Kalo Meyer Payer Tolay Lyrics

কালো মেয়ের পায়ের তলায়
দেখে যা আলোর নাচন,
কালো মেয়ের পায়ের তলায়
দেখে যা আলোর নাচন,
রুপ দেখে দেয় বুক পেতে শিব
রূপ দেখে দেয় বুক পেতে শিব,
যার হাতে মরণ বাঁচন
দেখে যা আলোর নাচন,
কালো মেয়ের পায়ের তলায়
দেখে যা আলোর নাচন।

কালো মেয়ের আঁধার কোলে
শিশু রবি শশী দোলে,
কালো মেয়ের আঁধার কোলে
শিশু রবি শশী দোলে,
একটুখানি রুপের ঝলক
মায়ের, একটুখানি রুপের ঝলক,
স্নিগ্ধ বিরাট নীল গগন
দেখে যা আলোর নাচন,
কালো মেয়ের পায়ের তলায়
দেখে যা আলোর নাচন।

পাগলি মেয়ের এলোকেশী
নিশিথিনীর দুলিয়ে কেশ,
নেচে বেড়ায় দিনের চিতায়
লীলার যে তার নাইকো শেষ,
পাগলী মেয়ের এলোকেশী
নিশিথিনীর দুলিয়ে কেশ,
নেচে বেড়ায় দিনের চিতায়
লীলার যে তার নাইকো শেষ।

সিন্ধু তে মা’র বিন্দু খানিক
ঠিকরে পড়ে রুপের মানিক,
সিন্ধু তে মা’র বিন্দু খানিক
ঠিকরে পড়ে রূপের মানিক,
বিশ্বে মায়ের রূপ ধরেনা
বিশ্বে মায়ের রূপ ধরেনা,
মা আমার তাই দিক বসন
দেখে যা আলোর নাচন।

কালো মেয়ের পায়ের তলায়
দেখে যা আলোর নাচন,
রূপ দেখে দেয় বুক পেতে শিব
রূপ দেখে দেয় বুক পেতে শিব,
যার হাতে মরণ বাঁচন
দেখে যা আলোর নাচন।

Meaning of Kalo Meyer Payer Tolay Lyrics

Kalo meyer payer tolay lyrics is a deeply devotional and poetic celebration of the Divine Feminine, the dark-skinned goddess often symbolizing Kali or the cosmic mother, whose darkness does not represent absence of light but rather the infinite womb that holds and gives birth to all creation. Kalo meyer payer tolay lyrics paints her not as an object of fear but as the very embodiment of beauty, mystery, and transcendence.

Kalo meyer payer tolay lyrics recurring line “কালো মেয়ের পায়ের তলায় দেখে যা আলোর নাচন” (“Under the feet of the dark-skinned girl, one sees the dance of light”) captures this paradox, that the purest illumination is found beneath the shadow of her feet. Darkness and light are not opposites here; they are two faces of the same divine truth.

In the first stanza, Lord Shiva himself is shown lying at her feet, offering his chest to her radiance, a powerful image of surrender. Shiva, the eternal ascetic and destroyer, bows before the creative force that governs both life and death. The lines “রূপ দেখে দেয় বুক পেতে শিব, যার হাতে মরণ বাঁচন” reveal that the goddess holds in her hands both the power to destroy and to preserve. Her beauty is so immense that even the god of destruction finds peace in submission. The “dance of light” beneath her feet suggests the movement of cosmic energy, the rhythm through which the universe breathes and renews itself.

In the second stanza, the imagery expands from the personal to the cosmic. The “dark lap” of the mother cradles the sun and moon as children, an image that portrays her as the mother of time, night, and day. The “tiny flash of her beauty” that creates the soft, immense sky (“স্নিগ্ধ বিরাট নীল গগন”) symbolizes how even a drop of her divine essence fills the universe with majesty.

Her darkness becomes the background on which all celestial lights dance, a profound metaphor for creation itself. It suggests that without darkness, light would have no form, no contrast, no meaning. The goddess’s blackness is thus not something to be feared but to be revered; it is the space that allows everything to exist.

Kalo meyer payer tolay lyrics third stanza shifts tone, showing her as the wild, untamed woman, “পাগলি মেয়ে,” the mad girl with disheveled hair dancing at night. Here, the goddess takes on her primal, ecstatic form, dancing through the cremation grounds of day and night, indifferent to convention or fear. This evokes the image of Kali as the eternal dancer on the pyre of the world’s illusions, symbolizing the endless cycle of destruction and rebirth.

Her madness is divine, the madness of someone beyond the limits of logic and order. Her dance is not chaos but the pulse of life itself. Kalo meyer payer tolay lyrics phrase “লীলার যে তার নাইকো শেষ” (“Her play has no end”) reminds us that existence is her endless play, creation, destruction, and creation again, all performed with effortless grace.

In the fourth stanza, the poet uses the image of the sea catching droplets of her essence, “সিন্ধু তে মা’র বিন্দু খানিক ঠিকরে পড়ে রূপের মানিক,” to describe how just a trace of her being adorns the world with beauty and brilliance. The ocean becomes a mirror for her splendor, scattering jewels of light wherever her essence touches.

Yet, despite this scattered brilliance, the poet confesses that “বিশ্বে মায়ের রূপ ধরেনা,” meaning the world cannot contain or comprehend her full form. Her beauty, power, and mystery are beyond comprehension; no words, vision, or temple can truly hold her. Thus, the poet humbly prays for a veil (“বসন”) from her, a cloth of grace, perhaps to protect mortals from the overwhelming intensity of her divinity.

Kalo meyer payer tolay lyrics is both a hymn and a meditation. It praises the goddess as the source of all opposites, life and death, light and darkness, madness and serenity, beauty and terror. Through its rhythmic repetition and vivid imagery, the poem invites the listener to see beyond surface appearances and realize that divinity often hides in what the world calls darkness. The “dance of light” under her feet is the eternal truth, that creation itself is born from the fertile, mysterious womb of the dark.

Kalo Meyer Payer Tolay Lyrics

Kalo meyer payer tolay bengali Shyama Sangeet is sung by Subhankar Bhaskar. Kalo meyer payer tolay Nazrul Geeti also sung by Pannalal Bhattacharya, Anup Jalota, Sreeradha Banerjee, Srikanto Acharya, Gurujeet Singh and many various artists in their own way. Diwali special bengali Nazrul Geeti Kalo Meyer Payer Tolay Lyrics are written by Kazi Nazrul Islam.

Song : Kalo Meyer Payer Tolay
Lyricist : Kazi Nazrul Islam
Singer : Subhankar Bhaskar
Raag : Jaunpuri
Taal : Dadra
Label : Aalo