BAIJU BAWRA: BOLLYWOOD FILM 64 YEARS OLD

BAIJU BAWRA: 64 YEARS OLD

A musical revenge (Baiju Bawra)

 
A Baiju Bawra search on Wikipedia reveals that the classical maestro perished of typhoid at the ripe age of 71. Given this (though there's no historical proof to ascertain this claim) information, the climax of Vijay Bhatt's 1952 film is far from satisfactory. The rationale behind bumping off both Baiju and his sweetheart Gauri, is something that I'm yet to decipher. Even after he is victorious in his vocal duel with Tansen and reaching his village at the nick of time to marry Gauri, the film shows both the lovers drowning in the Yamuna. Sad, but very surprising!

BAIJU BAWRA: 64 YEARS OLD

A musical revenge (Baiju Bawra)

The site also does not shed any light on his so called enmity with the famous Tansen, who used to sing in Emperor Akbar's court. In fact it says that Baiju Bawra, originally known as Baijnath Prasad or Baijnath Mishra, was an accomplished singer in the court of Raja Mansingh of Gwalior. And he was called 'bawra' because of his love for a dancer in Chanderi. Now that is something the film departs from.
Baiju Bawra opens with Tansen (Surendra) about to sit for his riyaaz. And given his stature (he is one of the 'navratans' or the nine gems in Akbar's court, lives in a stately mansion. Well aware of his consequence, Tansen will not have anyone creating noise in the vicinity of his house when he is practising his music. So no one should sing near Tansen's house also or else he would be executed.

Just as Tansen's guards are roughing up one singer for daring to sing when Tansen himself is practising, a group of men are passing by the mansion singing devotional songs. When the guards try to stop them, the head of the group carry on with their bhajan arguing that the act of singing can be enjoyed by everyone. This angers one of the hurly-burlies and he attacks the man. In the chaos, that singer is injured. He happens to be Baiju's father who makes his young son (Ratan Kumar) promise that one day he will avenge his father's death. The young Baiju now only dreams about how to extract revenge from Tansen. He steals a sword from a dosed off guard to go and kill Tansen but is caught in the way. Just then, a local healer (Manmohan Krishna) comes to his rescue and takes him home.

BAIJU BAWRA: 64 YEARS OLD

A musical revenge (Baiju Bawra)

I really like the way Ratan Kumar keeps saying Badla Badla whenever he hears Tansen's name. Though there is hardly any evilness about his angelic face, it is amusing to see this pint-sized boy work up enough anger and hatred in his entire persona.

So, Baiju meets up with Gauri, her father Mohan. Gauri (Baby Tabassum) rows travellers across the Yamuna everyday. The two children develop a strong bond and grow up to be lovers (sample the bouncy romantic duet Jhoole mein pawan ki aayi bahar sung by Mohd Rafi and Lata Mangeshkar). In Gauri's tender words and association, Baiju forgets his cause for revenge and he is busy sharpening his vocal skills while singing love paeans to Gauri, who has now grown up to a pretty village belle. It is awesome how young Meena Kumari looks. She is thin, very, very attractive and has a exuberant air about her. Bharat Bhushan isn't to bad himself. Carefully careless in his rustic gear, he sure has a chocolaty charm about him when he tries to melt Gauri with Tu Ganga ki mauj (Mohd Rafi). The two actors make for a handsome couple and their repartee is quite enjoyable indeed.

BAIJU BAWRA: 64 YEARS OLD

A musical revenge (Baiju Bawra)

Baiju is lost in Gauri's love and the damsel reciprocates adequately. But, Narpat will have none of it. This pompous and stupid but influential villager wants Gauri for himself and takes Mohan to task regarding the proximity between Baiju and Gauri. On confrontation by Mohan, Gauri cowers but only for a short while. For, there is nothing that can separate her from her sweetheart and she makes it quite obvious in the song Door koi gaye (it's a Lata Mangeshkar and Shamshad Begum duet).

After much deliberation Mohan resigns to the fact the Baiju and Gauri are made for each other. Hearing her father say so, she erupts in glee and runs to tell her sweetheart what her father has decided. Just when everything looks so halcyon, the village is attacked by a group of dacoits led by Roopmati (Kuldeep Kaur). She demands a hefty package from the poor villagers who plead with her. But Roopmati is hell bent for her the money. Just when she orders her men to loot and plunder, Baiju breaks into Insaan bano (Mohd Rafi) that absolutely melts the tough Roopmati. She is so taken by this musical charmer that she decides to leave the village without any ransom provided Baiju goes with her, for here is a dacoit whose heart has been robbed by this young man!

Gauri cries her heart out when hearing about Baiju's departure but her lover sees no other alternative to save the villagers. While he goes away Gauri weeps with Bachpan ki mohabbat ko (Mangeshkar). On reaching their den, Roopmati decks up in her finery to seduce Baiju but he is faithful to Gauri and slights the dacoit woman. Roopmati relates that she chose this trade to avenge the death of her father. This piece of information is enough to remind Baiju of his lost cause and he forgets everything...Gauri, the villagers and his music, but his decision to avenge the death of his father. He stealthily creeps into Tansen's mansion with a stolen sword and is about to behead the singer when he is doing his riyaaz. But the sound of music weakens his urge for cold revenge. Baiju cracks open Tansen's veena instead of his enemy's skull. It is then that Tansen tells him that if he really wants to see the end of Tansen, he should beat him in music. The film takes a turn from here and goes on to show how Baiju becomes a bawra and fulfils his promise, given to his dying father, in a very musical way.

BAIJU BAWRA: 64 YEARS OLD

A musical revenge (Baiju Bawra)

Though some of the scenes are incredible, the film lives up because of the music. Naushad's score is sheer bliss for the senses and so are the renditions by Mohd Rafi, Mangeshkar, Ustad Amir Khan and D V Paluskar. Man tarpat hari darshan ko aaj and Ae duniya ke rakhwaley are absolutely harmonious. The last duet Aaj gawat man mero is entertaining not only because you get to hear such great music but also you get to see the sheer power of both Tansen and Baiju. Deers run to Akbar's court while the maestros are at it!!
But my personal favourite is Mohe bhool gaye sawariya. Couple Meena Kumari's expressions (apart from her beautiful visage), Mangeshkar's awesome singing, the tearful situation, Naushad's exemplary music and Shakeel Badayuni's lyrics and you have a winner.

The gradual transformation of Gauri's persona is awesome. From a cheerful and teasing lover, she changes into a sorrowful sweetheart. Meena Kumari's histrionics are noteworthy (no wonder she became a superstar after this film and even bagged her first Filmfare Best Actress trophy for this one). Though Bharat Bhushan overdoes his sad act sometimes, he was not bad overall. And, he is really the best bet for these sad musician parts. A special word for the character Ghasit Khan, played by the entertaining Radhakishan. He sure knows how to tickle your ribs.
Given such good acting and such superlative music, I'd loved it if the ending was happy. I agree that the director deviated from reality and put his directorial license to full use, but wouldn't it be great if he showed Baiju uniting with Gauri and going onto live happily ever after? And singing so many more superb songs...

Baiju Bawra (1952)

 
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At home, our tastes (when it comes to cinema) are very varied. My husband likes science fiction or fantasy, kung fu, conspiracy, superheroes, and (occasionally) comedy. And very little of it pre-90’s. I watch just about anything that’s pre-70’s. So, when we were deciding which DVDs we wanted to order next from our DVD rental service, I was taken aback when my husband said, “Baiju Bawra.”
“That’s black and white,” I said, wondering if the recent bout of long and stressful work hours had taken its toll. “Early 50’s. Hindi.”
“I know,” he said. “Good music.”

And yes, good music is the outstanding feature of this film. It had to be, since it’s about the legendary 16th century singer and musician Baijnath (‘Baiju&rsquo Bawra.

BAIJU BAWRA: 64 YEARS OLD

And yes, good music is the outstanding feature of this film. It had to be, since it’s about the legendary 16th century singer and musician Baijnath (‘Baiju Bawra.)

Agra during the reign of the Mughal Emperor Akbar (Bipin Gupta, though we don’t get to see him until close to the end of the film) is a wealthy, busy city: the capital of the Mughal empire. Here, in one of the grandest havelis of the imperial city, lives Tansen (Surendra), singer par excellence and one of the nau ratan (the fabled ‘nine gems&rsquo of Akbar’s court. Tansen, it seems, is well aware of his consequence: nobody is allowed to even try to sing in the vicinity of his haveli, since that will disturb the maestro while he’s practising. If you want to sing, you’d better sing better than Tansen. If not, you’ll be executed.

BAIJU BAWRA: 64 YEARS OLD

Not everybody knows this, of course. One day, a group of minstrels passes through town, singing hymns, totally oblivious of this rule. Tansen’s band of hangers-on immediately attacks the minstrels. In the ensuing violence, there’s an accident and one of the men is fatally injured. As he’s dying, he tells his young son Baijnath ‘Baiju’ (Ratan Kumar) to avenge his death.

BAIJU BAWRA: 64 YEARS OLD

His father dead, a weeping and somewhat befuddled Baiju sets off to take revenge on Tansen. Not that Tansen is directly responsible, but still. Baiju isn’t even very sure how he’s going to avenge his father’s death—but passing a camp one day, he steals a sword and tries to run off with it, in the hope that he can someday use that sword to kill Tansen. The soldiers from the camp chase Baiju and catch up with him soon enough. They’re on the verge of meting out punishment when an unexpected saviour turns up: a passing pandit (Manmohan Krishna), who intercedes on Baiju’s behalf and finally takes the boy under his wing.

BAIJU BAWRA: 64 YEARS OLD

Panditji takes Baiju along with him to his riverside village. This is where Baiju meets the pretty little Gauri (Baby Tabassum), the boatman’s daughter who ferries Baiju and Panditji across. Along the way, she strikes up a friendship with Baiju…

BAIJU BAWRA: 64 YEARS OLD

…a friendship that endures and blossoms into love. A few years later, Baiju (now Bharat Bhushan, with a shock of hair that’d give Dev Anand a run for his money) and Gauri (now Meena Kumari) are deeply in love. They spend most of their time together. After sundown, Gauri even goes to meet Baiju when he sits beside the river and practises his singing. She is his muse, says Baiju, but many of the villagers think this is all very scandalous.

BAIJU BAWRA: 64 YEARS OLD

Baiju and Gauri’s love is even more of a scandal because Gauri’s father Mohan (B M Vyas) has already arranged her marriage with a villager called Narpat (Mishra). Narpat is very full of himself, a wealthy man by village standards and pompous to boot. When he discovers that his betrothed is completely—and openly—in love with another man, Narpat is (with reason, I think) far from pleased. He takes Mohan to task about his daughter’s wayward ways, but when her father ticks her off, Gauri cowers only briefly. She isn’t giving up Baiju, no matter what Narpat or the other villagers may say.

BAIJU BAWRA: 64 YEARS OLD

It gradually dawns on Narpat that the one attraction Baiju holds for Gauri is his beautiful voice. The way to win Gauri, therefore, is to sing as wonderfully as Baiju does. Narpat has a brainwave; he sends his right hand man off to Agra, to fetch a master singer who will hone Narpat’s talents, such as they are.

BAIJU BAWRA: 64 YEARS OLD

The man Narpat’s friend brings is Ghasit Khan (Radhakrishna), a not very good singer who is nevertheless able to recognise good singing when he hears it. Ghasit Khan arrives in the village on a night that’s going to be a turning point in the lives of all the main characters in this story.

BAIJU BAWRA: 64 YEARS OLD

One of the first people Ghasit Khan encounters in the village is Narpat Singh, who instantly antagonises Ghasit Khan by showing off his awful voice. Narpat has been spending the evening bawling his lungs out to a reluctant Gauri, and doesn’t realise that Ghasit Khan is the guru his friend has fetched.
Ghasit Khan has just begun to berate Narpat for his abysmal singing when the village is attacked by a band of dacoits, led by the fearsome Roopmati (Kuldeep Kaur).

BAIJU BAWRA: 64 YEARS OLD

Roopmati’s busy instructing her bandits to loot and plunder, when Baiju breaks into song, dissuading the bandits and urging them towards humanity and mercy and general goodwill towards all. I can’t see why a lot as hardened as this would be affected by Baiju’s song, but they are. Roopmati agrees to return to the villagers all that the bandits have snatched from them—on one condition. Baiju will have to come with the bandits, back to their hideout.

BAIJU BAWRA: 64 YEARS OLD

Baiju doesn’t have much choice. Even though a clingy Gauri tries to stop him, he reminds her that unless he goes with Roopmati & Co., the village won’t be safe.
So Baiju ends up in Roopmati’s hideout, where she reveals the reason behind abducting him: love at first sight. Baiju is sceptical, and in any case, he’s too devoted to Gauri to even look at another woman.

BAIJU BAWRA: 64 YEARS OLD

In her conversation with Baiju, Roopmati tells him a little bit of her past. It emerges that she is the daughter of a wealthy princeling who was murdered and his lands confiscated. Roopmati is out to retrieve what is rightfully hers, and to seek vengeance for her father’s death.
For Baiju, this is like a bolt out of the blue: a moment of epiphany. Engrossed in his music and his Gauri, he’d forgotten all about his long-ago pledge to avenge his father’s death. He has a mission to accomplish.

BAIJU BAWRA: 64 YEARS OLD

With a few words to a surprisingly accommodating Roopmati, Baiju goes off to Agra, and to Tansen’s haveli. He’s managed to acquire a sword along the way, and it’s now time for an accounting.
But Tansen, no matter that he may have been responsible for the death of Baiju’s father, is after all, Tansen: the sangeet samrat, the ‘king of music’. Baiju, lurking behind Tansen as he sings, finds himself mesmerised and is unable to lift his sword until it’s too late.

BAIJU BAWRA: 64 YEARS OLD

When Tansen ends his song and the spell is broken, Baiju is assaulted by Tansen’s guards and servants—but Tansen himself is gracious and forgiving. Baiju is released, and allowed to go his own way: the only way, he realises, that will be a fitting revenge. To merely kill Tansen would be an insufficient revenge; Tansen must be shamed—his music must be shown as being less than that of Baiju. So Baiju goes to Vrindavan, to become a disciple of Swami Haridas (Rai Mohan), Tansen’s guru. The man who taught Tansen can teach Baiju. Only an accomplished, highly trained Baiju can defeat Tansen, inflicting on him a fate worse than death.

BAIJU BAWRA: 64 YEARS OLD

And thus the story plays out. Swami Haridas tries to teach Baiju to renounce violence and the need for revenge, while Baiju keeps his fury against Tansen alive. He wanders near and far, trying to reach for his own zenith in music—and far away, in that village by the river, a lonely Gauri, now being pressurised to marry Narpat, yearns for the lover who appears to have forgotten her.

BAIJU BAWRA: 64 YEARS OLD

What I liked about this film:

The music. Naushad is at his classical best here, with gems like the superb Man tadpat hari darshan ko aaj, Mohe bhool gaye saanwariya and Tu Ganga ki mauj main Jamuna ka dhara. The last-named is also a delightful bit of picturisation: a distressed and shy Gauri, caught midstream, with the entire village looking on as Baiju serenades her. Sweet!

Kuldeep Kaur. Gauri is a sweet but rather weepy village girl in Baiju Bawra; Roopmati, on the other hand, is a brave, feisty woman who doesn’t shy away from fighting—yet is mature and sensitive enough to be an object of sympathy. I liked her a lot; much more than Meena Kumari’s Gauri, though Gauri is admittedly very pretty.

BAIJU BAWRA: 64 YEARS OLD

What I didn’t like:

Rai Mohan as Swami Haridas. There was something just so creepy about him. True, he was supposed to be the long-suffering, always-smiling and patient and saintly swami, but the general impression I got was of someone definitely a little macabre. Maybe the smile had something to do with it.

In any case, the story and the acting are not the main thing about Baiju Bawra. The acting is so-so (in some cases, even downright theatrical), and the story, while not boring, tends to wander off on tangents. The melodrama goes over the top every now and then, the wood-and-cardboard sets are unconvincing, and there are anachronisms (the bandits brandish rifles that fire successive rounds). But, Meena Kumari is pretty, Kuldeep Kaur is spirited, and the music is magnificent. If there’s one Hindi film I’d recommend for a good dose of classical Hindustani music, this would be it.

BAIJU BAWRA: 64 YEARS OLD

THE ALBUM OF BAIJU BAWRA:

SINGER: AMIR KHAN & DV PALUSKAR
MUSIC  : NAUSHAD
LYRICS : SHAKEEL BADAYUNI

1) AAJ GAWAT MAN MERO
http://www.mastimag.com/download.php?song_id=31632

(Aaj gavat man mero jhum ke)2
My heart sings joyously today
Teri taan bhagwaan
In your praises O Lord
Aaj gavat man mera jhum ke
My heart sings joyously today
Aaj gavat man mera jhum ke
My heart sings joyously today
Teri taan bhagwaan
In your praises O Lord
Aaj gavat man mera jhum ke
My heart sings joyously today

Har jajja ko jivan jave
If I am defeated I will lose my life
Jeeta gayak duniya pave
If I win I will win the world
Rakhiyo ab meri shaan
Keep my honor intact
Aaj gavat man mera jhum ke
My heart sings joyously today

Prem ke karan premi gave
The lover sings for his love
Taano se pathar piglave re
Trying to melt stones with notes
Jagat me rahi maan re
To keep my respect in Society
Aaj gavat man mero jhum ke
My heart sings joyously today
Aaj gavat man mero jhum ke
My heart sings joyously today

Sat suro ke madur Milan me
In the melodious union of the seven notes
Jadu aaj jaga de
Full of magic
Bajju sangeet se data
O Lord of Baiju's music
(Jal me aag laga)2
Light the fire in water
 
Aaj gavat man mero jhum ke
My heart sings joyously today
Aaj gavat man aa aa
My heart sings joyously today
Aaj gavat man aa aa
My heart sings joyously today
Aaj gavat man aa aa
My heart sings joyously
Aaj gavat man
Aaj gavat man
Aaj gavat man mero jhum ke. 
My heart sings joyously today

Trans:     

BAIJU BAWRA: 64 YEARS OLD

THE STORY OF TANSEN:

TANSEN, the great musician, the shinning star of the music world whose light illuminates the vast expanse of the universe of music, has given continued inspiration to generations of musicians.

Tansen’s father was Makrand Pande, a Gaur Brahmin by caste. He lived in Bepat village, some 25 miles from Gawalior. Makrand Pande and his wife, Kalindi Bai, once went to Assam to pay homage to Kamakhaya Devi in the year 1532 A.D. On the return journey, they were blessed with a son who was named Tansukh, which became ‘Tanna’ in affection.

When the boy grew up, it was felt that he was dumb. His father visited several temples and served many saints, including Swami Haridas of Brindaban. He also used to visit a Sufi saint, Muhammad Ghous of Gawalior, who himself was very unhappy with the boy’s malady.

Muhammad Ghous began treating his malady with indigenous herbs, which brought about continued improvement in the voice of the boy. Muhammad Ghous, who was a skillful singer and musician, also trained Tanna in the use of seven vocal sounds.

After very hard practice, Tanna’s voice not only improved but also became sweet and melodious, so much so that soon he developed into a singer. Muhammad Ghous used to call Tanna as Tansen in affection.

When Tansen was 12 years old, Muhammad Ghous, with the consent of Makrand Pande, sent him to Swami Haridas of Brindaban in the year 1544, who, seeing special aptitude towards music in Tansen, began to train him. Sri Gopal Lal, the adopted son of Baiju Bavara, the first disciple of Swamiji, was also getting training there at the time. Gradually, both Tansen and Gopal Lal became thick friends.

Tansen realized and experienced the immense power, grandeur and depth of music in Baiju Bavara, and which grew in him. One day, he went to the jungle to fetch some firewood for the ashram when suddenly his sight fell over a tree, on the branch of which a light seemed to flicker, that seemed to appear and disappear alternately. He heard some sounds just before the light shone and soon it disappeared. Tansen was astonished to see this mystery.

He went to the ashram and disclosed this mystery to his teacher, Swami Haridas. Swamiji knew this effect of light. He cleared the mystery, saying that light shone due to the effect of Deepak Rag sung by a bird on the trees, and it went out as soon as the bird stopped making the particular sound.

Thereafter, Swamiji taught Deepak Rag to Tansen. After his training in the years 1555-1556 and after mastering many melodies, Tansen returned to his village, Bepat. Having returned home, he searched for Baiju. But he could not get any clue as to his whereabouts. He started to practice music in a music vidyaperth in Gawalior founded by Man Singh, Tomer and Baiju.

Meanwhile, his parents passed away. In 1558, Tansen again left Gawalior in search of Baiju. He reached Bandogarh, the capital of Rewa state after some time. The king there was a great patron of music. He took Tansen to his palace and treated him as a brother and made him the chief musician of the palace. He remained there for some time, but soon the memory of Baiju made him restless and under the pretence of winning a music championship, he started again on his search for Baiju.

Establishing his superiority in music in state after state, he reached Agra and threw his challenge. Akbar had already heard about the fame of Tansen through Abul Fazal. He was anxious to see and listen to the great musician. He was much pleased on Tansen’s arrival. A music concert was organized on the orders of the emperor.

In the programme, the style and voice control of Tansen was very pleasing and attractive, and consequently no singer at the Delhi court dared to show his feat after this. Even the best singer of the Mughal court, Jihan Khan, pretended to be have a stomachache and avoided the contest.

Tansen’s challenge to the master of music in the Mughal court in the year 1562, was not taken to undermine the musician. However, Akbar freely admired and accepted the merit and greatness of Tansen’s art, which reminded him of Baiju and his skill. A desire to see the magnificent contest between the two great masters arose in Akbar’s heart. Akbar tried very hard to invite Baiju for this contest, but Baiju was not willing to accept the invitation. At last, Akbar sent for his mother and asked her to persuade her son to enter the contest. Hearing about Tansen’s desire of world recognition in music, Baiju was somewhat hurt and accepted the challenge on condition that the contest should take place in an open space, and no information be given about Baiju to any person except the emperor and the ministers. And thus the contest was organized in a forest near Agra. Baiju appeared with his uncouth flowing hair and in torn clothes and took his seat among the multitude, quite unnoticed.

On the order of the emperor, the contest was announced and Tansen started Todi melody. Soon, a herd of deer, having been attracted by the music, arrived there and gathered around Tansen. Tansen put a garland of flowers around the neck of a black deer. As the Raag ended, the herd of deer disappeared into the jungle. Akbar looked towards the court singers, but none dared to sing in the face of Tansen. At last, the emperor looked towards Baiju.

Baiju, modest and selfless, stood before the emperor and admired Tansen’s art with all his heart. He announced that he would sing the Mirg Ranjani Todi with the effect of attracting only that deer around whose neck Tansen had put the garland.

Baiju started the Mirg Ranjani Todi (nowadays known as Gujree Todi). Soon, the same deer around whose neck Tansen had put the garland, approached Baiju and sat near him in a hypnotized state. Baiju took off the garland from the deer’s neck and put it on the neck of the emperor. Dumbfounded, Tansen continued to stare.

The emperor asked Baiju to start a Raag which Tansen could reply to. Baiju said, “I should start with Malkosh Raag and after melting the rock lying in front, I shall plant it into my Tanpura (musical instrument). After the Raag is over, the molten rock will again become hard. Let Tansen melt the rock again and get it out my Tanpura.”

Tansen was sitting nonplussed. Baiju started Malkosh Raag and the rock began to melt gradually. Seeing this, Tansen got up and went near Baiju and said, “Respected sir, who are you? My guru had told me that there was a gurubhai Baiju who could excel me.”

Baiju asked him who his guru was, Tansen referred to his guru Swami Haridas and said that he, Tansen, had started on a search for his gurubhai under the pretext of world victory. At this, Baiju’s eyes welled up tears. He embraced Tansen and said that he was that unlucky Baiju.

Having found Baiju, Tansen was beyond himself with pleasure and prostrated at the feet of Baiju, who, only with great difficulty, could calm Tansen. Baiju requested the emperor to give Tansen the great master, the highest position among his musicians and artists, which the emperor readily agreed to.

However, after some time, getting the opportunity, Tansen prayed Akbar for leave and departed for Rewa, never to return to Agra again. Akbar sent Jalaludin Khurchi to invite Tansen, but even then Tansen did not return to Agra. Akbar then sent Abul Fazal with instructions that in case Tansen did not return, he must bring him back by force, Rewa’s queen together with the Akbar pearl (which was as large as twice the size of an egg).

Seeing that a great calamity was going to fall on the Rewa ruler’s family on his account, Tansen reluctantly started for Agra. But he was unhappy all the time. He could not forget the love of the rulers of Rewa, and this feeling became so strong in him that he took a vow never to sing again in Akbar’s court. Akbar, however, waited for an opportunity. He gave Tansen a beautiful house in the palace to live and provided him with all amenities.

Akbar had many wives besides Jodabai, called royal begums. Among them was one called Daulatabad Begum on whom Akbar had conferred special favours. Her daughter, Mehrunisa, was extraordinarily beautiful, a woman of character, religious minded, wise and a lover of music.

Akbar took her to Tansen’s garden and asked her to sing a Raag in a slightly defective manner. At the behest of her father, she started Bageshwari. The Raag reached Tansen’s ears, too, who listened to it attentively.

He detected the deviation and became restless. Tansen then approached Mehrunisa. Having got her introduction, he told her about the deviation. Mehrunisa said that she could not but bow down before India’s great artist, but she requested him to correct her. Tansen, who had been defying the ruler for so long, had to accept his defeat at the hands of the fair Mehrunisa. Tansen sat on the ground and began 3. Bageshwari gradually. He lost himself in the sweet melody and Mehrunisa, too, lost her heart to Tansen. Akbar was listening to him from behind some trees, gradually Akbar appeared before Tansen. He requested him to teach music to Mehrunisa, which he accepted. Akbar was much pleased when he came to learn about their love. He arranged a music festival in order to bring this to a successful conclusion.

The music festival was held in a famous palace of Agra. When Jihan Khan’s turn came, he asked for a favour. He said that Tansen be asked to proceed first.

The Emperor smiled and looked at Tansen who stood up and said that there were no clouds in the sky at the time. He would like to invite clouds and to offer their fresh and sweet water to the emperor. He asked for a golden pot to be brought and placed there. A golden vessel on a sandalwood stand was placed before the gathered audience. Tansen began with prayers to Mother Saraswathi, his guru Swami Haridas and then looking at the eager sweet face of Mehrunisa, he started Megh Raag.

A small patch of clouds began to gather in the clear sky. Gradually, the clouds began to thicken and then came the rain and drop by drop the golden pot was filled. Tansen offered the golden pot full of water to the emperor.

Akbar married Mehrunisa with Tansen with royal decorum and Tansen embraced Islam. A Persian historian of Akbar’s court says that Tansen died on April 26, 1586 A.D. His body was taken to Gawalior with full royal honours and buried near the mausoleum of his spiritual guru, Muhammad Ghous.

BAIJU BAWRA: 64 YEARS OLD

THE ALBUM OF BAIJU BAWRA:


SINGER: LATA MANGESHKAR
MUSIC  : NAUSHAD
LYRICS : SHAKEEL BADAYUNI

2) BACHPAN KI MOHABBAT
http://www.mastimag.com/download.php?song_id=31630

Bachapan Kii Mohabbat Ko Dil Se Na Judaa Karanaa
Even though we are seperating, do not forget our childhood love
Jab Yaad Merii Aae Milane Kii Duaa Karanaa
When you think about me, pray that we meet soon

Ghar Merii Ummiidon Kaa Suunaa Ki_E Jaate Ho
You are leaving me alone and lonely in my house of hope
Duniyaa Hi Muhabbat Ki Luute Lie Jaate Ho
As you leave you are taking away the hope of love we shared
Jo Gam Di_E Jaate Ho Us Gam Kii Duaa Karanaa
The sorrow you are giving me, pray for that sorrow

Bachapan Kii Mohabbat Ko Dil Se Na Judaa Karanaa
Even though we are seperating, do not forget our childhood love
Jab Yaad Merii Aae Milane Kii Duaa Karanaa
When you think about me, pray that we meet soon

Saavan Mein Papihaa Kaa Sangiit Sunaau
ungii
When it rains and the bird are singing I will remember you
Fariyaad Tujhe Apani gaa gaa Kar Sunaauungii
I will sing my complaints of seperation for you
Aavaaz Merii Sun Ke Dil Thaam Liyaa Karanaa
When you hear me singing, hope you feel the stirring in your heart

Bachapan Kii Mohabbat Ko Dil Se Na Judaa Karanaa
Even though we are seperating, do not forget our childhood love
Jab Yaad Merii Aae Milane Kii Duaa Karanaa
When you think about me, pray that we meet soon

Trans:Ranjana

BAIJU BAWRA: 64 YEARS OLD

THE ALBUM OF BAIJU BAWRA:


SINGER: LATA & SHAMSHAD
MUSIC  : NAUSHAD
LYRICS : SHAKEEL BADAYUNI

3) DOOR KOI GAYE
http://www.mastimag.com/download.php?song_id=31634

Door koi gaye dhun ye sunaye
Tere bin chhaliya re baje na muraliya re
Ho ji ho, door koi gaye dhun ye sunaye
Tere bin chhaliya re baje na muraliya re

Man ke andar ho pyar ki agni
Ho man ke andar pyar ki agni
Naina khoye-khoye
Ke arre Rama naina khoye-khoye
Arre Rama naina khoye-khoye
Ho abhi se hai yeh haal ho
Abhi se hai yeh haal to aage
Na jaane kya hoye
Ke arre Rama na jaane kya hoye

Neend nahi aaye, birha sataaye
Tere bin chhaliya re baje na muraliya re
Ho ji ho, door koi gaye dhun ye sunaye
Tere bin chhaliya re baje na muraliya re

Ho more angna laaj ka pehra
Laaj ka pehra, Rama laaj ka pehra
Paanv padi zanjeer
Ke arre Rama paanv padi zanjeer ho
Yaad kisi ki jab-jab aaye
Laage jiya pe teer
Yaad kisi ki jab-jab aaye
Laage dil pe teer
Ke arre Rama laage dil pe teer

Aankh bhar aaye, jal barsaaye
Tere bin chhaliya re baje na muraliya re
Ho ji ho, door koi gaye dhun ye sunaye
Tere bin chhaliya re baje na muraliya re

BAIJU BAWRA: 64 YEARS OLD

THE ALBUM OF BAIJU BAWRA:


SINGER: MOHAMED RAFI
MUSIC  : NAUSHAD
LYRICS : SHAKEEL BADAYUNI

4) INSAAN BANO KAR LO BHALAII KA
http://www.mastimag.com/download.php?song_id=31633

Nirdhan kaa ghar lootanewaalon, loot lo dil kaa pyaar
O looters of homes of poor, stealing the love from the heart
Pyaar wo dhan hain jis ke aage, sab dhan hain bekaar
Love such assets before which all wealth is useless

Insaan bano, insaan bano, kar lo bhalaye ka koe kaam
Be human, be human and get on with some pious work
Duniyaa se chale jaaoge, rah jaayegaa bas naam
For you will depart this world and only the name will remain

Insaan Bano
Be human

Jis baag mein sooraj bhee nikalataa hain liye gam
Even the sun rises with gloom in this garden
Phoolon kee hasee dekh ke ro detee hain shabanam
Dews weep in seeing the flowers mirth'
Kuch der ke khushiyaan hain to kuchh der kaa maatam
There is a time for enjoyment and a time for mourning
(Kis nind mein ho)2 jaago, jaraa soch lo anjaam
What heedlessness just wake up and think of the consequences

Insaan Bano
Be human

Lakho yahaa shaan apanee dikhaate huye aaye
Too many came here showing off their glory
Dam bhar ke liye naach gaye dhoop men saaye
For a moment their shadows danced in the sun
Wo bhool gaye the ke ye din hain sarayen ata hain koe,
They had forgotten that this world is an Inn
Aataa hain koee subah, to jaataa hain koee sham
Some arrives at morn as some departs at eventide

Insaan Bano
Be human

Kyo tumane lagaaye hain yahaa julm ke dere
Why have you unleash a wave of terror here?
Dhan saath naa jaayegaa, bane kyo ho lutere
Wealth don't accompany you, why become a looter?
Pete ho garebon ka laho shaam sawere khud paap karo,
You drink destitude blood morning and evening
Khud paap karo, naam ho shaitaan kaa badanaam
You yourself commits sins and Satan get the bad name

Insaan Bano
Be human

Insaan bano, insaan bano, kar lo bhalaye ka koe kaam
Be human, be human and get on with some pious work
Duniyaa se chale jaaoge, rah jaayegaa bas naam
For you will depart this world and only the name will remain

Insaan Bano
Be human

Trans Naseer Bhai

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