Lyric and background history of song aj bari jhare jharojharo

Parjaay: Prakriti (34)

Upa-parjaay: Borsha (9)

Taal: Teyora

Raag: Iman

Written on: 30th August 1909 at Bolpur

Place: Bolpur

Published in: Manasi' vol.1, yr 8, Ashwin,1316

Collection: Geetanjali

Swarabitan: 11 (Ketaki)

Notation by: Dinendranath Tagore

Notes: This song was written on 30th August 1909 at Bolpur.

Tejeshchandra Sen, the famous teacher of Shantiniketan at its early stage, had mentioned this song in, 'Dinendra-smriti', his biography of Dinendranath Tagore. His words aptly describe the cosy relation between students and teachers, the environment amalgamated with spontaneous joy and the practical scenario encompassing music within which they used to be.

... We just could not sit back indoors when it rained incessantly from dark clouds. We all enjoyed soaking in the rain. To some it may sound bizarre - What kind of romanticism is this! To drench in the rain! Sounds pretty exaggerated. But they have no idea of what monsoon means here. It is really difficult to assume the difference - Raining in the open is not at all like the rain in cities like Calcutta. It extends a spontaneous call - 'O' come on, drench yourself'. There was no way one can ignore the call. Students and teachers all rushed outside. We didn't spare them who wished to be indifferent. As it was in case of Dinubabu. He used to express his dislike initially - none of us would listen to him. How would it be a fun without him, especially while playing with rain waters. Some of us would grab his hands, some shove him by his hips. He would at last surrender and come out in the downpour. Frolicking continued thereafter. Once out in the middle singing songs started - 'Baari jhare jharo jharo ...'. We had a number of unmelodious singers among us. Dinubabu would try his hardest to refrain them as he could not withstand lack of melody. Who would care for the exact melody while frolicking. Not only songs, dancing in wild fashion too started almost immediately. In the meantime serpentine flow of rain waters rushed towards the 'khowai' (lateritic formations). We followed the streams and jump into the khowai. Rain waters gushing through them. Dinubabu too would release his body in the water. Our joy knew no bounds as his huge torso would drift away by gushing waters. We would return to ashram, after enjoying the entire morning, dog-tired. Dinubabu, in spite of his tiredness, would tell us funny stories and we would burst into laughter on the way back. These are the serene pictures of ashram which now appear like a dream.