“Song is divine, but more divine is love.”
Reading this brilliant line in Sri Aurobindo’s play, Vasavadutta, reminded me of two most beautiful songs. How? Why? Don’t know…but what difference does it make?
What beauty! The composition, the singing, the filming of the sequence, and of course, Madhubala. It is the delicacy and gentleness that somehow touches me the most, even though the passion portrayed here is unmistakable. I find here an appealing attempt to harmonize what may seem contradictory – passion and poise. And perhaps this too is the reason why something feels beautiful – when it finds a way to quietly integrate within seemingly diverse elements in a manner which creates a sense of wholeness that is soft yet compelling, gentle yet persuasive.
The other song that came to my mind was:
The portrayal of love as the flame of the oil lamp in a temple (mandir mein lau diye ki) is so uniquely Indian in its essence. The ideal of complete surrender of the lover and the beloved to each other and the purity and selflessness that can raise human love to its divine potential give this song its essential beauty and timelessness. Kind of like the timeless beauty of that single line from Sri Aurobindo that inspired this post in the first place.