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Song of Rabindranath Tagore
This page contains lyric of Tagore song jodi hay jiban 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.
Parjaay: Prem (228)
Upa-parjaay: Prem-Boichitra
Taal: Kaharwa
Raag: Bhimpalasi-Multan
Written on: 1939
Swarabitan: 59
Notation by: Shailajaranjan Majumdar
Notes: This song was written on 30th September, 1939 at Shantiniketan.
Roma Chakraborty, in her book – 'Bhora Thaak Smriti-sudhay' has shared a memory –
... It was dawn and the darkness was about to fade when Khuku [Amita Sen] heard a knock at the door. Banamali barged in as soon as he found it open, said – 'Ma'am, please come sharp, Baba-mosai has been waiting since night with a song. He wants you to see him with haste.'
I too accompanied her despite he had called Khuku. ...He had previously written the song on a piece of paper. ... He tendered the paper to us. The song was – 'Jodi haay, jibon puran ...'. He started singing the first line. We picked up the tune with suppressed voice at first. He continued with the later part when our voice normalised. He made us to repeat the song over and over and then it ended. The section –
... 'Palataka parashkahni diye jaay
Piyasi loy taaha bhaagya maani ...
was repeated several times. The small ornamentation followed after 'diye jaay' appeared to be an intimate one and much loved. His voice had become feeble, shaking beyond control, occasionally cracking, yet the experience was priceless with the touch of his ardour. ...
He had spent quite some time before we could manage the song. The song was inscribed on a paper which I did not wish to lose. Gurudev assured Khuku – 'I will give you another copy of it, let Roma take this one with her.'
Khuku agreed to it happily.
She had a large number of songs stored with her. Gurudev was very much delighted to have Khuku so close at this time. Songs were just bubbling within him. He wanted her to see him twice a day in order to take notes of his songs. Khukhu used to transfer them to the people like Shalaja-ranjan-babu. ...
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Jodi haay jiban puran naai holo mamo tabo akripano kare, Mon tabu jaane jaane - Chokito khoniko alaochaaya tabo aalipan aankiya jaay Bhaabonar praangane. Boishakher shirno nodi bhara sroter daan na paay jodi, Tobu sonkuchito tire tire. Khin dhaaray palatak paroshkhaani diye jaay, Piyasi loy taaha bhaagyo maani. Mamo bhiru baasonar anjolite Jatotuku paai roy uchchholite. Dibaser doinyer sanchoy jato Jatne dhore raakhi, Se je rajonir swapner aayojon.
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