Lata Mangeshkar was the voice of bhakti; From Mohe Panghat Pe to O Paalanhaare, her most memorable bhajans-Entertainment News , Firstpost

When a loved one dies, people often turn to prayer for comfort. The pain does not disappear but the capacity to sit with it increases. How this happens can be difficult to explain, especially to people who are skeptical about prayer. Some things can only be felt; words struggle to capture the experience. The best that words can do is try, circle around, point a finger. If prayer is set to music and sung from the depths of the heart, tears flow like a river. 

Lata Mangeshkar’s devotional songs have this effect on me. She is the voice of bhakti. When I listen, my beliefs about matters such as creation, existence, and causation melt away. I become one with the faith and surrender that I hear in her words and the spaces in between. I think of prayer as a deeply felt wish for well-being, and freedom from suffering. These are some of the songs that I have been listening to ever since I heard about Lata Mangeshkar’s passing.

Vaishnav Jana Toh

This bhajan by the 15th century saint-poet Narsinh Mehta was particularly dear to Mahatma Gandhi. It was often sung during prayer meetings that he held at Sabarmati Ashram. Lata Mangeshkar was not the first person to sing it but she took it to newer audiences. Numerous schools all over India sing it in their morning assemblies. It speaks of the qualities that one ought to cultivate – feeling the pain of others, helping them, not coveting what belongs to others, being humble, not lying or disparaging anyone, and being respectful. Lata Mangeshkar sang this song at many concerts, and also recorded it for Universal Music.

Allah Tero Naam, Ishwar Tero Naam

This soulful bhajan sung by Lata Mangeshkar is from the film Hum Dono [1961], directed by Amarjeet. Sahir Ludhianvi wrote the lyrics, and Jaidev composed the music. Since the story is set during wartime, the character it is picturised on – played by Nanda – is praying for the gift of wisdom to remove the ignorance that has clouded human minds. She is with a group of women – wives, mothers, and sisters – all worried about the safety of men who have gone on the frontlines. 

The prayer is made to the protector of the universe who gives courage to those who are powerless. Nanda’s face is superimposed onto images of different places of worship. The impression it seeks to convey is that people may have different spiritual paths or belief systems but at the end of the day, what they want is the safety of their loved ones. 

Mohe Panghat Pe 

Picturised on Madhubala, this song is from K Asif’s period film Mughal-e-Azam [1960]. With his playful lyrics, Shakeel Badayuni manages to capture the love of gopis for their Krishna. “Naina se jaadu kiya, jiyara moh liya” is the sentence that sums up the essence of this song. One glance of their beloved is all that they care about and yearn for. Couched in amorous terms, this is a description of darshan which sends the devotee into raptures of delight. The song has been composed by Naushad, and Lata Mangeshkar’s voice is mesmerizing. 

Ek Tu Hi Bharosa, Ek Tu Hi Sahara

This piercing song from Rajkumar Santoshi’s film Pukar [2000] is an appeal for peace between warring nations. The lyrics were written by Javed Akhtar and Majrooh Sultanpuri. The music direction is by AR Rahman. Lata Mangeshkar appears on screen with a chorus of children singing, “Hey Ishwar Ya Allah Yeh Pukar Sun Le, Hey Ishwar Ya Allah Hey Daata!” 

This pukar is a plea being made to a universal force beyond religious divides because it is the only solace that the supplicant can trust in. She cannot bear the unnecessary loss of lives and the wasteful destruction of property. She is disturbed by the hatred that has poisoned human hearts, and longs for them to recall the lesson of love that they had once learnt and imbibed.

Thumak Chalat Ramchandra

This bhajan by Goswami Tulsidas, the 16th century saint-poet who composed Ramcharitmanas, was given a fresh lease of life by Lata Mangeshkar when she recorded it for Universal Music. The divine is celebrated in the form of a child. The devotee is enthralled by the sight of baby Ram in the royal household, wearing little anklets, and speaking sweet words. Instead of prostrating before the lord, the devotee showers him with indulgent, unbridled love.

Satyam Shivam Sundaram 

This is the title song of Raj Kapoor’s film Satyam Shivam Sundaram [1978]. Narendra Sharma wrote the lyrics, and the music was composed by Laxmikant-Pyarelal. Lata Mangeshkar has lent her powerful voice to Zeenat Aman, who is completely immersed in worshipping a Shiva lingam at the break of dawn. The intensity of her devotion can be felt by everyone in the village. Her singing draws them all to the temple, where they eventually join her in worship. 

Jago Mohan Pyaare 

Composed by Salil Chowdhury in Raag Bhairav, this song is from Shomu Mitra’s film Jaagte Raho [1956]. It was written by Salil Chowdhury, and picturised on Nargis Dutt. The deity is addressed in affectionate terms, like a family member who needs to be woken up early in the morning. It speaks of how the ritual performed in front of the deity must be accompanied by inner work – “Jisne mann ka deep jalaaya, duniya ko usne hi ujla paaya.” Lata Mangeshkar’s voice has both the gravitas and the melody that a song of this nature calls for.

Payoji Maine Ram Ratan Dhan Paayo

This bhajan comes to us from the 16th century saint-poet Mirabai, who compares the name of the lord to a precious jewel. She is filled with gratitude for the good fortune she has had. She views this as divine grace, which is a reward for her spiritual practice over many lifetimes. After earning this wealth, she is unimpressed by any worldly riches. The treasure that she has found is rare. Lata Mangeshkar’s magical rendition of this song has been recorded by Universal Music. 

O Paalanhaare

Written by Javed Akhtar, this song from Ashutosh Gowariker’s film Lagaan [2001] gives me gooseflesh. Lata Mangeshkar has lent her voice to Suhasini Mulay and Gracy Singh. A group of villagers form a cricket team to beat their colonial masters at the game. If they succeed, they will not have to pay taxes. They pray fervently to the formless one to liberate them from obstacles. 

Amidst all their hardships, it is only their unshakeable faith that keeps them going. The music has been composed by Rahman, and Lata Mangeshkar is joined by singer Udit Narayan. When I was going through the comments on this song on the SonyMusicIndiaVEVO YouTube channel, I was struck by this one: “I am a doctor doing COVID duty. This song gives me strength. There is one God, just different names.” There is nothing else that needs to be said.

Chintan Girish Modi is a freelance writer, journalist, and book reviewer.