Bangladesh davlat madhiyasi

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Amar Sonar Bangla Music.svg
Mening oltin Bengaliyam

 Bangladesh davlat madhiyasi
Soʻz muallif(lar)i Rabindranath Tagore, 1905
Bastakor Gagan Harkara
Qabul qilindi

1971-yil 10-aprel (vaqtinchalik)

1972-yil 26-mart (rasmiy)
Audio
Bangladesh davlat madhiyasi

„Mening oltin Bengaliyam“ (bengalcha: আমার সোনার বাংলা, talaffuzi [amar ʃonar baŋla]) — Bangladeshning milliy madhiyasi hisoblanadi. Bengaliya madhiyasi uchu sheʼr 1905 yilda bengal polimati Rabindranath Tagore tomonidan yozilgan, madhiyaning ohangi esa Baul qoʻshiqchisi Gagan Harkaraning „Ami Kothay Pabo Tare“ qoʻshigʻidan qabul qilingan.[1][2][3] Zamonaviy instrumental ijroni Bangladeshlik musiqachi Samar Das aranjirovka qilgan.

Etimologiya[tahrir | manbasini tahrirlash]

Sonar soʻzi soʻzma-soʻz „oltindan yasalgan“ degan maʼnoni anglatadi, sona oltin degan maʼnoni anglatadi, amar esa egalik qilishni anglatadi. Bu „sevimli“ degan maʼnoni anglatadigan mehribonlik atamasi sifatida ishlatiladi, ammo qoʻshiqda sonar Bangla soʻzlari Bengalning qadr-qimmatini ifodalash uchun talqin qilinishi mumkin.

Tarix[tahrir | manbasini tahrirlash]

Rabindranath Tagore, madhiya muallifi

Qoʻshiq 1905-yilda Bengaliyaning birinchi boʻlinishi paytida, hukmron Britaniya imperiyasi Bengal prezidentligining boʻlinmagan viloyati ikki qismga boʻlingan davrda yozilgan. Qaror 20-iyul kuni Hindistonning o‘sha paytdagi vitse-qiroli Lord Curzon tomonidan eʼlon qilingan va 16-oktyabrdan kuchga kiradi. Bengaliyaning bu boʻlinishi, jamoat yoʻnalishi boʻyicha — musulmonlarning koʻpchiligi Sharqiy Bengaliya va Assam va koʻpchilik hindularga ega Gʻarbiy Bengaliyaga boʻlinagan. Bu Hindistonning Buyuk Britaniya imperializmiga qarshi milliy harakatiga putur etkazgan va siyosiy sabablarga koʻra daʼvo qilingan. Boshqa koʻplab qoʻshiqlar qatori, bu kabi qoʻshiqlar Bengaliyaning birlashgan ruhini qayta tiklash, jamoat siyosiy boʻlinishiga qarshi jamoatchilik ongini oshirish uchun moʻljallangan edi. Qoʻshiq soʻzlari birinchi marta 1905-yilda bir vaqtning oʻzida Bongodorshon va Baul gazetalarining sentyabr sonida paydo boʻlgan. Qoʻshiq nota bilan birga (bengal tilida swaralipi deb ataladi) birinchi marta Shongeet Biggnan Probeshika davriy musiqiy jurnalida oʻsha oy va yilda paydo boʻlgan. Tagorening jiyani Satyendranath va Tagorening qizi Indira Devi musiqiy notani Tagorening oʻzidan eshitgan holda yozib oldi (bu odatiy holat edi, Tagore qoʻshiq kuylardi va kimdir notalarni rasman yozib qoʻydi).

Rasmiy qabul qilinishi[tahrir | manbasini tahrirlash]

Ushbu qoʻshiqning birinchi oʻn (10) satri Bangladeshning 1971-yilda ozodlik urushi paytida qabul qilingan milliy madhiyasini tashkil qiladi. Keyingi boʻlimda faqat oʻsha qatorlar berilgan. Cholgʻu orkestrining ijrosi Samar Das tomonidan tuzilgan.[4]

Matn[tahrir | manbasini tahrirlash]

Bengalcha asl[5][6][7] IPA transkripsiyasi Inglizcha tarjima

আমার সোনার বাংলা, আমি তোমায় ভালোবাসি।
চিরদিন তোমার আকাশ, তোমার বাতাস, আমার প্রাণে বাজায় বাঁশি॥
ও মা, ফাগুনে তোর আমের বনে ঘ্রাণে পাগল করে,
মরি হায়, হায় রে—
ও মা, অঘ্রাণে তোর ভরা ক্ষেতে আমি কী দেখেছি মধুর হাসি॥

কী শোভা, কী ছায়া গো, কী স্নেহ, কী মায়া গো—
কী আঁচল বিছায়েছ বটের মূলে, নদীর কূলে কূলে।
মা, তোর মুখের বাণী আমার কানে লাগে সুধার মতো,
মরি হায়, হায় রে—
মা, তোর বদনখানি মলিন হলে, ও মা, আমি নয়নজলে ভাসি॥


তোমার এই খেলাঘরে শিশুকাল কাটিলে রে,
তোমারি ধুলামাটি অঙ্গে মাখি ধন্য জীবন মানি।
তুই দিন ফুরালে সন্ধ্যাকালে কী দীপ জ্বালিস ঘরে,
মরি হায়, হায় রে—
তখন খেলাধুলা সকল ফেলে, ও মা, তোমার কোলে ছুটে আসি॥

ধেনু-চরা তোমার মাঠে, পারে যাবার খেয়াঘাটে,
সারা দিন পাখি-ডাকা ছায়ায়-ঢাকা তোমার পল্লীবাটে,
তোমার ধানে-ভরা আঙিনাতে জীবনের দিন কাটে,
মরি হায়, হায় রে—
ও মা, আমার যে ভাই তারা সবাই, ও মা, তোমার রাখাল তোমার চাষি॥

ও মা, তোর চরণেতে দিলেম এই মাথা পেতে—
দে গো তোর পায়ের ধুলা, সে যে আমার মাথার মানিক হবে।
ও মা, গরিবের ধন যা আছে তাই দিব চরণতলে,
মরি হায়, হায় রে—
আমি পরের ঘরে কিনব না আর, মা, তোর ভূষণ ব'লে গলার ফাঁসি

[a.mar ʃo.nar baŋ.la ǀ a.mi to.maj bʱa.lo.ba.ʃi]
[t͡ʃi.ro.din to.mar a.kaʃ ǀ to.mar ba.taʃ ǀ a.mar pra.ne ba.d͡ʒaj bã.ʃi ‖]
[o ma ǀ pʰa.gu.ne tor a.mer bo.ne gʱra.ne pa.gol kɔ.re ǀ]
[mo.ri haj ǀ haj re ǀ]
[o ma ǀ ɔ.gʱra.ne tor bʱɔ.ra kʰe.te a.mi ki de.kʰe.t͡ʃʰi mo.dʱur ha.ʃi ‖]

[ki ʃo.bʱa ǀ ki t͡ʃʰa.ja go ǀ ki sne.ho ǀ ki ma.ja go ǀ]
[ki ã.t͡ʃol bi.t͡ʃʰa.je.t͡ʃʰo bɔ.ʈer mu.le ǀ no.dir ku.le ku.le]
[ma ǀ tor mu.kʰer ba.ni a.mar ka.ne la.ge ʃu.dʱar mɔ.to ǀ]
[mo.ri haj ǀ haj re ǀ]
[ma ǀ tor bɔ.don.kʰa.ni mo.lin ho.le ǀ o ma ǀ a.mi nɔ.jon.d͡ʒɔ.le bʱa.ʃi ‖]


[to.mar ei kʰɛ.la.gʱɔ.re ʃi.ʃu.kal ka.ʈi.le re ǀ]
[to.ma.ri dʱu.la.ma.ʈi ɔŋ.ge ma.kʰi dʱon.no d͡ʒi.bɔn ma.ni]
[tu.i din pʰu.ra.le ʃon.dʱa.ka.le ki dip d͡ʒa.liʃ gʱɔ.re ǀ]
[mo.ri haj ǀ haj re ǀ]
[tɔ.kʰon kʰɛ.la.dʱu.la ʃɔ.kol pʰe.le ǀ o ma ǀ to.mar ko.le t͡ʃʰu.ʈe a.ʃi ‖]

[dʱe.nu.t͡ʃɔ.ra to.mar ma.ʈʰe ǀ pa.re d͡ʒa.bar kʰe.ja.gʱa.ʈe ǀ]
[ʃa.ra din pa.kʰi.ɖa.ka t͡ʃʰa.jaj.ɖʱa.ka to.mar pol.li.bʱa.ʈe ǀ]
[to.mar dʱa.ne.bʱɔ.ra aŋ.i.na.te d͡ʒi.bɔ.ner din ka.ʈe]
[mo.ri haj ǀ haj re ǀ]
[o ma ǀ a.mar d͡ʒe bʱa.i ta.ra ʃɔ.bai̯ ǀ o ma ǀ to.mar ra.kʰal to.mar t͡ʃa.ʃi ‖]

[o ma ǀ tor t͡ʃɔ.ro.ne.te di.lem ei̯ ma.tʰa pe.te ǀ]
[de go tor pa.jer dʱu.la ǀ ʃe d͡ʒe a.mar ma.tʰar ma.nik hɔ.be]
[o ma ǀ go.ri.ber dʱɔn d͡ʒa a.t͡ʃʰe tai̯ di.bo t͡ʃɔ.ron.tɔ.le ǀ]
[mo.ri haj ǀ haj re ǀ]
[a.mi pɔ.rer gʱɔ.re kin.bo na ar ǀ ma ǀ tor bʱu.ʃon bo.le gɔ.lar pʰã.ʃi ‖]

My golden Bengal, thee I love.
Forever thy skies be, thine air like a flute set my heart in tune;
O Mother, aroma of mango orchard in Falgun driveth me crazy,
Ah, such miraculousness!
O Mother, time seeth in Ogrohayon smiles sweet all through fields of paddy.

What beauty, what shades, what affection, what tenderness;
What a quilt thou hast spread at tip of banyans 'long ev’ry bank,
O Mother, words from thy lips like nectar to my ears.
Ah, such miraculousness!
If sadness, o mother, cast a gloom on thy face, my eyes filled with tears.

Spending my childhood in thy playhouse
Thy soil oʻer my body smeared, I consider myself privileged.
Wonderful lamp at dusk thou lightest,
Ah, such miraculousness!
At once I quit playing and sprint back to thy lap, o mother.

In cattle grazing field, on pier for crossing stream,
Shaded village walkways, serene with calling birds
Open porch with heaped ripe paddy, my life goeth on.
Ah, such miraculousness!
All thy shepherds and farmers are my brothers.

This time I offer my head beneath thy feet,
Bless me with thy dust, obliged shall I be to flaunt overhead.
To thee I shall offer meagrely whatever I have at home,
Ah, such miraculousness!
Neʼer bothered to buy thee from others a hanging rope coronal guise.

Manbalar[tahrir | manbasini tahrirlash]

  1. Folk singer, Swapan Basu, demonstrates the similarity in a live recitation (0:43/8:46 to 1:21/8:46)
  2. Chakrabarti, Santosh. Studies in Tagore: Critical Essays. Atlantic Publishers & Dist, 2004 — 108 bet. ISBN 9788126903405. 
  3. „Rabindranath Tagore - Essays - Creative Unity - An Indian Folk Religion ()“. tagoreweb.in. Qaraldi: 22-sentabr 2021-yil.
  4. Komol, Khalid Hasan „Das, Samar“,. Banglapedia: National Encyclopedia of Bangladesh, Second, Asiatic Society of Bangladesh, 2012. 
  5. „Rabindranath Tagore - Songs - স্বদেশ - আমার সোনার বাংলা“. tagoreweb.in. 9-iyul 2012-yilda asl nusxadan arxivlandi. Qaraldi: 26-dekabr 2021-yil.
  6. „জাতীয় সংগীত (পাঠ) - নেত্রকোণা জেলা“. www.netrokona.gov.bd. 30-iyul 2020-yilda asl nusxadan arxivlandi. Qaraldi: 26-dekabr 2021-yil.
  7. „About Bangladesh-2“. www.parjatanbd.com. 11-avgust 2011-yilda asl nusxadan arxivlandi. Qaraldi: 26-dekabr 2021-yil.

Havolalar[tahrir | manbasini tahrirlash]