हे प्रभु आओ प्रभु

'He Prabhu Aao Prabhu' — 'O Lord, come, Lord' — is the second of the two invocations among Taramati's nine documented songs, and the more intimate of the pair: where 'He Indra Teri Jai Ho' acclaims, this one simply calls. HindiGeetMala and MySwar both list it under this spelling. The credit line is identical on all nine songs documented for the film: music by Ramchandra Pal and Keshavrao Bhole jointly, lyric by Mukhram Sharma 'Ashant'. No singer is named for any of them. No recording has been traced and HindiGeetMala carries neither lyric nor video link for the title.

The bhajan of summoning is one of the oldest and simplest shapes in Indian devotional singing: a short refrain, repeated at length, in which the repetition is itself the act of devotion rather than an ornament laid over it. Settings of this kind tend to stay in a narrow melodic range and move slowly enough that a listener can join in. That is a statement about the form the title implies, not about this record — no singer is credited, no transfer of the disc exists in any open archive, and no account of the performance survives, so the actual arrangement is simply unknown.

The line's whole weight sits on the repeated address. 'Prabhu' is said twice, once at each end, so that the request in the middle — 'aao', come — is enclosed by the name of the one being asked. Devotional Hindi uses this envelope constantly, and it works because it removes any object from the sentence: the singer asks for nothing except presence. In a story whose heroine is stripped in turn of her rank, her home, her freedom and her child, a prayer that asks only for company rather than for rescue is the more affecting of the two possible prayers — but which character sings it, and at what point, is not documented anywhere, and no verse of it has been found.

Taramati is registered among the Hindi films of 1945 as a mythological, directed by Raja Nene for Ramnik Productions, and the same title appears in Wikipedia's list of Marathi films of that year with a note that it was made simultaneously in both languages. No print of either version circulates, and no plot summary or contemporary review was found in any source reachable today, so the film's own handling of the legend — and this prayer's place within it — cannot be recovered.

The song's afterlife is entirely documentary. It has no recording in circulation, no singer's name, and no verse that anyone has preserved; what remains is a title in two song indexes and the joint composer credit of Ramchandra Pal and Keshavrao Bhole. For Bhole in particular this is late work — he had joined Prabhat in 1933, replacing the more orthodox Govindrao Tembe, and scored Amritmanthan, Sant Tukaram and Kunku there — and after Taramati the credits recorded against his name are almost entirely Marathi: Kuber (1947), Bhagya Rekha (1948) and Parijatak (1951), with only Shrikrishna Satyabhama (1951) following it in Hindi.