Rodevra Republic

Sahir Ludhianvi — poetry that questioned both society and silence

Aasmaan Pe Hai Khuda
Aur Zameen Pe Hum
Aaj Kal Woh Is Tarah
Dekhta Hai Kum...

At first, I felt that perhaps nothing more needed to be said. These lines are powerful enough to stand on their own, and sometimes poetry is best left to quietly settle within us.

But on second thought, they invite a deeper reflection.

To understand the full meaning of Sahir Ludhianvi’s thought, it helps to look at the complete context of the song. These lines are from the 1958 film Phir Subah Hogi.

Aasmaan pe hai khuda,
Aur zameen pe hum;
Aajkal woh is taraf dekhta hai kam.
Aajkal kisi ko woh tokta nahin,
Chahe kuch bhi keejiye, rokta nahin;
Ho rahi hai lootmaar,
Phat rahe hain bam,Z
Zindagi hai apne apne bazuon ke dum...

As the later lines reveal, the song is essentially a critique of society. Sahir wrote it when he was at his fiery best. His poetry during this period often reflected a deep social concern and a certain socialist angst.

The film appeared in the late 1950s, a time when the newly independent nation was filled with nationalist optimism. At the same time, there was also a growing sense of disillusionment among many intellectuals and artists who felt that the promises of independence had not fully translated into social justice.

In that climate, Sahir’s poetry found a powerful voice through cinema. As a lyricist, he was able to reach a wide audience and express these concerns with remarkable clarity.

Later in his life, especially after his unfulfilled relationship with Amrita Pritam, the tone of his poetry took a more introspective turn. The intensity remained, but the themes often shifted toward personal emotion and longing. One example of this phase is the song “Chalo Ek Baar Phir Se Ajnabi Ban Jaayein”, which we reflected on recently.

Interestingly, in Phir Subah Hogi itself there is another song where Sahir makes an equally telling comment on society.

In the film, Raj Kapoor’s character Ram is evicted by his landlord for failing to pay the rent. As he wanders through the city searching for a place to spend the night, the journey from park bench to pavement becomes a quiet commentary on the contradictions of the time.

The nation spoke proudly of its international friendships and ambitions, yet many of its own citizens remained homeless.

Sahir captures this irony in the memorable lines:

Few lyricists have combined poetry, social conscience, and cinematic storytelling as effectively as Sahir Ludhianvi.

One cannot help but notice that Sahir’s lines touch a deeper philosophical question that has troubled thinkers across cultures: if God exists, why does He remain silent in the face of suffering?

Perhaps the answer, hinted at in the song itself, is that the responsibility for justice has quietly shifted to human hands.