On August 24, 1913, at Cheyne Walk, London, Rabindranath Tagore, aged 52, composed a remarkable song, “E Manihar Aamay Nahi Saje”. The Rabindra Sangeet, under the category of Puja (Worship), was later published in Geetimalya in 1914. Under the sub-category of “Bibidha” (Miscellaneous), “E Manihar Aamay Nahi Saje” followed the rhythmic pattern of Ektaal. Ektaal is an Indian classical taal or rhythm pattern with twelve beats distributed evenly over four divisions.
The poet drew inspiration from the melodic raga Yaman (Iman). A raga is identical to the Western classical modes. Modes in music are scale-like patterns that can begin on any note of the scale, not just the root note. Each mode like each raga has a distinct characteristic. Traditionally, raga Yaman is only played in the early evening. The raga portrays a quiet, calm, and peaceful tone, while being joyous and vibrant. The notes of a raga Yaman approximately equate to the western scale notes in the key of D.
The bard starts this Rabindra Sangeet by saying that the bejewelled necklace does not suit him. The necklace hurts when put on, jangles when the tries to break it. The music of the poet goes off-key since it suffocates, distracts and smothers his voice, taking away his focus from work. He is impatient to remove it. It is enough for him if he is received with a garland of flowers. He is ashamed to face someone because of the necklace.
This Rabindra Sangeet is very typical of Geetimalya, since the other songs of the collection has a sense of keeping oneself from attaching to the praises of the world. This idea proves Tagore’s association with the Bhagavad Gita. According to chapter 12, verse 17 of the Bhagavad Gita, people full of devotion do not exult in mundane pleasures nor despair in worldly misfortunes, neither weep for any loss nor yearn for any gain.
This song was composed three months before Tagore won the Nobel Prize. The bejewelled necklace in the lyrics is a symbolic replica of that. It hurts him because the British people, who killed so many innocent Indians, coronated him with such a prize of agony. This precious prize jangles when he wants to break it because the renunciation of the prize promotes criticism of people who want the bard to have it. But such a prize intercepts the poet’s melody of non-attachment. His focus on his work is gone. He has started waiting to put it back on the provider of such a prize. The literal provider of such a prize is the British people.
The symbolic provider of the prize is the almighty, on whom, according to Tagore, it would suit best. According to Canto 5, Chapter 24, Verse 19 of Srimad Bhagabatam, when one becomes a pure devotee in love, the Supreme Lord’s will may bless him with a favourable material position. However, one should not incorrectly believe that a devotee’s material richness is the outcome of his devotion. Tagore knows this and is happy only with a garland of flowers. Tagore is ashamed to face the British or the people who want him to have the prize because it gives him the bondage of superiority and judgement. The shame would be greater if he were to face God.
