Bhajan

Bhajans are basically musical prayers. They are sung with devotion in relation to goddesses and gods in the Hindhu pantheon. The name Bhajan   is given to any type of Indian   devotional song in general. The word ‘Bhaj’ meaning to serve or to love the divine is the root for the term Bhajan. Having no fixed form, it may be as simple as a   set of verses or as sophisticated as the   classical  musical notes.

A bhajan is normally lyrical, expressing love, devotion and surrender to the divine. Hence its importance to the   Bhakthi movement   that spread from the south of India throughout the entire subcontinent is paramount. The subject of bhajans covers a wide range of topics like descriptions of gods, episodes from scriptures, the teachings of saints and social conditions also, all related to the divine.

Bhajan singing has acquired different traditions with respect to the different regions of the country they evolved from. The traditional South Indian form is called Sampradhāya Bhajan. The compositions of the Nāyanārs and Āzhwārs of Thamizhnāḍu and the Dhāsas of Karṇāṭaka and many others formed the core of this tradition. The   kīrthan as   or songs in the Haridhāsa   tradition are related to the Bhajan form. From the northern part of the continent, Nānak,   Kabīr,   Mīrā,   Sūrdhās   and   Thulasīdhās   are notable composers. Bhajans   by these   and a few others like Narotthama Dhās are considered to be classic. The languages of their work are influenced by several dialects of Hindi and are widely enjoyed even among those who do not speak Hindi. Other than the above, traditions of Bhajan such as Nirguṇi, Gorakhanāthi, Vallabhapanthi, Aṣhṭachhāp, Madhhura-Bhakthi etc. each have their own repertoire and methods of singing.

It is interesting to note that the   Dhrupad   style in Hindhusthāni music and the Sūfi   qawwāli are inspired by the Bhajan form.   In the present period of time, the Bhajan form influences all age groups and is considered the easiest way to connect to the Divine.

Rāga: Brundhāvan Sārang
Thāḷa: Dheśhādhi
Composer: Swāthi Thirunāḷ
Language: Hindi
Meanings – Word by word & Overall: R.Shankar – Rasikas.Org

Alignment, Diacriticals & consequent spelling changes, Language & grammar editing, if any and necessary, of existing meaning: Team Ambalam

Chaliye Kunjan Mo Thum Ham Mil Shyām Hari

Dhekho Jamunā Re Bahi Sundhar Athi Nirbhari
(Chaliye)

Choḍiye Kaise Mokun Main Tho Thero Hāth Dhhari
(Chaliye)

Suniye Koyal Ke Bol Piyā Kyā Kahri
(Chaliye)

Chaliye Kunjan Mo Thum Ham Mil Shyām Hari

Chaliye = Let Us Go
Kunjan Mo = Into (mo) The Garden (Kunjan)
Thum = You
Ham = Me/Us
Mil = Together/After Meeting
Shyām Hari = Oh! Kriṣhṇa

A young Gopi approaches the lord of Vrundhāvan, and says, oh Kriṣhṇa, let us go to the garden together.

Dhekho Jamunā Re Bahi Sundhar Athi Nirbhari
Dhekho = See
Jamunā = The River Yamunā
Re = Addressing Kriṣhṇa (With An Extreme Degree Of Familiarity)
Bahi = Is Flowing
Sundhar = Pretty/Beautiful
Athi = Excessively
Nir = Water
Bhari = Filled Will

Oh Kriṣhṇa! See the beautiful river Yamunā as it flows filled with/ brimming with water!

Note: Yamunā (per mythology) is the daughter of the sun god, Sūrya and Chhāyā (the shadow of Sūrya's first wife, Sanjanā). She is the sister of Yama the lord of death and Śhani (saturn) the planet - as a river and a goddess she is described as being fickle - changing course at the drop of a hat, or, a plough (hala hati bhiti)....

Choḍiye Kaise Mokun Main Tho Thero Hāth Dhhari

Chodiye = Please Let Go
Kaise = How
Mokun Could Mean "Me" (Mujhe/ Mujhko). Chodiye Kaise Mokun = How Can You Leave Me = Mujhe (Mujhko) Kaise Chod Sakte Ho

Main  Tho = I
Thero = Your
Hāth = Hand
Dhhari = Hold

"Choḍiye Kaise Mokun Main tho Thero Hāth Dhari" Conveys A Different Meaning, I.E., How can you leave me when I have held your hand?

Choḍiye Kaise Mokun - How could you leave me?
Main Tho There Hāth Dhhari - I have held (caught hold of) your hand.

The ever mischevious Kriṣhṇa tries to hold the Gopi's hands, making her aghast at this familiarity. She says how can I hold hands with you in public and walk around this garden? People will misunderstand me, and my reputation will be in tatters. So, please, unhand me, Mohana!

Note: The Gopis are an interesting bunch - they couldn't live without Kriṣhṇa on the one hand, and oh, they felt annoyed when he got too familiar with them.

Suniye Koyal Ke Bol Piyā Kya Kahri

Suniye = Please Listen
Koyal Ke = Cuckoo's
Bol = Song/Words
Piyā = Loved One
Kya = What
Keh rahi = Is Saying

The Gopi diverts Kriṣhṇa's attention to that of a cuckoo who is singing the eternal song of love - and says, listen! Do you hear what that cuckoo is saying?