प्यासे प्यास बुझा ले अपनी जलते जल से

'Pyase Pyas Bujha Le Apni Jalte Jal Se' is one of the twelve songs catalogued for the 1941 social drama Sajjan, composed by Pratap Mukherjee to lyrics by Pandit Phani. It is the companion piece to a second 'Pyase Pyas Bujha Le' verse in the same film, sharing an opening line but resolving differently. No audio recording or playback-singer credit survives for the song; it is preserved here as a documented entry from the era's film-song record rather than a listening item.

'Pyase Pyas Bujha Le Apni Jalte Jal Se' — 'O thirsty one, quench your thirst with burning water' — is built on a paradox: 'jalte jal' (burning water) is an oxymoron in which the two elements most associated with quenching — water — is given the very quality of that which torments — fire. The image encodes the impossibility of the speaker's situation: the only remedy available is itself a form of agony. In classical Hindi-Urdu poetry, water-and-fire imagery typically expresses the lover's predicament — consumed by longing ('jalna', to burn) while denied fulfilment. Pandit Phani's deployment of 'jalte jal' as a noun phrase rather than a metaphoric adjective makes the paradox structural: the burning water is not merely a comparison but the actual substance offered to the thirsty. This is an advanced technique, giving the song's central image a philosophical density beyond the ordinary filmi ghazal-complaint.

Sajjan (1941) was directed by Dwarka Khosla and produced by Sudharshan Chitra, with David, Husn Bano, Jagdish Sethi, Satish, Agha, Gope, and Urmilla in the cast. The film's twelve-song score — all composed by Pratap Mukherjee to lyrics by Pandit Phani — is unusual in carrying two songs that share the same opening phrase: both 'Pyase Pyas Bujha Le' and 'Pyase Pyas Bujha Le Apni Jalte Jal Se' begin identically before diverging. This pair-song technique, common in the Urdu literary tradition (where two ghazals or nazms may share an opening radif), was occasionally adopted in film scores to create a dramatic before-and-after contrast — one song presenting the thirst, the other addressing it with a paradoxical resolution. Without audio survival, the precise dramatic placement of this variant cannot be confirmed from available sources.