સજની ઝરમર ઝરમર વર્ષે રે (રાગ - સજની)

નાદબ્રહ્મ પદ - ૬૧૬, રાગ - સજની
Nādbrahma pada 616, rāga - sajani

સજની ઝરમર ઝરમર વર્ષે રે, તેમ નાથને નારી વિલસે;
લપટાણી અબલા અંગે, ઘુમરડી ઘાલે રંગે ... ટેક
sajani jhar-mar jhar-mar varshe re, tem nāth-ne nāri vilase
lap-tāni abalā aňge, ghumardi ghāle raňge ... repeat

અબલાએ અંબોડો વાળ્યો, ઉર અંબર અંતર ટાળ્યો;
ચતુરાને ચોળી ચલકે, નથ વેસર મોતી ઝલકે ... ૧
ablā-e ambodo vālyo, ur ambar aňtar tālyo
chaturā-ne choli chalake, nath vesar moti jhalake ... 1

જેમ વ્યોમ વીજલડી ઝબુકે, મધ્યે મોર કોકિલા ટહુકે;
વાંસલડી વ્હાલો વાયે, તેમ નાચે ને ગોપી ગાયે ... ૨
jem vyom vijaladi jhabuke, madhye mor kokilā takuke
vaňsaladi vahālo vāye, tem nāche ne gopi gāye ... 2

શ્યામા કામ તે ઘેલી ડોલે, મનમોહન શું હસી બોલે;
ગોફણલી ઘુંઘરડી ઘમકે, તાલી દેતાં કાંકણલી ખલકે ... ૩
shyāmā kām te gheli dole, man-mohan shuň hasi bole
gofanali ghuňghardi ghamake, tāli detā kaňkanali khalake ... 3

હિંડોળે હીંચે વનમાલી, વારંવાર ઓવરણા વારી રે;
ઘાલે કંઠે મુક્તાફલહાર, મોહ્યાં મુગટે તે નંદકુમાર ... ૪
hiňdole hiňche van-māli, vāram-vār ovaranā vāri re
ghāle kaňthe muktā-fal-hār, mohyā mugate te naňda-kumar ... 4

એક ઊભી નાથ નિહાળે, એક ચાલીને ચમર ઢોલે;
એક ફૂલી અંગ નમાયે, એક ભીડે હૃદીયા માંહે ... ૫
eka ubhi nāth nihāle, eka chāli-ne chamar Dhole
eka fuli aňg namāye, eka bhide rudiyā maňhe ... 5

કરે દેવ દુદુંભી નાદ રે, શ્રવણે સુની શ્યામા સાદ રે;
કરે પુષ્પવૃષ્ટિ અપાર રે, મુખે બોલે જૈ જૈકાર ... ૬
kare dev dudumbhi nād re, shravane suni shyāmā sād re
kare pushpa-vrushti apār re, mukhe bole jai jai-kār ... 6

નરસૈંયો પ્રેમે ભરાણો રે, શ્યામ સર્વેમાં પટરાણો;
લીલા જોતાં તૃપ્ત ન થાયે, તાલ દઇને પુંઠે ગાયે ... ૭
nar-sai-yo preme bharāno re, shyām sarve-maň pata-rāno
lilā jotā trupta na thāye, tāl da-ii-ne puňthe gāye ... 7

YouTube Video(s):
1. Orna Bhajan Mandal (playlist)
2. Shree Ramkabir Mandir Bhajan Mandal (playlist)

English translation (by AI):
This bhajan uses the setting of a gentle monsoon rain ("jhar-mar jhar-mar") as a visual metaphor for the downpour of divine love and spiritual bliss between the Supreme Lord (the Groom/Master) and the human soul (represented by the Gopis/women).

0. The poet sings that just as a gentle rain falls continuously, the Divine Lord and His companions delight in each other's presence. The individual soul embraces the Lord joyfully, spinning in circles of pure spiritual ecstasy.
1. It details the traditional adornment of the Gopis. They have tied up their hair, cast aside worldly mental barriers, and their traditional attire, nose-rings, and pearls glisten brilliantly as they move
2. The cosmic celebration is mirrored in nature. Lightning flashes across the dark sky while peacocks and cuckoos sing in the background. Amidst this, Lord Krishna plays his divine flute, prompting the Gopis to sing and dance in perfect harmony.
3. The Gopis are described as "intoxicated with divine love". They smile and converse with Krishna (Manmohan). The physical movements are marked by the rhythmic jingling of ankle bells (ghunghroo) and the clapping of hands decorated with sounding bangles.
4. The Gopis are tenderly swaying Lord Krishna on a cradle, showering Him with love by warding off evil and adorning Him with a pearl necklace, while captivated by His radiant appearance.
5. One (Gopi) stands still, gazing intently at the Lord, another walks up to gently wave the royal whisk (chamar) over Him; One bows her body, blooming and swelling with deep emotion, While another holds Him tight, locking Him close inside her heart.
This verse captures the peak of the Raas Leela, where each Gopi expresses her personal, intimate devotion (Bhakti) in a unique way. It shows the progression from visual adoration (gazing) and selfless service (fanning the whisk) to surrender (bowing) and absolute spiritual union (embracing the Divine within the heart).
6. The gods beat their divine kettledrums (dundubhi) in the heavens, hearing the beautiful sound of Krishna and the Gopis (Shyama). They rain down an endless shower of celestial flowers while chanting shouts of victory (Jai Jai Kar) from their mouths.
This verse shifts the perspective from the earthly forest of Vrindavan to the heavenly skies. The dance has become so spiritually powerful that even the gods (Devas) stop to watch. They honor the divine union by playing celestial music, showering flowers, and praising the Lord and His devotees.
7. Narsinh Mehta is overwhelmed by divine love while witnessing the divine play of Krishna. He finds himself unable to get enough of this sight, so he follows closely behind, singing and clapping to the rhythm, thus fully participating in the experience.

The overall essence of this bhajan (Nadbrahma Pada 616), composed by the revered saint-poet Narsinh Mehta, is the ultimate union of the human soul with the Divine through absolute devotion (Bhakti).

Using the vibrant framework of the Raas Leela—the cosmic dance of Lord Krishna and the Gopis—the bhajan functions on two distinct levels:

• The Visual Backdrop: Ecstasy in Nature
  On the surface, the bhajan is a masterpiece of sensory celebration. It paints a vivid picture of a monsoon night where nature itself is celebrating. The drizzling rain, flashing lightning, singing peacocks, and ringing ankle bells create a joyful, rhythmic symphony. It shows that when the Divine manifests, the entire universe joins in the celebration.
• The Spiritual Allegory: The Soul's Journey
  Beyond the beautiful imagery lies a profound spiritual metaphor:
  - The Monsoon Rain (Jhar-mar): Represents an endless, overwhelming downpour of divine grace and love.
  - The Gopis: Represent individual human souls (Jivatma). By casting away their worldly inhibitions, tying up their hair, and rushing to the forest, they symbolize a seeker shedding ego and worldly attachments to find God.
  - The Diverse Devotion (Verses 4–5): Shows that there is no single "correct" way to love God. Whether a seeker serves Him quietly (fanning the whisk), surrenders completely (bowing), or internalizes Him deeply (holding Him in the heart), the Divine accepts all forms of love.
  - The Cosmic Approval (Verse 6): The gods showering flowers proves that pure, unselfish devotion on Earth elevates the spiritual energy of the entire cosmos.
• The Role of the Witness-Devotee
  The bhajan reaches its emotional peak in the final verse with Narsinh Mehta himself. He transitions from a mere storyteller to an active participant. Overwhelmed by love (preme bharano), he realizes that Lord Krishna is present within everyone and everything (sarve ma patrano). His eyes are never fully satisfied (trupt na thaye) with the beauty of God, so he picks up his cymbals, claps to the rhythm, and follows behind, singing.

Ultimately, the essence of the bhajan is a call to seekers to lose their worldly identity in the rhythm of divine love, just as Narsinh Mehta and the Gopis did.

[Translated by AI]