फूलों से सीखेंगे हम

'Phoolon Se Seekhenge Hum' — 'we shall learn from the flowers' — is the didactic verse among Taramati's nine documented songs. HindiGeetMala spells it 'Phulo Se Sikhenge Hum' and MySwar 'Phoolon Se Seekhenge Hum'; the two are the same track. 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 of it is in circulation and no lyric text has been found.

A teaching song has to be memorable before it is anything else, which in practice means a short, symmetrical tune that a listener can carry away after one hearing — the same requirement that governs a school prayer or a nursery rhyme. Whether this song was written for children's voices, for a single adult voice, or for a group cannot be established: no singer is credited anywhere, no disc has been traced, and no description of the recording survives. Nothing about its tempo, scale or accompaniment is asserted here.

The flower-as-teacher is one of the oldest moves in Indian devotional and didactic verse, and its force comes from what flowers are held to do without being asked: bloom where they are put, give scent to whoever passes, and fall without complaint when their time comes. A lyric that proposes to learn from them is therefore proposing a specific ethic — acceptance, service without discrimination, and equanimity in loss. Placed in a film about the Harishchandra legend, where the whole plot is a series of losses accepted without protest, that ethic is not decorative but structural. That connection is drawn here from the title and the story; no source describes the song's verses or its place in the film, and no lyric is reproduced.

The film was produced by Ramnik Productions and directed by Raja Nene, with lyrics for all nine songs by Mukhram Sharma 'Ashant' — a Sanskrit and Hindi teacher from Poothi in Meerut district who had joined Prabhat as a Marathi tutor at forty rupees a month before getting his break writing the lyrics and dialogue of Das Baje (1942). A verse built as a lesson is close to that background, though nothing connects the two beyond the coincidence of profession. Nothing of the film's content survives to show how the song was staged.

Mukhram Sharma went on from these nine lyrics to a substantial career as a story-writer, winning the first Filmfare Award for Best Story for Aulad and later writing Sadhna, Talaq and Dhool Ka Phool. His Taramati lyrics, by contrast, survive only as nine titles in two song indexes — no text, no recordings, no singers. This one, a lesson drawn from flowers, is as complete a loss as the rest of them.