मन दुःख से क्यूँ घबराता है

'Mann Dukh Se Kyun Ghabrata Hai' is a reflective, consoling number from Vishnu (V.M.) Vyas's 1941 social drama Prabhat, documented in surviving song databases with playback by Kalyani. The film's music-direction credit is disputed between standard references, so only the verified singer is recorded here. This is a metadata/discovery entry — no full lyrics are stored.

The title poses a rhetorical question addressed inward: "O heart, why do you fear sorrow?" This direct self-address — the conscious mind speaking to its own heart — is a defining technique of sant poetry. Kabir, Mirabai, and Surdas all employed the convention of the speaker turning inward, questioning the soul's weakness before adversity. "Ghabrana" (to be afraid, to become agitated) is a precisely chosen vernacular word: not the literary "bhay" (fear) but the popular "ghabrana," which implies panic, fluster, and anxiety — an everyday emotional vocabulary that sant poetry used to make its counsel accessible to ordinary listeners. Singer Kalyani's documented credit for this song suggests a performed number aimed at emotional consolation — a common function for contemplative songs in 1940s social films, where a character reflects on suffering and counsels the self toward steadiness. The question-form is also an invitation to the audience: the song asks on behalf of anyone who has ever feared their own grief.

Prabhat (1941) was a social drama produced by Tarun Pictures and directed by V. M. Vyas. Vyas was a filmmaker associated with socially oriented Hindi productions of the early 1940s. Playwright and lyricist Bharat Vyas — who would later become one of Hindi cinema's most celebrated bhajan writers — began his film career as a writer for V. M. Vyas's productions, an early association that illustrates how Bombay's studio system operated through personal networks and producer-to-writer mentorships. Playback singer Kalyani, credited for this song, was one of the working female vocalists of the period whose names appear in film catalogues but whose biographical details are largely unrecorded. The song's philosophical-consolatory register suited both Kalyani's documented vocal credit and the era's practice of using female voices to carry reflective, spiritually-inflected moments in social dramas — moments that allowed the film to pause its plot and address the audience directly.