Parjaay: Prem (252)
Written on: 1894 (Bhadra 1301)
Notation by: Dinendranath Tagore
Notes: Written on 29 August 1894 at Silaidaha.
Rabindranath in a letter from Kolkata on 29th August 1894 (letter no 148, Chhinna patrabali) to Indira Devi at Satara, Maharashtra, had expressed affection for this song -
... I was composing a new tune today, it isn't a new tune, in fact, a Kirtan in Bhairavi. It feels like a freaky while continuing with the rhythm of the song. All my mind and my body starts resonating with the tune like a single musical instrument and gradually the echo spreads across the world around connecting myself with the whole. The outer world appears misty just like a plucked string of the Veena that is indistinct. Time passes, duties left unattended, proofs lay unseen, it's already noon, intense light impinging on my brain. My daily routine seems shattered for today ...
The date of composition and the date of writing the letter to Indira Devi being same, it appears that he was adding the finishing touches to the song while he had expressed his temperament to his most beloved follower. The manuscript is inscribed with 'Bhadra, Silaidaha'.
Famous poet Nabin Chandra Sen has described in his book Aamar Jibon (part 3, pg 60) the experience of listening to this song from Rabindranath himself. The date of this meeting is likely to be 2nd September, three days after the cousin of this song -
... He had a brief stop at Ranaghat to see me, in response to my invitation, on his way to Kustiya estate. One of my relatives had received him at the station from the train at 10 in the morning. I could find the juvenile of 1876 to have attained the bloom of youth. Handsome, sober, smart looking with a tall stature! Having bright complexion and his gorgeous facial aspect resembled to a blooming lotus; centrally parted and carefully crafted dark hairs; his gold-mirror like shining forehead enjoying the company of stacked curls; his face radiant with dark moustache short beards; his eyes brightened by the black and long eye-lashes; sat on top of his towering nose was a pair gold-rimmed spectacles. His gorgeous complexion is direct conflict with the gold, his physical appearance quite similar to a stretch of Jesus. He wore white dhuti and piran and loosely wrapping a silken stole. His shoes soft, clearly indicative to his unbearable nature for the hardness of English shoes. I cordially welcomed and took him in.
... We offered him a harmony flute and requested for to sing a song for us. He wasn't interested in singing along an instrument as the beauty of a voice is often subdued with an accompaniment. However, he took the instrument, stabilised his voice depressing a single key and left it. Fishing out a piece of paper from his pocket he announced that he has written a new Kirtan and started singing. It was a subject of pure delight.
Eso eso phire eso Bnodhu hey phire eso ...
The elegance of the composition, the excellence of poetic skill and the exuberance love and devotion of was aptly matched with Rabi-babu's voice that was rich, sensitive yet sweet as a flute. It appeared that the powerful articulation was spreading out across the horizon penetrating the roof. It was like a touch of innocent tenderness into the ear. Lovely was his facial expressions - his eyes, his face seemed to enact along with the theme. The melancholic tune of devotion oozing out from his mouth as if it was the Ganges emanating from the opening of Goumukh.
In his book Pitri-smriti Rathindranath had written about how much Jagadish Chandra had liked this song and very often he used to request his father to sing 'Eso eso phire eso bnodhu hey ...'. In 1933 Rabindranath taught this song to Pratibha Basu at Darjeeling. She writes in her memoir Jibaner Jalchhobi ...
... Rabindranath used to sit on an easy-chair made of cane, while I sat on another chair with rounded cushion in the room with glass-paned windows. A room of this type is common for the houses in a hill area. Slowly the mountain would reveal from the curtain of fog, the crimson sphere of the sun would emerge, it was a dramatic change of scene. I tried to tune my voice with his quivering one.
'Aamar khudhito trishito taapito chito naatho hey phire eso, eso hey'.
This line was his favourite and he used to repeat this again and again, ask me to do it and listened to it, eyes closed.
Eso eso phire eso, bodhu hey phire eso.
Amar khudito trishito tapito chito, natho he phire eso.
Ohey nishthur phire eso,
Amar korun komol esho,
Mar sajolojolodosnigdhokanto sundor phire esho,
Amar nitisukh phire esho
Amar chirodukh phire esho.
Amar sabosukhodukhomonthonodhon antare phire esho.
Amar chirobanchhito esho
Amar chitosanchito esho
Ohey chonchol, hey chironton, bhujobondhone phire esho.
Amar bokhkhe phiriya esho
Amar chokhkhe phiriya esho
Amar sayane swapone bosone bhushone nikhil bhubone esho
Amar mukher hashite esho
Amar chokher solile esho
Amar adore amar chholone amar abhimane phire esho.
Amar sakol smarane esho,
Amar sakol bhorome esho,
Amar dhorom-korom-sohag-shorom-jonomo-morone esho.
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