Song Title: Na Tu Zameen Ke Liye
Singer: Mohammad Rafi
Film: Daastan (1972)
Lyricist: Sahir Ludhianvi
Music Directors: Laxmikant-Pyarelal
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English Translation of Lyrics
You are neither meant for the earth, nor meant for the sky
Your existence now, your existence is only for a tale
You are neither meant for the earth, nor meant for the sky
Turning back towards the garden, what will you achieve by looking?
Turning back towards the garden, what will you achieve by looking?
The branch itself is no longer there, the one meant for a home
You are neither meant for the earth, nor meant for the sky
In this selfish world, do not search for loyalty
In this selfish world, do not search for loyalty
This thing was built for some other world
Your existence now, your existence is only for a tale
You are neither meant for the earth, nor meant for the sky
Note: Hindi readers should refer to the original lyrics, not the translated version.
In-Depth Song Analysis
Film’s Context: Daastan’s Heart of Tragedy
Set in 1972’s Daastan, the song appears at a critical emotional juncture. It’s filmed on Dilip Kumar—one of Hindi cinema’s greatest tragedians—though utterly devastated by the betrayal of loved ones. Mohammed Rafi’s voice here isn’t just background; it becomes the pulse of the narrative, expressing the heartbreak and existential reflection of the film’s protagonist. The character, having lost faith in love’s constancy, is left to ponder the pointlessness of desire and belonging. This cinematic moment demanded a song of philosophical weight and emotional rawness, and Rafi, Ludhianvi, and Laxmikant-Pyarelal deliver on all fronts.
Lyrical Quality & Film Alignment
Sahir Ludhianvi’s lyrics are veritable poetry: minimalist, philosophical, unflinching in their existential gaze. He writes not of ordinary sadness, but of profound detachment—a realization that one no longer fits into any world, even their own. The phrase “You are neither meant for the earth, nor meant for the sky” repeatedly presses the theme of alienation, suggesting the protagonist now exists only as a memory, a tale. This is rare for Bollywood, which often prefers cathartic or hopeful endings. Instead, this song challenges listeners to confront a reality beyond comfort.
The alignment with the film is remarkable: the hero has been forced out of the “garden” of happiness, and Sahir’s words perfectly echo the protagonist’s mental state—a soul cast adrift, no longer seeking hope but understanding. The lyrics become the character’s innermost thoughts; their weight is felt not only in meaning but in their very sound, made possible by Rafi’s emotive delivery.
Musical Composition & Its Rationale
Laxmikant-Pyarelal’s arrangement is a lesson in restraint. The melody is spare, letting the emotional charge come from the voice and lyrical content, not overwhelming orchestration. The song’s melody is rooted in Raag Bhairavi—a raag chosen for its ability to express sorrow, introspection, and gentle resignation. Bhairavi’s minor scales and flowing structure give textual support for the lyrics’ philosophical depth, allowing silences to say as much as the notes.
The rhythm is slow, likely Dadra taal (6 beats), occasionally stretching into the more free-flowing Keharwa. This gentle pace lets every syllable shimmer and dissolve, letting the listener contemplate each line in turn. It’s a musical environment designed for emotional introspection, not excitement—a wise and deliberate choice for such philosophical poetry.
Verse-by-Verse Emotional Vocal Analysis
Initial Verse
Na tu zameen ke liye, hai na aasman ke liye (You are neither meant for the earth, nor meant for the sky): Mohammed Rafi’s tone at the very beginning is gentle yet saturated with despair. His voice subtly dips and rises like a sigh, conveying a profound sense of isolation. The drawn-out pronunciation of “zameen” and “aasman” emphasizes the vastness of the worlds the soul is estranged from. His emotional restraint makes the listener feel the heavy loneliness of existence without belonging.
Tera wajood hai, tera wajood hai ab sirf daastaan ke liye (Your existence now, your existence is only for a tale): Rafi carefully elongates “sirf daastaan ke liye,” his voice softening almost into a whisper. This vocal choice portrays surrender and acceptance—his character’s gradual acceptance that he no longer belongs to this world but is merely a memory. The breath control here lends a fading quality, as if his existence itself is slowly dissolving.
Na tu zameen ke liye, hai na aasman ke liye (You are neither meant for the earth, nor meant for the sky): In this repeated refrain, Rafi’s voice carries even more weariness. The repetition deepens the feeling of hopelessness, as his tone becomes almost conversational, reflecting resignation rather than defiance or anguish.
1st Stanza
Palat ke su-e-chaman, dekhne se kya hoga (Turning back towards the garden, what will you achieve by looking?): Here Rafi adds emotional texture through a slight rise on “palat ke,” reflecting the human urge to look back longingly, immediately followed by a downward inflection that rejects that very thought at “kya hoga,” conveying futility. This subtle vocal play perfectly captures the tension between longing and acceptance.
Wo shaakh hi na rahi, jo thi aashiyan ke liye (The branch itself is no longer there, the one meant for a home): In these lines, Rafi’s voice becomes hushed and fragile, especially on “shaakh hi na rahi,” as if expressing the shattered foundations of hope. The softness in “jo thi aashiyan ke liye” gently evokes the tenderness of a lost sanctuary, making the sorrow palpable. His delicate delivery paints a vivid picture of irreparable loss.
Na tu zameen ke liye, hai na aasman ke liye (You are neither meant for the earth, nor meant for the sky): The refrain now is delivered with diminished strength, almost like a whisper of a fading spirit. Rafi’s expressive nuances here emphasize the feeling of dissolution and erasure from existence.
2nd Stanza
Garazparast jahan mein, wafa talaash na kar (In this selfish world, do not search for loyalty): Rafi shifts towards a resigned caution, his voice imbued with a sense of bitter realism. The slight lift on “garazparast jahan mein” captures an initial spark of hope, but the fall in pitch on “wafa talaash na kar” immediately douses it, exposing the harshness of reality. The controlled vocal delivery simultaneously conveys warning and sorrow.
Ye shay bani thi kisi, doosre jahan ke liye (This thing was built for some other world): At this point, Rafi’s voice takes on an ethereal, almost detached quality. The gentle, floating delivery of “doosre jahan ke liye” evokes a separation from the earthly realm, as if the character is looking beyond mortal existence toward an unknown plane. This shift in vocal color underlines the final acceptance of transcendent alienation.
Tera wajood hai, tera wajood hai ab sirf daastaan ke liye, Na tu zameen ke liye, hai na aasman ke liye (Your existence now, your existence is only for a tale, You are neither meant for the earth, nor meant for the sky): Rafi’s voice here becomes frail and haunting, stretching “sirf daastaan ke liye” with an aching slowness. This ending vocalization transforms the character’s fate into a fragile whisper, embodying the sense of ultimate surrender—the transformation from living presence into an immortal tale.
Emotional Nuances: Mohammed Rafi’s Artistry
Mohammed Rafi’s artistry lies in his restraint. He whispers pain, does not shout it. His vocals in “Na Tu Zameen Ke Liye” are a study in subtlety: every inflection, breath, and held note is weighted with feeling. His use of meend (glides between notes), soft tremolo, and careful vibrato all evoke a man nearing spiritual exhaustion.
Rafi does not simply sing—he embodies loss and philosophical resignation. Instead of dramatizing every moment, he communicates that sadness can be silent; heartbreak can be dignified. His vocal mastery, especially in the lower octaves, captures the defeated but wise protagonist with unmatched realism. Rafi’s song becomes the very soul of the film.
Overall Summary
“Na Tu Zameen Ke Liye” stands as a towering example of how Hindi cinema can merge poetic lyricism, minimalist composition, and world-class vocal expression. Sahir Ludhianvi’s existential poetry, Laxmikant-Pyarelal’s haunting melody, and (most of all) Mohammed Rafi’s extraordinary emotional intelligence create a song that transcends decades. The lyrics fit the film’s tragic core, but the deeper magic is in Rafi’s nuanced delivery—revealing how true heartbreak often resides in silence, and how music can lend dignity to sorrow.
~ Balwant S. Wadhwani