The song therefore moves with both thoughts – of putting him outside but also accommodating him in a tragedy. “You Are Lucky, I Am Not Banning Your Film”: Pahlaj Nihalani’s CBFC Wants 48 Cuts In ‘Babumoshai Bandookbaaz’ He stands therefore on the threshold – neither fully intimate nor fully an outsider. It is this that makes him an outsider, but he can’t cease to be completely an alien either. Finally, the lover who has provided suffering is not the one to share suffering with. The ones we can’t share suffering with are gair, for they are the ones with happiness. Tumhi ne gham ki daulat di badaa ahasaan farmaayaa zamaane bhar ke aage haath phailaane kahaan jaate (If you need to go begging for suffering from others it also means that suffering is an important part of existence, we all need to have its share) She follows it up by saying that even you need to be thanked for giving me this treasure of suffering how would I have managed to go begging misery from all and sundry? Where would our non-own go, where would strangers seek refuge and deserts find appreciation, and tragedies noticed?ĭuaaye do mohabbat, hamne mit kar tumko sikhlaa di na jalti shamaa mein to parvaane kahaan jaate (To the lover who has been jilted, the female voice says you need to thank me for teaching you how to love had flames not annihilated themselves, where would the moths go?) The illegitimate outsider has suddenly been provided with a legitimate reason to exist. If all were our own, where would outsiders go?) The next couplet says, Chalo acchha hua apnon mein koi gair to nikla, agar hote sabhi apne to begaane kahaan jaate (Thankfully, at least one person turned out to be gair from our own. This is almost to say that suffering is intimate made your own but consummation and celebration are alien to this world of intimacy. One way of doing it is to think of happiness outside our own realm to see its gairat its out sidedness from our world. Suffering finds its justification it has to, for we must endure it with certain dignity. Na milta gham to barbadi ke afsaane kahaan jaate, agar duniya chaman hoti to viraane kahaan jaate (If we were not to receive unhappiness what would happen to tales of destruction, had the world been a beautiful garden what would happen to deserted lands). I was struck by how that gairat had been made. The second line of the opening couplet says, “ Mubarak gair ko khushiyan, mujhe gham se mohabbat hai,” (Let others have happiness but I have love for misery). So, let me come back to gair to show you the train of thought. We may be hasty enough to brush it aside as usual melodrama and self-pity. Situated as we are in neo-liberal commitment to happiness, it is strange that someone should think there is something emancipatory in the idea of suffering. My ruminations are about the ‘strange’ reveling in the idea of suffering that ghazals and Hindi films songs do.

Hindi ghazals songs