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A Malhar by Rabindranath Tagore: Mor bhabonare

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More Info: http://www.geetabitan.com/lyrics/M/mor-bhaabonare-ki-haway-lyric.html

Parjaay: Prakriti (123)
Upa-parjaay: Borsha (98)
Taal: Tritaal
Raag: Gour-Malhar
Anga: Gat
Written on: 1939 (29/8/1938)
Place: Shantiniketan
Swarabitan: 58
Notation by: Shailajaranjan Majumdar
Bhanga Gaan

Mor bhabonare ki hawai matalo
Dole mon dole akarono harose
Hridoyo gagone sajol ghano nobin meghe
Roser dhara barose

Tahaare dekhi na je dekhi na
Shudhu mone mone khoney khoney oi shona jaai
Baje alokhito tari charone
Runurunu runurunu nupurdhwani

Gopono swapone  chhailo
Aporosho ancholero nabo nilima
Ure jaye badole rei bataashe
Tar chhayamoyo elo kesha akashe
She je mono mor dilo akuli
Jol bheja ketokir dur subaashe


मेरी भावना को, क्यों छेड़े हवाओं
झुमे जिया झुमे बिन कारण खुशी से ॥
हिय गगन में सजल-सघन नवीन मेघ
से रस की धारा बरसे

हो जाते वे ओझल नयनों से
बस हर पल मन मेरा आहट सुने
बजे उनकी अलख पंगो की पायल
रून-झुन-घुंघरुन, ध्वनि बरसे ॥

चुपके सपने में छा जाये
अनुछुई अंचला की नव नीलीमा
उड़ चले बदराई हवा में
उनके छाया घने खुले के आकाश में
उन्होने मेरा मन अकुलायां
भीगी-भीगी केतकी भी दूर महके ॥


Which breeze it is that sends me a crazy note,
Rocks my mind for joy unknown.
Young clouds, moist and dense, encroach the sky within my heart,
Spatter of nectar, it rains.
I am unable to find her,
Persistent tinkling sound of ornaments
From her invisible feet
Merely haunts my mind.
Suppressed dreams spread like clouds,
Across the young blue, like a veil out of reach.
Her magical free hair casts shadow through the sky
Fluttering with the breeze of the monsoon.
She leaves my mind nervous
With the aroma of distant, wet blossoms of KETAKI.


Shiv's Translation

In the rampant winds of my feelings
my heart sways without reason in bliss;
And from dense clouds in my heart's sky
a sweet nectar pours, a sweet nectar pours!

Although I cannot see my love
my heart hears her presence
as the anklets of her feet
spatter and tinkle away

a sweet nectar pours




Kirtan Sohila – Baba Jai Ghar Karte Keerat Hoye

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Kirtan Sohila is the night time prayer said by all Sikhs before they go to sleep. The following is a rendition of the second shabad in Kirtan Sohila in Raag Asa, "Baba Jai Ghar Karte Keerat Hoye":



Three Gurus -- Guru Nanak, Guru Ram Das and Guru Arjan - contributed five shabads on the pain of separation and celebrating the bliss of union. The first three Shabads were uttered by Guru Nanak, the fourth by Guru Ram Das and the fifth by Guru Arjan Dev. The actual name of Bani is Sohila Sahib and is found on pages 12 to 13 of Guru Granth Sahib (for Kirtan Sohila and its translation see below).

- The first shabad visualises the union of the personal self with the Ultimate Reality.
- The second shabad presents the singularity of the Ultimate despite endless diversity of scriptures, teachers and philosophies.
- The third shabad rejects all modes of external piety and ritual, and vividly portrays the entire cosmos making harmonious worship. Instead of trays with lamps placed upon them with incense and other offerings, the skies become an integrated platter, the sun and moon the lamps, stars the beads, and all vegetation an offering of flowers. Loud chanting is replaced by the inner unstruck melody playing motionlessly.
- The fourth shabad explains the importance of the divine Name through which all suffering and transmigration is annulled.
- The fifth shabad celebrates life here in this world: we must avail ourselves of this wonderful opportunity to serve others and to win divine merit. The unknown Mystery becomes known to the enlightened person who thereafter enjoys the bliss and freedom of immortality.

It is also recited before cremation, following a death.

To remove the fear of death. Good to recite when your life feels boring, and you are uninspired. It multiplies your aura, eliminates negativity in you and around you, and protects you. Excellent before you sleep at night to bring restful sleep, prevent nightmares and create a shield of protection. This Bani protects the soul on its journey after it leaves the body at death. Related to earth element. Panj Ishnana (washing feet, hands and face) is performed before going to sleep. After this, one is to sit upon their bed cross-legged, facing their pillow and recite the prayer. Satguru is with us at all times and protects us from the Angel of Death and demons. If one unexpectedly dies in their sleep, they will not enter lower lifeforms. Bad thoughts or dreams do not occur if Kirtan Sohila has been recited. Satguru places an iron fortress around him/her so nothing can hurt or scare the individual.



ਸੋਹਿਲਾ ਰਾਗੁ ਗਉੜੀ ਦੀਪਕੀ ਮਹਲਾ ੧
Sohilaa Raag Gourree Dheepakee Mehalaa 1
सोहिला रागु गउड़ी दीपकी महला १
Sohilaa ~ The Song Of Praise. Raag Gauree Deepakee, First Mehl:


ੴ ਸਤਿਗੁਰ ਪ੍ਰਸਾਦਿ ॥

Ik Oankaar Sathigur Prasaadh ||

ੴ सतिगुर प्रसादि ॥

One Universal Creator God. By The Grace Of The True Guru:


ਜੈ ਘਰਿ ਕੀਰਤਿ ਆਖੀਐ ਕਰਤੇ ਕਾ ਹੋਇ ਬੀਚਾਰੋ ॥

Jai Ghar Keerath Aakheeai Karathae Kaa Hoe Beechaaro ||

जै घरि कीरति आखीऐ करते का होइ बीचारो ॥

In that house where the Praises of the Creator are chanted and contemplated


ਤਿਤੁ ਘਰਿ ਗਾਵਹੁ ਸੋਹਿਲਾ ਸਿਵਰਿਹੁ ਸਿਰਜਣਹਾਰੋ ॥੧॥

Thith Ghar Gaavahu Sohilaa Sivarihu Sirajanehaaro ||1||

तितु घरि गावहु सोहिला सिवरिहु सिरजणहारो ॥१॥

-in that house, sing Songs of Praise; meditate and remember the Creator Lord. ||1||


ਤੁਮ ਗਾਵਹੁ ਮੇਰੇ ਨਿਰਭਉ ਕਾ ਸੋਹਿਲਾ ॥

Thum Gaavahu Maerae Nirabho Kaa Sohilaa ||

तुम गावहु मेरे निरभउ का सोहिला ॥

Sing the Songs of Praise of my Fearless Lord.


ਹਉ ਵਾਰੀ ਜਿਤੁ ਸੋਹਿਲੈ ਸਦਾ ਸੁਖੁ ਹੋਇ ॥੧॥ ਰਹਾਉ ॥

Ho Vaaree Jith Sohilai Sadhaa Sukh Hoe ||1|| Rehaao ||

हउ वारी जितु सोहिलै सदा सुखु होइ ॥१॥ रहाउ ॥

I am a sacrifice to that Song of Praise which brings eternal peace. ||1||Pause||


ਨਿਤ ਨਿਤ ਜੀਅੜੇ ਸਮਾਲੀਅਨਿ ਦੇਖੈਗਾ ਦੇਵਣਹਾਰੁ ॥

Nith Nith Jeearrae Samaaleean Dhaekhaigaa Dhaevanehaar ||

नित नित जीअड़े समालीअनि देखैगा देवणहारु ॥

Day after day, He cares for His beings; the Great Giver watches over all.


ਤੇਰੇ ਦਾਨੈ ਕੀਮਤਿ ਨਾ ਪਵੈ ਤਿਸੁ ਦਾਤੇ ਕਵਣੁ ਸੁਮਾਰੁ ॥੨॥

Thaerae Dhaanai Keemath Naa Pavai This Dhaathae Kavan Sumaar ||2||

तेरे दानै कीमति ना पवै तिसु दाते कवणु सुमारु ॥२॥

Your Gifts cannot be appraised; how can anyone compare to the Giver? ||2||


ਸੰਬਤਿ ਸਾਹਾ ਲਿਖਿਆ ਮਿਲਿ ਕਰਿ ਪਾਵਹੁ ਤੇਲੁ ॥

Sanbath Saahaa Likhiaa Mil Kar Paavahu Thael ||

स्मबति साहा लिखिआ मिलि करि पावहु तेलु ॥

The day of my wedding is pre-ordained. Come, gather together and pour the oil over the threshold.


ਦੇਹੁ ਸਜਣ ਅਸੀਸੜੀਆ ਜਿਉ ਹੋਵੈ ਸਾਹਿਬ ਸਿਉ ਮੇਲੁ ॥੩॥

Dhaehu Sajan Aseesarreeaa Jio Hovai Saahib Sio Mael ||3||

देहु सजण असीसड़ीआ जिउ होवै साहिब सिउ मेलु ॥३॥

My friends, give me your blessings, that I may merge with my Lord and Master. ||3||


ਘਰਿ ਘਰਿ ਏਹੋ ਪਾਹੁਚਾ ਸਦੜੇ ਨਿਤ ਪਵੰਨਿ ॥

Ghar Ghar Eaeho Paahuchaa Sadharrae Nith Pavann ||

घरि घरि एहो पाहुचा सदड़े नित पवंनि ॥

Unto each and every home, into each and every heart, this summons is sent out; the call comes each and every day.


ਸਦਣਹਾਰਾ ਸਿਮਰੀਐ ਨਾਨਕ ਸੇ ਦਿਹ ਆਵੰਨਿ ॥੪॥੧॥

Sadhanehaaraa Simareeai Naanak Sae Dhih Aavann ||4||1||

सदणहारा सिमरीऐ नानक से दिह आवंनि ॥४॥१॥

Remember in meditation the One who summons us; O Nanak, that day is drawing near! ||4||1||


ਰਾਗੁ ਆਸਾ ਮਹਲਾ ੧ ॥

Raag Aasaa Mehalaa 1 ||

रागु आसा महला १ ॥

Raag Aasaa, First Mehl:


ਛਿਅ ਘਰ ਛਿਅ ਗੁਰ ਛਿਅ ਉਪਦੇਸ ॥

Shhia Ghar Shhia Gur Shhia Oupadhaes ||

छिअ घर छिअ गुर छिअ उपदेस ॥

There are six schools of philosophy, six teachers, and six sets of teachings.


ਗੁਰੁ ਗੁਰੁ ਏਕੋ ਵੇਸ ਅਨੇਕ ॥੧॥

Gur Gur Eaeko Vaes Anaek ||1||

गुरु गुरु एको वेस अनेक ॥१॥

But the Teacher of teachers is the One, who appears in so many forms. ||1||


ਬਾਬਾ ਜੈ ਘਰਿ ਕਰਤੇ ਕੀਰਤਿ ਹੋਇ ॥

Baabaa Jai Ghar Karathae Keerath Hoe ||

बाबा जै घरि करते कीरति होइ ॥

O Baba: that system in which the Praises of the Creator are sung


ਸੋ ਘਰੁ ਰਾਖੁ ਵਡਾਈ ਤੋਇ ॥੧॥ ਰਹਾਉ ॥

So Ghar Raakh Vaddaaee Thoe ||1|| Rehaao ||

सो घरु राखु वडाई तोइ ॥१॥ रहाउ ॥

-follow that system; in it rests true greatness. ||1||Pause||


ਵਿਸੁਏ ਚਸਿਆ ਘੜੀਆ ਪਹਰਾ ਥਿਤੀ ਵਾਰੀ ਮਾਹੁ ਹੋਆ ॥

Visueae Chasiaa Gharreeaa Peharaa Thhithee Vaaree Maahu Hoaa ||

विसुए चसिआ घड़ीआ पहरा थिती वारी माहु होआ ॥

The seconds, minutes and hours, days, weeks and months,


ਸੂਰਜੁ ਏਕੋ ਰੁਤਿ ਅਨੇਕ ॥

Sooraj Eaeko Ruth Anaek ||

सूरजु एको रुति अनेक ॥

And the various seasons originate from the one sun;


ਨਾਨਕ ਕਰਤੇ ਕੇ ਕੇਤੇ ਵੇਸ ॥੨॥੨॥

Naanak Karathae Kae Kaethae Vaes ||2||2||

नानक करते के केते वेस ॥२॥२॥

O Nanak, in just the same way, the many forms originate from the Creator. ||2||2||


ਰਾਗੁ ਧਨਾਸਰੀ ਮਹਲਾ ੧ ॥

Raag Dhhanaasaree Mehalaa 1 ||

रागु धनासरी महला १ ॥

Raag Dhanaasaree, First Mehl:


ਗਗਨ ਮੈ ਥਾਲੁ ਰਵਿ ਚੰਦੁ ਦੀਪਕ ਬਨੇ ਤਾਰਿਕਾ ਮੰਡਲ ਜਨਕ ਮੋਤੀ ॥

Gagan Mai Thhaal Rav Chandh Dheepak Banae Thaarikaa Manddal Janak Mothee ||

गगन मै थालु रवि चंदु दीपक बने तारिका मंडल जनक मोती ॥

Upon that cosmic plate of the sky, the sun and the moon are the lamps. The stars and their orbs are the studded pearls.


ਧੂਪੁ ਮਲਆਨਲੋ ਪਵਣੁ ਚਵਰੋ ਕਰੇ ਸਗਲ ਬਨਰਾਇ ਫੂਲੰਤ ਜੋਤੀ ॥੧॥

Dhhoop Malaaanalo Pavan Chavaro Karae Sagal Banaraae Foolanth Jothee ||1||

धूपु मलआनलो पवणु चवरो करे सगल बनराइ फूलंत जोती ॥१॥

The fragrance of sandalwood in the air is the temple incense, and the wind is the fan. All the plants of the world are the altar flowers in offering to You, O Luminous Lord. ||1||


ਕੈਸੀ ਆਰਤੀ ਹੋਇ ॥

Kaisee Aarathee Hoe ||

कैसी आरती होइ ॥

What a beautiful Aartee, lamp-lit worship service this is!


ਭਵ ਖੰਡਨਾ ਤੇਰੀ ਆਰਤੀ ॥

Bhav Khanddanaa Thaeree Aarathee ||

भव खंडना तेरी आरती ॥

O Destroyer of Fear, this is Your Ceremony of Light.


ਅਨਹਤਾ ਸਬਦ ਵਾਜੰਤ ਭੇਰੀ ॥੧॥ ਰਹਾਉ ॥

Anehathaa Sabadh Vaajanth Bhaeree ||1|| Rehaao ||

अनहता सबद वाजंत भेरी ॥१॥ रहाउ ॥

The Unstruck Sound-current of the Shabad is the vibration of the temple drums. ||1||Pause||


ਸਹਸ ਤਵ ਨੈਨ ਨਨ ਨੈਨ ਹਹਿ ਤੋਹਿ ਕਉ ਸਹਸ ਮੂਰਤਿ ਨਨਾ ਏਕ ਤਦ਼ਹੀ ॥

Sehas Thav Nain Nan Nain Hehi Thohi Ko Sehas Moorath Nanaa Eaek Thuohee ||

सहस तव नैन नन नैन हहि तोहि कउ सहस मूरति नना एक तोही ॥

You have thousands of eyes, and yet You have no eyes. You have thousands of forms, and yet You do not have even one.


ਸਹਸ ਪਦ ਬਿਮਲ ਨਨ ਏਕ ਪਦ ਗੰਧ ਬਿਨੁ ਸਹਸ ਤਵ ਗੰਧ ਇਵ ਚਲਤ ਮੋਹੀ ॥੨॥

Sehas Padh Bimal Nan Eaek Padh Gandhh Bin Sehas Thav Gandhh Eiv Chalath Mohee ||2||

सहस पद बिमल नन एक पद गंध बिनु सहस तव गंध इव चलत मोही ॥२॥

You have thousands of Lotus Feet, and yet You do not have even one foot. You have no nose, but you have thousands of noses. This Play of Yours entrances me. ||2||


ਸਭ ਮਹਿ ਜੋਤਿ ਜੋਤਿ ਹੈ ਸੋਇ ॥

Sabh Mehi Joth Joth Hai Soe ||

सभ महि जोति जोति है सोइ ॥

Amongst all is the Light-You are that Light.


ਤਿਸ ਦੈ ਚਾਨਣਿ ਸਭ ਮਹਿ ਚਾਨਣੁ ਹੋਇ ॥

This Dhai Chaanan Sabh Mehi Chaanan Hoe ||

तिस दै चानणि सभ महि चानणु होइ ॥

By this Illumination, that Light is radiant within all.


ਗੁਰ ਸਾਖੀ ਜੋਤਿ ਪਰਗਟੁ ਹੋਇ ॥

Gur Saakhee Joth Paragatt Hoe ||

गुर साखी जोति परगटु होइ ॥

Through the Guru's Teachings, the Light shines forth.


ਜੋ ਤਿਸੁ ਭਾਵੈ ਸੁ ਆਰਤੀ ਹੋਇ ॥੩॥

Jo This Bhaavai S Aarathee Hoe ||3||

जो तिसु भावै सु आरती होइ ॥३॥

That which is pleasing to Him is the lamp-lit worship service. ||3||


ਹਰਿ ਚਰਣ ਕਵਲ ਮਕਰੰਦ ਲੋਭਿਤ ਮਨੋ ਅਨਦਿਨਦ਼ ਮੋਹਿ ਆਹੀ ਪਿਆਸਾ ॥

Har Charan Kaval Makarandh Lobhith Mano Anadhinuo Mohi Aahee Piaasaa ||

हरि चरण कवल मकरंद लोभित मनो अनदिनो मोहि आही पिआसा ॥

My mind is enticed by the honey-sweet Lotus Feet of the Lord. Day and night, I thirst for them.


ਕ੍ਰਿਪਾ ਜਲੁ ਦੇਹਿ ਨਾਨਕ ਸਾਰਿੰਗ ਕਉ ਹੋਇ ਜਾ ਤੇ ਤੇਰੈ ਨਾਇ ਵਾਸਾ ॥੪॥੩॥

Kirapaa Jal Dhaehi Naanak Saaring Ko Hoe Jaa Thae Thaerai Naae Vaasaa ||4||3||

क्रिपा जलु देहि नानक सारिंग कउ होइ जा ते तेरै नाइ वासा ॥४॥३॥

Bestow the Water of Your Mercy upon Nanak, the thirsty song-bird, so that he may come to dwell in Your Name. ||4||3||


ਰਾਗੁ ਗਉੜੀ ਪੂਰਬੀ ਮਹਲਾ ੪ ॥

Raag Gourree Poorabee Mehalaa 4 ||

रागु गउड़ी पूरबी महला ४ ॥

Raag Gauree Poorbee, Fourth Mehl:


ਕਾਮਿ ਕਰੋਧਿ ਨਗਰੁ ਬਹੁ ਭਰਿਆ ਮਿਲਿ ਸਾਧੂ ਖੰਡਲ ਖੰਡਾ ਹੇ ॥

Kaam Karodhh Nagar Bahu Bhariaa Mil Saadhhoo Khanddal Khanddaa Hae ||

कामि करोधि नगरु बहु भरिआ मिलि साधू खंडल खंडा हे ॥

The body-village is filled to overflowing with anger and sexual desire; these were broken into bits when I met with the Holy Saint.


ਪੂਰਬਿ ਲਿਖਤ ਲਿਖੇ ਗੁਰੁ ਪਾਇਆ ਮਨਿ ਹਰਿ ਲਿਵ ਮੰਡਲ ਮੰਡਾ ਹੇ ॥੧॥

Poorab Likhath Likhae Gur Paaeiaa Man Har Liv Manddal Manddaa Hae ||1||

पूरबि लिखत लिखे गुरु पाइआ मनि हरि लिव मंडल मंडा हे ॥१॥

By pre-ordained destiny, I have met with the Guru. I have entered into the realm of the Lord's Love. ||1||


ਕਰਿ ਸਾਧੂ ਅੰਜੁਲੀ ਪੁਨੁ ਵਡਾ ਹੇ ॥

Kar Saadhhoo Anjulee Pun Vaddaa Hae ||

करि साधू अंजुली पुनु वडा हे ॥

Greet the Holy Saint with your palms pressed together; this is an act of great merit.


ਕਰਿ ਡੰਡਉਤ ਪੁਨੁ ਵਡਾ ਹੇ ॥੧॥ ਰਹਾਉ ॥

Kar Ddanddouth Pun Vaddaa Hae ||1|| Rehaao ||

करि डंडउत पुनु वडा हे ॥१॥ रहाउ ॥

Bow down before Him; this is a virtuous action indeed. ||1||Pause||


ਸਾਕਤ ਹਰਿ ਰਸ ਸਾਦੁ ਨ ਜਾਣਿਆ ਤਿਨ ਅੰਤਰਿ ਹਉਮੈ ਕੰਡਾ ਹੇ ॥

Saakath Har Ras Saadh N Jaaniaa Thin Anthar Houmai Kanddaa Hae ||

साकत हरि रस सादु न जाणिआ तिन अंतरि हउमै कंडा हे ॥

The wicked shaaktas, the faithless cynics, do not know the Taste of the Lord's Sublime Essence. The thorn of egotism is embedded deep within them.


ਜਿਉ ਜਿਉ ਚਲਹਿ ਚੁਭੈ ਦੁਖੁ ਪਾਵਹਿ ਜਮਕਾਲੁ ਸਹਹਿ ਸਿਰਿ ਡੰਡਾ ਹੇ ॥੨॥

Jio Jio Chalehi Chubhai Dhukh Paavehi Jamakaal Sehehi Sir Ddanddaa Hae ||2||

जिउ जिउ चलहि चुभै दुखु पावहि जमकालु सहहि सिरि डंडा हे ॥२॥

The more they walk away, the deeper it pierces them, and the more they suffer in pain, until finally, the Messenger of Death smashes his club against their heads. ||2||


ਹਰਿ ਜਨ ਹਰਿ ਹਰਿ ਨਾਮਿ ਸਮਾਣੇ ਦੁਖੁ ਜਨਮ ਮਰਣ ਭਵ ਖੰਡਾ ਹੇ ॥

Har Jan Har Har Naam Samaanae Dhukh Janam Maran Bhav Khanddaa Hae ||

हरि जन हरि हरि नामि समाणे दुखु जनम मरण भव खंडा हे ॥

The humble servants of the Lord are absorbed in the Name of the Lord, Har, Har. The pain of birth and the fear of death are eradicated.


ਅਬਿਨਾਸੀ ਪੁਰਖੁ ਪਾਇਆ ਪਰਮੇਸਰੁ ਬਹੁ ਸੋਭ ਖੰਡ ਬ੍ਰਹਮੰਡਾ ਹੇ ॥੩॥

Abinaasee Purakh Paaeiaa Paramaesar Bahu Sobh Khandd Brehamanddaa Hae ||3||

अबिनासी पुरखु पाइआ परमेसरु बहु सोभ खंड ब्रहमंडा हे ॥३॥

They have found the Imperishable Supreme Being, the Transcendent Lord God, and they receive great honor throughout all the worlds and realms. ||3||


ਹਮ ਗਰੀਬ ਮਸਕੀਨ ਪ੍ਰਭ ਤੇਰੇ ਹਰਿ ਰਾਖੁ ਰਾਖੁ ਵਡ ਵਡਾ ਹੇ ॥

Ham Gareeb Masakeen Prabh Thaerae Har Raakh Raakh Vadd Vaddaa Hae ||

हम गरीब मसकीन प्रभ तेरे हरि राखु राखु वड वडा हे ॥

I am poor and meek, God, but I belong to You! Save me-please save me, O Greatest of the Great!


ਜਨ ਨਾਨਕ ਨਾਮੁ ਅਧਾਰੁ ਟੇਕ ਹੈ ਹਰਿ ਨਾਮੇ ਹੀ ਸੁਖੁ ਮੰਡਾ ਹੇ ॥੪॥੪॥

Jan Naanak Naam Adhhaar Ttaek Hai Har Naamae Hee Sukh Manddaa Hae ||4||4||

जन नानक नामु अधारु टेक है हरि नामे ही सुखु मंडा हे ॥४॥४॥

Servant Nanak takes the Sustenance and Support of the Naam. In the Name of the Lord, he enjoys celestial peace. ||4||4||


ਰਾਗੁ ਗਉੜੀ ਪੂਰਬੀ ਮਹਲਾ ੫ ॥

Raag Gourree Poorabee Mehalaa 5 ||

रागु गउड़ी पूरबी महला ५ ॥

Raag Gauree Poorbee, Fifth Mehl:


ਕਰਉ ਬੇਨੰਤੀ ਸੁਣਹੁ ਮੇਰੇ ਮੀਤਾ ਸੰਤ ਟਹਲ ਕੀ ਬੇਲਾ ॥

Karo Baenanthee Sunahu Maerae Meethaa Santh Ttehal Kee Baelaa ||

करउ बेनंती सुणहु मेरे मीता संत टहल की बेला ॥

Listen, my friends, I beg of you: now is the time to serve the Saints!


ਈਹਾ ਖਾਟਿ ਚਲਹੁ ਹਰਿ ਲਾਹਾ ਆਗੈ ਬਸਨੁ ਸੁਹੇਲਾ ॥੧॥

Eehaa Khaatt Chalahu Har Laahaa Aagai Basan Suhaelaa ||1||

ईहा खाटि चलहु हरि लाहा आगै बसनु सुहेला ॥१॥

In this world, earn the profit of the Lord's Name, and hereafter, you shall dwell in peace. ||1||


ਅਉਧ ਘਟੈ ਦਿਨਸੁ ਰੈਣਾਰੇ ॥

Aoudhh Ghattai Dhinas Rainaarae ||

अउध घटै दिनसु रैणारे ॥

This life is diminishing, day and night.


ਮਨ ਗੁਰ ਮਿਲਿ ਕਾਜ ਸਵਾਰੇ ॥੧॥ ਰਹਾਉ ॥

Man Gur Mil Kaaj Savaarae ||1|| Rehaao ||

मन गुर मिलि काज सवारे ॥१॥ रहाउ ॥

Meeting with the Guru, your affairs shall be resolved. ||1||Pause||



ਇਹੁ ਸੰਸਾਰੁ ਬਿਕਾਰੁ ਸੰਸੇ ਮਹਿ ਤਰਿਓ ਬ੍ਰਹਮ ਗਿਆਨੀ ॥

Eihu Sansaar Bikaar Sansae Mehi Thariou Breham Giaanee ||

इहु संसारु बिकारु संसे महि तरिओ ब्रहम गिआनी ॥

This world is engrossed in corruption and cynicism. Only those who know God are saved.


ਜਿਸਹਿ ਜਗਾਇ ਪੀਆਵੈ ਇਹੁ ਰਸੁ ਅਕਥ ਕਥਾ ਤਿਨਿ ਜਾਨੀ ॥੨॥

Jisehi Jagaae Peeaavai Eihu Ras Akathh Kathhaa Thin Jaanee ||2||

जिसहि जगाइ पीआवै इहु रसु अकथ कथा तिनि जानी ॥२॥

Only those who are awakened by the Lord to drink in this Sublime Essence, come to know the Unspoken Speech of the Lord. ||2||


ਜਾ ਕਉ ਆਏ ਸੋਈ ਬਿਹਾਝਹੁ ਹਰਿ ਗੁਰ ਤੇ ਮਨਹਿ ਬਸੇਰਾ ॥

Jaa Ko Aaeae Soee Bihaajhahu Har Gur Thae Manehi Basaeraa ||

जा कउ आए सोई बिहाझहु हरि गुर ते मनहि बसेरा ॥

Purchase only that for which you have come into the world, and through the Guru, the Lord shall dwell within your mind.


ਨਿਜ ਘਰਿ ਮਹਲੁ ਪਾਵਹੁ ਸੁਖ ਸਹਜੇ ਬਹੁਰਿ ਨ ਹੋਇਗੋ ਫੇਰਾ ॥੩॥

Nij Ghar Mehal Paavahu Sukh Sehajae Bahur N Hoeigo Faeraa ||3||

निज घरि महलु पावहु सुख सहजे बहुरि न होइगो फेरा ॥३॥

Within the home of your own inner being, you shall obtain the Mansion of the Lord's Presence with intuitive ease. You shall not be consigned again to the wheel of reincarnation. ||3||


ਅੰਤਰਜਾਮੀ ਪੁਰਖ ਬਿਧਾਤੇ ਸਰਧਾ ਮਨ ਕੀ ਪੂਰੇ ॥

Antharajaamee Purakh Bidhhaathae Saradhhaa Man Kee Poorae ||

अंतरजामी पुरख बिधाते सरधा मन की पूरे ॥

O Inner-knower, Searcher of Hearts, O Primal Being, Architect of Destiny: please fulfill this yearning of my mind.


ਨਾਨਕ ਦਾਸੁ ਇਹੈ ਸੁਖੁ ਮਾਗੈ ਮੋ ਕਉ ਕਰਿ ਸੰਤਨ ਕੀ ਧੂਰੇ ॥੪॥੫॥

Naanak Dhaas Eihai Sukh Maagai Mo Ko Kar Santhan Kee Dhhoorae ||4||5||

नानक दासु इहै सुखु मागै मो कउ करि संतन की धूरे ॥४॥५॥

Nanak, Your slave, begs for this happiness: let me be the dust of the feet of the Saints. ||4||5||

Why did Waris Shah Write the Story of Heer Ranjha?

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Heer Ranjha - A painting by Chughtai

Now considered the "quintessential works of classic Punjabi literature" Waris Shah re-wrote the undying story of Heer and Ranjha in 629 poems.  Friends asked him why he told this story again, and he responded:

ਯਾਰਾਂ ਅਸਾਂ ਨੂੰ ਆਣ ਸਵਾਲ ਕੀਤਾ, ਕਿੱਸਾ ਹੀਰ ਦਾ ਨਵਾਂ ਬਣਾਈਏ ਜੀ ।
ਏਸ ਪ੍ਰੇਮ ਦੀ ਝੋਕ ਦਾ ਸਭ ਕਿੱਸਾ, ਜੀਭ ਸੁਹਣੀ ਨਾਲ ਸੁਣਾਈਏ ਜੀ ।
ਨਾਲ ਅਜਬ ਬਹਾਰ ਦੇ ਸ਼ਿਅਰ ਕਹਿ ਕੇ, ਰਾਂਝੇ ਹੀਰ ਦਾ ਮੇਲ ਕਰਾਈਏ ਜੀ ।
ਯਾਰਾਂ ਨਾਲ ਬਹਿ ਕੇ ਵਿਚ ਮਜਲਿਸਾਂ, ਮਜ਼ਾ ਹੀਰ ਦੇ ਇਸ਼ਕ ਦਾ ਪਾਈਏ ਜੀ ।

They asked me why did you write this new story of Heer? You tell this beautiful story with your sweet tongue.  In these wonderful couplets you have shown the consummation of the love of Heer and Ranjha. Sitting in the company of other seekers, you have attained the bliss of the love of Heer. 

No wonder, researchers when they write about Heer, title their papers "For the love of God and man."

For the love of God and man -Fatima Hussain

Waris Shah is a name to be reckoned with in the tradition of Punjabi Qissa poetry, best known for his seminal work Heer, now considered one of the quintessential works of classical Punjabi literature.

But less known is that Waris Shah borrowed the story and plot of the legend of Heer-Raniha and restructured it. The earlier versions of Heer were written by Damodar (around the time of Mughal Emperor Akbar's reign) and by Ahmad Gujjar.


Punjab was an area which on account of its natural and human resources, as well as its strategic location, played a crucial role in the political fortune of the sub-continent. Economically, trade and manufacture had developed in this area. Traders and administrators played an important role here because Punjab was placed at the juncture of important trade routes to Central Asia. As a result, the history of Punjab had been (and continues to be) witness to many storms interspersed with prosperous, peaceful interludes.

In the 18th century, Punjab lay exposed to fresh invasions from the northwest. (The Mughal empire was disintegrating and much of India was in turmoil.) Punjab faced the brunt of Persian marauder Nadir Shah and Afghan invader Ahmad Shah Abdali. It was a generally pessimistic time in Punjab, and this is reflected in several maxims and rhyming wisdoms from the time.

The tragic ending of Waris Shah's Heer, when viewed in this social context, seems to tally with the air of pessimism in 18th century Punjab. It is also true that by the time Waris Shah was writing, European literature had become known in South Asia. The tragic trope, so well developed in European literature, may have influenced Waris Shah's writing.

Waris Shah was well grounded in Muslim as well as Hindu tradition. His knowledge was wide ranging, from astronomy, medicine and social rites to the different breeds of horse and cattle in Punjab. Moreover, Waris Shah's Heer reflects a distinct flavour of Punjabiat. The use of folk idioms from rural Punjab, the stark realism of the narrative, set apart the Heer of Waris Shah from its earlier versions.

The Heer of Waris Shah has attracted a variety of interpretations and critical approaches. Interestingly, there is even a Marxist interpretation to the Heer-Ranjha story. And it is true that material concerns seem to be of paramount importance to the author, who weaves in a caustic social commentary and exposes the fabric of the contemporary social network. It is not far-fetched to read the tragedy in Waris Shah's Heer as one in which human values are subverted in the cause of material interests.

It is said that Waris Shah had an unrequited love for a woman called Bhagbhari. This endowed him with the feelings and insights to express the Heer-Ranjha legend as an unrealized love story, with its many bittersweet emotions.

According to some scholars, the broad categorization of the work as belonging to the "Sufi" genre, quite like the works of other Punjabi poets, robs Punjabi literature of its natural ontological diversity. Nevertheless, there is an undeniable fragrance of Tasawwuf in the the Heer-Ranjha story.

The elusive Heer, like the formless absolute, awakens in Ranjha a a desire that overpowers his mind and heart and does not allow him any peace. The impulse towards union or "wisal" is avoided through a series of narrative incidents that delay the satisfaction love until the seeker is purified. This can be likened to several stations or maqamat that a mureed has to pass through before he attains the final union with the Divine. To achieve this goal, he has to seek the assistance of a spiritual master, the pir who in the Heer-Ranjha story is the yogi of Tila Balnath in Jhelum.

The Heer-Ranjha union is entwined with the widespread Sufi notion of annihilation or fana, which is a cause of celebration for the Sufi. The death of a Sufi heralds the ultimate union with the beloved God and is celebrated in the form of his urs. In fact, this is the true birth of the Sufi. A spiritual reading of Heer sees in the story both Allah's might and majesty (jalal) and His gentle grace (jamal).

Earning love can be a protracted and painful process for which everything wordly has to be sacrificed, a process which involves much self-mortification. This is the path of truth (haqiqat) and it has to be followed by the Sufi, who reposes an unending trust in God (tawakkul). Waris Shah describes this process in the vivid hues of 18th century Punjab. The vocabulary and similies deployed by him convey devotional emotions with skillfull restraint: though the formulaic plot of Sufi romance contains a set of easily predictable conventions and motifs, Waris Shah's Heer shows a great deal of inventiveness in its depiction of human experience without fundamentally altering the philosophical structure of the tale.

In characteristic Sufi style, Waris Shah exposes the hypocrisy of the priests (ulema) and is obliquely critical of the divisions between people in Punjabi society, the dichotomy between prececpt and practice in Islam, etc. He gives a strong pedagogic message of accommodation in his Heer.

Dr. Fatima Hussain is Associate Professor of History at Delhi University, India

Pritpaala – Guru Amardas Pauri Set to Western Classical Music

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Pritpaala originates from a Pauri by Guru Amardas in Suhi Ki Vaar. It expands on a concept introduced by Guru Nanak in the Mool Mantra, Saibhang, "Existing From Himself." To the best of my knowledge, this beautiful shabad has not been recorded by anyone.


Much gratitude to Slovenian composer Katarina Koprivc for her original and beautiful composition "The Remains of Love," as well as to Enrico Nichelatti for Strings, Suellen Primost for Cello on this track.  In this case, which is somewhat unusual, the music was composed before the melody.  When I first heard this composition from Katarina, I loved it and wanted to sing something along with it.  So I opened a random hymn from the Guru Granth Sahib using an iPhone app and sang along Katarina's composition the following Guru Amardas Pauri.  The Pauri is written in Raag Suhi, a raag about about love, so there was a coincidental match with Katarina's original title, The Remains of Love. But please be aware that this composition is not in Raag Suhi.

ਸੂਹੀ ਕੀ ਵਾਰ: (ਮ: ੩) - ਅੰਗ ੭੮੫  
Suhi Ki Vaar - Guru Amar Das - Page 785

ਆਪੇ ਤਖਤੁ ਰਚਾਇਓਨੁ ਆਕਾਸ ਪਤਾਲਾ ॥
He Himself established His throne, in the Akaashic ethers and the nether worlds.

ਹੁਕਮੇ ਧਰਤੀ ਸਾਜੀਅਨੁ ਸਚੀ ਧਰਮ ਸਾਲਾ ॥
By the Hukam of His Command, He created the earth, the true home of Dharma.

ਆਪਿ ਉਪਾਇ ਖਪਾਇਦਾ ਸਚੇ ਦੀਨ ਦਇਆਲਾ ॥
He Himself created and destroys; He is the True Lord, merciful to the meek.

ਸਭਨਾ ਰਿਜਕੁ ਸੰਬਾਹਿਦਾ ਤੇਰਾ ਹੁਕਮੁ ਨਿਰਾਲਾ ॥
You give sustenance to all; how wonderful and unique is the Hukam of Your Command!

ਆਪੇ ਆਪਿ ਵਰਤਦਾ ਆਪੇ ਪ੍ਰਤਿਪਾਲਾ ॥੧॥
You Yourself are permeating and pervading; You Yourself are the Cherisher. ||1||

Discussion

Let me take four words/phrases from this pauri that I found interesting to meditate upon to understand better the true meaning of these beautiful words:

1. Takhat or Throne: Every heart is God's throne; every song is under His direction


Guru Amardas says, "Your created your own throne in the ethers and the ethers. 

ਆਪੇ ਤਖਤੁ ਰਚਾਇਓਨੁ ਆਕਾਸ ਪਤਾਲਾ ॥
He Himself established His throne, in the Akaashic ethers and the nether worlds.


Throne is the resting place for a king, the ruler, the emperor.  The question is where is the resting place for God. Where does he sit?

In Ramkali, Guru Arjan Dev says, "O king of kings, with the greatest court, final justice, the real doer of everything, you sit on the true throne."  

ਵਡਾ ਤੇਰਾ ਦਰਬਾਰੁ ਸਚਾ ਤੁਧੁ ਤਖਤੁ ॥
The Darbaar of Your Court is glorious and great. Your holy throne is True.


In Raag Asa, Guru Nanak says that the one who sits on the throne is imbued in the five elements.

ਤਖਤ ਨਿਵਾਸੀ ਪੰਚ ਸਮਾਇ ॥
The one on the throne is imbued in five (elements)

So every element, every molecule, every atom is His throne. If you recognize, God resides in your heart. So my own heart is God's throne.  Every heart is God's throne. 

Guru Nanak asks a question in the 27th pauri of Japji Sahib: Where does God sit and rule the world?

ਸੋ ਦਰੁ ਕੇਹਾ ਸੋ ਘਰੁ ਕੇਹਾ ਜਿਤੁ ਬਹਿ ਸਰਬ ਸਮਾਲੇ ॥
Where is that Gate, and where is that Dwelling, in which You sit and take care of all?

And he answers this question in the end:

ਸੋ ਪਾਤਿਸਾਹੁ ਸਾਹਾ ਪਾਤਿਸਾਹਿਬੁ ਨਾਨਕ ਰਹਣੁ ਰਜਾਈ ॥੨੭॥
He is the King, the King of kings, the Supreme Lord and Master of kings. Nanak remains subject to His Will. ||27||

Guru Nanak concludes that it is not "he" that is singing, it is really through the command of the supreme being that he is singing. Every heart is God's throne, and from there he makes Guru Nanak sing. Every heart is singing ... Sabhai Ghat Raam Bolai.  Every song is under His direction. 

2. Dharamsaal: The Earth is a beautiful temple where we come together and sing.


The word Dharamsaal literally means the home of dharma, or a temple.  Just like paathsaal means house of education or school.  Guru Amardas says, "Your beautified the earth like a temple" in the following line: 


ਹੁਕਮੇ ਧਰਤੀ ਸਾਜੀਅਨੁ ਸਚੀ ਧਰਮ ਸਾਲਾ ॥
By the Hukam of His Command, He created the earth, the true home of Dharma.


The concept of the earth being a temple originates from Guru Nanak who says the following in the 34th pauri of Japji Sahib:

ਰਾਤੀ ਰੁਤੀ ਥਿਤੀ ਵਾਰ ॥
Nights, days, weeks and seasons;

ਪਵਣ ਪਾਣੀ ਅਗਨੀ ਪਾਤਾਲ ॥
Wind, water, fire and the nether regions

ਤਿਸੁ ਵਿਚਿ ਧਰਤੀ ਥਾਪਿ ਰਖੀ ਧਰਮਸਾਲ ॥
In the midst of these, He established the earth as a home for Dharma.

Why is earth being a temple important. Its important because of what happens in a temple.  Guru Arjan Dev describes what happens in a temple in a Chhant in Raag Gauri:

ਮੋਹਨ ਤੇਰੇ ਊਚੇ ਮੰਦਰ ਮਹਲ ਅਪਾਰਾ ॥
O Mohan, your temple is so lofty, and your mansion is unsurpassed.

ਮੋਹਨ ਤੇਰੇ ਸੋਹਨਿ ਦੁਆਰ ਜੀਉ ਸੰਤ ਧਰਮ ਸਾਲਾ ॥
O Mohan, your gates are so beautiful. They are the worship-houses of the Saints.

ਧਰਮ ਸਾਲ ਅਪਾਰ ਦੈਆਰ ਠਾਕੁਰ ਸਦਾ ਕੀਰਤਨੁ ਗਾਵਹੇ ॥
In these incomparable worship-houses, they continually sing Kirtan, the Praises of their Lord and Master.

ਜਹ ਸਾਧ ਸੰਤ ਇਕਤ੍ਰ ਹੋਵਹਿ ਤਹਾ ਤੁਝਹਿ ਧਿਆਵਹੇ ॥
Where the Saints and the Holy gather together, there they meditate on you.

Places of worship are made so saints can get together, meditate upon the one and sing the ONE's praises.  The purpose of life is to sing and the earth has been designed to be a place where this singing can be done.  The earth has been designed by God to come together and sing. Earth becomes beautiful when we come together and sing.  

What is singing other than just following the command of the ONE.  Gurbani says Sabhai Ghat Raam Bolai or Every heart is singing in the temple of the earth. 


3. Rijak: Why do we need to worry when we know we will have food!

ਸਭਨਾ ਰਿਜਕੁ ਸੰਬਾਹਿਦਾ ਤੇਰਾ ਹੁਕਮੁ ਨਿਰਾਲਾ ॥
You give sustenance to all; how wonderful and unique is the Hukam of Your Command!

In Sodar Gujri, Guru Arjan Dev asks, "Why, O mind, do you plot and plan when Waheguru, the Pritpaala, the Deen Dayaala, is there to care for you. Even those living beings that are created in the rocks, they get nourishment. Its not the fathers, mothers, children or spouses; its God that provides for every single one. Why is there any need to be afraid. Flamingoes fly hundreds of miles, leaving their young ones behind. Who feeds them, and who teaches them to feed themselves? Have you ever thought of this, dear mind? The one without any end takes care of everyone, the omnipotent one. Slave Nanak endlessly loves the one who holds all power in the palm of His hand."

ਰਾਗੁ ਗੂਜਰੀ ਮਹਲਾ ੫ ॥
Raag Goojaree, Fifth Mehl:


ਕਾਹੇ ਰੇ ਮਨ ਚਿਤਵਹਿ ਉਦਮੁ ਜਾ ਆਹਰਿ ਹਰਿ ਜੀਉ ਪਰਿਆ ॥
ਸੈਲ ਪਥਰ ਮਹਿ ਜੰਤ ਉਪਾਏ ਤਾ ਕਾ ਰਿਜਕੁ ਆਗੈ ਕਰਿ ਧਰਿਆ ॥੧॥

ਮੇਰੇ ਮਾਧਉ ਜੀ ਸਤਸੰਗਤਿ ਮਿਲੇ ਸੁ ਤਰਿਆ ॥
ਗੁਰ ਪਰਸਾਦਿ ਪਰਮ ਪਦੁ ਪਾਇਆ ਸੂਕੇ ਕਾਸਟ ਹਰਿਆ ॥੧॥ ਰਹਾਉ ॥

ਜਨਨਿ ਪਿਤਾ ਲੋਕ ਸੁਤ ਬਨਿਤਾ ਕੋਇ ਨ ਕਿਸ ਕੀ ਧਰਿਆ ॥
ਸਿਰਿ ਸਿਰਿ ਰਿਜਕੁ ਸੰਬਾਹੇ ਠਾਕੁਰੁ ਕਾਹੇ ਮਨ ਭਉ ਕਰਿਆ ॥੨॥

ਊਡੇ ਊਡਿ ਆਵੈ ਸੈ ਕੋਸਾ ਤਿਸੁ ਪਾਛੈ ਬਚਰੇ ਛਰਿਆ ॥
ਤਿਨ ਕਵਣੁ ਖਲਾਵੈ ਕਵਣੁ ਚੁਗਾਵੈ ਮਨ ਮਹਿ ਸਿਮਰਨੁ ਕਰਿਆ ॥੩॥

ਸਭਿ ਨਿਧਾਨ ਦਸ ਅਸਟ ਸਿਧਾਨ ਠਾਕੁਰ ਕਰ ਤਲ ਧਰਿਆ ॥
ਜਨ ਨਾਨਕ ਬਲਿ ਬਲਿ ਸਦ ਬਲਿ ਜਾਈਐ ਤੇਰਾ ਅੰਤੁ ਨ ਪਾਰਾਵਰਿਆ ॥੪॥੫॥

4. Aape Aap Vartadaa: You Yourself Permeate

Guru Nanak first used the phrase "Aape Aap Vartadaa" Or "He himself permeates" in a couple of shabads, one in Raag Malhar
Tu Aape Aap Vartada, Aap Banat Banaii
Tudh Bin Dooja Ko Nahin, Tu Raheya Samaii

and another in Raag Gauri:
Sabh Aape Aap Vartada Aape Bharmaaya
Gur Kirpa Te Boojhiyeh Sabh Brahm Samaayaa


At the time of Guru Arjan Dev, Bhai Gurdas explained in detail what this really meant using many different examples in his second Vaar.  This vaar has 20 pauris or poems that each end with the phrase "Aape Aap Vartada".  This must have been an important topic of discussions. Perhaps a lot of questions were asked about God permeating everything.  That's why Bhai Gurdaas has given this concept so much importance.   Bhai Gurdaas's Vaar 2. 


Two Shabads With Similar Meanings:

Guru Nanak's Pauri from Asa Ki Vaar talks about throne ("Aasan" instead of "Takhat"), about him creating himself (Aapina Aap Saajeyo) also about giving/taking nature of God (De Laiseh):

ਪਉੜੀ
Pauree:

ਆਪੀਨ੍ਹ੍ਹੈ ਆਪੁ ਸਾਜਿਓਆਪੀਨ੍ਹ੍ਹੈ ਰਚਿਓਨਾਉ
He Himself created Himself; He Himself assumed His Name.

ਦੁਯੀ ਕੁਦਰਤਿ ਸਾਜੀਐਕਰਿ ਆਸਣੁਡਿਠੋ ਚਾਉ
Secondly, He fashioned the creation; seated within the creation, He beholds it with delight.

ਦਾਤਾ ਕਰਤਾ ਆਪਿਤੂੰ ਤੁਸਿਦੇਵਹਿ ਕਰਹਿਪਸਾਉ
You Yourself are the Giver and the Creator; by Your Pleasure, You bestow Your Mercy.

ਤੂੰ ਜਾਣੋਈ ਸਭਸੈਦੇ ਲੈਸਹਿਜਿੰਦੁ ਕਵਾਉ
You are the Knower of all; You give life, and take it away again with a word.

ਕਰਿ ਆਸਣੁ ਡਿਠੋਚਾਉ

Seated within the creation, You behold it with delight. ||1||

Guru Nanak's Shabad in Raag talks about this in this beautiful shabad in Raag Sri:

ਸਿਰੀਰਾਗੁ ਮਹਲਾ ਘਰੁ ਦੂਜਾ
Siree Raag, First Mehl, Second House:

ਆਪੇ ਰਸੀਆ ਆਪਿਰਸੁ ਆਪੇਰਾਵਣਹਾਰੁ
He Himself is the Enjoyer, and He Himself is the Enjoyment. He Himself is the Ravisher of all.

ਆਪੇ ਹੋਵੈ ਚੋਲੜਾਆਪੇ ਸੇਜਭਤਾਰੁ
He Himself is the Bride in her dress, He Himself is the Bridegroom on the bed. ||1||

ਰੰਗਿ ਰਤਾ ਮੇਰਾਸਾਹਿਬੁ ਰਵਿਰਹਿਆ ਭਰਪੂਰਿ ਰਹਾਉ
My Lord and Master is imbued with love; He is totally permeating and pervading all. ||1||Pause||

ਆਪੇ ਮਾਛੀ ਮਛੁਲੀਆਪੇ ਪਾਣੀਜਾਲੁ
He Himself is the fisherman and the fish; He Himself is the water and the net.

ਆਪੇ ਜਾਲ ਮਣਕੜਾਆਪੇ ਅੰਦਰਿਲਾਲੁ
He Himself is the sinker, and He Himself is the bait. ||2||

ਆਪੇ ਬਹੁ ਬਿਧਿਰੰਗੁਲਾ ਸਖੀਏਮੇਰਾ ਲਾਲੁ
He Himself loves in so many ways. O sister soul-brides, He is my Beloved.

ਨਿਤ ਰਵੈ ਸੋਹਾਗਣੀਦੇਖੁ ਹਮਾਰਾਹਾਲੁ
He continually ravishes and enjoys the happy soul-brides; just look at the plight I am in without Him! ||3||

ਪ੍ਰਣਵੈ ਨਾਨਕੁ ਬੇਨਤੀਤੂ ਸਰਵਰੁਤੂ ਹੰਸੁ
Prays Nanak, please hear my prayer: You are the pool, and You are the soul-swan.

ਕਉਲੁ ਤੂ ਹੈਕਵੀਆ ਤੂਹੈ ਆਪੇਵੇਖਿ ਵਿਗਸੁ੨੫
You are the lotus flower of the day and You are the water-lily of the night. You Yourself behold them, and blossom forth in bliss. ||4||25||


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