Lyric and background history of song sokhi adhare ekela

Parjaay: Prem (281)

Upa-parjaay: Prem-Boichitra

Taal: Jot

Raag: Khambaj-Tappa

Written on: 1925

Publication: Probahini

Collection: Barsha-mangal

Swarabitan: 2

Notation by: Dinendranath Tagore

Bhanga Gaan

Notes: This song was first published in the autumn, 1925.

Amita Sen in her book – ‘Shirish Bokul Aamer Mukul’ has said –

… One day it was a meeting of legands. Several personalities like Bhimrao Shastri, Nandalal, Khitimohan were present. Rabindranath discussing on musical matters with Bhimrao Shastri. With reference to the topic Bhimrao would hum a melody from Hidustani Classical – sometimes only a tune – sometimes accompanied by some lyrics. Suddenly one such melody seemed to drive Rabindranath to frenzy state. It was like a game of melody that started immediately. Bhimrao would sing a piece of melody, followed by Rabindranath who would aptly positioned Bengali words on the melody and reproduced it. Both of them appeared to be highly agitated by emotions. Bhimrao’s face was flushing while his voice produced waves of Classical melodies. Rabindranath would grab the tune where Bhimrao had left and Bhimrao would restart from where Rabindranath had halted. It was incessantly raining outside. Gust of wind with droplets often blew to moisten us from outside; an ambience beyond description. On this venue the song was created – ‘Sokhi aandhare ekela ghore mon mane na …’.

In the same book she has depicted a memory about the choreography with the song. ‘Shap-mochan’ was scheduled to be staged on 3rd January, 1931 on the occasion of seventieth birth anniversary of Rabindranath. Shantidev Ghosh had been rehearsing for the role of Aruneshwar, however, following his ailment Dr.Harry Timbers, a guest from America, had been selected for the role. The role of Kamalika was enacted by Amita Sen. She writes –

… I was summoned by Rabindranath right at the dawn. He was not happy with my acting in the rehearsal on the day before. I could not produce the exact expression that he had suggested. My lapse had kept him agitated for the entire night. My demonstration of the song ‘Sokhi aandhare ekela ghore mon mane na’ was not upto the mark. He pulled hiself up in order to show me, singing – ‘Jharo jharo nire nibiro timire / Sajalo somire go’. His gentle steps were as if in fantasy while he continued to sing. Then he stopped and said – ‘As if an unknown lyrics waving across from a distance at your direction, and you are listening to it leaning on the column on the stage. You are murmuring – Jeno kaar baani kobhu kaane aane … , he would tilt his head looking at the farthest, singing. He would try to listen to the ringing melody waving past. Then dropping on the rostrum, dejected, as if sobbing – Kobhu aane na…’ …

Roma Chakraborty has commented in ‘Bhora Thaak Smriti-sudhay’ –

… Harry Timbers was an American and he did not know Bengali language, although he was conversant with Russian folk dance. He was familiarized with each of the words in the play by Gurudev and trained for the acting and dance. …