Lata Ji's tribute to KL Saigal .. Nain Heen ko Raah Dekha Prabhu ...

(LYRICS, TRANSLATION & VIDEO)  This is an eternal Bhajan / Prayer for every person of any race, creed or religion. KL Saigal, sang it in his intense heart piercing voice for the movie Bakat Surdas. I feel, only sarswati Lata ji can bring the depth of feelings of the words expressed by Kundanlal Saigal. It reignites the flame of complete surrender to the Lord.

The great poet DN Madhok wrote this beautiful piece of poetry and the grand composer Gyan Dutt created this fabulous composition..

I have compiled this video keeping in mind the devotion of Meera ji to her Lord. 

                     
                                  LATA JI's tribute to K L Saigal .... by MukhtarSheikh
YOUTUBE

LYRICS WITH TRANSLATION:

Nain Heen Ko Raaha Dikha Prabhu! -2

(O! Lord, show me the right path; as I am visually impaired)

Pag-pag Thokar KhaauuN MaiN!

(I am stumbling at each step)

Nain Heen Ko Raaha Dikha Prabhu 

Pag-pag Thokar KhaauuN MaiN

Nain Heen Ko

Tumari Nagariya Ki Kathin Dagariya! -- 2

(The path to your place is very arduous)

Chalat Chalat Gir JaauuN MaiN, Prabhuu

(I am falling again and again, O! God) 

Nain Heen Ko Raaha Dikha Prabhu

Pag-pag Thokar KhaauuN MaiN

Nain Heen Ko Raaha Dikha Prabhu

ChahuuN Or Mere Ghor Andhera; Bhul Na JaauuN Duvaar Tera! -- 2

(There is darkness all around me; I may not forget your door)

Ek Baar Prabhu Haath Pakad Lo -- 3

(O! Lord, please hold my hand once)

Maan Ka Diip JalaauuN Main!

(So that I could light up the lamp of my heart)

Prabhu .................

(O! Lord ...............)

Nain Heen Ko Raaha Dikha Prabhu 

Pag-pag Thokar KhaauuN MaiN

Naeen Heen Ko

Nain Heen Ko Raaha Dikha Prabhu! -2

(O! Lord, show me the right path; as I am visually impaired) 

Pag-pag Thokar KhaauuN MaiN!

(I am stumbling at each step)

Nain Heen Ko Raaha Dikha Prabhu

Pag-pag Thokar KhaauuN MaiN

Nain Heen Ko

Tumari Nagariya Ki Kathin Dagariya! -- 2

(The path to your place is most arduous)

Chalat Chalat Gir JaauuN MaiN, Prabhuu

( I am falling again and again, O! God)

Nain Heen Ko Raaha Dikha Prabhu

Pag-pag Thokar KhaauuN MaiN

Nain Heen Ko Raaha Dikha Prabhu

ChahuuN Or Mere Ghor Andhera; Bhul Na JaauuN Duvaar Tera! -- 2

(There is darkness all around me; I may lose the way to your door) 

Ek Baar Prabhu Haath Pakad Lo -- 3

(O! Lord, please hold my hand once)

Maan Ka Diip JalaauuN Main!

(So that I could light up the lamp of my heart)

or I could enlighten (my mind) my heart.

Prabhu .................

(O! Lord ...............)

Nain Heen Ko Raaha Dikha Prabhu

Pag-pag Thokar KhaauuN MaiN

Naeen Heen Ko
MUKHTAR

Deena Nath Madhok : A Lyricist was most pivotal person of Bombay and Lahore film industries during 1940s. He was born in year 1902 in Gujranwala, Punjab, now Pakistan and died July 9, 1982 (age 80) in Hyderabad, Andhra Pradesh, India.

Gyan Dutt was born in Bangalore. He started his career with 'Ranjit Movietone', with whom he went on to do around 25 films between 1937 and 1943. Gyan Dutt worked closely with Timir Baran. At Ranjit, Gyan Dutt met Bulo.C.Rani too.

In 1940's Gyan Dutt went on to become one of the most successful composers. As soon as the year 1942 came, it was the turn of the movie which created a huge storm in India, 'Bhakt Surdas’.

Gyan Dutt and D.N. Madhok came together, then it surely produced music that proved to be a once in a lifetime experience for us. 'Madhukar Shyam Hamare Chor’ is based on raag 'Bhairavi', 'Nain Heen Ko Raakh Dikha' is based on raag 'Darbari' while 'Panchi Bawra Chand Se Preet Lagave' is based on raag 'Kedar'.

On 3rd December 1974, Gyan Dutt Saheb bid adieu to this mortal world, leaving behind a treasure of immortal melodies which enrich our hearts and which we cherish forever.

K L SAIGOL ... Kidar ji tells about an incident that happened during this time period. Juhu, the famous residential locality in Bombay, used to be a remote and deserted area, far from the city of Bombay. Some rich people had built bungalows there, and would go there once in a while only. One evening, during the production of Tansen and Bhanwara, a party of film people was held at one such bungalow in Juhu, near the sea. Saigal Saab and Kidar ji were also invited. The party was in full swing, when Saigal Saab seemed to become restless and anxious. He pulled Kidar ji to one side, and said ‘koi bhairavi gaa rahaa hai”, and motioned Kidar ji to follow him. In all the noise of the party, and with no apparent nearby source of such music, it was Saigal Saab alone who had picked up the faint sounds of someone singing, away from the bungalow. The two friends left the bungalow, and followed the sound. A fakir was sitting on the beach and singing. As Kidar ji describes, the fakir was in raptures, and was soulfully singing the famous ghazal of Ghalib, ‘Nukta Cheen Hai Gham-e-Dil. . .’. Saigal Saab sat down near his feet, and listened, with tears streaming from his eyes. When the singing ended, Saigal Saab paid his respects to fakir. He put his hands in his pocket, and placed all the money he had at the feet of the fakir.

When the two returned to the party, other friends enquired about their absence, and Kidar ji shared briefly what had transpired. And a friend commented, ‘But Saigal Saab, you had five thousand rupees in your pocket, did you not count the money’. Saigal Saab’s reply was, ‘Do you think He who gives to me, does He count’.