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آیئے مِہربان

aaiye mehrbaaN
aaiye mehrbaaN
Touch on each word to display its meaning
آیئے   مِہربان
Come, Kind One!
آیئے   مِہربان ،
بیٹھیے   جانِ جان
شَوق   سے   لیجئے   جی ،
عِشْق   کی   اِمتِحان
 [ all stanza x2 ]
آیئے   مِہربان  …
Come, kind one!
Sit down, dearest!
Take, Sir, for pleasure,
the test of love
[all stanza x2]
Come, kind one …
کَیسے   ہو   تُم   نَوجَوان ،
اتنے   حسین   مِہمان
 [ both lines x2 ]
کَیسے   کروں   مَیں   بیان ،
دِل   کی   نَہِیں   ہے   زُبان
 [ both lines x2 ]
What a youth you are,
such a handsome guest!
[both lines x2]
How shall I describe (this)?
(My) heart doesn't have a tongue!
[both lines x2]
آیئے   مِہربان ،
بیٹھیے   جانِ جان
شَوق   سے   لیجئے   جی ،
عِشْق   کی   اِمتِحان
آیئے   مِہربان  …
Come, kind one!
Sit down, dearest!
Take, for pleasure,
the test of love
Come, kind one …
دیکھا   مچل   کے   جِدَھر ،
بِجلی   گِرا   دی   اُدھر
 [ both lines x2 ]
کِس   کا   جلا   آشِیاں ،
بِجلی   کو   یہ   کْیا   خبر
 [ both lines x2 ]
In view that, after getting restive,
a lightning struck there
[both lines x2]
Whose nest it burnt,
what does the lightning know?
[both lines x2]
آیئے   مِہربان ،
بیٹھیے   جانِ جان
شَوق   سے   لیجئے   جی ،
عِشْق   کی   اِمتِحان
 [ all stanza x2 ]
آیئے   مِہربان  …
Come, kind one!
Sit down, dearest!
Take, Sir, for pleasure,
the test of love
[all stanza x2]
Come, kind one …

About this song

Singer
Asha Bhosle
Lyrics
Qamar Jalalabadi
Music
O.P. Nayyar
On screen
Madhubala, Ashok Kumar, K.N.Singh, Dhumal

jaa jaa re apne mandirvaa (Hindi: जा जा रे अपने मंदिरवा) "Go, Go to Your Temple, Dear!", is a classical bandish (composition) performed in the raga Bhimpalasi.

The composition was originally created by the legendary court musician Sadarang (Naimat Khan) during the reign of the Mughal emperor Muhammad Shah "Rangila" in the early 18th century (c. 1719–1749).

The lyrics express a lover's playful and affectionate plea, using the metaphor of a "temple" to refer to the beloved's home or heart. The singer alternates between longing, coyness, and gentle reproach, urging the beloved to either leave for their "temple" or stay and reveal their true feelings.

The song is a prime example of the khayal style, which Sadarang himself helped popularize. Its enduring beauty lies in the delicate interplay between the romantic lyrics and the meditative, melancholic tones of raga Bhimpalasi.

In modern times, the piece has been recreated and popularized by various contemporary artists, including a well-known version by Sniti Mishra released in July 2026, which brought this centuries-old classic to a new generation of listeners.