com> wrote in message news:<bj7mvo$g5dca$1...@ID-75004.news.uni-berlin.de>...
Sudhir
and which happens to be the one used quite often.
It is the intensity of his activities. Just short of smacking him, and
dropping him dead, one cann't make him go away from 'Kali'. Yes Sir,
'Koyi Baap Ka Raaj Nahin, Ki Aap Ne Kaha Aur Bhanwara Ji Kahin
Aur Chale Gaye'.
A point perfectly illustrated in the scence featuring Jaya Bhadhuri and
was quoted by Mr. Satish Kalra or for that matter in the film:
Shama Parwana (Shammi Kapoor and Suraiya). Only be turning
the Hero into 'Shorba', coluld the Bapu (Ulhas) get rid of him.
Rx: Don't try watching the film: Shama Parwana, simply becuase it is being
quoted here. It is awful, though the music by: Pandit Husanlal
Bhagatram is great.
Sudhir
Satish Kalra
news:289bd32a.0309...@posting.google.com...
....snipped....
> 5.line from Bawre Nain song "terii duniyaa me.n dil lagataa nahii.n"
>
> bha.Nwar kaa sar naa chakaraae
> na dil lehero.n ko duube
> le qashtii aap kar dii mai.ne tuufa.N ke havaale
This song is referring to the "whirlpool" (bha.Nwar), not the bumble-bee
(bha.Nwaraa).
Only with 'whirlpool' do the other lines with reference to 'waves'
(leharo.n), 'qashtii' and 'tuufaa.N' make sense.
Happy Listenings.
Satish Kalra
Afzal A. Khan
Satish Kalra wrote:
Yes. But Dev Anand compared his own (black)
heart to the bhaNwar (bumblebee) in the song :
"Dil ka bhaNwar kare pukaar" !
Afzal
UVR
>
> Yes. But Dev Anand compared his own (black)
> heart to the bhaNwar (bumblebee) in the song :
>
> "Dil ka bhaNwar kare pukaar" !
What exactly is 'black' about his heart in this song, in
your opinion?
BTW, here's more proof that the bha.Nwaraa is not always
"flippantly flitting". Sometimes even 'softer' emotions
are experienced by the b., like pining for his beloved! --
bha.Nware ne khilaayaa phool, phool ko le gayaa raaj ku.Nwar
bha.Nware tU kahanaa na bhool, "phool tujhe lag jaaye merI umar"
From Suresh Wadkar singing for L-P in Prem Rog (1982).
-UVR.
Who is, for now, ignoring the 'umar-ku.Nwar' rhyme.
Afzal A. Khan
UVR wrote:
> Afzal A. Khan wrote:
> >
> > Yes. But Dev Anand compared his own (black)
> > heart to the bhaNwar (bumblebee) in the song :
> >
> > "Dil ka bhaNwar kare pukaar" !
>
> What exactly is 'black' about his heart in this song, in
> your opinion?
>
>
> -UVR.
>
Since the b-bee is black and Dev Anand deems
it as symbolic of his heart, one conclusion
can be that the heart too is "black" !
Afzal
Ashok
What do you mean "yes, but"? What is the relevance of whatever you
are trying to say to Satish's follow-up? And what is "black heart"?
Ashok
Afzal A. Khan
Ashok wrote:
When written in Urdu script, the word "bhaNwar"
(as distinct from "bhaNwra") usually refers to
a whirlpool or eddy, as mentioned in Mr. Kalra's
post. But one exception is this song from
"Tere Ghar Ke Saamne" where "bhaNwar" (IMO)
refers to the b-bee, and not to a whirlpool.
As regards "black heart", it was meant in a light
vein only, as explained in my response to UVR.
Afzal
UVR
>
> When written in Urdu script, the word "bhaNwar"
> (as distinct from "bhaNwra") usually refers to
> a whirlpool or eddy, as mentioned in Mr. Kalra's
> post. But one exception is this song from
> "Tere Ghar Ke Saamne" where "bhaNwar" (IMO)
> refers to the b-bee, and not to a whirlpool.
Speaking of using "bha.Nwar" for the bumblebee, how can we
forget the fantabulous Lata song "aajaa! aajaa bha.Nwar,
suunii Dagar, suunaa hai ghar aajaa!" from SNTripathi's
Rani Roopmati? The one where she so eloquently puts Manna
Dey in his rightful place, after his "u.D jaa bha.Nwar,
maayaa kamal ..."
-UVR.
Sudhir
the significance of word Bhnwra, Bhanwara is still
valid, then please read the following
I remembered another song, which perfectly illustrates the
symbolism 'Persistence' for which Mr. Bhanwara is famous for.
Although, the song does not have the word 'Bhanwara', the
singer (also the film's hero) antics are. The song is from:
Film: DILLI KA THUG / Hum To Mohabbat Karega, Duniya
Se Nahin Darega
The poor girl (Nutan) tries by so many different ways, to get KK off
her back. But, the Bhanwara - Like hero is ready to 'Polish the Joota',
'Doobo in some Dariya', but will still 'Mohabbat Karega'
Sudhir
Afzal A. Khan
UVR wrote:
Agreed. But "rightful place" ? I am not sure
Balaji would be pleased !
Afzal
naniwadekar
> > forget the fantabulous Lata song "aajaa! aajaa bha.Nwar,
> > suunii Dagar, suunaa hai ghar aajaa!" from SNTripathi's
> > Rani Roopmati? The one where she so eloquently puts Manna
> > Dey in his rightful place, after his "u.D jaa bha.Nwar,
> > maayaa kamal ..."
> >
> > -UVR.
>
>
> Agreed. But "rightful place" ? I am not sure
> Balaji would be pleased !
>
Is Balaji Manna Dey's chamcha? If true, I am surprised
that I had not noticed it before. I know he has a weakness
for Talat, as do I and so many other rmim-ers. But worship
at Manna Dey's middle-class altar would be quite a surprise.
Over to you, Balaji. Perhaps you could start a thread on
TOP TEN songs by Manna Dey and take Mr Sudhir
Kakkar's help since he finds the Top-Ten idea so exciting :)
Mr Jayaraman can also help you.
- dn
Rirfan6
In traditional Urdu poetry, 'Bhanwara'
is always considered as 'flirt' or harjaee.
On the contrary, 'Parwanaa' symbolises
the true lover who dies for shama'a.
IMHO, the best song which explains the
attributes of 'Bhanwara' is one sung by
Noor Jehan for Khurshid Anwar, lyrics
by Qateel Shifai :
kali kali mandaley bhanwra
kahin bhi chane na paaey
I think this song was posted in ITRANS
on RMIM.
Regards,
Irfan
Vinayak K.Gore
>Few more songs of bha.Nwara and kalii
1.A song from Kavi Kalidas (?)
phuul bagiyaa.n me.n bulabul bole
bha.Nwaro.n se kahatii hai kaliyaa.n
pyaar karo 2 rut pyaar ki aayii re
kaano.n me.n baaje baa.nsuria
2.A Rafi - Lata duet of Rajendra Krishna - Chitragupt combination
aap akele to kabhii baagh me.n jaayaa naa karo
aaja kal kaliyaa.n bhii shokh hua karatii hai
I am sure Rafi's part has something involving bha.Nwaraa but I can't
remember now.
3.Another word (from Sanskrit)for bha.Nwaraa is 'ali' and I know of
only one Marathi song where it is used.It is a romantic Lata song from
"Keechakvadh"
"dhu.nda madhumatii raat re naath re" and the lines are
"yeii priyakaraa yeii mandiraa
ali ramale kamaLaat re naath re"
here lady is inviting her beloved one to her house and showing him how
bumble bees are enjoying with lotuses.
Vinayak
Afzal A. Khan
"Vinayak K.Gore" wrote:
> vinay...@rediffmail.com (Vinayak K.Gore) wrote in message news:<289bd32a.0309...@posting.google.com>...
>
>
>
>
> 2.A Rafi - Lata duet of Rajendra Krishna - Chitragupt combination
>
> aap akele to kabhii baagh me.n jaayaa naa karo
> aaja kal kaliyaa.n bhii shokh hua karatii hai
>
>
>
>
> Vinayak
I think it is "tum akele to kabhi baaGH men....".
Afzal
Abhay Jain
> vinay...@rediffmail.com (Vinayak K.Gore) wrote in message
news:<289bd32a.0309...@posting.google.com>...
>
> >Few more songs of bha.Nwara and kalii
>
> 1.A song from Kavi Kalidas (?)
>
> phuul bagiyaa.n me.n bulabul bole
> bha.Nwaro.n se kahatii hai kaliyaa.n
> pyaar karo 2 rut pyaar ki aayii re
> kaano.n me.n baaje baa.nsuria
>
> 2.A Rafi - Lata duet of Rajendra Krishna - Chitragupt combination
>
> aap akele to kabhii baagh me.n jaayaa naa karo
> aaja kal kaliyaa.n bhii shokh hua karatii hai
>
> I am sure Rafi's part has something involving bha.Nwaraa but I can't
> remember now.
>
I just heard this song (over 7 minutes long) and there is no
mention of bha.Nwaraa in it.
This lovely duet is from a 1964 crap movie "Aao Pyar Karen",
starring Joy Mukherji and Saira Bano. Music was by Usha Khanna
and had lovely songs.
Abhay Jain
> Vinayak
Abhay Phadnis
news:3F577FDB...@yahoo.com...
>
> naniwadekar wrote:
(snip)
> > uD uD re kaauu, tujhe sone nii maDhaviin paauu
> > (Fly away, fly away, crow. I will paint your feet in gold.)
(snip)
> BTW, if the Sant's crow was a female, why not
> use "it" ("her" may perhaps be inappropriate),
> rather than "him" in the very next line ?
Dnyaneshwar's use of "re" ("uD uD *re* kaa_uu") in addressing the crow
leaves no room for doubt - it's a male crow all right!
Warm regards,
Abhay