Yaara seeli seeli

Yaara seeli seeli, birha ki raat ka jalna
Yaara seeli seeli, yaara seeli seeli
Ho, yaara seeli seeli, dhola seeli seeli
Yaara seeli seeli, birha ki raat ka jalna
Ye bhi koi jeena hain
Ye bhi koi jeena hain, ye bhi koi marna

Yaara seeli seeli, birha ki raat ka jalna
Yaara seeli seeli, dhola seeli seeli

Tooti hui chudiyon se jodun ye kalai main
Pichli galli mein jaane kya chhod aayi main
Tooti hui chudiyon se jodun ye kalai main
Pichli galli mein jaane kya chhod aayi main
Beeti hui galliyon se
Beeti hui galliyon se phir se guzarna

Yaara seeli seeli, dhola seeli seeli
Ho, yaara seeli seeli, birha ki raat ka jalna
Yaara seeli seeli, dhola seeli seeli

Pairon mein na saaya koi, sar pe na sai re
Mere saath jaaye na meri parchayi re
Pairon mein na saaya koi, sar pe na sai re
Mere saath jaaye na meri parchayi re
Bahar ujaada hain
Bahar ujaada hain, andar veerana

Yaara seeli seeli, o dhola seeli seeli
Ho, yaara seeli seeli, birha ki raat ka jalna
Yaara seeli seeli, dhola seeli seeli

Yaaraaaa, dholaaaa
Yaaraaaa, dholaaaa
Yaaraaaa, dholaaaa

Movie: Lekin (1991)

Director: Gulzar

Singers: Lata Mangeshkar

Lyricist: Gulzar

Music Composer: Hridayanath Mangeshkar

I feel like I must apologise for allowing Gulzar to monopolise my choices, but I shall not. I do not like to refer to myself as a fan of anyone, but I think for Gulzar I will make an exception.

This is another beautiful song that for me is an unmatched expression of desolation: the slow burn of the night of separation! Listening to the song is a more vivid experience for me than watching a video of it. My mind conjures up such clear images of despair and loneliness from the words: someone abandoned even by their own reflection. The tune of Hridayanath Mangeshkar (who I think I have heard very little of), with its use of the Indian fiddle, is an appropriate accompaniment to Lata Mangeshkar’s National Award-winning, haunting rendition. ~ R