સતગુરુજી રે લગન લઇ આવ્યા (રાગ - ધોળ)

નાદબ્રહ્મ પદ - ૭૬૯, રાગ - ધોળ
Nādbrahma pada 769, rāga - dhol

Mahila Mandal

Mahila Mandal - Syadla (Recorded in 2011)

સતગુરુજી રે લગન લઇ આવ્યા, શબ્દ સંસાર મારે મન ભાવ્યા;
પ્રેમની આરતી મોતીડે વધાવ્યા, તો ભાગ્ય ફર્યાં પેલા ભવતણા રે ... ટેક
sat-guru-ji re lagan la-ii āvyā, shabda saňsar māre man bhavyā
prem-ni ārati motide vadhāvya, to bhāgya faryā pelā bhav-tanā re .... repeat

શબ્દરૂપી ચાંદલિયો ચોડ્યો, નિવૃત્તિ કન્યા શું વિવાહ જોડ્યો;
કામ ક્રોધનો ભય સહુ મોડ્યો, તો વિવાહ જોડ્યો જુગતે કરી રે ... ૧
shabda-rupi chaňdaliyo choadyo, nivrut-ti kanyā shuň vivāh jodyo
kām krodh-no bhay sahu modyo, to vivāh jodyo jugate kari re ... 1

ગગન મંડલમેં માંડવો રચાવ્યો, પચરંગી રંગે રંગાયો;
અમી રસ કુપી દોરીએ બંધાયો, તો સાયો કાચે તાર શું રે ... ૨
gagan maňdal-meň maňdvo rachāvyo, pach-raňgi raňge raňgāyo
ami ras kupi dori-e baňdhāyo, to sāyo kāche tār shuň re ... 2

મંડપની શોભા અતિ સારી, રત્ન જડિત જરૂખા ને જારી;
અનંત કલા સુરતિ જાયે વારી, તો ઝલહલ જ્યોતિ ત્યાં ઝળહળે રે ... ૩
maňdap-ni shobhā ati sāri, ratna jadit jarukhā ne jāri
anaňt kalā surati jāye vāri, to jhal-hal jyoti tyaň jhal-hale re ... 3

હૃદયમેં હરિવર તોરણે આવ્યા, સોળે કળા સંપૂર્ણ લાવ્યા;
પ્રેમની આરતી મોતીડે વધાવ્યા, તો નિરખ્યા રૂપ નયણાં ભરી રે ... ૪
raday-meň hari-var torane āvyā, sole kalā sampurna lāvyā
prem-ni ārati motide vadhāvyā, to nirakhyā rup nayanā  bhari re ... 4

સુષ્મણા સાસુજી પોંકવા આવ્યા, પાંચ પચ્ચીશને વાળી લાવ્યા;
ઇંગલા પિંગલાને બેડલાં ચઢાવ્યાં, તો પોંકણ પોંક્યા પ્રેમશું રે ... ૫
sushamanā sāsu-ji poňkvā āvyā, pāňch pach-chish-ne vāli lāvyā
iňgalā piňgalā-ne bedalā chaDhāvyā, to poňkan poňkyā prem-shuň re ... 5

નિવૃત્તિ કન્યાને પધરાવો, સતગુરુ શબ્દનો હસ્ત મેળવાવો;
રણકાર વેદની ધૂમ મચાવો, તો અનહદ વાજાં ગડગડે રે ... ૬
nivrut-ti kanyā-ne padha-rāvo, sat-guru shabda-no hasta melavāvo
ran-kār ved-ni dhum machāvo, to anahad vājā gad-gade re ... 6

ભજન કરી જેણે હરિવર વરીઆ, જન્મ મરણ નો ફેરો ટળીઆ;
કહે પ્રેમદાસ સાચા સતગુરૂ મળ્યા, તો અખંડ ચૂડો અમર રહ્યો રે ... ૭
bhajan kari jene hari-var vari-ā, janma maran no fero tali-a
kahe prem-das sāchā sat-guru malyā, to akhaňd chudo amar rahyo re ... 7

YouTube Video(s):
1. Wedding Procession - 1 of 2  December 31, 2009, Kapura
    Wedding Procession - 2 of 2  December 31, 2009, Kapura

English translation (by AI):
Written entirely as an allegory of a traditional Indian wedding, the bhajan describes the ultimate mystical union between the individual soul (Jivatma) and the Divine Supreme (Paramatma).

0. The True Guru has arrived bringing the wedding invitation (or divine connection). The world of the Divine Sound (Shabda) has become pleasing to my mind. Performing the Aarti (worship ritual) of love, I welcomed him with pearls. Therefore, the fortune of my previous births has turned (changed for the better).

1. The auspicious forehead mark (Chandlo) in the form of the Divine Word (Shabda) was applied. The marriage was joined with the bride named Nivritti (detachment/liberation from worldly desires).
The fear of lust and anger was completely broken (shattered). Therefore, the marriage was joined skillfully (through proper spiritual practice).

2. The wedding canopy (Mandap) was created in the celestial sphere (the sky/the space of consciousness). It was colored in five distinct colors (representing the five elements or five spiritual sounds).
The flask of nectar (the elixir of immortality) was tied with a string. Therefore, the shelter (or the divine groom) was bound by a single raw/delicate thread.

3. The beauty of the wedding canopy (Mandap) is exceedingly good (splendid). The balconies (Jarukhas) and lattice windows (Jari) are studded with gems (jewels).
The spiritual focus/consciousness (Surati) surrenders itself completely to the infinite divine arts (plays). Therefore, the bright, shimmering divine light shines brilliantly there.

4. The divine groom (Hari/Lord) has arrived at the gateway (Toran) of my heart. He brought with Him all sixteen celestial arts/phases in absolute perfection.
Performing the Aarti of love, I welcomed Him with pearls. Therefore, I gazed upon His beautiful form, filling my eyes completely.

5. The mother-in-law named Sushumna (the central energy channel) has arrived to perform the welcoming ritual (Ponkvu). She gathered and brought under control the five elements and the twenty-five worldly tendencies/natures.
The water vessels (Bedlaan) were placed upon Ingla and Pingala (the left and right energy channels). Therefore, the welcoming ritual was performed with deep love.

6. Bring forward and seat the bride named Nivritti (detachment/liberation). Join her hand with the hand of the Satguru's Divine Word (perform the hand-joining wedding ritual).
Create a grand reverberation and resonance of the ultimate knowledge (Vedas). Therefore, the unstruck celestial musical instruments (Anhad Naad) thunder and play loudly.

7. Those who, through devotional singing (Bhajan), accepted the Divine Groom (Hari) as their husband. Their cycle of birth and death was averted (ended).
Premdas says, because the true Satguru was found. Therefore, the bridal bangles (Chudo) remained unbroken and immortal forever.

......

The core meaning of this entire bhajan is a detailed description of spiritual enlightenment, told entirely through the allegory of a traditional Indian wedding.

Instead of a physical marriage between two people, it describes the ultimate mystical union between the individual soul (Jivatma) and the Divine Supreme (Paramatma) through internal yogic practice.

Here is the breakdown of the core spiritual journey described across the verses:

1. The Call and Invitation (Refrain & Verse 1)

The journey begins when the spiritual master (Satguru) enters the seeker's life. The Guru applies the wedding mark (Chandlo) using the Divine Word (Shabda). This initiates a marriage between the seeker and Nivritti (complete detachment from the material world). Once this connection is made, worldly fears, lust, and anger are shattered.

2. The Inner Awakening (Verses 2 & 3)

The wedding does not take place in the physical world, but in the Gagan Mandal (the sky of consciousness or the crown chakra). The wedding canopy is built from the five elements of existence, and the divine nectar of immortality (Ami Ras) begins to flow. The seeker's internal consciousness (Surati) is so mesmerized by this beautiful inner state that it completely surrenders to the brilliant, shimmering divine light within.

3. The Welcoming Ritual (Verses 4 & 5)

The divine groom (God) arrives at the gateway of the heart in absolute perfection. To welcome him, a deep energetic purification occurs. Sushumna (the central yogic energy channel) acts as the hosting mother-in-law. She calms and subdues the five elements and the twenty-five worldly tendencies of the human mind. The side energy channels, Ida (Ingla) and Pingala, are balanced to complete the holy welcome.

4. The Marriage and Eternal Freedom (Verses 6 & 7)

The ultimate marriage ritual (Hasta Melap) takes place as the soul binds completely to the Guru's teachings. Inside the practitioner's mind, the celestial unstruck sound (Anhad Naad) thunders like wedding music. By "marrying" the divine lord through devotion, the seeker breaks completely free from the painful cycle of birth and death. The bride's bangles (Chudo) become immortal, meaning the soul has achieved permanent, eternal realization and will never face the "widowhood" of spiritual ignorance again.