Nayika Bhed in songs

Commemorating International Women’s Day (March 8) and wishing everyone a very Happy Holi

Abhisarika NayikaThe erudite readers of the SoY will be surprised to see a post on Nayika Bhed on the International Women’s Day (March 8), which commemorates the movement for women’s rights relating to equality etc. If you  look at Nayika Bhed from the prism of a modern woman, it objectifies women and categorises them on the basis of their physical attributes, conduct, and their state (अवस्था) of union/ separation/relationship with their lover/husband – the very antithesis of what the IWD stands for. I have no explanations or excuses to offer except that long ago a silent US-based reader Anant Desai, out of the blue, wrote a mail to me on Nayika Bhed and also gave a list of songs befitting each type. From time to time Shalan Lal also chipped in with her mails to me on the subject. Sometime back Vidur Sury, a known lover of vintage songs, wrote to me that he was trying his hand at writing poetry in Brajbhasha, and sent me some in the style of Ritikaleen poets (17-19th century) on अभिसारिका नायिका. I don’t know whether he has since written on other types too. And lastly, when Ashwin Bhandarkar had to locate from Pune to Boston on job, he was not excited about his foreign assignment, nor worried about the challenges of relocating there; his primary concern was about a विरहोत्कण्ठिता नायिका he was leaving behind who would pine for him thus in Raga Jaijaiwanti:

जिस दिन से परदेस गवन कीन्हो
हर लीनो हमरी सुध बुध सारी

(Ashwin has since come back, cutting short his assignment. Does that now make the lady a स्वाधीनभर्तृका नायिका?)

I am not a student of literature, nor am I literate in music or arts. My curiosity in Nayika Bhed or Bharat Muni in general was about his obsession with combinatorics. If there are x1 types of women on the basis of parameter 1 (such as physical shape – Hastini, Padmini and Shankhini), x2 types on the basis of parameter 2 (such as relationship – स्वकीया, परकीया, सामान्या) and so on till the ‘n’th parameter, and if all the ‘n’ parameters are independent of each other, and if each of these xn types has yn sub-categories, and so on ad infinitum, what is the total number of different types of women? With such a convoluted understanding of Nayika Bhed, there was no question of my writing a post on SoY which has so many learned readers. I don’t know why they all chose to write to me on this subject, but with so much material, courtesy the readers, sitting in my mail box for so long, I had to get it out some day, and IWD seemed to be an appropriate day to remember that classification of women has been an important part of aesthetics in our ancient literature and arts, such as poetry, drama, dance, music, painting and sculpture. Tomorrow it will be Holika Dahan, and the day after will be celebrated Holi. Let me also wish the readers a very Happy Holi which is an occasion when there is no guilt about enjoying Nayika Bhed, because everything goes under बुरा न मानो होली है.

Nayika Bhed has its origin in the ancient text on dramaturgy, Natyashastra, attributed to Bharat Muni. As with most of the ancient Sanskrit texts, the identity of Bharat Muni, the unity of the text and its period is open to doubts. But there is no doubt that it predates the earliest great dramatist Bhasa. As per the text, Natyashastra has divine origin. As the Golden Age (Satyug) ended, and Treta Yug commenced, the people became addicted to sensual pleasures, came under the sway of desire and greed, and became subject to jealousy and anger, thus becoming unworthy of listening to the four Vedas. On Gods’ request, Brahma (the Creator among the Trinity) went into deep contemplation of the four Vedas, and crystallising the teachings from all the scriptures, created the fifth Veda, Natyashastra. He passed it on to the sage Bharat and his hundred sons, and commanded him to spread it through performance of historic tales to give guidance to the people how to lead life on Dharma.

With such lofty origin of Natyashastra, Nayika Bhed may appear incongruent in that treatise. But it occupies a tiny part of the huge text, which contains hundreds of different classifications, such as 10 types of play, 3 types of playhouse, 4 kinds of abhinaya, 67 gestures of hands, 36 glances, 26 rhythm types, 12 forms of verbal representation – it is an unending list. Besides, Natyashastra goes into amazing detail of precise measurements of stage design, costumes etc. I mentioned earlier, Bharat Muni for me was a master of combinatorics.

While Bharat Muni’s approach to Nayika Bhed is clinical and dispassionate, I can’t say the same about the poets of Ritikaal who seemed to be obsessed with Nayika Bhed and nakh-shikh-varnan in a voyeuristic and amorous way. I think of Keshavdas (1555-1617) and Bihari (1595-1663), the leading poets of Ritikaal, as lusty oldies sitting idly at the village well and gawking at the young women passing by:

केसव केसन अस करी जो अरिहूं न कराहिं
चंद्रबदनी मृगलोचनी बाबा कहि कहि जाहिं

(Keshav would not wish even his worst enemy the fate that his graying hair has brought upon him; The moon-faced, doe-eyed beauties pass him by calling him ‘Baba’.)

Among the mind-boggling types of women, the eight types of Heroine, based on अवस्था, are most commonly referred as Nayika Bhed. These are defined by Bharat Muni as follows:

1. वासकसज्जा (One dressed up for union) – A woman who in eager expectation of love’s pleasure decorates herself joyfully.

When I think of Vaasaksajja, Piya aiso jiya mein samay gayo re always comes to my mind. Meena Kumari tries her best to please her strayed husband. In this song she is being dressed up by her maid, but alas all her efforts would be of no avail. Saheb Bibi Aur Ghulam was a high point of Hemant Kumar as a music director, and among all its great songs this one is my special favourite.

1.1 Piya aiso jiya mein samay gayo re by Geeta Dutt from Saheb Bibi Aur Ghulam (1962), lyrics Shakeel Badayuni, music Hemant Kumar

Another song in which the वासकसज्जा नायिका is very pronounced, but in which the pathos is equally intense, as Rakhi is compelled into marrying another guy, is Surkh jode ki ye jagmagaahat which comes with credit titles of the film Kabhi Kabhi (1976). Great lyrics by Sahir Ludhiyanavi, beautiful singing by Lata Mangeshkar when the timbre in her voice was intact, superb music by Khayyam, and great picturisation, make this an all-time great song.

1.2 Surkh jode ki ye jagmagaahat by Lata Mangeshkar from Kabhi Kabhi (1976), lyrics Sahir Ludhiyanavi, music Khayyam

However, I think the classic Vaasaksajja nayika was not intended to be sad. I am sure many readers would remember a very nice Vaasaksajja song, Main to pyar se tere piya maang sajaaungi (Saathi, 1968, Naushad). Sometime back I came across a perfect Vaasaksajja song from the vintage era by Shanta Apte. Vaasaksajja does not go with the image of Shanta Apte, known as the stormy petrel of Indian cinema, who had become famous as the lady who once barged into Baburao Patel’s office and thrashed him for something nasty he had written about her in Filmindia. But her songs were absolutely melodious, and she was to Prabhat Talkies what Kanan Devi was to the New Theatres.

1.3 Solah singaar sajaaungi, main piya ko rijhaaungi, main waari waari jaaungi by Shanta Apte from Panihari (1946), music SN Tripathi

There is nothing missing here.

सोलह सिंगार सजाऊँगी
पिया को रिझाऊँगी, मैं वारी वारी जाऊँगी

सोलह सिंगार सजाऊँगी
मैंने माथे पे बिंदिया लगाई रे
साथ फूलों से वेणी सजाई रे
मैं तो नैनों में कजरा लगाऊँगी
पिया को रिझाऊँगी…

मोरे कंगना संदेसा हैं देते
मोरे झुमके बलैयां हैं लेते
मैं तो हाथों में मेंहदी रचाऊँगी
पिया को रिझाऊँगी…

2. विरहोत्कण्ठिता (One distressed by separation) – A woman whose beloved one does not turn up on account of his preoccupations with many other engagements, and makes her sad.

This has to be very common in our films as our romantic films of three hours had to have happy songs as well as songs of heartbreak. Some of the greatest songs for Virahokanthita nayika are Jo main jaanati bisarat hain sainya (Naushad), Tum kya jaano tumhaari yaad mein hum kitna roye (C Ramchandra), Kabhi tanhaaiyon mein hamaari yaad ayegi (Snehal Bhatkar) etc. – you can reel out dozens of them, and everyone will have her own favourite.

2. Ye shaam ki tanhaaiyan aise mein tera gham by Lata Mangeshkar from Aah (1953), lyrics Shailendra, music Shankar-Jaikishan

My favourites are Naushad songs – there are several of them  for Virahatkanthita nayika. But there are great many SJ fans too on SoY. Ye shaam ki tanhaaiyan is one of the best of SJ-Lata Mangeshkar combination for RK. Though the film was a commercial failure, its music was all-time great. Nargis straggling listlessly on the atariya evokes a classic image of a विरहोत्कण्ठिता नायिका.

3. स्वाधीनभर्तृका (One having her husband in subjection) – A woman whose husband captured by her conduct as well as by love’s pleasures from her, stays by her side and who has pleasing qualities. When Bihari saw his patron king Jaidev Singh of Amber infatuated with his newly wedded young wife, neglecting his royal duties, he composed this couplet, which had a chastening effect on the king.

नहिं पराग नहिं मधुर मधु नहिं विकास एहि काल
अली कली में ही बिंध्यो आगे कौन हवाल
(This tender bud has neither pollen, nor nectar. If the honeybee has so entrapped itself in its confines at this age, what will happen later?)

Our Hindi films had cringing wives for whom the husband was तुम्हीं मेरे मंदिर तुम्हीं मेरी पूजा, तुम्हीं देवता हो तुम्हीं देवता हो. Therefore, you are not likely to find many songs for Svaadheenbhartrika nayika – one that comes to mind is Ae meri zohrazabeen, tujhe maloom nahin, tu abhi tak hai haseen aur main jawan (Waqt, Mana Dey). Here is an excellent one, sung by an elderly man to his wife on the 40th anniversary of their marital bliss.

3. O mrignayani chandramukhi main hun tera prem deewana by Pt Vasantrao Deshpande and Kumari Faiyyaz from Rang Birangi (1983), lyrics Yogesh, music RD Burman

4. कलहान्तरिता (One separated by quarrel) – A woman whose lover has gone away due to a quarrel or jealousy, and does not return.

This is a common situation between lovers when the lady gets angry, may be for trivial reasons and threatens not to speak to the lover. Krishna-Radha lore provides many such opportunities. You would remember Ja main tose naahin bolun Kanhaiya by Manna Dey and Lata Mangeshkar from Parivaar (1956), composed by Salil Chowdhury. This was written by the great lyricist Shailendra, who six years later wrote a similar song for Anil Biswas. The Bhishm Pitamah was the doyen in an earlier era, but he composes one of his greatest songs for Lata Mangeshkar.

4. Ja main to se naahin bolun by Lata Mangeshkar from Sautela Bhai (1962), lyrics Shailendra, music Anil Biswas

5. खण्डिता (One enraged with her lover) – A woman who is enraged when her lover on account of his attachment for another female does not come up for the conjugal union when it is due.

Khandita is a more aggressive form of Kalahaantarita nayika, and there is a reason for that. The lover has spent the night with another woman, throwing the original into a rightful rage. And we have a very famous example from Krishna-Radha lore from Jaidev’s Geet Govindam – Yaahi Madhav yaahi Keshav, a great favourite with Odissi dancers. When Krishna does not come at the appointed hour and arrives in the morning after dallying with other gopis, carrying tell-tale marks on his body, Radha in great unhappiness asks him to leave and not to tell lies. In light classical music every major singer has sung the Bhairavi Thumri Hato kaahe ko jhoothi banao batiyan. This has also been sung by Manna Dey in the film Manzil (1960, SD Burman), but unfortunately he had the mortification of having his classical songs picturised in a comic setting – this one was for Mehmood. But let us enjoy the authentic Chalo kaahe ko jhoothi banaao batiyan, and no one could do it better than the Aftaab-e-Mausiqui Ustad Fiyaaz Khan.

5.1 Chalo kaahe ko jhoothi banaao batiyan by Ustad Faiyaaz Khan

Fortunately we have several excellent film songs too for Khandita nayika. Exactly on a similar theme here is a great Shankar-Jaikishan song, naturally sung by the Lata Mangeshkar. And Shailendra captures the essence of Khandita nayika.

जा जा रे जा बालमवा
सौतन के संग रात बिताई
काहे करत अब झूठी बतियाँ
जा जा रे जा बालमवा

गैर के घर करी रात बिताई
मोसे कहे तेरे बिना नींद न आई
कैसो हरजाई दैया
जा जा रे जा बालमवा

5.2 Ja ja re ja baalamawa by Lata Mangeshkar from Basant Bahaar (1956), lyrics Shailendra, music Shankar-Jaikishan

6. विप्रलब्धा (One deceived by her lover) – A woman whose lover does not come to her for a certain reason even when a female messenger was sent to him and a tryst was made.

Anant Desai mentioned two Madan Mohan masterpieces: Jana tha humse door bahaane bana liye; Hai isi mein pyar ki aabroo wo jafa karein main wafa karun. What about Tu pyar kare ya thukara de hum to hain tere deewanon mein? Nayika Bhed would be a nice exercise for our inveterate fans to come up with a list of songs for each category.

6. Hai isi mein pyar ki aabroo wo jafa karein main wafa karun by Lata Mangeshkar from Anapadh (1962), lyrics Raja Menhdi Ali Khan, music Madan Mohan

7. प्रोषितभर्तृका (One with a sojourning husband) – A woman whose husband (or lover) is living abroad on account of various duties and who wears her hair hanging loose.

Ashwin mentioned his Virahotkanthita nayika when he was posted abroad by his company. Therefore, Proshitbhartrika is the one whose husband goes away on short visits? I think there is an overlap between various types, and a more accurate description per Bharat Muni would be a Proshitbhartrika nayika who slips into the state of Virahotkanthita due to the prolonged absence of her lover. Anant Desai mentioned O chaand jahan wo jaayen, but my first thought goes to Pardes balam tum jaaoge, kaho meri kasam kab aaoge.

7. Pardes balam tum jaaoge, kaho meri kasam tum kab aaoge by Shamshad Begum from Mela (1948), lyrics Shakeel Badayuni, music Naushad

8. अभिसारिका (One going to meet her lover) – A woman who due to love or infatuation is attracted to her lover and gives up her modesty for going out to meet him.

Among the eight types, Abhisarika is another great favourite with the classical dancers, and you also find many film songs on this. But don’t go by the surface meaning, Anant Desai says that this is the most profound symbolism of romance in both Hindu and Sufi traditions. Think of Amir Khusro’s Main to piya se naina lada ayi re, sung so profoundly by Nusrat Fateh Ali Khan and many other qawwals. You would instantly remember songs like Piya milan ko jana; Chali gori pi ke milan ko chali; Payal ki jhankaar chalte chalte; Mori chham chham baaje payaliya and Jhan jhan jhan jhan payal baaje.

To quote Anant Desai again: “Payal ki jhankar represents two different symbolisms. One reflecting the joy of going to meet the beloved as in Mori chham chham baaje. Another is the noise which gives away the secrecy as in Jhan jhan jhan jhan payal baaje. This second symbol represents the mind trying to meditate to reach the soul but being disrupted by worldly thoughts. Payal ki jhankar bairaniya; Jhan jhan baaje; Kaise more piya se milan ko jaaun ab main is a common theme. While it may relate to a wife trying to sneak in to be with her husband in a joint family with Jaag rahi hai saas nanadiya, the spiritual meaning is more profound.”

I mentioned Jaidev’s Yahi Madhav yahi Keshav as a definitive example of Khandita Nayika. His Ashtapadi has other types too, for example Rati sukhsaare gatam abhisaare Madan Manohar vesham/ Na kuru nitambini gaman vilambanamanusar tam hridayesham can be seen as an example of Abhisarika Nayika. Since Radha is being nudged by another Gopi to go and meet Krishna without delay, I would call it a ‘Surrogate Abhisarika’ song. At one stage I was toying with the idea of posting a verse from Sanskrit poetry and another from Ritikaleen Hindi poetry for each type, but that would have made the post unwieldy.

With dozens of outstanding songs fitting the Abhisarika nayika, the one that perfectly fits with its profound philosophy is Prem jogan ban ke, sung by Ustad Bade Ghulam Ali Khan in Raga Sohni for Mughal-e-Azam (1960). Madhubala is not only a lover, she is also a Jogan, who has a tryst set up with her soul Dilip Kumar. I mentioned overlap between various types – you would notice Madhubala as a Vaasaksajja nayika at the beginning of the song when she adorns herself looking into the mirror. Generally, the state of Vasaksajja is a prelude to Abhisarika.

8. Prem jogan ban ke by Ustad Bade Ghulam Ali Khan from Mughal-e-Azam (1960), music Naushad

Note: The readers must have noticed I was leaning towards Naushad for various types of Nayika Bhed. This gives a challenge to the readers to take each major music director, such as Naushad, C Ramchandra, Shankar-Jaikishan, Roshan, Madan Mohan, Chitragupta and SD Burman and compile Asht Nayika Bhed songs for each of them.

Acknowledgements and Disclaimer:
1. I have to thank the readers who have interacted with me on this, whose names I have already mentioned in the post.

2. I have referred to the English translation of Natyashastra by Manomohan Ghosh, published by the Asiatic Society of Bengal (Calcutta, 1951).

3. The song links have been embedded from the YouTube only for the listening pleasure of the music lovers. The copyright over these songs rests with the respective owners such as Saregama India Private Limited and others.

215 comments…read them below or add one

  1. Wow!
    Let me first wish you and all the readers happy holi. And Happy Women’s Day to all eminent ladies on SoY.
    It was a treasure of information and great songs. I loved it. One of your best surely AKji.

    Congratulations for a wonderful post.
    Can’t offhand suggest any befitting song. Will be back hopefully with the songs.

    Thanks a lot for this.

    Anup
    🙂

  2. Anup,
    Thanks a lot for your appreciation, and greetings for the IWD and wishing you a very Happy Holi too. I am sure the SoY readers can come up with a torrent of songs for different types. The only one which may pose some difficulty is Svaadheenbhartrika.

  6. Anup,
    You have come up with a quick response. In O Ashadh ke pahle baadal the focus seems to be more on Ritu Varnan, which I had covered in Barahmasa songs.

    For स्वाधीनभर्तृका, an excellent song if you ignore the comic element is:

    Priye parenshwari hridayeshwari yadi aap humein aadesh karein to prem ka hum shreeganesh karein by Kishore Kumar from Hum Tum Aur Woh (1971), music Kalyanji-Anandji

  7. AK ji,
    Befitting post on Women’s Day. ( Though, personally,I strongly believe that every day is Women’s day because of the sheer multitasking skills of the Homemaker, The Working Woman and the combination of the two.)
    Beautiful songs.

    वासकसजजा:

    MANORANJAN, 1973.

    Chori chori solah singar karoongi…
    Asha, Majrooh,RDB.

    SAUDAGAR, 1973.

    Sajna hai mujhe Sajna ke liye…
    ( Nice play of words there with Sajna.)
    Asha, Ravindra Jain.

    MANZIL, 1979.

    Man mera chahe Mehndi racha loon
    Bindiya laga loon Sajna.
    Asha, Yogesh,RDB.

    While Piya aiso jiya mein is the perfect fit, even the sad Na Jao Sainya may qualify with
    Ye bikri zulfein, Ye khilta Kajra
    Ye mehki chunri, Ye man ka madira…

    How about the MAIN TULSI TERE ANGAN KI beauty
    Chap thilak sab chini re mose naina milai ke?
    Lata ,Asha; Amir Khusro, LP.

  8. Would Ka karoon Sajni aaye na baalam fit in Virahotkantitha or Vipralabda ?
    SWAMI, JESUDAS,RR.

    And,

    Sainya bina ghar soona
    Rahi bina jaise sooni galiyan..
    ANGAN KI KALI, Lata Bhupinder Singh; Bappi Lahiri.

    Tere bina jiya jaye na…
    GHAR, Lata, Gulzar,RDB.

  9. ‘ Tragic Abhisarika’ ?

    Chand chupa aur taare doobe
    Raat gazab ki aayee
    Husn chala hai Ishq se milne
    Julm ki badli chayee….

    SOHNI MAHIWAL, 1958.
    Mahinder Kapoor, Shakeel Badayuni, Naushad.

  10. Dr Shetty,
    Thanks a lot for your appreciation.

    @7,
    Perfect Vasaksajja songs, except the last one Chhap tilak sab chheeni re which I will put as ‘Abhisarika’. Note the prelude lines ‘ Apni chhavi banaye ke jo main pee ke paas gayi’. The Abhisar subsumes her so completely that she is turned into his colours.

    @8,
    Let us treat it as both ‘Virahotkanthita’ and ‘Vipralabdha’. I have mentioned overlapping of various types. In this case one state is the cause of the other.

    @9,
    Nice one, a ‘Tragic Abhisalika’

  12. This Abhisarika has already arrived!

    Main tujhse milne aayee
    Mandir jaane ke bahane…

    HEERA, 1973.
    Lata, Rafi; Indeevar,KA.

    And, this one? No definite Sajan/ Piya/ Preetam yet! Still… there is a definite chance of meeting someone.

    Main chalee main chalee
    Dekho pyar ki gali…
    …..
    Kahin aankh na mila
    Kahin dil na laga
    Toh ye pyar ka zamana kis kaam aaye?!

  13. Where can we place the unfortunate woman going in search of her lost ( absconding) husband?

    Nagri nagri dware dware
    Doondoon main Sanwariya..

    MOTHER INDIA
    Lata, Shakeel Badayuni, Naushad.

  16. What is the male equivalent of an Abhisarika?

    ANOKHI RAAT, 1968.

    Dulhan se tumhari milan hoga
    O man thodi dheer dharo…

    Mukesh, Indeevar, Roshan.

    JAHAN PYAR MILE, 1970.

    Chale jaa chale jaa chale jaa
    Jahan pyar mile…

    Rafi,Hasrat Jaipuri,SJ.

  21. SAZAA, 1951.

    Tum na jane ki jahan mein kho gaye
    Hum bhari duniya mein tanha Ho gaye…

    Lata,Sahir,SDB.

    RANI ROOPMATI, 1959.

    Aa laut ke aajaa mere meet
    Tujhe mere geet bulati hai…

    Lata , Bharat Vyas,S N Tripathi.

    O nirdayi Preetam…

    STREE, 1961.

    Lata, Bharat Vyas,C Ramchandra.

  25. Dr Shetty,
    @12,
    ‘Abhisarika’ who has already arrived – Her aim is to arrive.

    @13,
    Bharat Muni may not have thought of this sub-type.

    @16,
    Male counterpart of ‘Abhisarika’ – nice one.

    @21,
    Please also specify the type.

  26. AKji,
    Holi brings out the best colours in you. Last year, when you posted the Barahmasa article on the occasion of Holi, you had mentioned Keshavdas’s Rasikpriya and the typical lovelorn Nayika of Ritikal. But we had the least inkling that you would follow it up with another brilliant splash of colours to celebrate Holi this year.

    As you have mentioned, both Barahmasa and Nayika Bhed were important part of the paintings along with other forms of fine arts. Both Barahmasa and Nayika Bhed formed two of the important parts of the four major thematic classification of Bundi School of Painting, the other two being Raagmala and Krishna Lila. Most of the paintingsof Nayika Bheda of Bundi school were based on Keshavdas’s Rasikapriya. Bhanudatta’s Rasamanjari (15th Century), which I gather, provided the base for Keshavdas’s Rasikapriya (1591). Bhanudatta’s Rasamanjari aslso forms the basis for Basohli Paintings too. I think Kalidas’s Megadhootam, Jaydev’s Geet Govindam, Vidyapathi’s works in Maithili must have dealt with subject in some form or other.

    I have not listened to the songs yet. I find Pradeepji and Mr.Joseph are on the job in the right earnest. Let me listen to the songs and then I may post a few.

    Thank you AKji for yet another brilliant post.

  27. S Joseph @11, 14, 15, 17, 18, 19, 20, 22, 23, 24,
    Thanks a lot for adding all the songs. These have not been mentioned before. Let me try to fit in the obvious types.

    Songs #1, 2, 4, 5, 12, 14, 15 – Virahotkanthita
    #3 – Kalahantarita
    #8, 11 – Abhisarika
    #10 – Vipralabdha
    #17 – Proshitbhrtrika

    My request is, when you post a song please also specify the type it refers to, and if the connection is not self-evident, also give its annotation.

  28. N Venkataramanji,
    Thanks a lot for your appreciation. I am gratified that you remembered the last Holi post, and mentioned the connection. Barahmasa and Nayika Bhed occur in different forms of art, but I was interested in locating film songs. These being considered low brow, I don’t think it has been subject of serious study.

    Dr Shetty and Mr Joseph have come up with a torrent songs. I have requested them to also mention the type of Nayika for each song they post, and also explain the connection wherever necessary.

    Waiting for your follow-up comments.

  29. Excellent post AK. No dearth of songs for most categories except swadheenbhartrika for which I can only recall some funny songs in male voice – Zamana to hai naukar biwi ka, Hai re main to Prem diwana, and Jab se hui hai shadi from the film Thanedar featuring Sanjay Dutt. I am sure there would be songs in female voice too filmed on heroines like Nadia of Hunterwali fame.

  30. Subodh,
    Thanks a lot for your appreciation. I have mentioned in my post that ‘Swadheenbhartrika’ is the most uncommon in film songs. We have to be contented with funny songs. That comes from the image of ‘joru ka Ghulam’.

  31. Good Evening

    A very beautiful article with Divine knowledge.
    And the songs selected are the most beautiful too.

    Thanks and regards
    Uma

  33. AK ji;

    First of all…Happy Holi to all …and …Happy international Woman’s Day to all the Ladies of the SoY. Since its an international day…I will be taking liberty to post a song or two from Hollywood musicals as well.

    Fantastic post AK ji …and three cheers for that. All the songs posted are picks of the best and my favorite too. I take your choice as mine too…..moreover whenever I look at the Keyboard I see U and I together .

    The subject is too good and songs are going to be many . Time flies with every song we hear over a cup of tea….and if cup is beautiful …every sip becomes a melody . Sir joseph and Dr. Shetty already batting even with wides too…..and slowly and slowly I will drink many cups listening over their postings with as many tea bags as dip dip dip….how sweet ![ a long forgotten song by Mirza ]

    Since its a late night posting ….I will post two three songs as my first instalment…

    CHALI KAUN SE DESH -TALAT MEHMOOD-ASHA BHONSLE-SHAILENDRA-SHANKER JAIKISHAN (BOOT POLISH 1954

    https://www.youtube.com/watch?v=tUgDuvdkmbk

    Soona Soona Hai Jahan Lata Mangeshkar Film Aurat 1953 Music Shankar Jaikishan

    https://www.youtube.com/watch?v=Bcsg5-EW6mI

    Ek Bewfa Ko Dil Kaa Sahara Samajh Liya / Ajeeb Ladki 1952…..Lata, Talat….Gulam Mohd.

    https://www.youtube.com/watch?v=0EqKPo1K-Q8

    O Janewale Tujhko Hum Yaad Kyu Na Aaye / Bahu 1955…HK

    https://www.youtube.com/watch?v=hJE3e249Ka4

    Tu Kahan Main Kahan – Suman Kalyanpur | Vazir E Azam 1961

    https://www.youtube.com/watch?v=fC4I-ksuGcg

    …..to be contd.

  34. KS Bhatiaji,
    Thanks a lot. I admire your original and spontaneous poetry. I guess the first song you mean for Abhisarika Nayika and the rest for Virahotkanthita. I repeat my request I made to Mr Joseph to specify the type of Nayika Bhed for each song you post.

  35. What kind of Nayika would aggressively court the man in face of his reluctance? ‘Raat akeli hai’ from Jewel Thief would be an example.

  36. Subodh,
    She has to be some type of Abhisarika. The classic Abhisarika was discreet and modest, this one can be described as Adhunik Abhisarika, or ‘IWD Abhisarika’, or ‘Empowered Abhisarika’.

  37. Khandita

    HAATH KI SAFAI, 1974.

    Lata, Gulshan Bawra,KA.

    Tu kya jaane wafa
    O bewafa, O bewafa
    …..
    Yaar woh kaise hain
    Jo pyar bechte hain?
    Jeena kya unka
    Jo yaar bechte hain?

    SHALIMAR, 1978.

    Lata,AB,RDB.

    What starts as a philosophical, and, almost a defeatist song ends with severe condemning of one’s (cheating) ex!

    Aina wohi rehta hai
    Chehre badal jaate hain…

    ….
    ….
    Bekhabar bekadar pyar sach hai agar
    Dekhna ek din Royega mere bin
    Raah mein chod kar
    Mera dil tod kar
    Mujhko tadpaya kyon
    Tu bhi tadpega yoon
    Tune jiske liye Mujhko dhoka diya
    Woh teri dilruba Legi badla mera….

    Of course, the Bewafa had a very limp excuse!

    Hum bewafa hargiz na the
    Par hum wafa kar na sake…
    ( Almost like saying…
    I amn’t a murderer
    But a killing, yes,I had to do!)

  38. Piya has not deceived his beloved. She is just saying even if he were to break their relationship,she wouldn’t.

    Sensitive/ Over cautious/ Anxious Vipralabda?

    The Meera bhajan
    Jo tum todo Piya
    Main nahi todu re
    Tose preet tod Krishna
    Kaun sang jodu re?

    2 beautiful renditions by Lata Mangeshkar:

    JHANAK JHANAK PAYAL BAAJE, 1955.

    Jaishree.
    Vasant Desai.

    SILSILA, 1979.

    Jaya Bhaduri.
    Shiv Hari.

    And

    A very average rendition by Vani Jairam.

    MEERA, 1979.

    Hema Malini.
    Pandit Ravishankar.

  42. Anup,
    It seems I missed your comment @5. Sitara Devi’s playfulness seems to suggest she also has her options. So put it as a ‘Playful Vipralbadha/Khandita’ Nayika.

  45. N Venkataramanji @39,
    This one is clear.

    @40: I imagine an Abhisarika as one who is going on tip toe to meet her lover, but I guess it should include the union too.

  47. S Joseph,
    #24: Taking a type and finding songs would be the easier way. Trying to fit a song in one of the types may not work.

  48. Raina beeti jaaye
    Shyam na aaye…
    ….
    Kis sautan ne roki dagariya
    Kis bairan se laagi nazariya…

    AMAR PREM.

    Virahotkantitha cum Vipralabda.

    Ditto

    Khali haath sham aayee hai
    Khali haath jaayegi
    Aaj na aaya koi
    Khali laut jaayegi

    IJAAZAT

  49. Regressive Nayika.

    DIDI

    Tum mujhe bhool bhi jao
    Toh ye haq hai tumko
    Meri baat aur hai
    Maine toh mohabbat ki hai…

    ANAMIKA

    Jaaoon toh kahan jaaoon
    Sab kuch yahin hai
    Tere ghar ke bahar toh
    Na duniya na deen hai.

    SANAM TERI KASAM

    Kitne bhi tu karle situm
    Hans hans ke sahenge hum
    Ye pyar na hoga kam
    Sanam Teri Kasam..

    Somehow I think Hai isi mein pyar ka aabroo fits here.

    Khandita in a playful mood for a reason.

    DESH PREMI

    Jaate ho toh jao
    Jao ji jao
    Par itna sun lo
    Jara choodiyan pehen lo
    Ik ghaghra silao
    Aurat ki hifazat jo kar na paye
    Us mard ko kya kehte hain
    Ye toh batao.

    Her Mard, who looked Cool as a cucumber did get transformed into an Angry Young Man at the end of the song!
    Purpose served. All is well with the world!

  50. Virahotkantitha cum Vipralabda.

    Tere rahon mein khade hain dil tham ke
    Hum hain deewane tere naam ke

    CHHALIYA

  51. Vaasaksajja

    Mera roop rang
    Mera ang ang
    …….
    ……
    Dekh, idhar mat dekh
    Main dekh raha hoon darpan
    Apne ko taiyaar toh kar loon
    Main Solah Singar toh kar loon…

    QATIL, 1980.
    Lata,AB,LP.

  52. Vaasaksajja.
    ( Sub category: A single piece of adornment can do wonders/ create magic!…. just joking!)

    MAIN TULSI TERI ANGAN KI, 1978.

    Anuradha Paudwal, Hemlata; AB,LP.

    Nathaniya jo daali ghazab ho gayi…

    The one who wouldn’t look at her
    ( Hamari gali ke haseen dekhte
    Hamari taraf woh nahin dekhte)
    inspite of her embellishments
    (Kaajal, gajre ke phool, bindiya,payal, zulfein,jhumke, Solah Singar…did no ‘ asar’!)
    But, the moment she Nathaniya jo daali, it created wonders!
    And, what did he say?
    O Jaan e Wafa, tu bahut khoob hai
    Tu Mehboob hai!
    And,no less!

  53. Vaasaksajja.

    Damsel hell bent on seducing an ascetic!

    SANYASI.

    1. Chal Sanyasi mandir mein
    Tera chimta meri choodiyan
    Milkar saath banayenge..
    ….
    Resham sa ye roop salona
    Yauvan jaisa tapta sona…

    2. Sun Bal Brahmachari
    Main hoon Kanya tumhari
    …..
    Bantan ke main aise nikli
    Jaise Sawan mein chamki bijli
    Aise meri bharpoor jawani
    Aag se jaise lipti paani…

  54. Vaasaksajja.

    SSS.

    Chanchal Sheetal Nirmal Komal
    …..
    Sundarta ki har pratima se
    Badh kar hai tu Sundar Sajni.

    The brilliant imagery of the stars disintegrating to become the various jewelry on the Nayika:

    Aisa lagta hai toot Gaye sab taare
    Toot ke simat gaye
    Gore gore ek Chanda se Rangeen badan pe lipat gaye
    Bankar Nath Kangan Kardhaniya
    Ghungroo Jhumka Jhoomar Sajni.

  55. Dr Shetty @49,
    Since ‘Regressive Nayika’ is not a recognised category, I have put such songs under ‘Vipralabdha’.

    @48, 50, 51, 52, 53 and 54,
    Very interesting annotations. You are in good form!

  56. AK ji @34;

    Thanks for your complements . You are perfectly right . it is good to follow subject riding the stairs slowly ….that way we will not miss the melody and enjoy the lyrics associated with various sub group details as well.

    विरहोत्कण्ठिता (One distressed by separation)

    MD….NAUSHAD….

    Mera Bichda Yaar Mila De – Lata Mangeshkar – SOHNI MAHIWAL

    https://www.youtube.com/watch?v=mKOq-HVdDQQ

    Awaz De Kahan Hai – Surendra – Noor Jehan – Anmol Ghadi

    https://www.youtube.com/watch?v=ANptt7VMxXU

    Leja Meri Duayen – Best Of Lata Mangeshkar – Naushad Hits – Deedar

    https://www.youtube.com/watch?v=FAESE3QbzxA

    EID KA DIN TERE BIN HAI PHEEKA- LATA -RAFI -SHAKEEL -NAUSHAD-SOHNI MAHIWAL(1958

    https://www.youtube.com/watch?v=gDOVVp5Q5uE

    Aan1952_Tujhe kho diya..Lata_Shakeel_Naushad

    https://www.youtube.com/watch?v=zMO_U8v2Bvg

    ….to be contd.

  57. AK ji;

    To be self….. in appearance….. is best makeup . Many looses their own personality or beauty trying to be someone else instead of their own self. But still people resort to makeup as a confident factor to walk with. Earlier a beautiful woman had minimal ornaments to wear and quite a few of them were hidden in ghunghats ! In 50s even in our own households married woman wore a little bit of bangles or kangans along with ear tops and not so heavy necklaces .

    The scene has completely changed now. Besides heavy jewelry the bride wears heavy lehanga worth lakhs of rupees.

    Coming back to shinghar ….the essential one for wedding day…..some songs that may symbolize and fall into sub categories of वासकसज्जा .

    Sun Ri Sakhi Mora Sajna Bulaye – Nagin…Lata, HK

    https://www.youtube.com/watch?v=NMRL-12fSmQ

    aayi bairan bahar kiye solah singar,ho piya aaja..Lata_Khumar Barabankavi_Nashad……symbolic song on singar.

    https://www.youtube.com/watch?v=9uSF1DMFuMI

    dheere se gagri utar re,mera dhul dhul jaye singar..Lata _Pt Shiv Kumar Saroj_Roshan……symbolic song with minimum singar ……happy version I am looking for.

    https://www.youtube.com/watch?v=J6vs_I1TcOQ

    Man Kyoon Behka Re Behka Aadhi Raat Ko Lyric – Utsav|Rekha|Lata Mangeshkar|Asha Bhosle……heavy jewelry as part of singar.

    https://www.youtube.com/watch?v=Ak6BGju-4yE

    AK ji …..what about this one ….which catg.?

    Umangon Ko Sakhi Pee ki (Song Video) – Amar

    https://www.youtube.com/watch?v=edG1l8xD1g4

    ….to be contd.

  58. AKji:

    You never disappoint us on Holi. The theme fits the occasion and the choice of songs could not have been better. Here is my selection from SDB’s stable (I’ve not seen all these movies. My categorization is based on the lyrics rather than the situation in the movie.)

    1. Vasaka-sajja: Khanake kangana (Lata in Dr. Vidya)

    https://www.youtube.com/watch?v=OnFschBoHXM

    2. Virahotkanthita: Aa palakon mein aa (Lata in Mad Bhare Nain)

    https://www.youtube.com/watch?v=Kg3HPP1BdY8

    3. Svadhina-bhartrika: Kaanton se kheench kar (Lata in Guide)

    https://www.youtube.com/watch?v=98d40_ix7P8

    4. Kalahantrita: Hum aap ki ankhon mein (Rafi and Geeta Dutt in Pyaasa)

    https://www.youtube.com/watch?v=vBTcsTd2kF0

    5. Khandita: Rangila re (Lata in Prem Pujari)

    https://www.youtube.com/watch?v=EPYXZUFs8cc

    6. Vipralabhda: Mose chhal (Lata in Guide)

    https://www.youtube.com/watch?v=4omm5U4bvqU

    7. Prosita-bhartrika: Jaani tum to dole (Lata in Dr. Vidya)

    https://www.youtube.com/watch?v=yNNhsG5VSoQ

    8. Abhisarika: Mora gora ang (Lata in Bandini)

    https://www.youtube.com/watch?v=1zIK9fJrgF8

    By the way, you may want to do a companion post on ‘nayak bhed’ to get around any criticism that may come from IWD enthusiasts.

    Happy Holi to all of SoY family.

  59. KS Bhatiaji,
    Thanks a lot for your great offerings. I thought you would cover Naushad completely. Umangon ko sakhi I will put in the category of ‘Abhisarika’. Nimmi is desirous, at this stage she is not awareof/concerned about the pitfalls.

  60. Canasya,
    Thanks a lot for your appreciation. And what perfectly fitting songs you have given – except #3 on which I have some doubts. स्वाधीनभर्तृका refers to the Nayika whose lover/husband is in subjection. Kaanton se kheench ke ye aanchal comes when Waheeda Rahman has broken free from an oppressive husband. I have mentioned this type is very uncommon in our film songs. We need to look for male counterpart of songs like ‘Hum tere pyar mein sara aalam kho baithe’. A very nice one is Jo tumko ho pasand wohi baat kahenge, tum din ko agar raat kahenge, but that is by Kalyanji-Anandji.

    Nayak- bhed: Nice idea. Literature does talk about Nayak-bhed too, but that would not be half as interesting – who cares for धीरोदात्त or धीरललित? One would have to think of a new classification. Wishing a very Happy Holi to you too.

  62. Vaasaksajja.

    THE TRAIN, 1970.
    Kis liye maine pyar kiya
    Dil ko yoonhi bekarar kiya
    …..
    ……
    Ankhon mein maine kajal daali
    Mathe pe bindiya lagai
    …..
    Maine kyon Singar kiya?

    Khandita _ Vipralabda ( and ? Kalahantarita)

    PREM PUJARI, 1970.

    Rangeela re tere rang mein
    Yoon ranga hai…

    Virahotkantitha.

    JEWEL THIEF

    Rula ke gaya sapna mera
    Baithi hoon kab ho savera…

  63. Swadheenbartraka.

    JAB PYAR KISISE HOTA HAI, 1961.

    Teri zulfon se judai toh nahin maangi thi
    Qaid maangi thi, Rihai toh nahin maangi thi…

    PUNARMILAN, 1964.

    Rafi, Indeevar,C Arjun.

    Paas baitho tabiyat bahal jaayegi
    Maut bhi aa gayi ho toh tal jaayegi…

    ZIDDI

    Main tere pyar mein kya kya na bana Dilbar
    ….
    …..
    Tu hai meri bansi
    Main hoon tera Kanha…
    …..
    Tu hai meri manzil
    Main hoon tera sahil…

    PYASA

    Hum aapke ankhon mein
    Is dil ko basa le toh….

    TERE GHAR KE SAMNE

    Ek ghar banaoonga
    Tere ghar ke saamne
    Duniya basaoonga
    Tere ghar ke saamne….

  64. AKji
    To say that it is a brilliant article is to state the obvious.
    One does not expect anything less than that from you or for that matter from SOY
    Ye sham ki tanhaiya must rank as one of the best compositions ( not only of SJ but in general also)
    Canasya ji
    As a die hard SD fan I am greatly elated by your list
    Here is my list from SD stable
    1 Vasaksajja
    Dhalki jaye chunariya
    https://youtu.be/TUhu8pqDKiU
    Though explicitly there is no mention of decoration it is all there in the song
    2 virahotkanthita
    Chand phir nikala
    https://youtu.be/ii8D7gNn318
    3 Swadhin bhartrika
    I agree that Kanto se kheech ke may not fit exactly here but may be the following from the same film may
    Tere mere sapne ab ek rang hai
    https://youtu.be/ngch5NKgPh8
    4 kalahantika
    Yaad karoge yaad karoge
    https://youtu.be/TN0Knh8uLlU
    5 khandita
    Megha chaye aadhi raat
    ( Slightly doubtful as the lady is no enraged)
    https://youtu.be/L9-s9AY8Png
    6 vipralabdha
    Tum hame pyar karo ya na karo
    https://youtu.be/yEuvjaX6uGI
    7 proshit bhartrika
    Tum Na Jane kis kaha me

    https://youtu.be/uSkgzTahEfg
    9Abhisarika
    Jaise Radha ne mala japi
    https://youtu.be/ROPIDnr8cJM

  67. NAGIN, 1954.

    Lata, Rajinder Krishan, Hemant Kumar.

    Abhisarika.

    Tan dole mera man dole
    ….
    ….
    Chod chali main laaj ka pehra
    Jaane kahan akeli….

    Abhisarika/ Vaasaksajja.

    Sun ri sakhi more Sajan bulaye
    Mohe jaana hai Pi ke nagariya…
    ….
    …..
    Kaliyon se mori doli sajaori
    Kajra lagao ri
    Mathe bindiya sajao ri
    Mohe rang do Gulabi chunariya….

    Virahotkantitha.

    1. Mera dil ye pukare aajaa
    Mere gham ke sahare aajaa….

    2. Mere badli mein chup gaya Chand re…

    3. Sun Rasiya
    Kahe ko jalaye jiya aajaa…

    4. Teri yaad mein jalkar dekh liya
    Ab aag mein jalkar dekhenge…

  68. S Joseph,
    Very apt selection, but I am not convinced about #32 Pyas kuchh aur bhi bhadka di depicts Khandita nayika.

  69. DR Shetty,
    Fabulous collection. My compliments for coming up with so many ‘Swadheenbhrtrika’ songs. Rangeela re has been mentioned earlier too. It is a nice song having different shades. Khandita-Vipralabdha is very evident.

  70. Rahul Bhagwanrao Muli,
    Thanks a lot for your appreciation. It is nice to see you and Canasya perfecting a list of SD Burman songs. I expect other readers to come up with songs of MDs.

  71. AKji,
    Trying to respond to your request and emulate Canasyaji.
    Selections from C Ramchandra’s composition.

    Swadheenbartraka – Deere Se Aaja-2 (upt01:42), Lata Mangeshkar, Albela (1951)
    https://www.youtube.com/watch?time_continue=80&v=DtWMbdtFc_U&feature=emb_title

    Vasakasajjika – Jhuk Gayi Re Palak Aayi, Lata Mangeshkar, Veer Bhimsen (1964)
    I am not sure about this, this may come under ABhisarika.
    https://www.youtube.com/watch?v=FEMikuTy3ww&feature=emb_title

    Virahotkhandita – Akhiyan mila ke akhiyan royen din ratiyan hoy na bhuulen batiyan bhuulen na suratiya ho tohar, Surinder Kaur, Nadiya Ke Par (1948)
    https://www.youtube.com/watch?time_continue=206&v=q38mUl5lIcc&feature=emb_title

    Abhisarika – Balma Bada Nadan Re, Lata Mangeshkar, Albela (1951)
    https://www.youtube.com/watch?time_continue=172&v=71cea4MmPy4&feature=emb_title

    Khandita – Dil Se Bhula Do Tum Hame, Lata Mangeshkar, Patanga (1949)
    She is angry with her lover for causing disappointment. I understand the Sthayibhava is anger, but this may be superimposed by other emotions like sarcasm, ridicule, hurt, pride, self-pity, revenge, disgust, and ferocity. Degree of anger depends on type of Nayika.
    https://www.youtube.com/watch?v=TdhAGYbdESg&feature=emb_title

    Proshitapatika – O chand jahan wo jaye.., Lata Mangeshkar, Sharda (1957)
    https://www.youtube.com/watch?time_continue=19&v=3D5qcQH3zJE&feature=emb_title

    Posting one more (Proshitapatika)
    Mai Janti Hu Tum Na Aaoge Kabhi Piya, AMirbai Karnataki. Leela (1947)
    https://www.youtube.com/watch?v=vJlC9pqQg7U&feature=emb_title

    And which category this song would fit in?
    Thandi Thandi Ret Mein Khajur Ke Tale, Amir bhai Karnataki, Sajan

  74. Going beyond the boundaries of HFM here are 2 very sensuous songs that fit in to Vasaksajja category
    1 malvun task deep
    Chetvun ang ang
    Rajasa Kiri disat labhala
    Nivant sang
    Woman exhorts her beloved who has met after a long hiatus to smother the lamp & let their bodies sparkle with love
    https://youtu.be/8BvLj2KYvCg
    This is composed by Pt Hridayanath Mangeshkar & bears some similarity with famous Mehedi Hasan gazal
    Ab ke hum bichhade
    2 Mamali tarunya maze
    https://youtu.be/lRRS-9ndUqY
    Here she dares him to wrap her around himself like a blanket
    This is composed by C Ramchandra
    Both the songs are penned by legendary Marathi poet Suresh Bhat who was pioneer in bringing gazal form in marathi poetry

  75. Rahul Muli ji,
    The NATRANG beauty
    Apsara aalee …..fits perfectly into Vaasaksajja/ Abhisarika.

    Bela Shende,Guru Thakur,Ajay _ Atul.

    Komal kaaya ki moh maya
    Punava Chandna nhale
    Sonyat sajle Roopyat bijle
    Ratnaprabha tanu nyaale
    Hi hatli thatli…
    …..
    …..
    Apsara aalee Indrapuri toon khali
    Pasarli laali
    Ratnaprabha tanu nyaale….

  76. Venkataramanji,
    Dheere se aa ja ri is a perfect Swaadheenbhartrika. I am happy to see songs in this category, as I had thought theses would be very rare. Jhuk gayi re palak seems to be more Abhisarika to me. I had mentioned that Vaasaksajja is generally a prelude to Abhisarika. The lady is all dressed up, that may create an impression of continuum. In Prem jogan ban ke the prelude was also shown. Thandi thandi ret mein khajoor ke tale seems to be clearly Abhisarika, though presented in a light-hearted manner. The lady has already reached and now waiting for her date.

    Now we have C Ramchandra too covered. Let us now wait now for other MDs.

  78. S Joseph,
    #37 is a perfect Abhisarika; #35 too falls in this category. #33 does not seem to be Virahotkanthita. She has discovered love and sings the song in reverie wishing that it continues the next day too. Others require some stretching.

  79. AK ji @59;

    Yes , the coverage is a short one but I will have a round of MDs in rotations covering C Ramchandra, SJ, SDB, Roshan , MM ….and again Naushad and so on . In between I will cover best of rest of MDs .

    SJ’s Lata ji’s …Yeh sham ki tanhaiyan ….is of course landmark song and is favorite of many members. But there is one more of a song by Asha Ji which touches my heart for its beautiful composition very appropriate for its melancholy lyrical qualities.

    विरहोत्कण्ठिता (One distressed by separation}…

    Shaam Ki Tanhaaiyaan Hain – Zarak Khan (1963) Asha Bhosle, S Mohinder, Anand Bakshi

    https://www.youtube.com/watch?v=1k9d5402KIU

  80. 38)’Rang dil ki…’/Patang/1960/Chitrgupt/Lata

    https://youtu.be/pzYbkjSA5Xg

    VIRAHOTKANTITHA

    39) ‘ Yunhi dil ne…’/Dil hi to Hai/1963/Roshan /Suman Kalyanpur

    https://youtu.be/pADDte2h6nY

    VIRAHOTKANTITHA

    40)’ Rahen na rahen…’/Mamta/1966 /Roshan /Lata

    https://youtu.be/dRg2JWEXUcg

    VIRAHOTKANTITHA

    41)’ Chhoti si yeh…’/Rangoli/1962/SJ/Lata

    https://youtu.be/U9A6NnnI6Ts

    VIRAHOTKANTITHA

    42) ‘ Beete din yaad…’/Dharamputra/1962/N Dutta/Asha

    https://youtu.be/Gtg9CJ3aM-c

    VIRAHOTKANTITHA

    43) ‘Mera dil yeh…’/Naagin/1954/HK/Lata

    https://youtu.be/mr_n9R3E_w4

    VIRAHOTKANTITHA

    44) ‘Mera Salam le…’/Uran Khatola/1955 /Naushad/Lata and chorus

    https://youtu.be/A5ciq4GyUCs

    PROSHITBHARTRAKA

    45)’ Dekhne mein bhola…’/Bambai ka babu /1960/SDB/Asha and chorus

    https://youtu.be/-0dPCZencLo

    ABHISARIKA

    46) ‘Tumhi meri mandir…’/Khaandan/1965 /Ravi/Lata

    https://youtu.be/IJEAh1shFV4

    ABHISARIKA

    47) ‘Na Shikwa hai…’/Amar/1954/Naushad /Lata

    https://youtu.be/_cbtxuBP-gk

    VIPRALABDA

    48) ‘Mere mehboob mein…’/Mere mehboob /1963/Naushad/Lata-Asha

    https://youtu.be/G4tPuLLKs5A

    ABHISARIKA

    49) ‘Tere pyar mein…’/Mere mehboob/1963 /Naushad/Lata

    https://youtu.be/9JD22f4BZxE

    VIRAHOTKANTITHA

    50)’Jaaneman ik nazar…’/Mere mehboob/1963 /Naushad/Lata-Asha

    https://youtu.be/BEcclUW7BpE

    ABHISARIKA

    51)’Dil mein baji…’/Kohinoor/1960 /Naushad/Lata

    https://youtu.be/HNW6ahUZCD8

    ABHISARIKA

  81. Canasya ji @58;

    ‘nayak bhed’ …is a good idea since IWD is outcome of Right to equality .

    The SDB songs are catch of qualities …and I have a surprise which I think will liked by many for its qualitative content and composition. Moreover the paintings depicts the right mood of each line and stanzas of the song. A treat for art lovers too !!

    विरहोत्कण्ठिता…..

    SAAJAN BIN NEEND NA AAVE-LATA JI (RARE SONG)-MUNIM JI (1955)-SAHIR – S D BURMAN

    https://www.youtube.com/watch?v=wNPgEzr8CwI

  82. AK

    A very bewitching post or rather a carefully worked out Album on the Ashta-Nayikas-a typical area that Sanskrit Poets like Kalidas (Shakuntalama, Meghtudtam, Ritusanhaar etc.), Shudrak (Mrchhakatikam), Bhavbhuti (Uttar Ramcharitam) etc. created their all time great works.

    The Rasik readers of the Soy have also come out with many songs to celebrate the works of musicians, lyric writers, singers etc. on the subject.

    As this is a very traditional Indian subject from the ancient times to modern times for the composers, I like your idea to see how different composers had handled the Ashta Nayikas singly and all together as well.

    Personally I did not appreciate that this subject should have a highlighted on the International Women’s Day as you have already said the aims and objectives of Women’s Day has sharply very differing meaning.

    Your invocation of “Shanta Apte” was/is more apt for the I.W.D.

    The Ashta Nayikas is more appropriate for the Holi Day as it is celebration of the Spring. “ Spring, the sweet Spring is the year’s pleasant King, …..the fields breathe sweet, the daisies kiss our feet, young lovers meet…….. etc. by T.S.Nash-a close friend of Shakespeare.

    But then Holi Day came closer to I.W.D. and you faced the dilemma.

    You have already defended your position at the beginning and there is not much to protest about now, but to mention my disapprobation.

    Shalan Lal

  83. Shalan Lal,
    I have started with mea culpa, still your disapprobation सर आंखों पर. I remember you also had interacted with me on Nayika-bhed, I don’t remember what was the context. I am not suggesting that you are guilty of abetment 🙂 .

  84. AKji ;

    C Ramchandra was one of the best MDs of his times. Irrespective of the film’s subject he would come up with classic and western tunes with such an ease that pleased all the patrons watching from front to rear rows of cinema halls. I am a great fan for his sad and lively songs that enriched the movies of those times. The span of his bests lied between Albela and Parchhayen . On classical side V. Shantaram’s movies says it all.

    A few songs from his catchment area…..
    ……विप्रलब्धा (One deceived by her lover)
    Dil Ki Duniya Basa Ke Sawariya | Lata Mangeshkar | Amar Deep 1958

    https://www.youtube.com/watch?v=klZrViVo4G8
    …..विप्रलब्धा (One deceived by her lover)
    Mujhpe Ilzaam E Bewafai Hai | Lata Mangeshkar | Yasmin

    https://www.youtube.com/watch?v=tq0eDu5lkb8
    …… विरहोत्कण्ठिता (One distressed by separation)
    film nirala……. aesi mohabbat se ham baaz aaye

    https://www.youtube.com/watch?v=cwtKkn9XjAg
    ….. विरहोत्कण्ठिता (One distressed by separation)
    TALAT MEHMOOD & LATA JI~Film SAGAI~{1951}~Mohabbat Mein Aise Zamane

    https://www.youtube.com/watch?v=j86VO9IV_Xc
    …..कलहान्तरिता (One separated by quarrel) ….?
    koi kisi ka deewana na bane..Lata_P L Santoshi_C Ramchandra_Sargam1950

    https://www.youtube.com/watch?v=bwABvPSjh2U

  85. Canasya @58, AK@60 & ksbhatiya @80

    The idea of Ashta Nayakas is very good to see what Hindi films have done to the heroes in musical numbers.

    More or less one may get similar effects. The idea of Natyashastra will not fit here.

    But the agonies and delights of the filmy heroes are very similar to those of the heroines as we got now such a roaring ocean of the songs in the present post.

    If I were AK for this new idea of Ashta-Nayakas then I would start straight with Saigal and others at the New Theatres. The other heroes of forties and fifties and sixties an a bit of seventies will help us as well.

    I think use the present formula in ditto and see what happens.

    A few years back some men came to me and they wanted to start me Men’s issues workshops.

    I did and for a while they worked well.

    But I could do those workshops only in the evenings. And that created men had to miss their usual drinking time in the pub.

    However what I found that men in our time have similar needs and attentions as women do.

    I have now retired from all my responsibilities from last month onwards and I do not want to work any more.

    But the idea of Cansya should be given a chance.

    Shalan

  86. Rahul Bhagwanrao Muli,
    Side interaction on Marathi songs might pass over the heads of some of us. You will have to give the link and also explain it.

  87. S Joseph,
    Most of your songs #38 to 51 are excellent fits. However, I have some doubts on #46 Tumhi mere mandir tumhi meri pooja – I often quote it as an example of a cringing wife of our ‘Mahaan paarivarik’ films of the period.

  88. KS Bhatiaji,
    Nice selection. ‘Virahotkanthita’ is the clearest category and there are many songs of this type. I have mentioned Tum kya jaano yumhari yaad mein in my write-up.

  89. Shalan Lal,
    All the terms of the Asht Nayikabhed are feminine gender. If we use the same types for males, we would be, besides massacring Natyashastra, creating some awkward nomenclature. Virahotkanthit, Khandit,Vipralabdh is acceptable, but what would be the terms for other types. Yet I am open if Canasya or you try to write on it. Therefore, I suggested the best would be to have entirely different classification appropriate to our heroes in the films.

  90. Shankar-Jaikishan coompositions;
    Vaasaksajja – Dhani Chunri Pehan Sajke Ban Ke Dulhan, Lata Mangeshkar, Hare Kanch Ki Chooriyan (1967)
    https://www.youtube.com/watch?time_continue=14&v=TtPInjyvBvY&feature=emb_title

    Virahokanthita – Rasik Balamaa Haay Dil Kyon Lagaayaa Tose, Lata Mangeshkar, Hasrat Jaipuri, Chori Chori (1956)
    https://www.youtube.com/watch?time_continue=30&v=0SHJSPtHXZA&feature=emb_title

    Vipralabdha – Ajib Dastan Hai Ye Kaha Shuru Kaha Khatam, Lata Mangeshkar, Dil Apna Aur Preet Parai (1960)
    https://www.youtube.com/watch?v=ryjFAVMS30Y&feature=emb_title

    Proshitbhartrika
    Bichhde Hue Pardesi Ik Baar To Aana Tu, Lata Mangeshkar,, Barsaat (1949)
    https://www.youtube.com/watch?v=PWDA–SFP6c

    Abhisarika, – Kahe Jhum-Jhum Raat Ye Suhaani Lata Mangeshkar Love Marriage (1959)
    https://www.youtube.com/watch?time_continue=65&v=ZxnqYXOO9hk&feature=emb_title

  92. N Venkataraman ji @90; AK ji;

    Wow !! I was ready to post SJ’s songs and just found three of them already hit/ clicked on Enter . As for SJ’s songs its a pleasure to hear not only the song but the orchestra arrangements appropriate to the composition . Ajeeb dastan hai yeh….is one of their best prelude/interlude composition. The RK films of course had best among the lots. The duo had this unique strings arrangements that one could easily recognize their music at the start itself . The same holds for their background music too.

    Here are a few of SJs songs….

    Patrani 1956 : Are Koi Jao Ri Piya Ko Bulao : Lata Mangeshkar , Meena Mangeshkar & Usha Mangeshkar……अभिसारिका .

    https://www.youtube.com/watch?v=EwUfI91Tt7k

    UNSE PYAAR HO GAYA – LATA JI -SHAILENDRA -SHANKER JAIKISHAN ( BADAL 1951)…..अभिसारिका

    https://www.youtube.com/watch?v=Hmz84rhOcOc

    sajan sang kahe neha lagaye..Lata_Shailendra_S J……विरहोत्कण्ठिता

    https://www.youtube.com/watch?v=l6YDWUduzQo

    LATA JI-Film-AURAT-{1953}-Bewafa Ne De Diya Gham Zindagani Loot……..विरहोत्कण्ठिता

    https://www.youtube.com/watch?v=XYZDs7yVuH8&t=7s

    naino se nain hue char..Aurat1953_Lata_Hasrat…..अभिसारिका

    https://www.youtube.com/watch?v=TpJr40FpS5M

    …..to be contd.

  94. AKji
    I am sorry for posting Marathi songs without full narration but I had posted the links. I refrained from translating the gist in English for the reason that I would not be able to communicate the situations precisely.

  95. KS Bhatiaji, N Venkataramanji,
    Except स्वाधीनभर्तृका we are getting excellent SJ songs for each type. I have seen it’s opposite meanings. The English text I have referred to says one whose lover/husband is under her subjection because of her charm. Somewhere I have also seen its meaning as ‘जो स्वामी के प्रेम के अधीन रहे’. In that case I would put Kisi ne apna bana ke mujhko as Swaadheenbhrtrika. In that case we get songs like Apne piya ki main to bani re dulhaniya.

  97. Trying something different. A collection of ashtnayikas composed by that ‘unsung hero’ Jaidev
    1 Vasaksajja
    Kahe manawa naache hamara – Aalaap
    Nayanan me kajara Lalan baithi
    Mathe pe Suraj palan baithi
    What imagery from Dr Rahi Massom Raza who did not write songs very often
    https://youtu.be/YP-nizOjA-E
    2 Virahotkanthita
    Aapki yaad aati Rahi raatbhar – Gaman
    Now it is maqdoom Mohiuddin
    https://youtu.be/oy–rFE7fag
    3 Swadhin bhartrika
    Abhi Na Jao
    Sahir’s immortal
    https://youtu.be/NfWJsgu5uVo
    4 kalahantarita
    Aaj achanak tut Gaye – kinare Kinare
    Nyaya Sharma pens this
    https://youtu.be/Cft16HVPiE0
    5 Khandita
    Jane kitni bar hriday se – Sapna
    https://youtu.be/engsXqdbzmw
    Lyrics by V N Mangal
    Perhaps the first & the last time he wrote for Hindi films
    6 Vipralabdha
    Tumhe dekhti hoon – Tumhare liye
    https://youtu.be/LGPttUlg2Do
    Now it is Naksh layalpuri
    7 Proshit bhartrika
    Ja ri pawaniya Piya ke des ja
    Do boond Pani
    Kafi Azmi writes for Jaidev
    https://youtu.be/3ip3vzOnGsk
    8 Abhisarika
    Raat Piya ke sang – Prem parabat
    https://youtu.be/pgSxvf25YWo
    Finally it is Jaa NISAR Akhtar to make it 8 different lyricists for one composer to create Ashtnayikas

  98. On a lighter note, what do we call the Abhisarika
    Whose mission
    Of meeting her Saajan
    ( Normally, clandestine)
    Is done
    And is on the return/ reverse sojourn?!

    Jaadugar Sainya chodo more bainya
    Ho gayi aadhi raat
    Ab ghar jaane do…..

    Abhi na jao chodkar
    Ke dil abhi bhara nahin….

    Kal ki haseen mulaqat ke liye
    Aaj raat ke liye
    Hum tum juda ho jaate hain…

    Jaane do na
    Paas aao na…

  100. A collection from Anil Biswas’s honey-comb;
    Virahokanthita – Mil Mil Ke Bichhad Gaye Nain, Lata Mangeshkar, Aaram (1951), lyrics Rajinder Kirishan
    https://www.youtube.com/watch?v=n2Gvs52ROp0&feature=emb_title

    Svaadheenbhartrika – Beiman Tore Nainawa, Lata Mangeshkar, Tarana (1951), lyrics D N Modhak
    https://www.youtube.com/watch?v=QSf2KSle9LA&feature=emb_title

    Proshitbhartrika – Udaasiyo Me Nazar Kho Gayi Chale Aao, Sandhya Mukherjee, Fareb (1953), lyrics Majrooh Sultanpuri
    https://www.youtube.com/watch?time_continue=9&v=2UjulzyVFUE&feature=emb_title

    Abhisarika – Sun Re Saajan Sun, Lata Mangeshkar, Arzoo (1950), lyrics Prem Dhawan
    https://www.youtube.com/watch?time_continue=35&v=d-qivnEAZq0&feature=emb_title

    Vipralabdha- Udhar Teri Nazar Badali Idhar Badalaa Jahaan Meraa, Lata Mangeshkar, Humdard (1953), lyrics Prem Dhawan
    https://www.youtube.com/watch?v=alwc-peDRWU&feature=emb_title

    Khandita – Bitayi Kaha Ratiya Ho Maharaja, Husn Bano, Aasra (1941), lyrics Safdar Aah
    https://www.youtube.com/watch?time_continue=6&v=6ypsG0Q6390&feature=emb_title

  104. Rahul Bhagwanrao Muli,
    Your Jaidev collection is absolutely impressive. Who could have thought that with not a very large output he would offer so much variety. Eight lyricists for eight types is brilliant. Vaasaksajja, Virahotkanthita, Swaaheenbhartrika, Proshitbhartrika and Abhisarika are excellent. Another outstanding Abhisarika song is

    Aa ja sanwariya tohe garwa laga lun, ras ke bhare tore nain by Hiradevi Mishra from Gaman (1978), lyrics Shaharyar, music Jaidev

    This is a traditional Bharavi thumri associated with Gauhar Jan. It is not clear how the YT link mentions Shaharyar as the lyricist.

  108. Rahul Bhagwanji @ 97
    Wonderful selection of songs. A perfect eight.
    Very thoughtful of you to have mentioned the lyricists. In this type of songs the lyricists have a predominant role. Thanks a lot.
    So far we have covered S D Burman, C Ramchandra, Shankar-Jaikishan Jaydev, & Anil Biswas.

  109. N Venkataramanji @100,
    Beimaan tore nainwa can fit in other categories too, such as Abhsarika. Others are very nice fits, especially Khandita, Bitayi kahan ratiyan ho Raja is gold. I noticed the absence of Vaasaksajja and Kalahaantarita, then you posted Mukh se na bolun, ankhiyan na kholun (@102), isn’t it Kalahaantarita?

  110. AKji @ 109
    Yes , I was not sure.

    Bhatiaji & Mr.Joseph have posted quite a number of songs of Naushad..
    Let me try to present some of the Ashtanayikas of Naushad.

    Svaadheenbhartrika – Sawan Aaye Ya Na, Asha Bhosle & Mohammed Rafi, Dil Diya Dard Liya (1966), lyrics Shakeel Badayuni
    https://www.youtube.com/watch?time_continue=56&v=MtsQXgP2r6w&feature=emb_title

    Lagi More Man Ki, Shamshad Begum, Shabab (1954), ), lyrics Shakeel Badayuni
    https://www.youtube.com/watch?time_continue=94&v=poVJD-vfajk&feature=emb_title

    Virahokanthita – Mil Ke Bichhad Gayi Ankhiya, Amirbai Karnataki, Ratan (1944), lyrics D N Madhok,
    https://www.youtube.com/watch?time_continue=121&v=dXT0tmkV4bY&feature=emb_title

    Socha Tha Kya Kya Ho Gaya, Suraiya, Anmol Ghadi (1946), lyrics Tanvir Naqvi
    https://www.youtube.com/watch?v=RSVZqScWs0E

    Vipralabdha – Tod Diyaa Dil Meraa Tune Are Bewafaa, Lata Mangeshkar, Andaz (1949), lyrics Majrooh Sultanpuri
    https://www.youtube.com/watch?time_continue=84&v=Vok8HNOFzA0&feature=emb_title

    Bahar Khatam Hui Dil Gaya Khushi Bhi Gayi, Suraiya, Dard (1947), lyrics Shakeel Badayuni
    https://www.youtube.com/watch?time_continue=30&v=KDE2kI_GHC4&feature=emb_title

    Proshitbhartrika – Afasaana Likh Rahi Hun, Uma Devi, Dard (1947), lyrics Shakeel Badayuni
    https://www.youtube.com/watch?time_continue=9&v=zs-bAOTXC1c&feature=emb_title

    Chaar Din Ki Chaandani Thi Phir Andheri Raat Hai, Suraiya, Dillagi (1949), lyrics Shakeel Badayuni
    https://www.youtube.com/watch?time_continue=12&v=Y5BLClm_crw&feature=emb_title

    Abhisarika –Jaadu Bhare Nainon Me Dole Jiyaa Teri Qasam, Shamshad Begum, Babul (1950), ), lyrics Shakeel Badayuni
    https://www.youtube.com/watch?time_continue=63&v=j6mdzE9v7yE&feature=emb_title

    Dhundho Dhundho Re Saajanaa Dhundho Re Saajanaa, Lata Mangeshkar, Md.Rafi, film Ganga Jamuna, lyrics Shakeel Badayuni
    https://www.youtube.com/watch?time_continue=109&v=Nrkzco6AEeM&feature=emb_title

  111. Vaasaksajja _Abhisarika.

    JAL BIN MACHLI NRITYA BIN BIJLI, 1971.
    Majrooh Sultanpuri,LP.

    Celestial variety:

    Mukesh.

    Taron mein sajke
    Apne Sooraj se
    Dekho dharti chale milne…
    ….
    Hai ghataon ka do nain mein kajal
    Dhoop ka mukh pe daale sunehra sa aanchal….
    ( I love this Mukesh song. I immediately remember Ye kaun chitrkar hai and Chanchal Sheetal… while listening to this. Picturisation also pleasant.)

    Reptilian/ Serpentine variety:

    Lata Mangeshkar.

    Kajra laga ke re
    Bindiya saja ke ho
    Aayee main toh aayee re aayee
    Mohe laayi milan dhun Piya ki…
    ( I can’t say I like either the song or the picturisation! )

  112. N Venkataramanji,
    Naushad bouquet is very nice. ‘Proshitbhartrika’ – I have mentioned Pardes balam tum jaaoge in my write-up. From Ratan, this one is a perfect fit – Ankhiyan mila ke jiya bharma ke chale nahin jana, or another one Jab tum hi chale pardes laga kar thes O preetam pyara, duniya mein kaun hamara. The only problem is that the latter song is sung by Karan Dewan, pining for Swarnalata.

  114. Venkatraman ji ;

    I am truly enjoying this great article and inputs of comments and songs. You are really best of the lots from this …..ocean of songs…. and I at ….sea shore ….anxiously wait for more. Naushad and SJ were very lucky to have best of song writers that conveyed the in depth meanings relevant to the content of the story and screenplay of the film . thus making it easy for Director and other crew members to put their very best.

    Barsaat was one of the movie whose songs satisfied all the catagories of the theme as one listen progressively to each song as the story moves on. In one song itself the catagories changed as lyrics of stanza moves on …and the song is ….Barsaat mein hum se mile tum . A wonder of a song …happy sad welcome end….all in one !! Not easy to put in one category !

    Barsaat Mein – Barsaat (1949

    https://www.youtube.com/watch?v=j6PO7qKvGJM

    I will be back with RKs songs…..

  115. AK ji, Venkatraman ji;

    I have a few of good songs of CR to add on …..to keep the square wheel rolling smoothly down the hill .

    Dil Dhadke Nazar Sharmaye | Albela …. अभिसारिका .

    https://www.youtube.com/watch?v=jAWYfLAUVYo

    Kat-Te Hain Dukh Main Yeh Din – Parchhain – Lata Mangeshkar….विरहोत्कण्ठिता

    https://www.youtube.com/watch?v=2t8ENOssOho

    Chanda Ki Chhaon Mein – Lata Mangeshkar – PARCHHAIN …अभिसारिका

    https://www.youtube.com/watch?v=YNBbw_HzMQQ

    to be contd.//

  116. AK ji;

    Symbols have been very effective tools in narration of story of a good artistic films that many directors of the golden eras used passionately in many films. The wheels of bullock carts with lanterns swaying at their back….. symbolizing slow moving life….. and …..the taps of feet and churning sound of cast iron wheels on loose grits roads ….and what others. All make you attentive to think …what next ?

    If one closely watch RK’s masterpiece ….Awara or Shree 420….Raj Kapoor used …..Doors….their opening and closing….as symbols of good and bad lives …as Raj experienced in the company of good , bad and ugly people. The music and songs also helped highlighting the life behind the close doors. This subjective narration even continued in Jagte Raho ….in which Raj brought out the evil life behind the doors…..from bottling to currency printing in small apartments.

    With doors in mind ….here are a few of songs from RK production house .

    O JAANEWALE MUDKE ZARA – Full Song | Shree 420

    https://www.youtube.com/watch?v=hCstu5UQTa4

    Ek Bewafa Se Pyar Kiya | | Awaara | Lata Mangeshkar | ….SJ

    https://www.youtube.com/watch?v=G49vq8ng2Go

    Jab Se Balam Ghar Aaye – Nargis – Awaara – Lata Mangeshkar

    https://www.youtube.com/watch?v=SV2tpIUz0_4

    Aa Jao Tadapte Hain Arman- Nargis – Awaara – Lata Mangeshkar –

    https://www.youtube.com/watch?v=mnqQHLibFSU

    Bichhde Huye Pardesi – Nargis – Raj Kapoor – Barsaat

    https://www.youtube.com/watch?v=PWDA–SFP6c

    Jiya Beqarar Hai Chhayee Bahar | Nimmi | Barsaat

    https://www.youtube.com/watch?v=ITcUo3yDLd8

    Being late I will post more next day and name the catag as well….

  117. KS Bhatiaji,
    It is exhilarating to see you, N Venkataramanji, Dr Shetty, S Joseph, Rahul Bhagwanrao Muli in full flow. Waiting for more and categorisation.

  118. Vaasaksajja _ Abhisarika.

    BOOT POLISH, 1954.

    Chali kaun si des , Gujariya tu sajdaj ke?
    Jaaoon Piya ke des….

    CHA CHA CHA, 1964.

    Rafi, Neeraj, Iqbal Qureshi.

    Ek Lali ghar se chali
    Tan sanwar ke
    Gajra daal ke
    Apne Shyam ke kunj gali…
    ( Was it Helen’s only film as the lead heroine? Neeraj’s first film?)

    Abhisarika.

    TAJ, 1956.
    Hemant Kumar, Rajinder Krishan,Hemant Kumar.

    Jhoom jhoom kar chali akeli
    Aaj na jaane kahan Naweli
    Masth nazar Sharma gaya…

    KAAJAL, 1969.

    Asha, Sahir,Ravi.

    Cham cham ghungroo bole
    Radha laaj ke maare ith uth dole…
    ( Less heard among all the KAAJAL songs.)

  119. Abhisarika.

    CHORI CHORI, 1956.

    Us par Saajan ,Is paar dhare
    Le chal O majhi kinare…

    BANDHINI, 1963.

    Mera Saajan hai us paar
    …
    O mere majhi…

    GANGA JAMUNA SARASWATI

    Saajan mera us paar hai
    Milne ko dil bekarar hai…

  120. Dr Shetty,
    Chali kaun se des gujariya was also in my list.

    O re manjhi mere saajan hain us paar, le chal paar on the surface sounds like Abhisarika, but its picturisation presents a completely different picture.

  121. Vaasaksajja _ Abhisarika.

    This one has already done some Singaar, the rest she will do with her Sanwariya. Also,she has, technically, arrived. But,sings ” aaoongi” ( to mean ” aayee hoon.”!)

    KAN KAN MEIN BHAGWAN, 1963.

    Suman Kalyanpur, Bharat Vyas, ShivaRam.

    Piya charno ki babhoot ramaati
    Preet ki pahni maala..
    ….
    Apne Piya ki main toh bani re Jogania..
    ….
    Sanwariya ke rang mein chunariya rangaoongi
    Chandrama ka Jhumka pahan Piya aaoongi
    Jhan jhan baaje meri jhanjaniya….

    Suman sounds very sweet here.

  125. AK @83 & 89

    Thanks for your comments.

    I have no objection to the subject of Ashta Nayika. In fact I have no objection to any subject that anyone in the world wants to discuss as I am a follower of the Renaissance which believes that everything can be talked about, aired about and expressed about in the thoughts.

    My disapprobation is for the timing of Ashatnayika on the I.N.W.D.
    The IINWD came to create the awareness about the plight of the women in various areas of humanity.

    The origin of it is in the British “Suffragette” movement started at the end of 19th century and carried on at the beginning of the 20th century.

    In this British women were tortured for making demonstration about equal rights for the women.

    So to have a subject that was created for man’s pleasure out of the women’s weakness was not approbation. Hence I used the word “disapprobation.

    I used the “Abhisarika” in my post on “Panchhi” aka Birds to explain the song of Suraiya “Door Papiaha Bole” to explain the tradition in India about the Abhisarika etc.

    To me “Ashtnayia” subject is not a good tradition to keep on. But if people wants to talk about it I do not mind.

    So far people have not expressed their views about it but quoted many examples in the songs.

    Getting dressed up to see somebody is certainly a good etiquette.

    But doing “Solah Singars” just to please the lover is not good as it is only one sided pleasing. If both dressed up to please each other then that manner is good according my etiquette.

    Your point about destroying Natyashaastra is going too far. My point is there is that one can create or look if there is “Abhisarika” like situation in Nayak.

    For example in the song situation “Suahani Raat Dhal Chuki” the Nayak was all dressed up with a horse and servant to meet the Nayika. But the Nayika did not come. So this situation we may call as “Abhisarik”.

    There may many more song of Nayak lamenting over Nayika not meeting him. This is just one example.

    What happened in the Natyashastra stays there and if literati or a film maker or dramatist wants to invoke the old ideas that is up to them.

    Shalan Lal

  126. AKji,
    On a quick browsing, I made a bouquet of Madan Mohan’s songs. Hope they match the types.
    Expecting other members to find the songs for the missing categories.

    Abhisarika – Haay Unki Wo Nigahe, Dil Dekhe Jinki Rahe, Asha Bhosle, Aakhri Dao (1958), lyrics Majrooh Sultanpuri
    https://www.youtube.com/watch?time_continue=17&v=HonyHUEYeQ0&feature=emb_title

    Saba Se Yeh Kah Do, Asha Bhosle, Bank Manager (1959), lyrics Jalal Malihabadi
    https://www.youtube.com/watch?time_continue=8&v=235npMV1128&feature=emb_title

    Virahokanthita- Jaanaa Thaa Hamase Dur Bahaane Banaa Liye, Lata Mangeshkar, Adalat (1958), lyrics Rajinder Krishan
    https://www.youtube.com/watch?time_continue=152&v=pvwC9c81esY&feature=emb_title

    Karke Badnam Meri Neende Haraam, Lata Mangeshkar, Baghi (1953), Aakhri Dao (1958), lyrics Majrooh Sultanpuri
    https://www.youtube.com/watch?time_continue=87&v=lpxV6ifEv-Q&feature=emb_title

    Proshitbhartrika Chanda Ja, Chanda Ja Re Ja Re Kahe Aaya Hai Akela, Lata Mangeshkar, Manmauji (1962), lyrics Rajinder Krishan
    https://www.youtube.com/watch?v=50TXZjRF9RI

    Vipralabdha- Pritam Meri Duniya Me Do Din To Rahe Hote, Lata Mangeshkar, Ada (1951), lyrics Raja Mehdi Ali Khan
    https://www.youtube.com/watch?v=0aT45mikEGU

    Svaadheenbhartrika – Tujhe Kya Sunau Ai Dilruba, Tere Samne Mera Haal Hai, Md.Rafi, Aakhri Dao (1958), lyrics Majrooh Sultanpuri
    https://www.youtube.com/watch?v=7iT2jwv9HM8

  127. Bhatiaji @114, 115, 116
    You wrote
    “I am truly enjoying this great article and inputs of comments and songs.”
    Same here. As expected you have some wonderful songs of SJ.

    I would have liked to stretch my imagination to fit the following song of SJ in the Vaasaksajja type. But the more appropriate type would be Abhisarika.

    Maine Dekha Tha Sapno Me Ik Chandrahar, Lata Mangeshkar, Gaban (1967), lyrics Hasrat Jaipuri
    https://www.youtube.com/watch?time_continue=5&v=ehn0Pj_pkX4&feature=emb_title

    Thanks for the additions from CR’s composition.

  129. S Joseph @122, 123, 124,
    Excellent songs. However, I have some doubts on #67, Chaman mein rah ke veerana. Are you sure it is Swaadheenbhartrika?

  131. Venkataramanji @126,
    Because of Madan Mohan’s classicism his songs would be top of the class. Think of Vipralabdha, can it get better than Kadar jaane na bedardi ji mora baalam?

    And let me add to the type. Here is a perfect Vaasaksajja.

    Maine rang li aaj chunariya sajna tore rang mein by Lata Mangeshkar from Dulhan Ek Raat Ki (1967), music Madan Mohan

  132. Akji @131

    Thanks for the additions. All too good.

    While on Madan Mohan, let me recollect another wonderful post you wrote, I think, eight years back. I am referring to your post “Some perspectives on Jhumka gira re” and that was also on the occasion of Holi. It is a must for those who have not visited the post yet.

    Going by the lyrics of the popular version from Mera Saya, can we declare our Nayika as Svaadheenbhartrika?
    Saiyaan, charmed by lady love, is reluctant to let her go. He is everywhere, Ghar mein, Gali mein, Bagiyaa mein
    Jhumka Gira Re, Bareli Ke Bazaar Me, Asha Bhosle, Mera Saaya (1966), lyrics Raja Mehdi Ali Khan
    https://www.youtube.com/watch?time_continue=294&v=56iAhIEwX1o&feature=emb_title

    Whereas the Saiyyan in the earlier version (Dekhoji 1947), seems to be her very dutiful husband;
    Sainyya roye re
    Galey mein bainyya daal ke

    He is romantic too,
    Sainyya dhoondhe re
    Nainon mein naina daal ke

    Jhumko Gira Re, Shamshad Begum, Dekhoji (1947), lyrics Wali Sahab, music Tufail Faruqui
    https://www.hindigeetmala.net/song/jhumko_gira_re.htm

    In your previous post, While sharing your experience, You alluded that as a dutiful husband one has to go down on the floor on all the fours to join her in the search of her missing Jhumka, with nainon me naina daal ke.

    I think it is an ideal representation of the Nayak of the Svaadheenbhartrika Nayika.

  134. AK ji , Venkatraman ji
    Thanks for your appreciation. A relatively new member of SOY like me is emboldened to write more as a result of your liberal appreciation.
    This time I am trying collection of Ashtnayikas composed by yet another unfortunate composer ” Khayyam”
    (In the sense that he did not get as many opportunities as he deserved, less than 50 movies to his credit)

    1 Vasak sajja
    Baharon mera Jeevan bhi – Aakhri khat
    https://youtu.be/S4MQ5QbDkuA
    The narration of the blogmaster requires the lady to ” decorate herself” but here she is asking non-human ( lachakati daliyon) , unknown ( rachao koi kajara) & abstract ( yaad ki dharon) to do that
    This is one my favourite s of Lataji
    2 Virahotkanthita
    Phir wohi Sawan aaya
    – Shola aur Shabnam – Prem Dhawan
    https://youtu.be/B_gCAetXOCU
    3 Swadhin Bhartrika
    Hai Kali Kali ke lab par
    – Lala rukh – Kaifi Aazmi
    https://youtu.be/S05yJrkYJjc
    I am always amazed by the breezy tune of the song

    4 Kalahantika
    Jo humpe gujarati hai – Mohobbat isko kehte hai – Majarooh
    https://youtu.be/Opzqxf67Bxo
    The velvety voice of Sumanji

    5 Khandita
    Dikhayi diye Yun – Bazaar – Mir Taqi Mir
    Bahhot aarzoo thi Teri gali ki
    https://youtu.be/7KgyhgnnRRE
    To aas-e- lahoo mein naha kar chale
    Is it not the extreme expression of rage ?

    6 Vipralabdha
    Justajoo jiski – Umarao Jaan – Sharayar
    https://youtu.be/X3RDOxClLrw
    Tujhko ruswa na Kiya
    Khud bhi pashema na huye
    Ishq ki rasm Ko is tarah nibhaya humne

    7 Proshit Bhartrika
    Ye kya jagah he dosto – Umrao Jaan – Sharayar
    https://youtu.be/uu9G–iwZT8
    This is the song , category of which I am most uncertain of
    Bilal Raha hai Kaun mujhko chilmano ke us taraf
    Is the line & the fact that she has been taken to a different province I am using as the basis ( is it clutching the straws?)
    8 Abhisarika
    ye mulakat ek bahana hai – Khandan – Naksh Layalpuri
    https://youtu.be/kEw7EOFb5XU
    Main hoon Apne Sanam ki bahomein
    Mere kadamo tale Jamana hai
    As I said sometimes the boundaries between different emotions are blurred so that it is difficult to classify them
    I am especially uncertain about Proshit bhartrika song.

  135. Rahul Bhagwanrao Muli,
    New members of SoY have often been most active. Your additions and annotations are superb. In Ye kya jagan hai dosto Rekha has come back to her original place, but as one her family and society are not going to accept. Therefore, Proshitbhartrika does not fit here to my mind. I have doubt on Kalahaantarita too.

  136. N Venkataraman ji @127;

    Yes. Subject for SJ is vast . Every female songs are well thought of and projected nicely as well. We have a strong team of followers who are passionately following the tracks contributing at unbeatable speed. Thanks to Joseph ji , Shetty ji….and I am missing Vasudeven who belongs to SJ camp also. I, for one, is still on the job of looking for SJ songs ……meanwhile I am shouldering some of MM’s midas touch songs which will be followed next by Roshan’s songs.

    BETAAB DIL KI TAMANNA YEHI HAI – HANSTE ZAKHAM 1973 – MADAN MOHAN – LATA ……स्वाधीनभर्तृका
    https://www.youtube.com/watch?v=th_lcycpQIs

    Main to tum sang nain mila ke..Lata – …….….विरहोत्कण्ठिता

    https://www.youtube.com/watch?v=XQonGT4CbUo

    Mai Na Janoo (Ashiana 1952) – Lata Mangeshkar …. अभिसारिका
    https://www.youtube.com/watch?v=JYcVe3QPTxM

    Sapne Mein Sajun ki Do Batain… Lata Ji…….. विप्रलब्धा

    https://www.youtube.com/watch?v=KWFDNTBGCro

    mere piya se koi..Lata_Rajinder Krishan__Ashiana1952…विरहोत्कण्ठिता

    https://www.youtube.com/watch?v=AUxF6HomkS0

    ….to be contd.

  137. Kya baat hai, AK, you have outdone yourself with this article! I have come late to the party but let me try and make amends to the best extent I can by making some contributions. Here is the first one:

    Vaasakasajja: ‘Eri jaane na doongi’ by Lata, from ‘Chitralekha’ (MD – Roshan, Lyricist – Sahir Ludhianvi). Actually this is an adaptation of a popular ‘bandish’ in Raga Kamod.

    Why Vaasakasajja? Well, check out the following antara:

    अलकों में कुंडल डालो और देह सुगंध रचाओ
    जो देखे मोहित हो जाये, ऐसा रूप सजाओ
    आज सखी
    ध प म रे प, म प ध नि ध, प ध प प सां
    रे सा ध, प रे
    आज सखी पी डालूँगी
    मैं दर्शन-जल की बूँद-बूँद
    ए री जाने न दूँगी…

    (Text taken from https://hindilyricspratik.blogspot.com/)

    https://www.youtube.com/watch?v=YAC8web3tHw

  138. VirahotkanThita:

    1. ‘Eri aali piya bin’, the timeless cheez in Yaman/Yaman Kalyan, in which the ‘antara’ describes the lovelorn nayika spending a sleepless night counting the stars in the firmament while waiting for her lover to return.

    ‘Eri aali piya bin’ by Lata, from ‘Raag Rang’ (1952) (MD – Roshan, Lyrics – Traditional)

    https://www.youtube.com/watch?v=C4z2LXBAxQI

    2. Here’s another example of a virahotkanThita who has resorted to counting stars to pass the night. The raga is Bibhas of the Marwa thaaT and the composer is Sadarang.

    ‘Taarwa ginata ginata maiko raina gavaayi’, starting at 12:15

    https://www.youtube.com/watch?v=iLT8xoj-Wsw

  139. Khandita:

    The drut bandish in Shyam Kalyan/Ektaal (starting at 17:20) in this recording by the late singer-actress Jyotsna Bhole goes like this:

    Aise tuma kauna jaanaat ho
    Balma tum huma sanga
    Karata aisi chaturaayi

    Humse chupa chupa
    Sautan ghara jaavat ho
    Balma tum huma sanga
    Karata aisi chaturaayi

  141. Proshitabhartrka:

    The nayika anticipates that her vyapari-nayak will be itinerant soon in this song from Delhi 6

    ‘Sasural genda phool’, by Rekha Bharadwaj, Shraddha Pandit & Sujata Majumdar, from Delhi-6 (2009) (MD – A.R.Rahman & Rajat Dholakia, Lyrics – Prasoon Joshi)

    https://www.youtube.com/watch?v=nqydfARGDh4

    Read about the reason behind Rajat Dholakia (is he related to Dilip Dholakia?) getting joint credit for the music at this link:

    http://iamshoonya.blogspot.com/2009/02/here-is-why-sasural-is-like-genda-phool.html

  142. Have we missed a gem?
    Pardon me if it is already posted.

    PAKEEZA, 1972.

    Lata, Majrooh Sultanpuri, Ghulam Mohammad.

    Thade rahiyo O Banke yaar re..
    …
    …
    Thehro lagaye aaoon main kajra
    Choti mein goond aaoon phoolon ka gajra
    Main toh kar aaoon Solah Singar re..
    ….
    Bole chamcham payal nigodi…

    Vaasaksajja _ Abhisarika.

  143. Ashwinji @ 137 & 138, 139
    We were missing your participation. Thanks for those nice postings.
    I had prepared a list of Roshan’s Ashtanyikas. You have posted two of those songs. Both too good and my favourites.
    Sasural Gendha Phool another nice addition.

    Posting a Proshitbhartrika Nayika song
    Chanda Des Piya Ke Ja, Amirbai Karnataki, Bhartruhari (1944), music Khemchan Prakash
    https://www.youtube.com/watch?v=sp-aKIMjgCA

  144. Vaasaksajja _ Abhisarika.

    Two of them here!

    INSAAN JAAG UTHA, 1959.

    Asha Bhosle,Geeta Dutt; Shailendra,SDB.

    Jaanu jaanu ree kaahe khankaye tora kangna..
    …..
    Jhoome hai kaahe tora jhumka..
    …
    Kahan pe giree hai toree bindiya..
    …
    Baaje jab paon ki payaliya…

  146. Rahul Bhagwanji @134,

    Thank you for posting Khayyam’s Ashtanayikas. That makes it eight. S D Burman, C Ramchandra, Shankar-Jaikishan, Jaydev, Anil Biswas. Naushad, Madan Mohan &Khayyam.

    It is very heartening to see more members joining the discussion and posting songs.
    Both Pradeepji and Bhatiaji are old hand in this field. Mr.Joseph is giving them a good run for their money. All of them doing a great job, there may be a few wides and no balls or some mishits too. But they are part of the game.

    Posting a song of Khayyam- Virahokanthita

    Bujhaa Diye Hain Khud Apane Haathon, Suman Kalyanpur, Shagoon (1964), lyrics Sahir Ludhianvi
    https://www.youtube.com/watch?time_continue=255&v=s6dcGYXRNJ4&feature=emb_title

  147. Vaasaksajja _ Abhisarika.

    DAAG, 1973.

    Lata Mangeshkar, Minoo Purushottam & chorus; Sahir,LP.

    Nee main yaar manana ni
    Chahe log boliyan bole..
    ….
    ….
    Thirak rahi mere pair ke jhanjhar
    Chanak rahe mere chooda
    Ud ud jaaye aanchal mera
    Khul khul jaaye jhooda…

  149. AKji,
    Posting my bouquet of Roshan’s songs.

    Vasaksajja Sakhi Re Mera Man Uljhe Tan Dole, Lata Mangeshkar, Chitralekha (1964), lyrics Shakeel Badayuni
    https://www.youtube.com/watch?time_continue=12&v=wten_wHtynQ&feature=emb_title

    Virahokanthita Sari Sari Rat Teri Yad Sataye, Lata Mangeshkar, Aji Bas Shukriya (1958), lyrics Farooq Qaisar
    https://www.youtube.com/watch?v=RCROpQJw5Ag

    Bahe Ankhiyon Se Dhaar, Lata Mangeshkar, Hum Log (1951), lyrics Uddhav Kumar
    https://www.youtube.com/watch?v=7obRmY_WWik

    Svaadheenbhartrika – Chha Gaye Badal Nil Gagan Par, Mohammed Rafi & Asha Bhosle, Chitralekha (1964), lyrics Sahir Ludhyanvi
    https://www.youtube.com/watch?time_continue=161&v=9CEoLGUAI7A&feature=emb_title

    Abhisarika –

    Dil Jo Na Kah Saka, Vahi Raaz-E-Dil, Lata Mangeshkar, Bheegee Raat (1965), lyrics Majrooh Sultanpuri
    https://www.youtube.com/watch?time_continue=157&v=pml1NFGQ4bQ&feature=emb_title

    Sharaabi Sharaabi Ye Saawan Ka Mausam, Suman Kalyanpur, Noor Jehan (1968), lyrics Shakeel Badayuni
    https://www.youtube.com/watch?time_continue=33&v=wMRYEo5UNeg&feature=emb_title

    Khandita – Rahate The Kabhi Jinake Dil Men, Lata Mangeshkar, Mamta (1966), lyrics Majrooh Sultanpuri
    https://www.youtube.com/watch?time_continue=84&v=x2plQQ80x3k&feature=emb_title

    Vipralabdha- Yeh Kaisi Adayen Hain Unki Adayen Lata Mangeshkar,Raag Rang (1952),lyrics Kaif Irfani
    https://www.youtube.com/watch?v=0ctffBZ-xkc

    Proshitbhartrika –Kahi Dur Koyaliya Gaye Re, & Lata Mangeshkar, Baraati (1954). Raja Mehdi Ali Khan
    https://www.youtube.com/watch?time_continue=5&v=rs-JK7-877g&feature=emb_title

  150. NAVRANG, 1959.

    Asha Bhosle, Manna Dey; Bharat Vyas, C Ramchandra.

    Main albeli nayi naveli
    Aaj akeli aayee tere dwar Piya
    Saj Solah Singar…
    …..
    Kaari kaari kaari anshiyari thi raat
    Ek din ki baat..
    …
    ….
    Ek naar karke singar
    ….
    Chale us par jahan the uske Kisan Murar..

    Vaasaksajja. _ Abhisarika.

  151. Ashwin,
    Thanks a lot for your appreciation. You were one of the catalysts for the post by mentioning the Virahotkanthita Nayika left behind when you were posted abroad. This also embedded Proshitbhartrika.

    Roshan songs you have posted are outstanding. He is a great favourite of music lovers. Ae ri jaane na dungi is a very nice Vasaksajja song as you have explained. But many such songs also overlap into Abhisarika as Dr Shetty’s numerous examples show.

    Sasural genda phool has been my great favourites. Thanks for sharing the article from the blog ‘I am shunya’. It is very insightful.

  152. N Venkataraman ji,
    Why should Om Prakash Nayyar be missing?

    Khandita.

    AAR PAAR, 1954.

    Jaa jaa jaa bewafa
    Kaisa pyar kaisi preet re
    Tu na kisi ka meet re
    Jhooti tere pyar ke kasam.

    Virahotkantitha.

    MR & MRS 55.

    Geeta Dutt,Saroj Mohini Nayyar.

    Preetam aan milo…

    DHAKE KI MALMAL, 1956.

    C H Atma,Jan Nissar Akhtar.

    Deeya toh jala sab raat re Balam
    Par tum laut ke na aaye…

    KASHMIR KI KALI

    Phir thes lagi dil ko
    Phir yaad ne tadpaya
    Phir behne lage aansoo
    Dil dard se bhar aaya…

    BAAP RE BAAP

    Tum na aaye ghata gham ki chane lagi
    Rooth kar Chand raat jaane lagi…

    Multiple songs from PHAGUN.

  153. In the chhota khayal (starting at 27:32) in this presentation of Raga Bihagda by Ulhas Kashalkar, a virahotkanThita wonders how she will spend time now that her beloved has not arrived. The bandish was composed by Ustad Mehboob Khan who adopted the pen-name ‘Daras Piya’ and who was the father-in-law and one of the gurus of Ustad Faiyyaz Khan.

    ‘Raina dina kaise kate’

    https://www.youtube.com/watch?v=2qrxsvACByw

  154. AK@151

    In the case of my nayika, the virahotkanThita-ness and proshitabhartrika-ness are temporary states that invariably yield to the swadheenabhartrika-ness that is core to her character and underlies all the other nesses and bheds that she may display from time to time. As for me, I am the eternal adheen nayak, without an iota of dheer in me.

  155. Venkataramanji @149,
    I am coming to the conclusion that Virahotkanthita is a low-hanging fruit. If you ignore the colloquial expression, everyone gets it right. Roshan was among the great masters, and his Saari saari raaton teri yaad sataye and Bahe ankhiyon se dhar are among the top of the tops. In your list Sakhi ri mera man uljhe is a text book Vaasaksajja song. Abhisarika is also excellent. Thanks for posting Roshan bouquet.

  158. Swadheenabhartrika:

    One can say that the equivalents of thumri and dadra in Carnatic Music are padam and javali. Closely associated with dance, they are also sung at music concerts. The language used in these exquisite compositions is Telugu or Tamil. As would be expected, nayika bhedam is central to padams and javalis. But in one of the most celebrated padams – Ososi namadi – the protagonist is a man, who has been spurned by a woman who is evidently a swadeenabhatrika. The composer of this padam was Kshetrayya, a prolific composer. The rendition is by the celebrated duo of T.Brinda and T.Mukta, granddaughters of the legendary Veena Dhanammal, considered to be a musician’s musician.

    https://www.youtube.com/watch?v=k-k8ZTEAG0c

    The meaning of the text of the padam can be found here

    http://padamsandjavalis.blogspot.com/2012/03/ososi.html

  159. N Venkataraman ji @148;

    Thanks for liking the MM songs . When we listen to MM , for continuity we have to be ready with Roshan and Hansraj Behl master’s compositions as well. The pure class players of classical songs…here are a few from MM store.

    JA RE BADRA BAIRII JA RE JA RE -LATA-RAJINDER KRISHAN – MADAN MOHAN (BAHAANA 1960प्रोषितभर्तृका

    https://www.youtube.com/watch?v=TUphod2EKOs

    Lata Mangeshkar – Jiya Le Gayo Ji Mora Sanwaria – Anpadh (1962) स्वाधीनभर्तृका

    https://www.youtube.com/watch?v=Ty8Js132VZo

    Kadar Jane Na – Nimmi, Lata Mangeshkar, Bhai Bhai विरहोत्कण्ठिता

    https://www.youtube.com/watch?v=T76k9oCbLUg

    Mera Chhota Sa – Nirupa Roy, Lata Mangeshkar, Bhai Bhai अभिसारिका

    https://www.youtube.com/watch?v=OU7jJj64dn8

    ….to be contd.

  160. It would be a fitting tribute to the last women music director of some prominance in HFM – Usha Khanna
    Here is how she composed for some of the Ashtnayikas.
    Before that I must thank SOY in general & AKji in particular as the immensely thought provoking themes led me to search for, listen & enjoy number of excellent compositions I would have never thought of listening.
    1 Virahotkanthita
    Ek sunhari sham thi –
    Aao pyar Kare- Rajendra Krishna
    Sham to ab bhi wohi hai
    Rang hai Lekin juda
    Jane kis wadi mein apna
    Kafila gum Ho Gaya
    Phir hai Dil tanha mera
    Ek sunhari sham thi
    ( The song reminds me another hugely popular song
    Wo sham kuch ajeeb thi)
    https://youtu.be/X2wns34Xr9o
    2 Swadhin Bhartrika
    Ye teri saadgi ye tera baankpan- Shabnam –
    Javed Anwar
    Chaal me ye shokhiyan ya Nashik bijaliya
    Har taraf ye shor hai
    Gir padega Aasma
    Par teri khamoshi
    Allama , Allama
    https://youtu.be/DumjTa1BKJk
    3 Kalahantika
    Roothkar tum Bhala –
    Samay bada Balwan
    DN Madhok
    May well belong to Khandita
    (Yaad rakhana bahut dukh uthaoge tum)
    But the first two stanzas led me to classify it here
    https://youtu.be/dzAwuihy6v0
    4 Khandita
    Dil ne ek Bewafa se – Fareb – Asad Bhopali
    Hum samajhate rahe Jise Apna
    Isme gairon par Dil NISAR Kiya
    This is the key line which I feel supports the classification
    https://youtu.be/ZK6WMS7C9Ss
    5 Vipralabdha
    Ye Sham ki hawao – Ek raat – Jalal Malihabadi
    Ek Roz dekh Lena duniya me hum na hoge
    Tumko meri Wafa ka tab eitbar hoga
    https://youtu.be/R1SxwdK-S2E
    6 Abhisarika
    Apne Dil me jagah dijiye – Hawas – Sawankumar Tak
    I remember the article on SOY on OP’s influences on other MDs referring to Dil deke Dekho
    This may also have some influence of OP
    https://youtu.be/R1SxwdK-S2E

  161. Ashwin @157,
    Thanks for sharing Malabika Kanan’s Jhanan jhanan jhan is a quintessential Abhisarika. The poets imagined the sound of पायल or बिछुआ giving away the secret of the lady.

  162. 1)Mein piya teri…/Basant bahar/1956/SJ/Lata

    https://youtu.be/dFgE9Z63wa8⁰

    ABHISARIKA

    2) Paan kaye saiyan…/Teesri Kasam/1966/SJ/Asha

    https://youtu.be/zB3aGlSv95I

    VIRAHOTKANTITHA

    3) Yeh shaam ki…/Aah/1953 /SJ/Lata

    https://youtu.be/G2jsjAiXbZ8

    VIRAHOTKANTITHA

    4) Mera dil ab tera…’/DAAPP/1960 /SJ/Lata

    https://youtu.be/hg3SFk29Bao

    ABHISARIKA

    5) kaahe ko der lagayi ‘…/Daag/1952/SJ/Lata

    https://youtu.be/tWXhVcsrQJo

    VIRAHOTKANTITHA

    6)Man re tuhi…/Hamraahi/1963/SJ/Lata

    https://youtu.be/xKJefA9bfWs

    VIRAHOTKANTITHA

  164. Ashwin @158,
    Thanks a lot for the information about ‘Padam’ and ‘Javali’, and the link giving the meaning of Ososi. The woman must have been a ‘Swaadheenbhartrika’ in past, but what is the state of the man now? I see traces of विरहोत्कण्ठित and विप्रलब्ध. Did someone say Nayak Bhed? If you agree with me please try to post eight types of male mirror images. That will be some mitigation for posting Nayika Bhed on IWD.

  165. Rahul Bhagwanrao Muli @160,
    I am happy that my post has inspired the readers to come up with music director-wise list of Nayika Bhed songs. Your Usha Khanna list is very befitting for the occasion.

  167. AK @ 164,

    I think Nayak Bhed would be be best left to a psychologist or a psychiatrist!

    In the meanwhile, is the 1st antara of this song referring to a khandita or to a kalahaantarita pr to another type altogether ?

    ‘Chup chup khade ho’, by Lata & Premlata, from Badi Behen (1949) (MD – Husnlal Bhagatram, Lyricist – Qamar Jalalabadi)

    https://www.youtube.com/watch?v=-btaTuMDqbE

  168. AKji,
    Presenting Ashtanayika songs of CHITRAGUPT.
    First a few low hanging fruits (borrowing your parlance), – Abhisarika and Virahokanthita songs

    Abhisarika – Aankhon Ne Kaha Dil Ne Suna, Uma Devi, Bhakt Pundalik (1949), lyrics Chandrasekhar Pandey
    https://www.youtube.com/watch?v=jRLdYnWanas

    Aayi Piya Milan Ki Raat, singer ?, Veer Babruvahan (1950), lyrics Anjum Jaipuri
    https://www.youtube.com/watch?v=IarD9ucPZko

    Balamaa Mane Na, Bairi Chup Na Rahe, Lata Mangeshkar, Opera House (1961), lyrics Majrooh Sultanpuri
    https://www.youtube.com/watch?v=j2zi19WKpow

    Jane Kaise Kaise Ho Ji Tum, Geet Dutt, Basre Ki Hoor (1956), lyrics Shewan Rizvi
    https://www.youtube.com/watch?time_continue=117&v=SpMizBLqR8Y&feature=emb_title

    Dekho Ji Chand Nikla Pichhe Khjoor Ke, Asha Bhosle, Alibaba Aur 40 Chor (1954), lyrics Raja Mehdi Ali Khan
    https://www.youtube.com/watch?v=_xBHt3dPXCE

    Virahokanthita – Ujad Gaya Sansar, Parul Ghosh, Bhakt Pundalik (1949), lyrics Kamla Kant
    https://www.youtube.com/watch?time_continue=3&v=JO_nE5l_RIg&feature=emb_title

    Tum Nahi Aaye Wada Kar Ke Sanwariyaa, Lata Mangeshkar, Jai Shree (1956), lyrics Gopal Singh Nepali
    https://www.youtube.com/watch?time_continue=100&v=VpUz35HLAtU&feature=emb_title

    Wo Rut Badal Gayi Wo Tarana Badal Gaya, Geeta Dutt, Jadui Ratan (1947)
    https://www.youtube.com/watch?time_continue=70&v=ukM1-LcB7lA&feature=emb_title

    Svaadheenbhartrika –
    Can there be any better devoted lover? Tera peechha na chhoduga sonyie.
    Prem Ke Tange Pe Mai Ud Jau, singers ??, Tigress (1948), lyrics C M Hunar
    https://www.youtube.com/watch?v=7R1a4FMZoUM

    Abhi Na Fer Najar Jindagi Sawar To Le, Md.Rafi,, Biradari (1966), Prem Dhawan
    https://www.youtube.com/watch?time_continue=113&v=664D75glAlY&feature=emb_title

    laal lal hotwa se barse lalaiya, Talat Mahmood & Lata Mangeshkar, Laagi Nahin Chhute Ram (1963),lyrics Majrooh Sultanpuri
    https://www.youtube.com/watch?v=OG9v7fXEreI

    Vipralabdha-Ae Bewafa Ye To Bata Kya Hai Meri Khata, Geeta Dutt, Captain Kishore (1957), lyrics Tanvir Naqvi
    https://www.youtube.com/watch?time_continue=108&v=1pO7Tp-O5NQ&feature=emb_title

    Jao Rasiya Hato Jao Rasiya, Kasam Jhuthi Khake Na Jalo Re Jiya, Lata Mangeshkar, Usha Mangeshkar, Kal Hamara Hai (1959), Lyrics Majrooh Sultanpuri
    https://www.youtube.com/watch?time_continue=128&v=-M0Op2l-7xQ&feature=emb_title

    Khandita- Jaaiye Hamase Kafaa Ho Jaaiye, Lata Mangeshkar, Chalbaaz (1958), Yogesh
    https://www.youtube.com/watch?time_continue=53&v=FEuST8D2TRU&feature=emb_title

    Proshitbhartrika – Chanda Bata Jaa Re, Geeta Dutt, Veer Babruvahan (1950), lyrics Anjum Jaipuri
    https://www.youtube.com/watch?v=i0uU8bSaGjo

    Requires some stretching to fit the following songs with the stated categories
    Kalahantarita
    Chalo Hum Babul Ke Tale, Thandi Thandi Hawa Hame Pankhe Jhale, Md.Rafi & Shamshad Begum, Alibaba Aur 40 Chor (1954), lyrics Raja Mehdi Ali Khan
    https://www.youtube.com/watch?time_continue=163&v=1R_NbkFubJQ&feature=emb_title
    Kalahantarita or Khandita Nayika?
    Phir Chahe To Na Aana, Rajkumari, Beqasoor (1950), lyrics Arzoo, Lakhnavi
    https://www.youtube.com/watch?time_continue=241&v=K2gDffYuhSI&feature=emb_title

    Vaasaksajja
    Kar Le Ri Solah Singar Balam Tora Chail Chabila Ri, Shamshad Begum & Lata Mangeshkar, Zindagi Ke Mele (1956), Zindagi Ke Mele (1956)
    https://www.youtube.com/watch?v=H7VXVBSHeZo&feature=emb_title

  169. There is a bada khayal in Raga Bhoop whose text is as follows:

    Sthaayi: Ab maan le ri pyaari preetam ki batiyaan jaaso badhe tero gyaan
    Antara: Hat ki hateeli, maanat naahi, ji na karo itno gumaan

    We are dealing with a proud swaadheenabhatrka here.

    Unfortunately, I could not find a recording of a rendition of this khayal. If I do, I will surely post it.

  171. Venkataramanji @168,
    Some of my great favourites you have posted, such as Balma maane na (Abhisarika) and Jao rasiya hato jao rasiya (Vipralabdha). Perfect fits. Thanks also for reminding me of the nice parody song Prem ke taange pe ud jaaun, you have hit the nail on classification. Chalo chalo chalein hum babool ke tale is a delightful song, rarely heard. It fits quite well. Phir chaahe to na ana…Chale jaiho beards main roye marungi from Beqasoor (1950) is a very nice mujra song, it can fit in both Khandita and Kalahantarita nayika. I mentioned that one is the more aggressive form of the other, so there is a continuum. However, it is an Anil Biswas composition.

  172. AKji @ 171,
    I am glad that you liked the songs. And I know Chitragupt is one of your favourite MDs.
    Sorry for the goof up. The song was in my list and thought of posting it later,somehow got mixed up.

    Moving away from the yore and yonder, here is a song from the present millennium.
    At first the nayika appears to be Virahokanthita but seamlessly merges into Abhisarika. But later(from 02:10-02:20), we can find a Vasaksajja too.

    Jagave Sari Raina, Nigode Do Nainaa, Rejha Bhardwaj (with Birju Maharaj), Dedh Ishqiya (2014),lyrics Gulzar, music Vishal Bharadwaj
    https://www.youtube.com/watch?v=E-VxmcdaGPE

  173. Rahul Bhagwanrao Muli @160, N Venkatraman ‘jis@168;

    Both of you seem to have found mines of gold and gems that glitters on easy listening. SoY has really been capital investments in fields of golden era songs….but your exploration and excavation of mines delivered us all of the hidden gold. Now what name shall I give to that Gold….I have to think hard….but not the Mackenna’s Gold !

    Continuing with listening and will be back with random picks which are melody oriented songs.

  174. Ak ji;

    Some random picked songs which covers sad and happy life…with sandwich of love.

    un aankhon mein neend kahan..Lata_Rajinder K_Madan Mohan विरहोत्कण्ठिता

    https://www.youtube.com/watch?v=FSh_uEvo4Jg

    sitaare raah takte hain..Lata_Jan nisar Akhta_N Dutta विरहोत्कण्ठिता

    https://www.youtube.com/watch?v=ZTsMOsLdBDk

    Na Jane Kaun Ye Aawaz Deta Hai – Asha Bhosle @ Punar Milan…[ ?]

    https://www.youtube.com/watch?v=U0TldLrgkWw

    Black Cat (1959)-Main Tumhi se Puchhti Hoon (Lata Mangeshkar & Mohd. Rafi) स्वाधीनभर्तृका

    https://www.youtube.com/watch?v=sLJsynok8ko

    Ae muhabbat meri duniya Bees sal bad Lata Shakeel badayuni… विरहोत्कण्ठिता

    https://www.youtube.com/watch?v=JSoimHpvYhg

    ….to be contd.

  176. Venkataramanji @172,
    Jagaave sari raina – what an observation. I am delighted, yes three Nayika types. Madhuri Dixit is a trained dancer and she must be thoroughly familiar with theory. It is clear that under the supervision of Pt Birju Maharaj she is demonstrating this through Bhaav.

  177. Here is a nayak who is battling insomnia. I wouldn’t call him a virahotkhanTit but whatever the Sanskrit term is for a jilted suitor.

    ‘Poocho na kaise maine rain bitaayi’ by Manna Dey, from ‘Meri Soorat, Teri Aankhen’ (1963) (MD – S.D.Burman; Lyricist – Shailendra)

    https://www.youtube.com/watch?v=0vh8_1ruoRo

  178. AKji @158
    Nayak bhed
    There cannot be a better example of mirror image of Khandita than this
    Mere Dushman tu meri Dosti Ko tarase
    Where Anand Bakshi has expressed the simmering rage of Nayak in such punishing words
    Tu phool bane patjhad ka tujhpe bahar na aaye kabhi
    And what effectively Rafisaab has expressed that rage !

    https://youtu.be/ClOyNlOzBRQ

  179. Ashwin,
    I hope your Nayak is taking medical help for sleep apnea. Instead the fellow seems to think singing will cure him of the disease. To your poser, a close word should be परित्यक्त.

  180. Rahul Bhagwanrao Muli,
    That is a Khandit Nayak with a vengeance. Nice one. The classic Khandita Nayikas were never vengeful.

  181. AKji
    Yes this is a vengeful song & khadit nayikas were never like that.
    But I am afraid that has been our tradition . There are examples galore in our mythology where characters both common & elite had to bear the brunt of a curse throughout their lives & most of the times they were cursed by rishis & Moonies who were male.
    We worship Durga but will not wish to face her , we will rather be with Sita.
    Anyways if one wants a little milder Khandita Nayak , here he is
    Mere Mehboob kayamat hogi
    https://youtu.be/yIzCBU0_LyY
    He just goes to the extent of
    Meri tarah to sage bhar
    Tu bhi kisise pyar Kare-
    Aur rahe wo tujhse pare
    Interestingly it is again Anand Bakshi expressing this version.

  182. This chota khayal in Raga Bihag is about a bevy of vasakasjjas on their way to meet Lord Krishna.

    Sthaayi: Saba sakhiyaan chalo prabhu ke darasana
    Dhana dhana bhaaga suphala hota nayana
    Antara: Sola singaara sajo ati sulachhana
    Kusuma sugandhita hararanga subasana
    Giridhara prabhu ke charanana arapana
    Aaja karo apano tana mana dhana

    Raga Bihag by Nagaraj Havaldar

    https://www.youtube.com/watch?v=xGHo6heMoFU

  183. Rahul Bhagwanrao Muli,
    From Khandita Nayika to Khandit Nayak to mythological curses – this is impressive. This open new vistas for exploring songs with finer variations. Our curses were of many distinct types:

    1. Retributive punishment – For example, Krishna’s curse on Ashwathama, whose act was so vile and inhuman that this curse is in the nature of a just punishment.

    2. Impulsive anger – Durvasa’s most curses. In this case the curse giver was soon mollified, but since the curse could not be reversed entirely, the curse giver also suggested mitigating measures. Kunti’s curse on Krishna.

    3. Curses which were turned into larger good for the mankind – Curse on Vishnu to take several births on the earth (Avatars); Curse on the most mischievous of the Vasus, who had to live his life on the earth as Bhishma(other seven mild pranksters had immediate redemption as their mother Ganga drowned them in the river).

    4. Curse which turned to be a boon at an opportune moment – Urvashi’s curse on Arjun, which helped him during अज्ञातवास.

    5. Reciprocal curses – This happened when a person gives curse unfairly without verifying the full facts. The sanctity of the curse meant that even an unjust curse had to be accepted, but in turn the recipient would curse the giver who would accept it with full grace.

    While I was writing this I was also thinking if we could find songs befitting each type. Over to you and other bright music lovers of SoY.

  184. Pradeepji @152,
    Thank you for posting O P Nayyar’s melodies. You have covered two types. I will try to put up my list. Others too may come up with their lists. Let me give the links to songs posted by you.

    Khandita.

    AAR PAAR, 1954.
    Jaa jaa jaa bewafa
    Kaisa pyar kaisi preet re
    Tu na kisi ka meet re
    Jhooti tere pyar ke kasam.
    https://www.youtube.com/watch?v=HZ0-S5xrP9I

    Virahotkantitha.
    MR & MRS 55.
    Geeta Dutt,Saroj Mohini Nayyar.
    Preetam aan milo…
    The song occurs twice in the film, both near the end of the film. Virahokantitha, I find , is generally a temporary state, as evident in the following links.
    https://www.youtube.com/watch?v=3e1xChFiOBA
    https://www.youtube.com/watch?v=ON-3sDbIl6s

    DHAKE KI MALMAL, 1956.
    C H Atma,Jan Nissar Akhtar.
    Deeya toh jala sab raat re Balam
    Par tum laut ke na aaye…
    Well I accept this song as arepresentation of Virahotkantitha.
    https://www.youtube.com/watch?v=JWiUrCNPRdE

    KASHMIR KI KALI
    Phir thes lagi dil ko
    Phir yaad ne tadpaya
    Phir behne lage aansoo
    Dil dard se bhar aaya…
    https://www.youtube.com/watch?v=MhifLHeqpTI

    BAAP RE BAAP
    Tum na aaye ghata gham ki chane lagi
    Rooth kar Chand raat jaane lagi…
    https://www.youtube.com/watch?v=NWxGrfHak-E&feature=emb_title
    Thanks once again for OPN’s songs.

  185. I HOPE THERE ARE NO REPETITIONS

    1)chori chori aag…/Dholak/1951/Shyam Sundar/Sulochana Kadam

    https://youtu.be/6znPRi3s6UE

    VIPRALABDA

    2) Mera Sundar sapna beet…/Do Bhai /1947/SDB/Geeta

    https://youtu.be/0Wqjwx9a6QM

    VIPRALABDA

    3) Badli teri nazar …’/Badi bahu/1951/Anil Biswas/ Lata

    https://youtu.be/AxkmHBhMOns

    VIPRALABDA

    4)Dheere chalo more saiyyan…/Flat no.9/1961/Usha Khanna/Lata

    https://youtu.be/8pf2XzyMF8Q

    SWADHEENBHRTRUKA

    5)Beimaan tore naina…/ Tarana/1951/ Anil Biswas /1951

    https://youtu.be/Tw73HNzWuHQ

    SWADHEENBHRTRUKA

  193. Ashwin,
    ‘These boots are made for walk-in’ is a nice example of different types overlapping. Very perceptive observation – Vipralabdha turned Kalahaantarita turned Khandita.

  194. Bhatiaji @ 173, 174 & 175,
    Thank you for your appreciation. We are all like the Riders of the Lost Arc.
    Nice selection of Virahokanthita songs. Main Tumhi se Puchhti Hoon is an apt Svaadheenbhartrika song.
    I noticed a question mark against the song Na Jane Kaun Ye Aawaz Deta Hai ?
    What is it for, MD, type of Nayika?
    The MD was C ARjun and the Nayika seems to be Abhisarika. And the lyrics were by Indeevar.

    Ulfat ki nai manzil ko chala by Iqbal Bano is an wonderful song. Thanks for posting it. It is definitely a Virahokanthita type. Probably Iqbal Bano rendered it for the Pakistani film Qatil (1955).

    Chaah Karni Thi Chaah Kar Baithe, a Virahokanthita song, is also a good addition.

    Posting a mood changer from Chitragupt’s collection.
    Mai To Chalu Rumjhoom Payal Bole Chhum Chhum, Asha Bhosle, Navratri (1955), lyrics Gopal Singh Nepali
    https://www.youtube.com/watch?time_continue=69&v=QG4T44hrv9U&feature=emb_title

  195. AKji, Bhatiaji,
    Music director Kanu Roy composed music by and large for Basu Bhattacharya’s film. Initially he assisted the maestro Salil Chowdhury. He worked as MD in few films, hardly half a dozen or so. But his contribution is very significant.

    Even from his limited repository I could extract some wonderful songs befitting the theme.

    A doting amorous couple, cannot be anything but Svaadheenbhartrika. The lyrics, music, rendition and picturisation all top class.
    Mujhe Jaan Na Kaho, Meri Jaan, Meri Jaan, Geeta Dutt, Anubhav (1972), lyrics Gylzar, music Kanu Roy
    https://www.youtube.com/watch?v=F6FkVPOMtvM

    Another Svaadheenbhartrika song and a delightful one too.
    Amar (Sanjeev Kapoor) and Mansi (Sharmila Tagore) are beautiful but ordinary couple. Theirs is not a marriage of conflict. They share an easy chemistry evidenced in the opening sequence where Amar and Mansi are engaged in a proximate moment. Side by side we are witness to another young newly married couple’s (Dinesh Thakur & Sudha Chopra?) amourous intimate romance.

    It is in this finely drawn scene that Amar ends up telling Mansi, that even as fresh as their love is now, they will one day go on a honeymoon to rekindle it. When Mansi expresses surprise at the thought of boredom, Amar explains, “Hota hai Mansi, sabke saath hota hai. Saath saath rehte rehte sirf pass reh jaata hai. Saath dheere dheere kam ho jaata hai! …Tum dekhna Mansi, yeh jo aaj ki aanch hai na, yeh dheere dheere kam ho jaayegi!”
    Boliye Surili Boliya, Sulakshana Pandit & Bhupinder, Griha Pravesh (1980), lyrics Gylzar, music Kanu Roy
    https://www.youtube.com/watch?v=EwyXMvJtwEU&feature=emb_title

    Basu Bhattachary once again creates a situation for the Svaadheenbhartrika to emerge. And Kapil Kuma & Kanu Roy creates another melodious number for Asha Bhosle.
    I think the song occurs in two parts in the film. First the film version where the audio version is very faint in the initial stages later (from 00:59) it become normal.
    Naina Hain Pyase Mere, Pyasa Hai Pran Mera, Asha Bhosle, Aavishkar (1974), lyrics Kapil Kumar
    https://www.youtube.com/watch?v=SDsFRAjksW8
    The full audio version
    https://www.youtube.com/watch?time_continue=8&v=jkC6z8hvxr4&feature=emb_title

    In the next song, Basu Bhattacharya, Gulzar, Kanu Roy and Geeta Dutt combine to create a Abhisarika –
    Mera Dil Jo Mera Hota Palko Pe Pakad Leti Hotho Pe Utha Leti, Geeta Dutt, Anubhav (1972), lyrics Gylzar, music Kanu Roy
    https://www.youtube.com/watch?v=TAF9Bi5neq4

    Vaasaksajja – The song “Pehchaan to thi, pehchaana nahi, maine apne aap ko jaana nahi” plays in the background while Manasi (Sharmila Tagore) dresses up. She hasn’t dolled up in a while. The scene is a fitting tribute to all the homemakers, who seem to forget about their gorgeousness, burying their beauty under all the duties and responsibilities of the household. A perfect modern day Vasaksajja

    Pahachaan To Thi Pahachaanaa Nahin Mainne, Apane Aap Ko Jaanaa Nahin, Chandrani Mukherjee, Grihapravesh (1980), lyrics Gulzar
    https://www.youtube.com/watch?time_continue=22&v=xxtapW4CvAA&feature=emb_title

    To which category the following song belongs?
    Shashi Bhushan (Dinesh Thakur), Meeta’s (Tanuja) old flame, re-enters her life. And she is ill at ease. The song is in the background.
    Koi Chupke Se Aake, Geeta Dutt, Anubhav (1972, lyrics Kapil Kumar
    https://www.youtube.com/watch?v=NYVm3j8sTuA

  197. Ashwin Bhandarkar ji @187 onwards. ;

    Its a good break to turn to songs on the other side of the globe. In between the flooding of songs of hindi films we forgot the International woman’s Day !

    The strength of one’s relationship is determined more by compatibility in the difficult times…….. right measure of unhappiness and dissatisfaction with life are common factors that create incompatibility leading to instability in living relationship. Right of equality is best oriented when Man and Woman stand for each other in happy and difficult times…..otherwise the children are worst sufferers .

    Yes ….Prayers do make all light and if one truly follows the meanings of prayers ……the life ahead gets a booster with confidence . So love your life as you love your wife. Pair of arms are made for such purposes !!

    Some related songs for which I think no categorization is required.

    One day at a time (lyrics)….a womans prayer….

    https://www.youtube.com/watch?v=fBnZ8bmEOTM

    Tammy Wynette – Stand By Your Man (with lyrics)

    https://www.youtube.com/watch?v=U48VjCJkowE

    Nobody’s Child -karen Young

    https://www.youtube.com/watch?v=bs9Lt1QEyLA

    ….to be contd.

  198. Venkataramanji @196, 197,
    My compliments for your scholarly exposition. Vasaksajja ‘Pahchan to thi pahchana nahin, maine apne aap ko jana nahi’ is a nice one. We don’t get many songs of this type. ‘Koi chupke se aake’ – if we have to put in one of the categories, it can only be Abhisarika. One has no control on desires and it is not bound within the societal norms of propriety. An ‘Atmospheric song for a Surrogate Abhisarika Nayika’.

  199. AKJi @171
    I am watching with absolute awe the dexterity with which you are generating themes & categories (In fact you seem to be ambidextrous)
    It is working almost like a Fibonacci series.
    As regards theme of curses one has to delve really dip into HFM to find songs appropriate for themes envisaged by you.
    Here is what I feel appropriate for different themes
    1 Curse that turns into boon
    (Sr no 4)
    Tumhari Nazar kun khafa ho gayi – Do kaliya
    “Saja mein bhi ek pyar ka Silsila hai”
    https://youtu.be/0aMYlPkoXEE
    2 Impulsive curse
    (Sr no 2)
    O mere Sona re – Teesri Manzil
    https://youtu.be/ydx_LBee4lQ
    “Tadapaogi kuch aisi ke surkhi Labo ki utar hayegi
    Ye sada tum bhul na Jana
    Pyar Ko thokar mat vlagana
    Chala jaaunga phir main Na Jane kaha”
    3 Retributive
    (Sr no 1)
    Gujare hai aaj Ishq mein –
    DDDL
    https://youtu.be/whcA7xsTg_I
    ” Wakif hai hum bhi khoob
    har ek intaquam se ”
    4 Curses which turn into larger good (Sr no 3)
    Jagat bhar ke Roshani ke liye
    – Harishandra Taramati

    https://youtu.be/0u-wW3E4jXc
    5 Reciprocal curses (sr no 5)
    Though the characters are not explicitly doing so I feel that there is innate feeling of cursing each other in the iconic twin song from guide
    Mose chal kiye jaye
    Kya se kya Ho Gaya
    https://youtu.be/4y52qV_S2ns

  200. AKji, Pradeepji,
    My selection of O P Nayyar songs.
    Pradeepji had mentioned Phalgun. I have included two from Phalgun.

    Virahokanthita.
    Chain Se Hamako Kabhi, Aapane Jine Naa Diyaa, Asha Bhosle, Pran Jaye Par Vachan Na Jaye (1974), lyrics S H Bihari
    https://www.youtube.com/watch?v=–ezf4RijNg

    Abhisarika –
    Piyaa Piyaa Na Laage Moraa Jiyaa, Asha Bhosle, Phagun (1958), lyrics Qamar Jalalabadi
    https://www.youtube.com/watch?v=Pm_EirG0fAM&feature=emb_title

    Abhisarika – Surrogate
    Ab To Ji Hone Laga Kisi Ki Surat Ka Samna, Shamshad Begum, Mr. & Mrs. 55 (1955), lyrics Majrooh Sultanpuri
    https://www.youtube.com/watch?v=-ZRFK_T4bRM

    Vipralabdha- Pradeepji posted it under Khandita
    Ja Ja Ja Ja Bewafa,Geeta Dutt, Aar Paar (1954), lyrics Majrooh Sultanpuri
    https://www.youtube.com/watch?v=ZKMYU2sTimk&feature=emb_title

    Khandita / Kalahantarita
    Chal Diye Banda Nawaz, Mohammed Rafi, Geeta Dutt, Mr. & Mrs. 55 (1955), lyrics Majrooh Sultanpuri
    https://www.youtube.com/watch?time_continue=18&v=WPgy08SNEIQ&feature=emb_title

    Svaadheenbhartrika
    Mai Soya Ankhiya Miche, , Md.Rafi & Asha Bhosle, Phagun (1958), lyrics Qamar Jalalabadi
    https://www.youtube.com/watch?v=1JsDbiY7qqk&feature=emb_title

    Now coming to the uncertain ones.
    Was trying to foist ithe following song as Proshitbhartrika type. What could it be?
    Ek Pardesi Mera Dil Le Gaya, Jaate Jaate Mitha Mitha Gham De Gaya, Md.Rafi & Asha Bhosle, Phagun (1958), lyrics Qamar Jalalabadi
    https://www.youtube.com/watch?v=nJe9dNb6HZ4&feature=emb_title

    Sharmila Tagore acted as Kiranmayi a courtesan from the Magadh era who supposedly returns to life to reclaim her lover, in the film Yeh Raat Phir Na Aayegi. Suraj (Biswajeet) goes gaga over this strange woman, whom he invites to anupcoming party.

    And Kiran turns up at the party. Professor Sahib (Prithviraj Kapoor) is stunned to see this woman dressed exactly like the statue of Kiranmayi at the excavated sitel. The jewelry ornaments,: the bracelets, necklace all looks the same as in the statue.
    The costume was designed by Bhanu Athaiya. Since her character Kiranmai was from another world, Bhanu Athaiya suggested an Amrapali costume for her which was teamed with exotic jewellery like chokers, dangling earrings and a bracelet that becomes an element in the storytelling.

    I am trying to pass off Kiranmayi as a Vasaksajja.
    Mai Shaayad Tumhaare Liye Ajanabee Hoo, Asha Bhosle, Yeh Raat Phir Na Ayegi (1966), lyrics S H Bihari
    https://www.youtube.com/watch?v=Kcn4X_SgkKM

  201. Rahul Bhagwanrao Muli,
    Thanks a lot. But I am also impressed that you are immediately taking up the new ideas and coming up with songs. The song for the curse for a larger public good is perfect. Impulsive curse also fits perfectly. In the other three there are different degrees of creative interpretation. But the important thing is that it is possible to find befitting songs for these micro-categories.

  202. Have learnt of Nayika bhed and the related classifications in Hindi film songs for the first time on SOY. So I had never looked at film music in this manner.

    Have not heard of any organised opposition ever to Nayika Bhed in film songs but women have protested on this SOY post . Why there was never any opposition in public to this Nayika bhed in film songs either from women or men ? Perhaps such issues have been taken for granted as this is very much part of the culture . Movies depict the popular culture . What corrections to social norms have been made on paper would not change things on the ground so fast. If at all any blame is to be attached for continuing with Nayika bhed in film songs , then Film producers , MDs ,Singers and all who have commercially exploited this theme and the society are answerable. Do not know if the Nayika Bhed in film songs is on the decline or would ever be removed.

    Perhaps some expert on Indian culture / sociologist may be able to throw more light on this Nayika Bhed in film songs .

  205. S Joseph,
    Frankly, ‘Nayika Bhed’ is mentioned in the context of classical arts, painting, dance and literature. In classical dance it is still a living tradition. I doubt if the term has been seriously used in the context of film songs. That was my light-hearted extrapolation on the occasion of Holi, hence my caveat in the beginning.

    Therefore, I found the serious objection to the theme quite odd. In that case you have to debunk a lot of traditions in Kathak, Odissi and Bharatntayam. We are mature enough to understand that we don’t mean disrespect to women. Let us not take ourselves too seriously, let us learn to be flippant and have fun at times.

  206. Jawahar,
    Welcome back. You have added very nice songs. O meri pransajni Champavati aa ja was in my shortlist of Swaadheenbhartrika songs along with Priye praneshwari, hridayeshwari, yadi aap mujhe aadesh karein to prem ka hum shriganesh karein.

  207. Vasant Desai….Lata Mangeshkar.

    TOOFAN AUR DIYA,1956.

    Meera Bai.

    Virahotkantitha.

    Piya te kahan kahan gayo
    Nehra lagaa aa aa…

    ARDHANGINI, 1959.

    Majrooh Sultanpuri.

    Vaasaksajja.

    Apne Sainya se naina ladai be
    Hamaar koi kaa kari hai..
    …
    Jhumka pahnoongi
    Darpan dekhoongi
    Bindiya mathe ki tan tan dekhoongi
    Akhiyan ki akhiyan mein kajra dei be…

  208. Very nice article!What a coincidence,as I was reading Gita Govinda too recently! I had compiled my own songs for Nayika Bedha. I think there is a finer shade in the Abisara nayika, where she wants to meet her lover secretly? Sahir captures this beautifully in the final antara here. There are different shades of the nayika here..

    https://www.youtube.com/watch?v=m8Ns-ytJ378

  210. Hi AK,
    Here was my list ..I had an exhaustive list,but cant seem to find it
    Vasakasajja ->piya aiso jiya mein
    Vasakasajja (“one dressed up for union”) or Vasakasajjika is waiting for her lover returning from a long journey
    Piya Aiso Jiya mein is the very best here…it was my choice too…Sajna hai mujhe sajna ke liye was another song,but as you know my focus is on pre-60’s

    Virahotkanthita

    Virahotkanthita (“One distressed by separation”) or Utka (as described by Keshavadasa) is the distressed heroine pining for her lover, who, due to his preoccupation, fails to return home.

    Choices –
    mil ja re jaan-e-jaana(benazir)
    tumhe yaad karte karte(amrapali)
    “meri veena tum bin roye”-(dekh kabira roya)
    mohe bhool gaye sawariya – (baiju bawra)

    Abhisara Nayika
    “cham cham ghunghroo”-(kaajal)

    स्वाधीनभर्तृका
    Would “Jaan-E-Bahar Husn Tera Bemisaal hai” qualify?

  213. Karthik @208,
    Thanks a lot for your appreciation. This theme is perfectly up your alley, but your blog has become dormant? छम छम घुंघरु बोले also has a fleeting touch of Virahotkanthita, पी बिन ऐसे तड़पे गोरी, बिन चंदा जिस तरह चकोरी.

    @209,
    Na rootho rootho is a perfect Khandita Nayika song. Thanks for posting it.

    @210,
    It must be hurting that you lost your list. Do come back if you find it. Since we have expanded the definition, Jaan-e-bahar husn tera bemisaal hai we are putting as Swadheenbhartrika song.

    @211,
    Excellent song Ae ri jaane na dungi.

  214. while searching for Nayika bhed i found this blog ,
    and it was so nicely written on the subject. As a student of Kathak dance your blog i found best among the materials i read during few years.
    my fav song for dance -piya aiso jiya me samaye gayo re from Sahib bibi gulam
    and thare rahio banke yaar re from Pakeeza
    thank you for giving so much of good informations
    https://swayamkath.blogspot.com/

  215. Gaurang Mishra,
    Welcome to SOY and thanks a lot for your generous praise. Coming from a practitioner you find the blog useful is very gratifying.

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