A Timeless Symphony of Love and Longing: Agamani and Bijoya Songs of Sachin Dev Burman

In the vibrant cultural landscape of Bengal, where tradition and emotion entwine, Agamani and Bijoya songs have taken root. These timeless genres evoke powerful emotions, exploring universal themes that transcend time and space, and resonate deeply with the heart of Bengal. Agamani and Bijoya songs offer a poignant window into the complexities of human relationships, love, and longing. Steeped in the mythology of Goddess Durga or Parvati (mostly referred to as Uma in these songs) they navigate the intricate web of relationships between the divine and the human, and the parent and the child. Through their lyrics and melodies, these songs capture the tender intensity of maternal love, the ache of longing, and the transcendent beauty of the divine-human connection.

Reflecting the unique cultural heritage of Bengal — woven from Hindu mythology, folk traditions, and literary influences — Agamani and Bijoya songs have become an integral part of the cultural identity of the region, their soul-stirring melodies deeply embedded in the rich musical traditions. Passed down through generations, these songs have adapted to changing times, yet retained their emotional essence. Today, they continue to evoke feelings of nostalgia, devotion, and connection, forging a deep sense of community among those who listen to them.

Agamani: Menaka welcomes Uma home (Calcutta Art Studio, 19th Century)

Agamani songs recount Uma’s journey from the opulent kingdom of her father, Himalaya (mostly referred to as Giri or Giriraj in these songs) to her marriage with the ascetic Shiva (mostly referred to as Jamai or the son-in-law, in connection with his relationship with the parents of Uma). When Uma’s mother, Menaka, and Uma share a prophetic dream, their hearts yearn for a reunion. Menaka’s repeated requests prompt her husband, Giriraj, to bring Uma back home for a brief three-day visit.

The Agamani songs, born from this poignant homecoming, evoke a mix of affection and melancholy. They offer valuable insights into medieval Bengali Hindu society, exploring themes of maternal love, marital separation, and intergenerational tensions. Composed primarily in post-medieval Bengal, the Agamani song tradition was short-lived. Although these songs left a lasting legacy, Uma’s universal motherhood eventually eclipsed her role as daughter, rendering the focus of the genre obsolete.

Swapan dekhechhe Girirani, an Agamani song, crafted by renowned poet Ajoy Bhattacharya in the early twentieth century, stands out for its masterful blend of the dual aspects of Uma — the daughter and the Universal Mother. The lyrics unfold as:

স্বপন দেখেছে গিরিরাণী,
[Swapan Dekhechhe Girirani,]
আকাশের চাঁদ ডেকে বলে,
[Akasher Chand Deke Bole,]
‘মাগো, আজ খোলো দ্বার,
[‘Maago, Aaj Kholo Dwar,]
আমারে তুলিয়া লও কোলে।’
[‘Amare Tuliya Lao Kole.’]
প্রভাতে বাহিরে আসি,
[Prabhate Bahire Asi,]
হেরিল কাহার হাসি?
[Herilo Kahar Hasi?]
উমা সতী হাসে মৃদু মৃদু,
[Uma Sati Hase Mridu Mridu,]
চরণ রাখিয়া ফুলদলে।
[Charan Rakhiya Phulodole.]
নভোহারা দুটি তারা,
[Nabhohara Duti Tara,]
উমার নয়নকোলে।
[Umar Nayan-Kole.]
ললাটে সিন্দূরবিন্দু,
[Lolate Sindoor-Bindu,]
যেন রাঙা রবি জ্বলে।
[Jeno Ranga Robi Jwole.]
বিমোহিত গিরিরাণী,
[Bimohito Girirani,]
মুখে নাহি তার বাণী,
[Mukh Nahi Tar Bani,]
মা হইয়া ‘মা’ ডাকিতে,
[Maa Hoiya ‘Maa’ Dakite,]
সাধ জাগে যেন পলে পলে।
[Saadh Jaage Jeno Pole Pole.]

The words may be translated as:

Mother Menaka’s slumber
Was filled with a vivid dream.
The moon’s gentle whisper
Echoed in her mind:
‘Mother, open the doors today,
And take me in your arms.’
As the warmth of dawn awakened her,
She stepped outside into the radiant light,
And her gaze fell upon her daughter, Uma.
The serenity of Uma’s smile captivated Menaka,
And she felt her heart swell with love.
Uma’s gentle face glowed with an inner warmth,
Her eyes sparkling like stars in the morning sky.
The delicate vermilion dot on her forehead
Seemed to pulse with the vibrant energy of the rising sun.
Entranced, Menaka’s voice caught in her throat,
Her words were suspended in awe.
In that moment,
Menaka longed to address her own daughter,
Uma, as ‘Mother’,
Transcending the boundaries of their relationship.

Swapan dekhechhe Girirani (Non-film, 1935) Sachin Dev Burman / Ajoy Bhattacharjee / Sachin Dev Burman

Ajoy Bhattacharya (Bengal Film Archive)

In the song, Ajoy Bhattacharya’s poetic genius weaves a captivating narrative where Menaka, awestruck by Uma’s radiance, feels an overwhelming urge to address her daughter as ‘Mother’. The lyrical beauty of the song lies in its juxtaposition of the Divine Mother’s manifestation in nature. The poet draws parallels between Uma’s eyes and the stars, the sun and the vermilion (Sindoor) dot on Uma’s forehead. This symbolism converges to reveal the divine essence of Uma, as if nature itself has taken on her sacred form. Menaka beholds this manifestation, transcending the boundaries between the daughter and the Universal Mother.

This neo-Agamani song by Ajoy Bhattacharya exemplifies a unique aspect — exploring universal themes through symbolic imagery. Sachin Dev Burman’s musical expertise, rooted in Bengal’s folk traditions, perfectly complements the spirit of the song, while his soulful rendering breathes life into Bhattacharya’s poignant lyrics, creating an unforgettable experience.

As the joyful refrains of Agamani fade, the haunting melodies of Bijoya unfold, weaving a seamless emotional tapestry. The tender heartbeat of reunion subtly shifts to the ache of separation, and the same hearts that once celebrated union now resonate with the sorrow of farewell.

Bijoya Dashami, the culmination of the Durga Puja festivities, marks the triumphant return of Goddess Durga to her heavenly abode, Kailash. As everyone prepares to bid her farewell, a poignant mix of emotions—sorrow at Her departure yet gratitude for Her presence—fills the air. It is on this bittersweet note that the Bijoya songs fill the air, echoing the tender emotions of separation and longing.

Bijoya: Menaka’s tearful farewell to Uma (Calcutta Art Studio, 19th Century)

The Bijoya songs echo Mother Menaka’s feelings as she prepares to bid farewell to Uma on the night of Navami and finally bids farewell on Bijoya Dashami. The melodies of these songs are hauntingly beautiful, evoking a sense of nostalgia and melancholy. The lyrics explore the complex emotions of separation, with Mother Menaka’s heartfelt appeals to Uma to stay back and alleviate her pain. The Bijoya songs transcend myth and reality, speaking directly to the common people who have all experienced the ache of separation.

As the Bijoya songs fill the air, the atmosphere is charged with emotion as the fleeting nature of life and the inevitability of separation is experienced by one and all. Yet, there remains hope — ‘aschhe bachhor abaar hobe‘, as it is said in the modern-day — the Goddess will return and the cycle of union and separation will begin anew. Bijoya songs are a testament to the power of love and longing, and provide solace in the face of separation. Evoking emotions and inspiring devotion, these age-old songs still remain an essential part of the cultural landscape of Bengal, in the fast changing world of today.

Sachin Dev Burman (All India Radio, 1940s)

Though composed much later than most of the well-known songs of the genre, in the early twentieth century, Biday dao go morey, sung by Sachin Dev Burman, remains a timeless Bijoya song that embodies the spirit of tradition. Penned by Ajoy Bhattacharya and melodiously composed by Sachin Dev Burman, this modern classic captures the essence of the traditional Bijoya songs. The poignant lyrics resonate deeply:

‘বিদায় দাও গো মোরে’ —
[‘Biday Dao Go Morey’ —]
উমা সতী কেঁদে কয়।
[Uma Sati Kende Koy.]
কাজল মুছিয়া গেল,
[Kajol Muchhiya Gelo,]
সিন্দূর মলিন হয়।।
[Sindoor Molin Hoy.]
গিরিরাণী কহে —
[Girirani Kohe —]
‘মাগো, এ ব্যথা বুঝিবি নাগো।
[‘Maago, E Byatha Bujhibi Naago.]
মা’র বুকে কী যে শেল
[Maar Buke Ki Je Shel]
গোপনে বিঁধিয়া রয়।।’
[Gopone Bindhiya Roy.’]
উমারে ছাড়িতে
[Umare Chharite]
পরাণ বিদরে হায়।
[Poran Bidore Hay.]
কাঁদে যত নর-নারী
[Kande Jato Noro-Nari]
লুটাইয়া রাঙা পায়।।
[Lutaiya Ranga Paye.]
উমারে ছাড়িতে বলে তারা —
[Umare Chharite Bole Tara —]
‘সিন্দূরে লেপিয়া পা ও
[‘Sindoore Lepiya Pa O]
পদচিহ্ন রেখে যাও।
[Padochihno Rekhe Jao]
বুকে ধরে র’ব মোরা,
[Buke Dhore Robo Mora,]
প্রাণ হবে উমাময়।।’
[Pran Hobe Uma-Moy.]

The words may be translated as:

‘Bid me farewell’ — Uma says,
Tears streaming down,
Kajal smudged,
The glow of Sindoor fades away.
Menaka, the Queen Mother,
Whispers softly —
‘O Mother Uma,
You cannot grasp
The pain that I know,
The ache of a mother’s heart
When her daughter departs,
A sorrow that only
A mother’s heart can hold.’
As Uma prepares to leave,
Men and women weep,
Falling at Uma’s feet,
Overwhelmed by grief,
Their hearts heavy with pain.
‘Anoint your feet with Sindoor’ —
They say,
‘And leave your footprints here.
Embracing your footprints,
Our hearts will feel
Your eternal presence so dear.’

Biday dao go morey (Non-film, 1935) Sachin Dev Burman / Ajoy Bhattacharjee / Sachin Dev Burman

The song masterfully bridges the interconnected spaces between maternal relations, heavenly connections, and worldly bonds, revealing an intricate web of relationships. At its heart lies the poignant dynamic between Mother Menaka and Daughter Uma, embodying universal themes of love, separation, and longing. The Divine Mother manifests dually: as Uma, the vulnerable daughter, and as the all-powerful protector, the Universal Mother, dissolving boundaries between the human and the divine, the heavenly and the worldly, and highlighting the seamless continuity between the spiritual and the material realms.

By juxtaposing three emotional perspectives — Uma’s, Menaka’s, and that of the earthly beings, the song illuminates the complex tapestry of relationships, weaving together maternal love, the divine-human connection, and devotion. This structure underscores the interconnectedness of existence, demonstrating how each thread strengthens and enriches the others, as the lyrics transcend all boundaries to speak directly to the heart!

The heart-wrenching rendition of Biday dao go morey by Sachin Dev Burman breathes life into the neo-Bijoya song penned by Ajoy Bhattacharya, distilling the essence of human connections, suspended between joy and sorrow, whispering universal truths about the beauty of love and fragility of life.

In the whispers of Agamani and the sighs of Bijoya, we find the eternal resonance of the human heart. These songs weave a rich brocade of love and longing, transcending time and space, where every strand vibrates with stories of union and separation, joy and sorrow. Beyond myth and mortal bounds, they speak to humanity, reminding us that the depths of emotion form the very canvas of existence — the intricate landscape on which our lives unfold.

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About the Author

Sounak Gupta ( 7 Posts)

Sounak Gupta, Assistant Editor, LnC, is a passionate collector and archivist of Indian Music on Gramophone Records, often eager to share treasures from his collections with enthusiasts and researchers on various platforms. As a self-directed researcher on music, he specializes in the History of Bengali Music, and Bengali Music on Gramophone Records. His writings on music, and the lives, and works of musicians have appeared in several magazines and news dailies, both in India and overseas. His literary pursuits have also yielded contributions to notable volumes including Blue Pencil's The Unforgettable Music of Hemant Kumar, written by Manek Premchand – co-authoring Antara Nanda Mondal on a chapter on Hemant Kumar's Bengali music, and Deys Publishing's Prithibi Amare Chay, among others. Beyond his musical interests, Sounak devotes himself to reading and reflecting on Literature and Education, while continually seeking new avenues of exploration through brainstorming. Amidst a diverse range of academic pursuits and experiences, his interests continue to evolve, informed by the confluence of music, literature, and history.
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