Song Title: Aaj Is Darja Pila Do
Singer: Mohammad Rafi
Film: Vaasna (1968)
Lyricist: Sahir Ludhianvi
Music Composer: Chitragupt
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“Aaj Is Darja Pila Do” is a profoundly melancholic and philosophical song from the 1968 film Vaasna. It delves into themes of disillusionment, the futility of worldly pursuits, and a deep yearning for oblivion. The powerful synergy of deeply poetic and thought-provoking lyrics by Sahir Ludhianvi, evocative music by Chitragupt, and Mohammed Rafi’s soulful rendition creates a truly haunting and unforgettable listening experience.
Lyrical Depth by Sahir Ludhianvi
The lyrics are penned by Sahir Ludhianvi, one of the greatest Urdu poets and film lyricists, renowned for his social commentary, philosophical depth, and powerful imagery. The song expresses a profound weariness with the world and its harsh realities. The speaker has witnessed life’s highs and lows, the complexities of human relationships, and the pervasive presence of suffering and injustice. They yearn for a state of forgetfulness, a release from the burden of memory and awareness.
Chitragupt’s Evocative Musical Composition
Chitragupt Shrivastava, known mononymously as Chitragupt, was a prolific Indian film music director celebrated for his melodious compositions and his ability to create music that resonated deeply with the emotional core of the lyrics. Chitragupt composed the haunting melody for this song in a slow, melancholic, and deeply atmospheric style, perfectly complementing the song’s theme of despair and longing.
Mohammed Rafi’s Emotional Expressions and Singing Intricacies
Mohammad Rafi’s rendition of this song is a masterclass in conveying profound melancholy and philosophical weight. He employs subtle nuances, impeccable phrasing, and controlled dynamics to bring the song’s themes to life, creating a deeply moving and unforgettable experience.
Initial Stanza: The Plea for Oblivion
Aaj is darja pila do, ki na kuchh yaad rahe (Today, give me so much to drink that I remember nothing): Mohammed Rafi modulates his voice to fill it with deep weariness and a yearning for escape. The emphasis on “Aaj” (today) underscores the urgency of the speaker’s desire for oblivion.
Bekhudi itni bada do, ke na kuchh yaad rahe (Increase my intoxication to such an extent that I remember nothing): The singer expresses hopelessness when urging his companion to increase intoxication. The repetition of “ke na kuch yaad rahe” reinforces the speaker’s desperate desire to forget. Rafi’s voice is soft and pleading.
1st Stanza: Disillusionment with Life’s Values
Dosti kya hai, wafa kya hai, mohabbat kya hai, dil ka kya mol hai, ehsaas ki keemat kya hai (What is friendship, what is loyalty, what is love? What is the value of the heart, what is the price of feeling?): Mohammed Rafi modulates his voice to express disillusionment and cynicism, as if these concepts have lost their meaning for the speaker. His questioning tone continues, highlighting the speaker’s sense of detachment from human emotions.
Humne sab jaan liya hai, ke haqeeqat kya hai. Aaj bas itni dua do ke na kuchh yaad rahe (I have understood what reality is. Today, I only ask for this blessing that I remember nothing): Here, the legendary singer demonstrates a sense of resignation and acceptance, as if he has come to terms with the harsh realities of life. Then, with “aaj bas itni pila do…”, his pleading tone returns, conveying a deep longing for forgetfulness.
2nd Stanza: Witnessing Life’s Extremes
Muflisi dekhi, ameeri ki ada dekh chuke, gham ka maahol, musarrat ki fiza dekh chuke (I have seen poverty, I have witnessed the ways of wealth. I have seen the atmosphere of sorrow, the ambiance of joy): The singer’s voice is full of world-weariness, having experienced both extremes of life. The contrast between “gham” (sorrow) and “musarrat” (joy) is emphasized by subtle changes in Rafi’s tone, highlighting the fleeting nature of both.
Kaise firti hai zamaane ki hawa dekh chuke. Shamma yaadon ki bujhe do, ke na kuchh yaad rahe (I have seen how the winds of time turn. Extinguish the lamp of memories, that I remember nothing): There is a sense of acceptance and resignation in Rafi’s voice, acknowledging the unpredictable nature of life. The imagery of extinguishing a lamp is powerfully conveyed in “Shamma yadoon ki…” by the singer in his soft and fading voice.
3rd Stanza: Questioning Love, Beauty, and Existence
Ishq bechain khayalon ke siva kuchh bhi nahin. Husn berooh ujaalon ke siva kuchh bhi nahin (Love is nothing but restless thoughts. Beauty is nothing but soulless lights.): In the first line, Mohammed Rafi expresses a profound sense of disillusionment with love, while in the next, he portrays the imagery of “berooh ujale” (soulless lights) with a chilling emptiness in his voice.
Zindagi chand sawalon ke siva kuchh bhi nahin. Har sawal aise mita do ke na kuchh yaad rahe (Life is nothing but a few questions. Erase every question in such a way that I remember nothing): Rafi Sahab delivers the first line with a tone of profound resignation and existential questioning. Then comes his plea for forgetfulness, delivered with a deep sense of despair.
4th Stanza: Despair over Injustice and Society
Mit na paaega jahaan se kabhi nafrat ka rivaaj. Ho na paaega kabhi rooh ke zakhmon ka ilaaj (The custom of hatred will never be erased from the world. The wounds of the soul will never be healed): Mohammed Rafi modulates his voice to carry a sense of bitter acceptance of the pervasive nature of hatred. His tone throughout these lines expresses deep despair and hopelessness.
Sultanat zulm, khuda waham, musibat hai samaj. Zehan ko aise sula do ke na kuchh yaad rahe (The kingdom is oppression, God is an illusion, society is a calamity. Put my mind to sleep in such a way that I remember nothing): This line, laden with social commentary, is delivered with a powerful sense of disillusionment and anger towards empire, God, and society. Then, his voice changes into a haunting and deeply melancholic plea for oblivion.
Summary of Rafi’s Expressive Qualities
Mohammed Rafi’s rendition of this song is a masterclass in conveying profound melancholy and philosophical weight.
- Emotional Subtlety: The song’s strength lies in its understated emotion. Rafi avoids overt displays of grief or despair, instead using subtle vocal nuances to convey deep weariness and a longing for oblivion. This restraint makes the song even more poignant.
- Vocal Texture and Tone: Rafi employs a soft, almost hushed vocal texture throughout much of the song, creating an atmosphere of intimacy and vulnerability, drawing the listener into the speaker’s inner world. His tone is consistently melancholic, conveying resignation and acceptance.
- Phrasing and Pauses: Rafi’s impeccable phrasing ensures each word and line is delivered with clarity. He uses pauses effectively to emphasize certain words or phrases, giving them added weight and meaning, particularly in the recurring line “ke na kuchh yaad rahe,” where pauses create longing and desperation.
- Dynamic Variation: While the song maintains a generally subdued tone, Rafi subtly varies his dynamics to emphasize emotions. For instance, a slight increase in intensity occurs when he sings about life’s harsh realities (“muflisi dekhi,” “sultanat zulm”), conveying bitterness and disillusionment.
- Emphasis on Key Words: Rafi meticulously emphasizes key words and phrases to bring out their full meaning. For example, the emphasis on “aaj” (today) in the opening line underscores the urgency of the speaker’s desire for oblivion. Similarly, his delivery of “bekhudi” (selflessness/oblivion) and “na kuchh yaad rahe” (that I remember nothing) conveys the depth of yearning.
- Absence of Vibrato: Notably, Rafi largely avoids using vibrato in this song. This contributes to the sense of stillness and resignation, as if the speaker has reached a point of emotional exhaustion. The lack of vibrato also adds to the song’s haunting quality.
- Connection to the Lyrics: Rafi’s singing is deeply connected to the meaning of the lyrics. He doesn’t just sing the words; he embodies the emotions they express. This is evident in how he conveys disillusionment with love and beauty (“ishq bechain khayalon ke siva,” “husn beruh ujalon ke siva”) and the bitter acceptance of suffering and injustice (“mit na payega jahan se kabhi nafrat ka rivaj”).
In summary, Rafi’s singing in “Aaj Is Darja Pila Do” is a masterpiece of understated emotion and vocal control. He masterfully uses subtle nuances in his voice, phrasing, and dynamics to convey the song’s profound themes of despair, disillusionment, and the yearning for oblivion. His rendition is deeply moving and unforgettable, showcasing his unparalleled ability to connect with the listener on an emotional level.
Our valued non-Hindi readers are advised to go through the translation for better understanding of the song.
~ Balwant S. Wadhwani