ये इश्क़ न तुझको भाए

The only song of the ten that the Geet Kosh marks as a male solo. Its first line advises against love outright, and then gives the reason in an image rather than an argument: the traveller has tied up his bedding and is leaving, so why take on a sickness of the heart. Placed beside 'Pardesi Se Preet Lagai', where a woman mourns having loved an outsider, it reads as the same situation heard from the man who is walking away. Neither the Geet Kosh nor myswar records a singer.

Nothing of this side is known to survive, and myswar carries it with the genre field left as unknown, so its musical character is undocumented. What can be said is structural: a male solo of parting in a mid-1940s Hindi film was cut to one face of a ten-inch disc like everything else, and a leaving song of this kind conventionally moved at a walking pace rather than a lament's slow one, because the image it carries is of someone already on the move.

The bedroll is the detail that does the work. Kashmiri could have written renunciation as philosophy; instead he puts a physical object in the line — the bistar tied and shouldered — which turns an abstract warning into a man already at the door. Advice-against-love is a standing genre in Urdu poetry, usually delivered by a bruised elder, and the twist here is that the adviser is himself the departing lover, so the counsel and the injury are coming from the same mouth.

Pardesi Balam was a Parkar Films production of Lahore, directed by M. A. Mirza for the producer Dr Anand Prakash Parkar, with the young Pran among a cast the Geet Kosh could only list because a collector in Karachi supplied the names decades later. All ten of its songs were written by Zahir Kashmiri and composed by Dr Inayat Husain Qureshi. No print, poster or synopsis survives, and myswar records the picture as unreleased, so the Geet Kosh's song index — first lines and a bracketed note on who sang each number on screen — is very nearly the whole of what is known about the film.

Like half this soundtrack, the song survives only as a Geet Kosh line. myswar reproduces the title with no singer, no genre and no further data, which is the catalogue's way of saying it has the track list but not the record. What the entry does preserve is the shape of the film's argument: the score sets a woman's grief at loving a wanderer directly against a wanderer's own refusal, and both halves of that pairing are still legible eighty years on.