नज़रियों से मार हमका जिला ले

'Nazriyo Se Maar Hamka Jila Le' is one of the ten documented songs from the 1941 film Swami, composed by Rafiq Ghaznavi with lyrics by Shatir Ghaznavi. The title is a playful romantic conceit — the lover's glance that wounds and revives in the same breath. The singer credit is not recorded in the available archives, so it is left blank pending verification.

The title 'Nazriyo Se Maar Hamka Jila Le' — 'Strike me with your glances and bring me back to life' — inverts the physical logic of violence through the nazar (glance/gaze) conceit that is central to Urdu romantic poetry. The beloved's glance is simultaneously a mortal wound and the only medicine: 'maar' (kill/strike) and 'jila' (give life/revive) in the same breath. The first-person 'hamka' (us/me — the Awadhi and older Hindi form of 'humko') gives the phrase its intimate regional colouring, the 'ham' of polite self-address adding deference to what is otherwise a bold flirtatious demand. Shatir Ghaznavi (1905–1971) was a lyricist and playwright from Peshawar with ancestral roots traced to Ghazni, Afghanistan — he took the pen-name 'Ghaznavi' to honour that heritage. His verses drew on the Pashtun and North Indian Urdu literary traditions, and this kind of nazar paradox — kill me so that I may live — was a standard conceit of the Peshawar and Lahore mushaira circuit from which he came. Rafiq Ghaznavi, the composer, shared the same 'Ghaznavi' pen-name and ancestry from Rawalpindi.

Swami (1941), directed by Abdul Rashid Kardar (A. R. Kardar) and also known in English as 'The Saint,' was a social-dramatic film starring Sitara Devi, P. Jairaj, Jeevan, Nazir, and Rajkumari. Music was composed by Rafiq Ghaznavi (1907–1974), a musician and actor born in Rawalpindi whose ancestral roots, like those of lyricist Shatir Ghaznavi, traced to Ghazni, Afghanistan — both used the 'Ghaznavi' pen-name in their work. Rafiq Ghaznavi went on to collaborate with Kardar on two more films in the following year: Society (1942) and Kalyug (1942). The lyrics for Swami were distributed among multiple writers: Tanveer Naqvi, Shatir Ghaznavi, Sahir (not Sahir Ludhianvi, but another Sahir), and Pandit Indra Chandra. 'Nazriyo Se Maar Hamka Jila Le' is attributed to Shatir Ghaznavi in the entity record. No playback singer is documented for this specific track.

Swami (1941) represents an early partnership between A. R. Kardar and Rafiq Ghaznavi that continued through Society (1942) and Kalyug (1942). Kardar went on to direct major films including Anmol Ghadi (1946) and Dard (1947) — the latter's soundtrack launched Mohammed Rafi as a playback singer. Rafiq Ghaznavi emigrated to Pakistan after Partition, where he continued his musical career. Shatir Ghaznavi similarly moved to Pakistan, where he wrote for films and for Radio Pakistan. The creative nucleus of this film — Kardar, the Ghaznavi collaborators, and the lyric pool — dispersed after Partition in ways that make 'Swami' part of a larger story of the pre-Partition Bombay film world that was permanently reshaped by 1947.