मोरे आवेंगे राजकुमार

'More Aavenge Rajkumar' — my prince will come — is the fourth title in the Hindi Film Geet Kosh listing for Nal Damyanti (1945), composed by Ramchandra Pal to words by Lakshman. The phrasing is declarative rather than pleading, which places it with the anticipation songs of the pre-independence mythological rather than with the viraha laments. No singer credit is recorded for it in either the HindiGeetMala or the BollySwar listings.

Ramchandra Pal came out of Bombay Talkies, where he is credited with putting Western orchestration behind Indian melody in scores such as Bandhan (1940); by 1945 he was working freelance on smaller pictures such as this one. The recording is not available, so nothing about the actual setting can responsibly be described. Filmindia's July 1945 reviewer dismissed the score wholesale, and that dismissal is the only contemporary account of it that survives.

'More' is the Braj-inflected possessive that Hindi film lyric used to mark a woman's voice rooted in the countryside or in mythic time rather than in the modern city — the same register as more piya, more saiyan, more angna. Fixing that register to 'rajkumar' produces the specific tension the Damayanti story needs: a princess of Vidarbha speaks in the intimate, folk-coloured first person about a king she has never met. The line asserts rather than hopes, and in the Nalopakhyana that assertion is justified — Damayanti's certainty about Nala is strong enough that she recognises him at the swayamvara among four gods who have taken his form.

Shobhana Samarth played Damayanti in the Janak Pictures production, opposite Prithviraj Kapoor's Nala, under the direction of her husband Kumarsen Samarth. Filmindia's reviewer, who was hostile to nearly everything in the film, judged both leads poor in their princely roles. The film opened in Bombay on 9 June 1945 and ran at the New West End into a third month.

The song left no trace in the popular repertoire and no recording of it is in circulation. It is preserved here as part of the complete eight-song listing for the film, which is the only surviving inventory of Ramchandra Pal's work on it.