रिमझिम-
रिमझिम मेहा बरसे
तड़पे
जियरवा मीन समानपड़ गई फीकी लाल
चुनरिया
पिया
नहीं आए
गरजत
बरसत सावन आयो
(The raindrops keep falling,
my heart longs even as the red chunariya pales
My beloved doesn't come
even as monsoon descends in all fury)
Orality or folk literature is never marginalized in India.
It is always an alternative tradition and alternative is not to be understood
as “The opposite”. If you want to draw a white line, you need a black or grey
or any dark colour background, so it is a mistake to say white is the opposite
of black or grey or blue. We have to make use of black or grey or any dark
colour to bring out the white in all its distinction and glory. Music, painting and
of course literature, use GREY to depict so many emotions and situations.
As the monsoons close in upon us, the sky takes on different
shades of grey, with a few wavy lines of gold, as the sun struggles in vain to
peep out from the veils of lighter grey cloud upon a denser grey cloud. As the
Nayika stands in the shelter of misty windowpanes and draws out visages with
her delicate finger, grey takes on a new meaning. The grey tempestuous sky is
streaked with lightning and the occasional rumble of thunder shakes her out of
the grey reverie. She sings out a Kajri -
काली
बदरिया मारे नजरिया
मन
में छुपा लो मोहे
जुल्मी
सावरिया
The word Kajri is possibly a derivative of Kajal – meaning dark
Kohl, that adorns her deep, large eyes. In a country of scorching summers – the black
monsoon clouds bring with them a reprieve and great joy – with a need to sing out
loud. , The jhoola is tied to the strongest branch in the mango grove. There
are bursts of giggles as the grey clouds drench the Nayika with raindrops as
she swings on the swing between hope and despair!
This is the moment for the Kajri to be sung and what makes
these songs so special is how they are simply about capturing the moment – the grey
clouds, the gusts of moisture-laden breeze, a fleeting feeling of bliss or
longing – and how, in so doing, they bridge the ‘natural’ world with one’s
inner world!
The rain-washed leaves or scent of jasmine wafted along by
the wet wind, the foliage of newly-shooting rice plants or bamboo-groves
tossing in the stormy wind create the rhythm of a delightful sway. The grey,
wandering clouds appear unpredictable and nomadic, the dancing creeper of
Jasmine flowers are ecstatic. Varsha (monsoon season) is announced by the
plaintive singing of the koyal.
The moist rainy wind sends a nostalgic sigh from the
Virahotkanthita Nayika, who looks up at the grey clouds which she hopes carries
a message from her beloved. A moan of cry rumbles as the lightning tears the
grey sky and the grey clouds burst forth in a torrential downpour. Expressions
still waiting to be articulated bring out a stream of tears. The sigh of
desolation, deserted grey pathways and human activities suspended remind her
of her dark-grey lover.
And can her dark-grey lover then be far behind in expressing
his anguish to the passing grey clouds:
‘O grey cloud over-head
Rise up, won’t you, and carry a message from me
To my beloved across the seven seas (Kalidas, Meghdootam)
She has deep soulful eyes darkened with deep grey kajal,
mass of black tress let open and floating, a deep blue sari wrapped around loosely
and a face expressing the agony of separation mixed with joy at the prospect of an
anticipated union.
She discards her colourful garments, drapes a greyish dress
to camouflage herself as she battles the grey foams of the swelling river to
envelop herself in the comforting arms of her lover.
GREY then is the colour of love, intense, passionate, and
intelligent. For Kalidas, the baramasa poets, and Tagore among other poets and
the painters of Ragamala miniatures grey has been a symbolic colour for the
monsoon glory.
Tagore looks upon Kalidasa’s Yaksha as an emblem of all
loneliness and separation that prevails in this world and the cloud as a global
messenger to all yearning souls:
‘Did every exile hum to the grey clouds
The same song of desire?
Did every lover ask a grey cloud
To carry a tearful missive of separation?’
And then yet another kajri,"Ye dou naina kaho na mane
nadiya bahe jaise sawan ki, koi jaye kaho piya aawan ki
jhuki aai re badariya sawan ki, jhuki aai re badariya
sawan ki manbhawan ki...
