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\stitle{chiin\-o\-arab hamaaraa, hindostaa.N hamaaraa}
\film{Phir Subah Hogi}
\starring{Raj Kapoor, Mala Sinha, Rehman}
\singer{Mukesh}
\music{Khaiyyam}
\lyrics{Sahir}
% Contributor: Satish Subramanian (subraman@cs.umn.edu)
% Transliterator: Ravi Kant Rai (rrai@ndsun.cs.ndsu.nodak.edu)
% Credits: (BISMIL@DELPHI.COM)
%          Preetham Gopalaswamy (preetham@eng.umd.edu)
% Editor: Anurag Shankar (anurag@astro.indiana.edu)

% Bismil@Delphi comments :-
% This song is a very very clever take-off of Iqbal's Tarana-e-milli.
% Just to show what a clever parody this is of Iqbal, the first verse of
% Taraanaa-e-milli goes as follows:
% Chin-o-arab hamaara
% hindostaan hamaara
% muslim hai hum, vatan hai saara jahaan hamaara
% The real beauty of the first verse is that it turns around Iqbal's
% arguably communal and national hymn into a cry of of the oppressed and
% anguished that is neither communal nor chauvinist nor nationalist, but
% internationalist. Parts are also recognizable as being borrowed from
% Iqbal's hymn of INDIAN nationalism, "Taraana-e-Hind"
% Some of the references are easily identifiable, especially to Indians
% who know "saare jahaan se achha".
% e.g.  ae aab-e-rud-e-Ganga,
%      voh din yaad hai tujhko
%      utra tere kinaare jab kaarwaan hamaara?
% To which the parody goes "sarkon pe ghoomta hai ab kaarwaan hamaara"
% or the final line to "saare jahaan" which most people don't know, goes
% as follows:  "iqbal, koyi mehrum apna nahin jahaan mein,
%               ma'lum kya kisi ko, dard-e-nihaan hamaara"
% Here, of course, it is "milti nahin majoori,
%                        ma'lum kya kisi ko dard-e-nihaan hamaara"
% or, from taraana-e-milli, the line goes:
% - ae gulistaan-e-andalus, voh din yaad hai tujh ko
%  tha teri daliyon mein jab aashiyaan hamaara?
% contrast that with "footpaath bambai ke hai aashiyaan hamaara"
% Overall, it seems that the song takes a somewhat dim view of the lofty
% and grandiose nationalism of Iqbal by presenting some home-truths
% about real present day life.
c:in:-A:ð-Arb: hm:ara, ehnd:ðst:aú hm:ara
rhn:ð k:ð G:r n:hi hò, s:ara j:haú hm:ara
c:in:-A:ð-Arb: hm:ara . . .
K::ðl:i B:i eCn: g:I hò, b:ðnc:ðö B:i eCn: g:I hòö
s:_k:ðö p:ð G:Üm:t:a hò Ab: karv:aú hm:ara
j:ðb:ðö hòö Ap:n:i K:al:i, Vy::ðö dðt:a v:rn:a g:al:i
v::ð s:nt:ri hm:ara, v::ð p:as:b:aú hm:ara
c:in:-A:ð-Arb: hm:ara . . .
ej:t:n:i B:i eb:elRög:ðö T:iö, s:ðY:ðö n:ð b:aúX l:i hòö
fÙXp:aT: b:mb:I kñ hòö A:eS:y:aú hm:ara
s::ðn:ð k:ð hm: kl:ndr, A:t:ð hòö b::ðri b:ndr
hr Ok K::ðl:i y:haú hò raz:daú hm:ara
c:in:-A:ð-Arb: hm:ara . . .
t:al:im: hò AD:Üri, em:l:t:i n:hi m:j:Üri
m:al:Üm: Vy:a eks:ik:ð, ddü-O-en:haú hm:ara
c:in:-A:ð-Arb: hm:ara . . .
p:t:l:a hò hal:-O-Ap:n:a, l:ðekn: l:hÞ hò g:a`a
P:òl:ad s:ð b:n:a hò, hr n::òj:v:aú hm:ara
em:l:-j:Øl:kñ Es: v:t:n: k:ð, Oðs:a s:j:ay:ðög:ð hm:
hòrt: s:ð m:Øúh t:kñg:a s:ara j:haú hm:ara
c:in:-A:ð-Arb: hm:ara . . .

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