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chole jay mori
Lyric & History


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Lyric and background history of song chole jay mori hay

Song of Rabindranath Tagore

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This page contains lyric of Tagore song chole jay mori hay and its transliteration in English with background history. Background of the song includes the place and date of the song written by Rabindranath, name of the newspaper or magazine the song was first published in and the name of the person who had prepared the notation or swaralipi. This page also contains the musical composition of song like parjaay, taal, raag and ango.

The other related elements of this song like translation in English and Hindi, notation in Bengali (swaralipi), staff notation (western) which are available in other pages, please find the related links below. We have also provided the pdf's of lyric, notation and staff notation with midi with downloadable links so that people may find it easier to get the song and notations in printed format.



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Parjaay: Prakriti (247)

Upa-parjaay: Basanta (60)

Taal: Kaharwa

Raag: Khambaj

Written on: 1929 (28/9/1926)

Place: Cologne

Published in: Sabujpatra

Swarabitan: 5

Notation by: Dinendranath Tagore

Notes: This song was written in monsoon, 1929.

It was used for the first time in the play ‘Nobin’ on 4th March, 1931. Roma Chakraborty, a student of Shantiniketan at that time has shared a memory in her book ‘Bhora Thaak Smritisudhay’ –

… Bouthan (Protima Debi) had introduced me into the dance for Nobin. The song was ‘Mori haay chole jaay basonter din …’. I was a member of the singing team. One day suddenly Bouthan had called me and asked to join the dance team. I was surprised. As a dancer I was a beginner, how can I manage a solo. Alarmed, I approached Bouthan – ‘How can I do it ma’m, I am a novice alongside qualified dancers like Amita and Jomuna.’

She calmly replied with her characteristic afraid-not tone – ‘Let us give it a try. I won’t ask you if it doesn’t go well. Moreover, nothing is final until Baba-mosai approves it.’

Wonderful was her penance; she seemed to have pledged to get it done by me in style. One day she said – ‘Well, you look pretty smart now. We must show it to Baba-mosai today.’

Once again I was frightened and thought Gurudev would surely call it off. Far from disapproval he had openly encouraged me. He left his seat and grabbed my hand to show how to follow each line of the song while he continued to sing. I was hesitant, could not move freely. He asked Bouthan – ‘Bou-ma, bring me a chalk pencil.’ She fetched one from Pupe’s desk. Gurudev said – ‘Now draw a semi-circle – Roma will go after this line.’

Then he continued to train me occasionally grabbing my hand – going forward while ‘Chole jaay basonter din’ and retreating while ‘Mori haay’. His flamboyant quick steps in ‘Pulokito aamrobithi’ – make me understand that movement of hands is not enough for ‘pulokito’ meaning thrilled. It is hard to elaborate his stunning expressionist moves with – ‘porane baajay beena ke go udasin’.

… He had spent a considerable amount of time, for which I felt ashamed, Gurudev however was not bothered. He repeated every move and released me when he was completely satisfied. …


Lyric in Bengali

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Tagore song chole jay mori hay
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Transliteration in English

Chole jaay mori haay basontero din.
Dur shaakhe piko daake biramobihin.
Adhiro somiro-bhare uchhwosi bokul jhare,
Gandho-sane holo mon sudure bilin.
Pulokito aamrobithi phaalguneri taape,
Modhukarogunjorane chhaayatalo knaape.
Keno aaji akaarone    saara bela aanomone
Parane baajay bina ke go udasin.

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