નાદબ્રહ્મ પદ - ૬૧૪, રાગ - સજની
Nādbrahma pada 614, rāga - sajani
Asundar Dhaman (Recorded in 1990)
Shree Ramkabir Mandir Bhajan Mandal (Recorded on Janmashtami 2011)
Tarsadi Bhajan Mandal (Recorded in 1982 in Mumbai)
સજની જુઓ નાથ નિહાળી રે, વ્હાલો વાયે છે વેણ રસીલી રે;
ઘુમરડી તે અબલા ઘાલે, સુખ સાગર મોહન મ્હાલે રે ... ટેક
sajani ju-o nāth nihāli re, vahālo vāye chhe ven rasili re
ghumardi te abalā ghāle re, sukh sāgar mohan mahāle re ... repeat
શિરમુગટ મહામણિ સાર રે, કાને કુંડલ જ્યોત અપાર રે;
વનમાલા ઉરપર લ્હેકે રે, તહાં ચૂવા ચંદન બ્હેકે રે ... ૧
shir-mugat mahā-mani sār re, kāne kuňdal jyot apār re
van-mālā ur-par laheke re, tahāň chuvā chaňdan baheke re ... 1
શ્યામલડી સોહે સંગે રે, અતિ ઉલટ વાધ્યો અંગે રે;
વહાલો હસી હસી હૃદીયા ભીડે રે, કામની મનમથ પીડે રે ... ૨
shyāmal-di sohe saňge re, ati ulat vādhyo aňge re
vahālo hasi hasi rudi-ā bhide re, kāmani man-math pide re ... 2
શ્યામા સન્મુખ આવી ઉભી રે, શણગાર સકલ તહાં શોભે રે;
શ્યામા સાન કરી કરી જુએ રે, જુવંતી જનના મન મોહે રે ... ૩
shyāmā sanmukh āvi ubhi re, shan-gār sakal tahāň shobhe re
shyāmā sān kari kari ju-e re, juvaňti jan-nā man mohe re ... 3
તાલી તાલ પખાવજ ગુગરડી, આગળ નાચે છે નારી રૂડી રે;
ઉમંગ્યો રસ કૌતુક ભારી રે, આનંદિત અબલા નારી રે ... ૪
tāli tāl pakhā-vaj gugardi, āgal nāche chhe nāri rudi re
umaňgyo ras ka-u-tuk bhāri re, ānaňdit abalā nāri re ... 4
ઘુમરડી ઘાલે લાંબી રે, પાયે ખલકે તે કલ્લાં કાંબી રે;
એને નાદે નુપૂર વાજે રે, પદછંદે પૃથ્વી તે ગાજે રે ... ૫
ghumardi ghāle lāmbi re, pāye khalake te kal-lā kāmbi re
ene nāde nupur vāje re, pad-chhaňde pruthvi te gāje re ... 5
વ્હાલાં મરકડલાં કરી બોલે રે, તેમ આવી હીંચે હિંડોળે રે;
વ્હાલાંને વ્હાલેરી લાગે રે, માન મૂકી સખી પાયે લાગે રે ... ૬
vahālā mar-kadalā kari bole re, tem āvi hiňche hiňdole re
vahālā-ne vahāleri lāge re, mān muki sakhi pāye lāge re ... 6
નરસૈંયો રસમેં માતો રે, ગોપીવરના ગુણલાં ગાતો રે;
તે પામ્યો મહાફલ મોટું રે, હું તો ચરણકમલમાં લોટું રે ... ૭
nar-sai-yo ras-meň māto re, gopi-var-nā gunalā gāto re
te pāmyo mahā-fal motuň re, huň to charan-kamal-mā lotuň re ... 7
1. Shree Ramkabir Mandir Bhajan Mandal - May 17, 2008, Bhakta Bhajan Sammelan at Bhakta Cultural Center, Norwalk, CA, USA
2. Tarsadi Bhajan Mandal - June 6, 2009, Bhakta Bhajan Sammelan at Shree Ramkabir Mandir, Carson, CA, USA
3. Shree Ramkabir Mandir Bhajan Mandal - October 2007, Bhajans at Phoenix, Arizona, USA
4. Shree Ramkabir Mandir Bhajan Mandal - September 5, 2015, Janmashtami
5. Tarsadi Bhajan Mandal - July 31, 2010, Bhakta Bhajan Sammelan at Humble Civic Center, Humble, TX, USA
[Narsinh Mehta, a Vaishnava bhakti poet of medieval India, is considered as the pioneer poet of Gujarat. He is also regarded as a poet of eroticism or romance (Shringara). The quintessence of his devotion is love and his love has inherent devotion. Hardly any festival in Gujarat is celebrated, when men and women irrespective of their age, participate in dancing that is known as Raas and Garba.]
0. Full Moon night is known to add romance in air and in such surrounding a joyfully elated Gopi calls out her friend to come and see their sweetheart lord Krishna. Cool breeze and lilting tunes of flute played by Mohan makes them amorous. As the Gopis sensually whirl around their sweetheart, their divine lover Mohan too, seem to be lost in an ocean of devotional love of the Gopis of Vrindavan.
1. Shri Krishna has gracefully adorned a bejeweled crown studded with gemstone, and glittering eardrops (Kundal) are radiating lustrum shine. A garland of wild flowers is fluttering on the chest of Shri Krishna makes him all the more adorable, as scent of sandalwood intoxicates everybody around.
2. A beautiful vivacious Shyamaldi with Krishna makes up a beautiful pair. The word 'Shyamaldi' is derived from a word 'Shyama' meaning 'brunette' (a fair woman with black hair) in English. With romance in air, sweetheart Krishna takes the Gopis in his loving embrace laughing cheerfully that turns on the Gopis with cupidity.
3. As a vivacious brunette, elegantly attired appears before her sweetheart Mohan, people around them seem astounded looking at her enchantingly charming adornment. Coyly smiling and glancing demurely brunette looking up adoringly at Shri Krishna's face makes up the most beautiful passionate pair, but her youthfulness too, attracts the minds of the people around.
4. Rhythmically clapping on the beats and tinkering anklets of Pakhavaj (tabor or drum that can be beaten on both sides), beautiful women passionately dance before their loving God. All around everybody danced with high spirits and jesting made the onlookers enjoy the spectator, where even feeble women danced boldly danced merrily in the protective presence of their God.
5. Taking longer rounds while dancing, as she is twirling and dancing the, ornaments like Kalla and Kambhi (કાંભી) worn on feet are tinkling and chinking. With every step while dancing anklets are jingling, and with echoing of stomping of feet, the earth seems to reverberate.
6. Lasciviously twisting and twirling she utters sweet nothings and getting closer she rocks on the swing of love. Leaving aside her sense of pride as the female friend (સખી) of Shri Krishna reverently falls to feet, she seems much loving to her lover.
7. Immensely enjoying the divine playfulness of Krishna and Gopis, Narsinh Mehta sings in praise of the companion of the Gopis. Having perceived the great divine show, Narsinh says, he considers himself supremely fortunate to roll at the holy feet of his holiness, as he has been awarded with the greatest divine gift of witnessing the Raas (dance) of his lordship.