Song Title: Ba Hosh-o-Hawaas Main Deewana
Singer: Mohammad Rafi
Film: Night in London (1967)
Lyricist: Anand Bakshi
Music Director: Laxmikant Pyarelal
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English Translation of Lyrics
In full senses yet crazy, today I make my will
In full senses yet crazy, today I make my will
This heart, this life, may you receive them, for I love you truly
In full senses yet crazy
While I live, beloved, may all my belongings be yours
Those dreams I have seen, may you get the meaning of those dreams
For every desire I surrender, today I admit this wish
This heart, this life, may you receive them, for I love you truly
In full senses yet crazy
There is no sleep in my eyes, no thirst upon my lips
Everything has become yours, now nothing remains with me
You have taken everything from me, still I complain only to you
This heart, this life, may you receive them, for I love you truly
In full senses yet crazy, today I make my will
This heart, this life, may you receive them, for I love you truly
In full senses yet crazy
Note: Hindi readers should refer to the original lyrics, not the translated version.
In-Depth Song Analysis
Film’s Context
“Night in London” (1967) is a suspenseful Bollywood drama with romance and intrigue woven into its core, starring Biswajeet and Mala Sinha. The song “Ba Hosh-o-Hawaas Main Deewana” features at a pivotal emotional juncture where the hero, overwhelmed by love, bares his heart and soul. Mohammad Rafi’s heartfelt rendition amplifies the protagonist’s state of mind—he is rational, yet madly in love, ready to surrender everything.
Lyrical Quality & Alignment
Anand Bakshi’s lyrics excel in simplicity and poetic honesty, weaving the protagonist’s surrender and devotion into every line. The repetitive structure—“this heart, this life”—becomes both a refrain and a declaration of self-sacrifice. The lyrics fit perfectly within the film’s narrative arc: love as madness and as the purest form of gift, heightening the emotional impact for viewers.
Musical Composition Analysis
Laxmikant Pyarelal’s music blends elements of raga Pahadi and traces of Yaman, paired with the gentle rhythm of Keherwa taal (8 beats). The melody’s flow accentuates the emotion-laden, confessional quality of the song, while the orchestration is kept subtle, focused on creating an intimate, immersive mood. The chosen raag and taal accentuate the character’s sense of yearning and longing, matching the intensity and selflessness in the lyrics.
Initial Verse
Ba hosh-o-hawaas main deewana, ye aaj vaseeyat karta hoon (In full senses yet crazy, today I make my will): Mohammad Rafi’s opening phrases carry contemplative intensity. His vocal restraint underlines the coexistence of sanity and madness. The gentle vibrato and meaningful pauses convey the protagonist’s internal struggle and dignity as he lays his soul bare before his beloved.
Ba hosh-o-hawaas main deewana, ye aaj vaseeyat karta hoon (In full senses yet crazy, today I make my will): Reiterating the confession, Rafi’s voice grows softer, as if each word strips another layer from the character’s heart. Each syllable is infused with resigned acceptance, and the phrasing gives a meditative, almost prayer-like effect.
Ye dil ye jaan, mile tumko main tumse, muhabbat karta hoon (This heart, this life, may you receive them, for I love you truly): Rafi’s gentle crescendo makes the surrender total and convincing. Drawing out “dil” and “jaan” with warmth, he makes the act of giving feel sacred. The slight breaks in delivery mirror the natural hesitation found in moments of vulnerability.
Ba hosh-o-hawaas main deewana (In full senses yet crazy): The repetition closes the section, with Rafi’s tone softening further, a final echo of the inner tumult—a lover rational yet completely overwhelmed.
1st Stanza
Mere jeete jee yaar tumhe, meri saari jageer mile (While I live, beloved, may all my belongings be yours): Here, Rafi stretches “jageer” with loving authority. The delivery is steady, brimming with affection and self-effacement; every word feels like a signature on a will.
Woh khwaab jo maine, dekhe hain, un khwaabon ki, tabeer mile (Those dreams I have seen, may you get the meaning of those dreams): Rafi’s inflection rises on “khwaab” (dreams), sketching a mood of longing. He ends the phrase with soothing softness, imparting a sense of gentle hope that the beloved may realize what he himself only imagined.
Har ek tamanna ke badle, main aaj ye hasrat karta hoon (For every desire I surrender, today I admit this wish): He softens the “hasrat” (wish) with a breathy exhalation, transmitting honest regret and contentment; the overall effect is a confession made not with sadness, but with fulfillment in giving.
Ye dil ye jaan, mile tumko main tumse, muhabbat karta hoon (This heart, this life, may you receive them, for I love you truly): The vocal again dips to intimate and earnest, echoing that gift of selfhood which sits at the core.
Ba hosh-o-hawaas main deewana (In full senses yet crazy): The motif’s return wraps the stanza in gentle resignation—a feeling suspended between clarity and intoxication.
2nd Stanza
Meri aankhon mein neend nahin, mere hothon pe pyaas nahin (There is no sleep in my eyes, no thirst upon my lips): Rafi delivers these lines almost in a whisper, so the fatigue of love settles over every note. His slightly trembling delivery illustrates physical and emotional exhaustion—a lover who has surrendered his entire being.
Har cheez tumhaare, naam hui, ab kuch bhi, mere paas nahin (Everything has become yours, now nothing remains with me): Rafi’s tone drops further, pausing thoughtfully at “naam hui.” The emptiness conveyed through the phrase “ab kuch bhi mere paas nahin” (nothing remains with me) is mirrored in his restrained, almost echoing delivery.
Tumne to loot liya mujhko, main tumse shikayat karta hoon (You have taken everything from me, still I complain only to you): He balances pain and adoration; his voice rises at “loot liya,” signifying loss, but falls deliberately on “shikayat,” signalling only gentle reproach rather than bitterness.
Ye dil ye jaan, mile tumko main tumse, muhabbat karta hoon (This heart, this life, may you receive them, for I love you truly): The final refrain is sung by Rafi with total devotion and tranquil surrender—the heart’s last confession uttered in a tone both frail and everlasting.
Ba hosh-o-hawaas main deewana, ye aaj vaseeyat karta hoon (In full senses yet crazy, today I make my will): The return of the motif, voiced with profound peace, signals that the lover’s journey from reason to passionate madness is complete.
Ye dil ye jaan, mile tumko main tumse, muhabbat karta hoon (This heart, this life, may you receive them, for I love you truly): Rafi’s closing phrase is a lingering caress, embodying all the tenderness and fulfillment that unconditional love can bestow.
Ba hosh-o-hawaas main deewana (In full senses yet crazy): The last line fades softly, an eternal echo of heartfelt surrender.
“Ba Hosh-o-Hawaas Main Deewana” stands out as a masterful synthesis of poetic depth, musical finesse, and vocal brilliance. Anand Bakshi’s lyrics articulate love as an all-consuming surrender, using simple yet evocative language that resonates deeply with the listener. Laxmikant Pyarelal’s composition elevates these emotions through a delicate blend of raga Pahadi and Yaman, paired with the soothing rhythm of Keherwa taal, crafting a soundscape that mirrors the song’s themes of yearning and devotion.
Mohammad Rafi’s vocal delivery is a study in nuanced expression—his restrained yet passionate voice seamlessly conveys the tension between reason and madness, surrender and pride. Together, these elements produce a timeless song that beautifully captures the emotional complexities of love, leaving a lasting impact on both the film’s narrative and audiences alike.
~ Balwant S. Wadhwani