“Chhaaya ghanayichhe bonay bonay” was written by Rabindranath Tagore in June-July 1923 at Santiniketan when he was 62 years old. The Rabindrasangeet was published in Pravahini (The Cycle of Seasons) in 1925. “Chhaaya ghanayichhe bonay bonay” belongs to the category of Prakriti (Nature) and falls under the sub-category of Barsha (Monsoon). The Rabindrasangeet is composed in the Taal Kaharwa. Kaharwa is a rhythmic structure of eight beats in two equal divisions.
“Chhaaya ghanayichhe bonay bonay” is set to the cadence of Raga Pilu. A raga is identical to the Western classical modes. Modes in music are scale-like patterns that can begin on any note of the scale, not just the root note. Each mode like each raga has a distinct characteristic. Raga Pilu is a light raga that is widely used to represent joy, devotion, happiness, and love. It is mainly utilised in light-classical forms, such as the Khayal.
Tagore starts the song by addressing the condition of the weather and the description of the shadowy woods under the rage of the clouds. The bard is wondering and asking Keya how Keya has managed to sneak in through the heavy rainfall. Heavy rainfall here can be both literal and symbolic. It is literal in the sense that the poet is asking about the way, by which on a sleepless night, in response to a silent gesture from the east Keya has released a raft.
It is symbolic in the sense that a sleepless night occurs when someone is troubled by the silence of an important person. The raft is co-related to the raft of the Vedic month Ashar, which takes place from the middle of June to that of July. The terms ‘unique randomness’ together denote the uncertainty of the weather as rainfall can occur whenever in monsoon. The term in Bengali to denote ‘unique randomness’ is Khayal. Khayal is also a genre of Indian classical music, which influenced Tagore, is popular for random choice of tonality and spontaneity. Its primary nature is highly improvisational.
The poet now is wondering why and out of which ‘thorny fear’, Keya has suddenly hidden the ‘nectar smeared’ in her heart. The poet ponders that a telepathic meeting might have taken place with the one for whom Keya had planned a secret meeting. In the telepathic meeting, some exchanges behind the scenes by hiding oneself have taken place. The character of Keya here becomes metaphorical.
The bard is effectively and effortlessly able to transcend Keya into not only his readers and audience but also his own self. This is called projection in psychology. Projection is the process of projecting one’s emotions onto another person, animal, or object. A telepathic meeting takes place not only between lovers or dear ones whom one feels always connected to but also between God and a human being. In Indian tradition, this happens through ‘Deeksha’ (initiation). A Guru, a spiritual master selects a disciple, a seeker of truth and initiates them with a secret mantra to be chanted throughout life. Tagore’s brilliance is evident in “Chhaaya ghanayichhe bonay bonay” as he is successful in spiking the interest of the reader with a shadowy mystery which has the potential to be metamorphosed into a divine initiation.
Celebrating Tagore and Rabindrasangeet
There is no dearth of research on Rabindranath Tagore, the first non-European to win a Nobel Prize for literature and the author of India’s National Anthem. Not only are there over 2,000 publications to his name, he was, besides being a literary genius who took India to the world, also an artist, composer, singer and humanist.
Yet how many people know of this versatile genius beyond the borders of Bengal? In an effort to bring home such a treasure trove to the non-Bengali population and Bengalis around the globe, Brainware University, Kolkata, Bengal’s largest private university, has taken up an initiative to popularize Tagore’s songs through a unique project.
Spearheading this initiative is the founder-chancellor of the university, Mr Phalguni Mookhopadayay, who helms this audio-visual venture in anecdotal voiceovers and rich renditions of each intricate Rabindrasangeet.
Tagore once said: “The world speaks to me in colours, my soul answers in music.” His lyrical compositions, that he set to tune himself, bear out his belief that “music fills the infinite between two souls.” Tagore’s lyricism rises above mere prose and adds a new dimension, a depth of emotion that makes them relevant even today. The entire collection of Rabindrasangeet was combined in Gitabitan – a music book comprising all 2,232 songs.
Brainware University aptly chose to launch the initiative on May 9 this year, Tagore’s 162 nd birth anniversary, with a solemn and profound programme in its auditorium. Subsequently, the launch on social media has been hailed in various degrees of applause and appreciation, the first episode notching up nearly 20,000 views, and counting.
Mookhopadhayay, each of whose renditions is eliciting effusive praise, is absolutely untrained in the nuances of vocal music. He says: “Our goal during the next 100 weeks is to take Tagore’s songs to at least 1,00,000 non-Bengali and Bengali households outside India. With each song you will find its translation in English and some useful information. My request to viewers is to please subscribe to my YouTube channel (https://youtube.com/@pmbrainware), like and share the episodes. Do share the link with friends abroad. Help us to promote Tagore’s musical genius to the world.” He is, indeed, carrying this onerous task on his able shoulders, eking out time from a relentlessly hectic schedule as a hands-on chancellor of the university.
The more interesting aspect, not known to many, is that this initiative is totally home-grown, recorded and produced in Brainware University’s own state-of- the-art studios. Just three episodes old, the project is already receiving a very positive feedback from around the globe, with viewers impatiently awaiting the next video. The unceasing accolades across all social media platforms bear testimony to that.
In all his compositions, Tagore’s intent was not to create new ragas but to melodies that did justice to the expressiveness of his poetry. Tagore was also influenced by the genre of Bengali folk music and composed many songs where their impact is evident.
Tagore’s compositions also played a major role in India’s freedom movement. While he voiced disillusionment over the degeneration of nationalism, two songs composed by him, Jana Gana Mana and Amar Sonar Bangla, are immortalised as the national anthems of India and Bangladesh.
Legend has it that after listening to a Tagore song, Ustad Allauddin Khan was inspired to compose his favourite Raga Hemant. Tagore’s music has also had a profound impact on Indian cinema. Many of his songs have been adapted for films, and their emotional depth and lyrical beauty have contributed to the popularity of Indian film music.
Today, Tagore’s music continues to resonate with people from all walks of life. His songs are performed at cultural events, religious ceremonies, and social gatherings, reflecting their enduring popularity. His music remains a testament to the power of art to unite people, transcend the boundaries of language and culture, and connect us to the divine.
