Archive for January 25th, 2012

Date: 25 Jan 2012 13:36:49 -0000
From: “Vara’bhaya Deva”
To: am-global@earthlink.net
Subject: Loving Communication of Bhakta & Parama Purusa #7



~ PS #1156 ~

Here is the next song in our series. The following review of Prabhat Samgiita #1156 is comprised of three distinct sections:

(A) Transliteration

(B) Introduction

(C) Line Meaning

(D) End Notes

(E) Special Note on Spelling
& Pronunciation

Please be sure to read each section carefully as they build upon each other. Kindly send your suggestions, comments and thoughts.


Ke go tumi ele maneri ma’jhe
A’ka’sh va’ta’s toma’ri ra’ge
Spandit hoye meteche na’ce

Kichu ca’o na’ko, kichu bolo na’ko
Kichu dite gele nite ca’o na’ko
Tabu a’chi ja’gi kichu deva’r la’gi, karun’a’ghan a’nkhi bhuleo na’ ja’ce

Kichu ca’o na’ko a’ma’r ka’ch_ theke
Bujhi va’ ca’o tumi a’ma’r “a’mi”-ke
Bha’losba’siya’chi manete metechi saba dite man taerii a’cho


This song expresses the mentality of a sadhaka when Parama Purusa comes in a new and more loving manner. When devotees do dhyana and Parama Purusa appears in the mind, sometimes bhaktas experience Him in a new and different way – in a closer more intimate relation. This song reflects the devotional feeling of a sadhaka when their relation with Parama Purusa becomes more intimate. For instance, suppose a sadhaka was in sakhya bhava, or friend relation. And then one day, in their dhyana they experienced the coming of Parama Purusa in a new way; their proximity with Him increased and their relation changed from sakhya bhava to dasya bhava (Master-servant relation) or madhura bhava (lover). That new and heightened devotional feeling is what is being expressed in this song.


O’ Divine Entity, who are You [1] who has appeared in my mind? In Your attraction and love, the sky and air are dancing in divine ecstasy. [2]

O’ my Lord, You do not want anything, nor do You say anything. When I offer You something, You do not want to accept it. In spite of that, I remain awake, ever-ready to give You something. But, even by mistake, Your compassionate eyes never ask for anything.

Baba, You ask nothing of me. By Your grace, I understand that You are not satisfied with small things. You want my “I-feeling”, my mind – everything. Baba, I have loved You. By Your grace, my mind is spiritually vibrated; it is now ready to surrender everything unto Your lotus feet.

O’ Divine Entity, please accept my sastaunga pranam and unconditional surrender…


[1] Who are You (ke go tumi): A person asks “Who are you?” when they are not fully aware about someone. So they ask, “Who are you?”, in order to get more information about that person. But this question can also be raised if you know the person but are not completely familiar with the way they are behaving or relating with you. That is the case in the above Prabhat Samgiita. The sadhaka knows that it is the Divine Entity Baba, but asks “Who are You?”, because Baba is presenting Himself in a new and more intimate way.

[2] Last Word of the First Stanza: In the 1998 edition of the Bangla Prabhat Samgiita book, the final word of the last stanza is na’ce, meaning “dances”. That seems to be the correct word. In past editions of the Bangla book, the last word of the first stanza was ta’ha’te and in the recorded version of this song, the word ta’ha’te is sung. Because most of those audio recordings were made prior to 1998; hence they sang the song according to the lyrics printed in the older books. Ultimately, I cannot definitively say that na’ce is absolutely, positively the correct term. This could be a typo in the 1998 edition of the Bangla book. But most probably, the 1998 book is the proper version. At the very beginning of the book, the publishers noted that many updates were made in this edition to correct past mistakes. That most likely explains why the word na’ce is used in this text.


Starting from today forward, when introducing new songs, we will post the full song using phonetic spelling. We think that will be the most conducive way for the most readers to get the proper pronunciation.

For instance, take the English words “know” or “knowledge”. Without having first memorized the pronunciation, people will pronounce those words as “Ka-now” or “Kay-Now” and “Kay-Now-La-Di-Ge”,respectively. Simply sounding out the letters will not produce the desired result. Because in the English language, spelling and pronunciation must be memorized. Otherwise it is not possible to pronounce words properly.

Same is the case with Bengali.

For example, in the first line of the above song #1156, the actual spelling of the word bolo (2nd stanza, 1st line, 5th word) is bala. But unless one knows Bangla, they will mispronounce it. Hence we have given the phonetic spelling, bolo. By this way even new readers will be able to pronounce the words correctly when listening to and singing the song.

With this phonetic spelling, readers will get the right pronunciation. Another example is the last word of the second stanza: ja’ce. The actual spelling is ya’ce, but many will mispronounce it if it is spelled in that manner – hence the spelling ja’ce. Indeed there are many such examples.

Only native Bengali speakers – or those extremely fluent in Bangla and familiar with Prabhat Samgiita – will pronounce all the words correctly. Yet everyone wishes to listen to and sing Prabhat Samgiita and enjoy the song. If the lyrics are written in a technical manner then people will not be able to pronounce all the words properly. Hence the decision to write it phonetically.

With regard to the repetition of certain lines when the song is sung, while listening to the song you will just have to be alert and adjust accordingly as all the original lines are present.

Varabhaya Deva

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