Songs of Synecdoche and Onomatopoeia

The CBSE syllabus for its Board examinations in English includes a topic ‘Poetic Devices’ or ‘Figures of Speech’. The common ones like simile, metaphor, irony, hyperbole  and oxymoron have entered our everyday vocabulary. But two sound very profound and scholarly: Synecdoche and Onomatopoeia. I start with a brief introduction before I come to the songs.

Synecdoche
‘Synecdoche’ is a figure of speech in which a part of something refers to the whole or vice versa. Without synecdoche it would be impossible to convey many expressions that are now part of everyday usage: After the humiliation in Afghanistan, USA is unwilling to put boots on the ground in another country. These days wars are not won by boots on the ground, but by technically advanced weaponry (‘Boots’ refers to soldiers).

India lost the ODI series to Australia 2-3 (the cricket teams refer to their respective countries). Mantralaya is not agreeable to the proposal (‘Mantralaya’ refers to the Maharashtra Government). A building to denote the authority or institution occupying it is so common that without synecdoche the language and speech would become very clumsy: Downing Street for the UK PM; Westminster for the British Parliament; White House for the American President; Kremlin for the Russian Government. Same with North Block; South Block; 7 Race Course Road (Indian PM’s residence; it has been renamed since, which is not as easy as 7RCR).

Coming to our films, remember Ek chutki sindoor ki keemat tum kya jaano Ramesh Babu? Or, when the two friends in Sangam toss Vyjayanthimala to each other – Isey tu le ja, Isey tu le ja – she bursts out in fury, Main is maang ke sindoor ka kya karun. Vyjayanthimala obviously means she is now a married woman. Sindoor can also be viewed as a metaphor denoting the institution of marriage. Some figures of speech are overlapping, an expression can fall in more than one category.

If that was an ambiguous example, remember DK Barooah? He has etched his name in history for his one poetic statement: “India is Indira, Indira is India”. He may not have heard of the term, but he has given a perfect example of ‘synecdoche’. In the current times, you would instantly recognise this raucous debate on TV prime time:

“You can abuse me, criticise the government policies, but do not insult the country on foreign soil. We will not let you enter the Parliament unless you apologise to the people of India.”

“Stop equating yourself with the nation.” In other words, people will see through your cynical use of synecdoche.

If you are curious how does one apologise to 138 crore Indians, such demands or offers of mass apologies are not uncommon in the political arena. Think of the British apology/regret for Jallianwala Bagh; Japanese apology to South Korea for ‘comfort women’ and their earlier serial apologies to different countries; New Zealand’s apology to Māoris; Australia’s apology to its Indigenous Peoples. The list is endless; all these involve some form of synecdoche – today it will be done by a tweet of a few words.

Onomatopoeia
Another technical term that leaves me awed and impressed by the things today’s school-kids learn is  ‘Onomatopoeia’. It refers to the words that phonetically sound like the meaning they want to convey. The first thing we teach our kids is: how does a cat scream, or a dog bark or a donkey bray, and the child crackles with joy as she reproduces ‘meaw’, ‘bhon bhon’, ‘dhenchu dhenchu’ and so on. In the alphabet we learnt ठ for ठठेरा, a perfect onomatopoeic word.

I tried to recall if there was a technical equivalent in Hindi for these two figures of speech. I don’t think there was one, but these have been used quite extensively in literature. Tulsidas describes the roar of clouds in the chaupaai: घन घमण्ड नभ गरजत घोरा. ‘Clickety-click’ for the sound of keyboard, ‘trnnnn’ for ringing of doorbell, टिक टिक टिक टिक for ticking of a clock are examples of onomatopoeia. Another very good example is the Shiv Tandav Stotra, written and composed by Ravan to please Lord Shiva. Tandav has various interpretations in mythology, but my interest is limited to the sound of the word and the Stotra. ताण्डव is itself an onomatopoeic word, sounding like the dance of fury of Lord Shiva. Or in everyday usage, turning the spiritual significance on its head: बदमाशों ने यहाँ ताण्डव मचा रखा है. Think of the sound of some verses of the Shiv Tandav Stotra:

जटाटवीगलज्जलप्रवाहपावितस्थले
गलेऽवलम्ब्य लम्बितां भुजङ्गतुङ्गमालिकाम् ।
डमड्डमड्डमड्डमन्निनादवड्डमर्वयं
चकार चण्डताण्डवं तनोतु नः शिवः शिवम् ॥१॥

जटाकटाहसम्भ्रमभ्रमन्निलिम्पनिर्झरी
विलोलवीचिवल्लरीविराजमानमूर्धनि ।
धगद्धगद्धगज्ज्वलल्ललाटपट्टपावके
किशोरचन्द्रशेखरे रतिः प्रतिक्षणं मम ॥२॥

धराधरेन्द्रनंदिनीविलासबन्धुबन्धुर
स्फुरद्दिगन्तसन्ततिप्रमोदमानमानसे ।
कृपाकटाक्षधोरणीनिरुद्धदुर्धरापदि
क्वचिद्दिगम्बरे मनो विनोदमेतु वस्तुनि ॥३॥

Something which is so common in everyday usage must be quite prevalent in our film songs. You may need to think for a moment, but there are quite a good number of them. Here are some well known songs falling under the two high-sounding figures of speech.

Synecdoche songs

1. Mera dil ab tera O saajna by Lata Mangeshkar & chorus from Dil Apna Aur Preet Parai (1960), lyrics Shailendra, music Shankar-Jaikishan

Meena Kumari has surrendered herself in love for Raj Kumar (the part ‘dil’ denoting her whole being). But professional propriety between a nurse and a patient inhibits her from expressing her feelings. This beautiful surrogate song comes to her rescue as she imagines herself to be dancing and singing to Raj Kumar who is dressed in all fineries. The infectious rhythm and the instrument arrangements must be the contribution of Dattaram and Sebastian D’ Souza.

2. Hothon pe sachaai rahti hai, jahaan dil mein safaai rahti hai, hum us desh ke vaasi hain jis desh mein Ganga bahti hai by Mukesh from Jis Desh Mein Ganga Bahti Hai (1960), lyrics Shilendra, music Shankar-Jaikishan

Here Ganga is not a mere river, but it refers to all the virtue, truth, honesty of the protagonist Raj Kapoor as well as his ‘desh’.

3. Tumhin mere mandir tumhin meri pooja, tumhin devta ho, tumhin devta ho by Lata Mangeshkar from Khandaan (1965), lyrics Rajendra Krishna, music Ravi

You are my temple; you are the deity I worship; you are the god, you are the god. Wow! Once upon a time there was the golden age when wives worshipped their husbands thus!  Is it a hyperbole or synecdoche? I mentioned overlapping figures of speech. Place it wherever you wish, but this is my favourite song that I often show to my wife with some subtle hints which she always brushes aside with contempt.

4. Jab zero diya mere Bharat ne….Hai preet jahan ki reet sada by Mahendra Kapoor from Poorab Aur Pashchim (1971), lyrics Indeevar, music Kalyanji-Anandji

The two current political adversaries are fighting a futile battle – we all know that Manoj Kumar was the original Bharat. He outdoes Raj Kapoor (JDMGBH) in synecdoche. Brahmgupta, if at all, gave zero in the 7th century. But showing that as Bharat’s contribution makes us all proud. Poorab stands for all that is virtuous, cultured, truthful with deep respect for family values in India. Pashchim, of course, stands for all that is vile, hedonistic and evil in the West.

Onomatopoeic songs

5. Thumak chalat Ramchandra baajat paijaniya (bhajan by Tulsidas), sung by DV Paluskar

The word ‘thumak’ in this eternal bhajan evokes the child Ramchandra’s first baby steps.

6. Jhanak jhanak payal baaje by Ustad Amir Khan from Jhank Jhanak Paayal Baaje (1955), lyrics Hasrat Jaipuri, music Vasant Desai

It is said that Vasant Desai had initially composed this song in Raag Darbari, but V Shantaram found it too courtly and he wanted something faster. Then Vasant Desai came up with this version in Raag Adana; and Ustad Amir Khan, though known for his slow, meditative singing style, sung this title song beautifully as only he could.

7. Jhan jhan jhan jhan payal baaje by Lata Mangeshkar from Buzdil (1951), lyrics Shailendra, music SD Burman

Jhan jhan is such a close onomatopoeic word for the sound of payal that we could find dozens of such songs and there could be an entire post on payal songs. A famous one, Janak jhanak tori baaje payaliya, sung by Manna Dey in Mere Huzoor (1968), is composed in Raag Darbari, which I mentioned above. Here is a classic sung by Lata Mangeshkar, composed by SD Burman in Raag Nat Bihag.

8. Jhan jhan jhan payal baaje by Ustad Faiyaz Khan (Raag Nat Bihag)

SOY regulars are aware that SD Burman sang an excellent Bengali version of this bandish in Nat Bihag, but he himself idolised the Aaftab-e-Mausiqui Ustad Faiyaz Khan, the doyen of Agra gharana. Let us enjoy the original Master singing this traditional bandish in Nat Bihag.

9. Tik tik tik tik chalti jaaye ghadi by Kishore Kumar, Asha Bhosle and Mukesh from Kal Aaj Aur Kal (1971), lyrics Neeraj, music Shankar-Jaikishan

This movie had the distinction of having three generations of Kapoors in it, the film’s allegorical title representing the three generations – Kal (past) for the Dadaji Prithviraj Kapoor, Aaj (present) for the Daddy Raj Kapoor, and Kal (future) for the grandson Randhir Kapoor. This was the last time SJ gave music for an RK film – this movie was directed by Randhir Kapoor though. Jaikishan passed away some time before the release of the film. This onomatopoeic song aptly signifies the flow of time.

10. Chun chun karti aayi chidiya by Rafi from Ab Dilli Door Nahin (1957), lyrics Shailendra, music Dattaram  

The best children’s songs are full of onomatopoeia, mimicking the voice of birds and animals. Chun chun karti aayi chidiya has birds, peacock, crow, monkey, mouse and bear who are part of the child’s life, taking part in various activities. Rafi is wonderful in singing this children’s song and mimicking different animals and birds.

11. Ye raatein ye mausam ye hansna hansana (NFS) by Pankaj Mullick, music Pankaj Mullick

How does this ultimte Pankaj Mullick figure here? Raag Durga (?) is not the only reason. These nights, these climes, these laughters and this merrymaking ooze romance to be enjoyed in solitude. You guessed right, next should come clouds and raindrops. The popular favourite is rimjhim: Rimjhim gire saawan; Rimjhim barse pani aaj more angana; Rimjhim ke taraane leke ayi barsaat; Jhilmil sitaaron ka aangan hoga/Rimjhim barasata saawan hoga, and so on. But Faiyaz Hashmi/Pankaj Mulick use the beautiful, more melodious Ye boondon ki rumjhum in the second stanza here:
……….
चमन में जो मिल के बनी है कहानी
हमारी मोहब्बत तुम्हारी जवानी
ये दो गर्म साँसों का इक साथ आना
ये बदली का चलना ये बूंदों की रुमझुम
ये मस्ती का आलम ये खोये से हम तुम
तुम्हारा..तुम्हारा मेरे साथ ये गुनगुनाना
मुझे.. भूल जाना, इन्हें ना भुलाना भुलाना भुलाना
ये रातें..

12. Ho umad ghumad kar aayi re ghata by Manna Dey and Lata Mangeshkar & chorus from Do Aankhen Baarah Haath (1957), lyrics Bharat Vyas, music Vasant Desai

Raindrops have several phonetic expressions. One English expression we all know is pitter patter of raindrops. Its closest Hindi equivalent टिप टिप has hardly any romantic possibilities. The rains have stopped, but the residual moisture in the air coalesces and falls on the leaves and other surfaces tip-tip. But everyone’s worst nightmare is tip tip sound in the night coming from the kitchen or toilet. You scramble to cover the leaking pipe with rags and put a bucket underneath to collect the waterdrops टिप टिप टिप टिप. If this nuisance sets your blood pressure racing and you start tearing your hair, take heart, plumbing is the greatest equaliser in the world – even the fanciest homes are not immune from leakage problems.

Hindi has several romantic onomatopoeic words to convey rains. When it is mild and the lovers are sitting together at the window, they savour the romantic bliss of rimjhim, or rumjhum as we just saw. When they are away, the pain of separation intensifies in saawan, and you have the same word in beautiful virah songs, Rumjhum barse baadarwa mast hawaayein aayin piya ghar aa ja, aa ja. Yet another situation is when the clouds burst quenching the thirst of the parched earth, making the entire people come out dancing in joy with drums and dholak to the robust sound of Ghanan ghanan ghan (Lagaan). My greatest favourite has long been Ho umad ghumad kar aayi re ghata. Its robustness in the voice of Manna Dey is counterbalanced by Lata Mangeshkar’s melody lip-synched by Sandhya, which is further enhanced by Sandhya’s string sound on ektara and the rhythmic toy-cart. (You might have noticed the difference between the two songs: One is sung in anticipation, this ends in disappointment. The other is sung when the event has taken place. However, there is a creative similarity in the masculine robustness counterbalanced by feminine softness.)

13. Baadarwa barsan laagi by Pt. Bhimsen Joshi (Raag Sur Malhar)

I end this post with Pt. Bhimsen Joshi’s superb rendering of this bandish in Sur Malhar with onomatopoeic references to cloudbursts, papiha’s wailing for piya piya, and falling of raindrops. We have earlier discussed Panditji singing ‘laagi’ instead of the correct ‘Baadarwa barsan laage’. There are some YT renderings, with the correct gendered verb, by Ustad Rashid Khan and Kishori Amonkar. But Bhimsen Joshi’s has long been my favourite.

Notes:
1. The uploader of the song #11 describes it as Raag Pahadi. Experts may please confirm.
2.I have used ‘Britain’ rather than the legal name United Kingdom. The readers would understand the context.
3. We have some SOY-regulars and fellow bloggers who are experts in language. I request Madhu, Anu and Anita to enlighten us wherever I am way off in my understanding.

Acknowledgement and Disclaimer:
The YouTube links have been embedded only for the listening pleasure of the music lovers. This blog does not claim any copyright over them directly or indirectly, which rests with the respective copyright holders.