Shivpreet Singh
Shivpreet Singh
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"Life is not about waiting for the storm to pass. It's about learning to dance in the rain." 
- Ted Rubin

I came across these beautiful lines and they reminded me of Mirabai's rain dance song (Barse Badariya Savan Ki) that I am currently working on. That is what I mean by "the purpose of life is to sing." Mirabai knew it and Ted. Describes it beautifully.



Leonara Carrington: "Painting is a need, it is not a choice."

http://www.guardian.co.uk//artanddesign/2007/jan/02/art?mobile-redirect=false
One of my favorite Kabir's poem I call "Dulhani." In this beautiful poem, Kabir envisions himself as the bride and the universe (or God, which he personifies as "Raag") as her groom. It is a beautiful poem that shows the spiritual wedding of Kabir in three stages depicted in the three stanzas: (1) the bride dresses up, (2) the wedding ceremony, and (3) the departure of the bride with her love. There are two recordings of this shabad: one from 2019 and one from 2011. I also have a translation of the poem in English, followed by my own English poem reflecting the sentiments of Kabir's poem. Enjoy!

Kabir's Gao Gao Ri Dulhani - Raag Asa

This recording was made along with the "Saajan" album in 2019, a series of albums dedicated to the 550th birth centenary of Guru Nanak. I must have been in a jovial mood and added trumpets and brass (often used in wedding bands in India) instead of the Sarangi from the previous arrangement (see below for 2011 recording). 

 


Translation and Notes


Gaa-o gaa-o ree dulhanee mangalchaaraa.
Mayray garih aa-ay raajaa raam bhataaraa. 

Sing, sing, O soul bride, 
sing the song of my wedding
King Raam has come to my house 
to become my husband

Sing O Soul bride, Sing songs of bliss for King Raam has come home to wed me.  "Coming to my house" or "coming back to my house" are common themes in spiritual poetry. Guru Nanak sings in Suhi "Hum Ghar Saajan Aye." American poem Allen Ginsberg uses this theme in his famous poem "Song": 

[...]
yes, yes,
       that’s what
I wanted,
       I always wanted,
I always wanted,
       to return
to the body
       where I was born.

From Allen Ginsberg's Song


Tan rainee man pun rap kar ha-o paacha-o tat baraatee.
Raam raa-ay si-o bhaavar laiha-o aatam tih rang raatee. ||1||

To beautify myself I have anointed my body with good deeds
and that color was so strong my mind has also been dyed. 
Five elements have come together as guests
and as I circumambulate with Raam*
my soul is too imbued with His Love. 

* Note: In the Hindu Marriage ceremony, the couple takes 7 circles around the sacred fire. The word used by Kabir is "Bhaavar" - likening the marriage to a bee circles a flower - the word used in current Hindi is "Phera" or "circle.

* Note 2: The word "Pun" is sometimes translated as "again," but that is wrong.  Pun is the plural of "Punu" which comes from Sanskrit and means good deads.  The words used for again in Gurbani is "Phun."  Professor Sahib Singh explains this in his punjabi teeka of the Guru Granth Sahib and I agree with this definition. In Sohela we also sing a shabad in raag Gauri Purbi where we say, "Kar Sadhu Anjuli Pun wadda hay, Kar Dandaut Pun Wadda Hay" - it is a virtuous deed to bow to the "Sadhus" or the ones who have achieved inner peace.

Naabh kamal meh baydee rach lay barahm gi-aan uchaaraa.
Raam raa-ay so doolahu paa-i-o as badbhaag hamaaraa. ||2||

Make the navel-lotus my bridal pavilion
And let Brahma* recite holy mantras
I have obtained the Raam as my Husband 
such is my great good fortune. ||2||

* Note: According to old scriptures, Brahma, the creator (also the God of knowledge) sits on the lotus that grows from the Navel of Vishnu. Lotus obviously also reminds the reader of purity despite maligned surroundings. Brahma is also credited to first having "recited" the "Vedas" -- some of the oldest scriptures written in human history. There is a temple in India (near Thanesar) called "Kamal Naabhi" or "Lotus Navel" where Brahma was born from the Navel of Vishnu.


Sur nar mun jan ka-utak aa-ay kot taytees ujaanaaN.
Kahi kabeer mohi bi-aahi chalay hai purakh ayk bhagvaanaa. ||3||

Angles, holy men, sages, and deities have come 
in thousands of heavenly chariots to see 
my husband take me with him 
because Raam is none other than the One Almighty ||3||

Original Poem/Song


Sing O Soul, O soul you sing!
sing freely sing, O fondly sing!
sing sated sweet savory song
sing I hear my wedding bells ring!

Start to sing a song so complete
that with my love, five elements sing
and rain my body and mind so replete,
that you too drenched delighted sing

Sing O soul, a song so pure
as sacred vows that I need sing
on a lotus altar white for sure
Brahma's mantra adorn my hearing!

Sing O soul, a song so magical
come angels, fairies, maidens sing
on heavenly chariots so fanciful
as my Love whisks me away to sing!

Sing of my fortuity sing!
sing the beauty of purity sing
sing this mystical magical song
sing I hear my wedding bells ring!

Version by Shubha Mudgal

Several years ago I heard this and I keep going back to this haunting melody by Shubha Mudgal. The lyrics are strikingly similar to Kabir's shabad in Gurbani, Gao Gao Ri Dulhani. 



Raag Asa or Gauri - depending on the listener


Raag In Gurbani this is sung in Asa, while in Kabir's Granthavali this is in Raag Gauri.  It is Shubha Mudgal doesn't sing it in either raags.  I believe the responsibility of the deciding the raag is sometimes upon the singer, and sometime on the editor.  But they are both acting as listeners. They can hear different colors of oneness in the same song and therefore the decision on different raags.  Bhai Gurdas or Guru Arjan may have found the hope of bliss in this Kabir shabad and added it to Guru Nanak's new raag Asa.  The editor of the Kabir Granthavali instead focused on coloring of the mind, body and soul to the color of oneness (tan rati kari ...), therefore the choice of Raag Gauri. 

Lyrics 


Dulhani gavahu mangalchaar
Hum ghar aaye raaja raam bhartaar

Tan rati kari mein man rati kari hoon, panch tatt baraati
ramdev morai paahun aaye, main joban main maati

Sareer sarvar bedi karihoon brahma ved uchaar
Ramdev sang bhaavari lehoon dhan dhan bhaag hamaar

Sur tainteesu kautig aaye munivar sahas athaasi
keh kabir hum byaahi chale hain purush ek avinashi

Translation - Wedding of Kabir


The bride sings songs of joy
Raja Raam has come to her house to be her husbad

I have colored my body and mind, five elements are the wedding guests
Raam has come to wed me, I am young and crazy

33 angels have come. 88,000 sages too
Kabir says the one indestructible man takes me away

2011 Recording - Raag Asa

The first one I recorded some of the music in India in 2009, and finished recording in California I think in 2011. 




Also see 

Hindi Version -
Shubha Mudgal - Gawat Dulhan Gawat Mangal Chaar, 
Old Composition - Dulhin Gawahu Mangala Char, 
Raag Maand Composition - Dulhin Gaavahu Mangalchaar. 

Hindi Bhaavarth - https://youtu.be/8oAazczoaGE

Similar Lyrics -

Piya More Aye by Nusrat Fateh Ali Khan (Raag Khambavati)
https://www.youtube.com/watch?v=uNtpX8y5lzg

Dhan Dhan Bhaag Hamaare - Nusrat Fateh Ali Khan (Raag Gawati)
https://www.youtube.com/watch?v=uNtpX8y5lzg

Similar Gurbani -

Dhan Dhan Hamare Bhaag - Sohan Singh Rasiya
https://www.youtube.com/watch?v=lOEydRlrmVE

Meri Ichh Puni - 
https://www.youtube.com/watch?v=t728OLz4GTU

I love the Vande Maataram composition in Raag Des sung by Lata Mangeshkar. 

Vande Mataram is the national song of India. In 2003, BBC World Service picked Vande Mataram among top 10 songs in the world selected from  7000 songs from 155 countries/island voted. It was composed by Bankim Chandra Chatterjee in a mixture of Bengali and Sanskrit. It comes from a poem published in Bankim Chandra's 1882 novel Anandamath. The first political occasion where it was sung was the 1896 session of the Indian National Congress. In 1950 (after India's independence), the song's first two verses were given the official status of the "national song" of the Republic of India, distinct from the national anthem of India, Jana Gana Mana.

As magnanimous Indians it behooves us to share this beautiful song with the rest of the world. As Guru Nanak says in Pavan Guru, Earth is our shared mother.  Joy Harjo asks in her meditative poetry for us to remember the earth whose skin we are. 

Vande Mataram Lyrics in Hindi/Sanskrit

वन्दे मातरम् सुजलां सुफलां मलयजशीतलाम् शस्यशामलां मातरम् ।
शुभ्रज्योत्स्नापुलकितयामिनीं फुल्लकुसुमितद्रुमदलशोभिनीं सुहासिनीं सुमधुर भाषिणीं सुखदां वरदां मातरम् ।। १ ।।
वन्दे मातरम् ।

कोटि-कोटि-कण्ठ-कल-कल-निनाद-कराले कोटि-कोटि-भुजैर्धृत-खरकरवाले, अबला केन मा एत बले ।
बहुबलधारिणीं नमामि तारिणीं रिपुदलवारिणीं मातरम् ।। २ ।।
वन्दे मातरम् ।

तुमि विद्या, तुमि धर्म तुमि हृदि, तुमि मर्म त्वं हि प्राणा: शरीरे बाहुते तुमि मा शक्ति, हृदये तुमि मा भक्ति, तोमारई प्रतिमा गडि मन्दिरे-मन्दिरे मातरम् ।। ३ ।।
वन्दे मातरम् ।

त्वं हि दुर्गा दशप्रहरणधारिणी कमला कमलदलविहारिणी वाणी विद्यादायिनी, नमामि त्वाम् नमामि कमलां अमलां अतुलां सुजलां सुफलां मातरम् ।। ४ ।।
वन्दे मातरम् ।

श्यामलां सरलां सुस्मितां भूषितां धरणीं भरणीं मातरम् ।। ५ ।।
वन्दे मातरम् ।।
 

Vande Mataram Lyrics in English

vande maataram..
vande maataram..
maataram..

sujalaam sufalaam malayaj sheetalaam
sasyashyaamalaam maataram
vande..

shubhrajyotsna pulakit yaaminiim
phulla kusumita drumadal shobhiniim
suhaasinim sumadhura bhaashhinim
sukhadaam varadaam
maataram.. vande maataram

sapta koti kantha kalakala ninaada karaale
nisapta koti bhujaidhruta kharakarvaale
sapta koti kantha kalakala ninaada karaale
nisapta koti bhujaidhruta kharakarvaale
ka bola ka noma eith bole
bahubal dhaariniin namaami taariniim
ripudalavaariniin maataram
vande maataram ...

tumi vidyaa tumi dharma, tumi hridi tumi marma
tvan hi praanaah shariire
baahute tumi maa shakti,
hridaye tumi maa bhakti,
tomaarai pratimaa gadi mandire mandire
vande maataram..

tvan hi durgaa dashapraharanadhaarinii
kamalaa kamaladala vihaarinii
vaanii vidyaadaayinii, namaami tvaam
namaami kamalaan amalaan atulaam
sujalaan sufalaan maataram
vande maataram..

shyaamalaan saralaan susmitaan bhuushhitaam
dharaniin bharaniin maataram
vande maataram....

Word by word Meanings of Vande Mataram chorus

वन्दे मातरम्।
सुजलाम् सुफलाम्
मलयज शीतलाम्
शस्यश्यामलाम्
मातरम्।
वन्दे मातरम्।

vande mātaram
sujalāṃ suphalāṃ
malayajaśītalām
śasya śyāmalāṃ
mātaram
vande mātaram

Vande- mātaram – I salute you O Mother (refering to India). 

Sujalam - Having good water. Su means good and jal means water so sujalāṃ means pure water. 

Suphalam - Having good fruits. Phal means fruit. Su again means good. So suphalāṃ means having sweet fruits. 

Malayaja-śītalām - Refreshed by the cool scented breeze from the Malaya hills.  Malayagiri hills situated in Orissa India are famous for their sandalwood forests. Guru Nanak also mentions this in his aarti (Dhoop Malayaanlo) 

śasya śyāmalāṃ - productive and prosperous (śasya) and light-brown in colour (śyāmalāṃ).


शुभ्रज्योत्स्ना
पुलकितयामिनीम्
फुल्लकुसुमित
द्रुमदलशोभिनीम्
सुहासिनीम्
सुमधुर भाषिणीम्
सुखदाम् वरदाम्
मातरम्।।
वन्दे मातरम्

śubhra jyotsnā
pulakita yāminīm
phulla kusumita
drumadalaśobhinīm
suhāsinīṃ
sumadhura bhāṣiṇīm
sukhadāṃ varadāṃ
mātaram
vande mātaram

bright and shining white moonlight (śubhra jyotsnā) 
pulakita - gratifies
yāminīm - night
phulla kusumita drumadala śobhinīm - flower and greenery beautified 
sumadhura bhāṣiṇīm - sweetness language speaking
suhāsinīṃ - delightful.
sukhadāṃ varadāṃ - joy giving.
 

Translation of Complete Vande Mataram - Shivpreet Singh

Mother, I praise you!
Rich with your gushing streams,
bright with orchard gleams,
Cool with your winds of delight,
Dark fields waving Mother of might,
Mother, I praise you!

Glory of moonlight dreams,
Over thy branches and lordly streams,
Clad in your blossoming trees,
Mother, giver of ease
Laughing low and sweet!
Mother I kiss your feet,
Speaker sweet and low!
Mother, I praise you. 

Who has said you are weak in your lands
When the swords flash out in seventy million hands
And seventy million voices roar
Your dreadful name from shore to shore?
With many strengths who are mighty and stored,
To you I call Mother and Lord!
You who save, arise and save!
To her I cry who ever her foeman drove
Back from plain and Sea
And shook herself free.

You are wisdom, you are law,
You are our heart, our soul, our breath
You are love divine, the awe
In our hearts that conquers death.
Yours the strength that nerves the arm,
Yours the beauty, yours the charm.
Every image made divine
In our temples is but yours. [Verse 3]

You are Durga, Lady and Queen,
With her hands that strike and her swords of sheen,
You are Lakshmi lotus-throned,
And the Muse a hundred-toned,
Pure and perfect without peer,
Mother lend thine ear,
Rich with your hurrying streams,
Bright with your orchard gleams,
Dark of hue O candid-fair [Verse 4]

In your soul, with bejeweled hair
And thy glorious smile divine,
Loveliest of all earthly lands,
Showering wealth from well-stored hands!
Mother, mother mine!
Mother sweet, I praise you,
Mother great and free! [Verse 5]

Translation of Complete Vande Mataram - Sri Aurobindo

Here is the translation in prose of the above two stanzas rendered by Sri Aurobindo Ghosh. This has also been adopted by the Government of India's national portal. The original Vande Mataram consists of six stanzas and the translation in prose for the complete poem by Shri Aurobindo appeared in Karmayogin, 20 November 1909.

Mother, I praise thee!
Rich with thy hurrying streams,
bright with orchard gleams,
Cool with thy winds of delight,
Dark fields waving Mother of might,
Mother free.

Glory of moonlight dreams,
Over thy branches and lordly streams,
Clad in thy blossoming trees,
Mother, giver of ease
Laughing low and sweet!
Mother I kiss thy feet,
Speaker sweet and low!
Mother, to thee I praise thee. [Verse 1]

Who hath said thou art weak in thy lands
When the swords flash out in seventy million hands
And seventy million voices roar
Thy dreadful name from shore to shore?
With many strengths who art mighty and stored,
To thee I call Mother and Lord!
Thou who savest, arise and save!
To her I cry who ever her foeman drove
Back from plain and Sea
And shook herself free. [Verse 2]

Thou art wisdom, thou art law,
Thou art heart, our soul, our breath
Thou art love divine, the awe
In our hearts that conquers death.
Thine the strength that nerves the arm,
Thine the beauty, thine the charm.
Every image made divine
In our temples is but thine. [Verse 3]

Thou art Durga, Lady and Queen,
With her hands that strike and her swords of sheen,
Thou art Lakshmi lotus-throned,
And the Muse a hundred-toned,
Pure and perfect without peer,
Mother lend thine ear,
Rich with thy hurrying streams,
Bright with thy orchard gleems,
Dark of hue O candid-fair [Verse 4]

In thy soul, with bejeweled hair
And thy glorious smile divine,
Loveliest of all earthly lands,
Showering wealth from well-stored hands!
Mother, mother mine!
Mother sweet, I praise thee,
Mother great and free! [Verse 5]

Translation of Vande Mataram by Keshab Bhattarai

Salutations (to you), oh Mother!
(You are blessed with) Richness in water
resources, plenty of fruits (and forest
resources), flushed with cool air breezing
from Malaya mountains;
Green with rice plants o ! our motherland
Salutations (to you), oh Mother!

Where nights are made joyous by sparkling light
very beautiful by buds-flowers- and rows of trees
Always looking pleasant, sweet speaking
giver of happiness and riches
o! our motherland!
Salutations (to you), oh Mother!

Seventy million voices are heard (praising you) in kalakala sound
many million hands have taken swords (for your protection)
How can I say that you are a helpless woman?
I pray (to you), oh savier mother adorned
with strength, the destroyer of enemies.
Salutations (to you), oh Mother!

You are embodiment of wisdom, virtues
(religion), love, and the essence (of everything).
You are certainly the life force in (our) bodies.
Oh Mother, you are strength in (our) arms,
Oh Mother, you are devotion in (our) hearts,
Your (sacred) image is in every temple
Salutations (to you), oh Mother!

You are indeed the ten-handed Durga goddess,
you are the goddess of wealth, Kamala or
Laxmi, residing on the lotus,
you are the bestower of (power of) speech and
knowledge - Goddess Saraswati, I pray to you.
I salute you oh pure unmatched Goddess KamalA.
You are blessed with water resources,
blessed with plenty of fruits,
Salutations (to you), oh Mother!

You are peaceful, kind, pleasant, and beautiful.
Oh Mother earth, nourisher, salutations.
Salutations (to you), oh Mother! Vande Mataram

Vande Maataram - An ode to the motherland

In the novel "Anandmath," composed in the Bengali script, there exists a heartfelt tribute to the Motherland known as "Vande Mataram." Translated, this title signifies "I bow to thee, Mother." Interestingly, within the later verses of the song, the concept of the "mother goddess" has been inferred to symbolize the homeland of the people – Banga Mata (Mother Bengal) and Bharat Mata (Mother India), even though such allusions are not explicitly stated in the text.

This iconic composition played a pivotal role in the Indian independence movement. It was first sung in a political context by Rabindranath Tagore during the 1896 session of the Indian National Congress. Subsequently, in 1905, it gained popularity as a marching song for political activism within the Indian freedom movement. Sri Aurobindo, a spiritual Indian nationalist and philosopher, hailed it as the "National Anthem of Bengal." Remarkably, despite being banned by the British government along with the novel that contained it, the ban was openly defied by workers and the general public. Many individuals faced imprisonment for singing it, but ultimately, the ban was lifted by the Indian populace after they achieved independence from colonial rule.

On January 24, 1950, the Constituent Assembly of India officially adopted "Vande Mataram" as the national song. During this historic moment, India's first President, Rajendra Prasad, emphasized that the song should be held in equal regard with the national anthem of India, "Jana Gana Mana." Nevertheless, it is noteworthy that the Constitution of India does not explicitly designate "Vande Mataram" as the national song.

The first two verses of the song symbolize an abstract reference to mother and motherland, devoid of any specific mention of Hindu deities by name, unlike the later verses that do invoke goddesses such as Durga. Additionally, unlike the national anthem "Jana Gana Mana," which has a specified duration of 52 seconds for rendition, there are no time constraints or circumstantial specifications for performing "Vande Mataram."

Controversies with Vande Mataram

In 1937, during the pursuit of India's independence from British colonial rule, a committee consisting of prominent figures like Maulana Azad, Jawaharlal Nehru, Subhash Bose, Acharya Deva, and Rabindranath Tagore recommended the adoption of certain portions of "Vande Mataram" as the national song. However, it was a deliberate choice not to select the entire song in order to honor the sentiments of non-Hindus. The gathering unanimously agreed that individuals should have the freedom to sing an alternative "unobjectionable song" during national gatherings if they found "Vande Mataram" objectionable for personal reasons.

The reasoning behind this decision, as expressed by the assembled leaders, including Nobel Laureate Rabindranath Tagore, was that while the first two stanzas of the song beautifully evoked the essence of the motherland without any objectionable content, the later stanzas contained references to the Hindu goddess Durga. This consideration aimed to ensure inclusivity and respect for the diverse religious and cultural beliefs of the Indian population.

Opposition to the song also came from the Muslim League and its leader, Muhammad Ali Jinnah. Subsequently, with the backing of Mahatma Gandhi and Jawaharlal Nehru, the Indian National Congress made the decision to adopt only the first two stanzas of "Vande Mataram" as the national song for public gatherings. This choice involved the exclusion of verses that contained references to goddesses like Durga and Lakshmi.

Rajendra Prasad, who was presiding the Constituent Assembly on 24 January 1950, made the following statement which was also adopted as the final decision on the issue:

... The composition consisting of the words and music known as Jana Gana Mana is the National Anthem of India, subject to such alterations in the words as the Government may authorise as occasion arises; and the song Vande Mataram, which has played a historic part in the struggle for Indian freedom, shall be honoured equally with Jana Gana Mana and shall have equal status with it. (Applause). I hope this will satisfy the Members.

—Constituent Assembly of India, Vol. XII, 24-1-1950[47]

See https://en.wikipedia.org/wiki/Vande_Mataram for more information. 

Pour love in your heart, like the rain pours on the land today. As I am working on a Meerabai song I am doing research on the different varieties of Malhar being sung. As of now, I have not found the one that I am singing. I guess it does not hurt to have another Malhar kind!

More Posts on Raags 

Miya ki Malhar



Megh Malhar



Surdasi Malhar



Nat Malhar



Gaud Malhar



Meerabai ki Malhar



Dhuliya (Dhulia) Malhar



Gaudgiri Malhar



Charju ji Malhar 


Jayant Malhar 



Chhaya Malhar



Shudha Malhar (rare now)

Nanak ki Malhar


Krishna told Arjun, that your duty is to take aim and participate in the war. Not think about useless details. That is the lesson for a Karma yogi. That is why the purpose of life is to sing, not to listen. Take control and sing. Action is our hands, and for fruits we do not care. And that is why Elle Camino is inspirational. This is what she says about her writing:

So, I've been in the process of obtaining an agent for a while now. Publishers have also expressed some interest, though my book isn't even completely done, but I've declined everyone.

Do you know why?

Of course not. That's why I'm writing this post!

I've decided to be an indie author. I want to be in control of the designing, creating, and publishing process, plus I don't want to sign over any rights to my novel. I want to earn more percentage profit than I would if I went with a traditional publisher, and honestly - I'm not expecting my book to be a huge hit.

Why? Because I'm not writing a book to get famous. I'm not writing a book to make money. Those things are nice, but honestly I'm writing my novel because it's what I do. It's what I love, and what inspires and drives me. I've always been better with a pen (or a keyboard) than I have with my words verbally, and so it's all just how I express myself and where I escape to. I write because I'm a writer/I'm a writer because I write.

Go here to read more: http://ellecamino.blogspot.com/2011/05/decisions.html and like her facebook page: http://www.facebook.com/pages/Kristen-Camino-Writer/161583870567763?sk=wall
"At the end of your life, you will never regret not having passed one more test, not winning one more verdict, or not closing one more deal. You will regret time not spent with a husband, a friend, a child, or a parent."
--Barbara Bush
It is raining today in San Ramon and I am reminded of a beautiful poem from Meerabai (see below for info on Meerabai). I have been singing this poem in Raag Malhar and hope to publish it soon. Rain reminds Meera of the presence of her love, Krishna, nearby and she sings songs of love to welcome him.




Lyrics

barse badariyA sAwan ki
sAwan ki man bhavan ki

sAwan mein umangyo merO manvA
jhanak suni hari Avan ki

umad ghumad cAhun disa sE AyO
dAmini dhamke jhar lAvan ki

nanhi nanhi bUndhan meghA barse
shItal pavan suhAvan ki

meerA kE prabhu giridhar nAgar
Anand mangal gAvan ki


Translation

The monsoon clouds are showering
The clouds of monsoon, the clouds of bliss

In the monsoon my mind exults
as he hears that hari is coming

They are turning in from all directions
lightening strikes in a sequence

Tiny droplets of water drops
A cool breeze blows pleasantly

For Meera's love Giridhar Nagar
it is the time to sing wedding songs

More on Meerabai (See more on wikipedia)

Meerabai (Rajasthani: मीराबाई) (c.1498-c.1547AD) was an aristocratic Hindu mystical singer and sahajiya (apasampradaya) devotee of lord Krishna from Rajasthan and one of the most significant figures of the Sant tradition of the Vaishnava bhakti movement. Some 12-1300 prayerful songs or bhajans attributed to her are popular throughout India and have been published in several translations worldwide. In the bhakti tradition, they are in passionate praise of lord Krishna.

Details of her life, which has been the subject of several films, are pieced together from her poetry and stories recounted by her community and are of debatable historical authenticity, particularly those that connect her with the later Tansen. On the other hand, the traditions that make her a disciple of Ravidas who disputed with Rupa Goswami are consonant with the usual account of her life.

Alternative Meanings  (http://sangitasopana.blogspot.com/2012/10/barse-badariya.html)

- let the clouds (badariyA) of spring (sAvan kI) shower (barsE)
- the clouds of spring (sAvvan kI), the clouds that entertain (bhAvan kI) the mind (man)
- my (mErO) mind (manvA) always exults (umag AgyO) in (mein) Spring (sAvan)
- I hear (sunI) the sounds (jhanak) of krishNa's (hari) arrival (Avan kI)
- I hear the sounds of thunder (umaD ghumaD) coming (AyO) from (sE) all 4 (cArUn) directions (disA)
- lightning (dAmini) flares (damkE) heralding the arrival (Avan kI) of the rains (jal)
- the clouds (mEghA) shower (barsE) tiny (nanhI) droplets (bUndE) of water
- as cool (SItal) and pleasant (suhAvan) wind (pavan) blows by
- It is the time for mIrA's (mIrA kE) Lord (prabhU), giridhar to
- sing (gAvan) and make happy (Anand) and auspicious (mangaL) music


Lyrics in Hindi

बरसे बदरिया सावन की।
सावन की मन भावन की॥

सावन में उमंगयो मेरो मनवा।
झनक सुनी हरि आवन की॥

उमड़ घुमड़ चहुँ देस से आयो।
दामिनी धमके झर लावन की॥

नन्हे नन्हे बूंदन मेघा बरसे।
शीतल पवन सुहावन की॥

मीरा के प्रभु गिरिधर नगर।
आनंद मंगल गावन की॥


Yet another version of this bhajan (from http://blog.anandway.com/post/Meera-Bai-bhajan-Barase-Badariya-Saavan-ki)

बरसे बदरिया सावन की, सावन की मनभावन की,

१. सावन में उमग्यो मेरो मनवा, भनक सुनि हरि आवन की
२. नन्हीं नन्हीं बूंद सुहावन लागत, बूंदन की झर लावन की
३. दादुर, मोर, पपीहा बोले, कोयल शबद सुनावन की
४. मीरा के प्रभु हरि अविनाशी, आनंद मंगल गावन की,

In the rainy season (Saavan), I am happy and excited. I hear that my Lord is coming. Raindrops looks lovely. Frogs, Papiha bird and cuckoos also voice their happiness in the rainy season. My Lord is the eternal Lord, Hari. This is the time to sing in bliss.




Sir Ganga Ram (1851-1927) was a civil engineer and leading philanthropist of his times, who established the Renala Hydral Power Station in Renala Khurd in 1925.

In 1873, after a brief Service in Punjab P.W.D devoted himself to practical farming. He obtained on lease from Government 50,000 acres (200 km²) of barren, unirrigated land in Montgomery district, and within three years converted that vast desert into smiling fields, irrigated by water lifted by a hydroelectric plant and running through a thousand miles of irrigation channels, all constructed at his own cost. This was the biggest private enterprise of the kind, unknown and unthought-of in the country before. Sir Ganga Ram earned millions most of which he gave to charity.

In the words of Sir Malcolm Hailey, the Governor of Punjab, "he won like a hero and gave like a Saint". He was a great engineer and a great philanthropist.

He designed and built General Post Office, Lahore Museum, Aitchison College, Mayo School of Arts (now the NCA), Ganga Ram Hospital, Lady Mclagan Girls High School, the chemistry department of the Government College University, the Albert Victor wing of Mayo Hospital, the Hailey College of Commerce, Ravi Road House for the Disabled, the Ganga Ram Trust Building on The Mall and Lady Maynard Industrial School. He also constructed Model Town, once the best locality of Lahore, the powerhouse at Renala Khurd as well as the railway track between Pathankot and Amritsar

He built Sir Ganga Ram Hospital, Lady Mclagan School and Renala Khurd Power House with his own money.

He was a promising agriculturist, too. He purchased thousands acres of barren land in Lyallpur (now Faisalabad) on lease and by using engineering skills and modern irrigation methods, turned the arid lands into fertile fields. He retired in 1903. He died in London on July 10, 1927. His body was cremated and his ashes were brought back to India. A portion of the ashes were consigned to Ganga River and the rest buried in Lahore on the bank of the Ravi.

A statue of Sir Ganga Ram once stood on Mall Road in Lahore. Saadat Hassan Manto, the famous Urdu writer, in one of his stories on the frenzy of religious riots of 1947writes that an inflamed mob in Lahore, after attacking a Hindu residential area, ‘turned to attacking the statue of Sir Ganga Ram, the Hindu philanthropist. They first pelted the statue with stones; then smothered its face with coal tar. Then a man made a garland of old shoes climbed up to put it round the neck of the statue. The police arrived and opened fire. Among the injured were the fellow with the garland of old shoes. As he fell, the mob shouted: “Let us rush him to Sir Ganga Ram Hospital.”


Lagta Nahin Hai Dil Mera Ujde Dayaar Mein
Kiski Bani Hai Aalam-E-Napaydaar Mein

Keh Do In Hasraton se Kahin Aur Ja Basein
Itni Jageh Kahan Hai Dil-E-Daagdar Mein

Umr-E-Daraaz Mang kar Laye The Chaar Din
Do Aarzoo Mein kat Gaye Do Intezaar Mein

Kitna Hai Badnaseeb 'Zafar' Dafan Ke Liye
Do Gaz Zameen Bhi Na Mili Kuch-E-Yaar Mein

Lagta Nahin Hai Dil Mera Ujde Dayaar Mein
Kiski Bani Hai Aalam-E-Napaydaar Mein

-- Muztar Khairabadi (attributed to Bahadur Shah Zafar)

My heart is not happy, in this barren city
Who has ever felt fulfilled, in this mortal world

Please tell my wishes to go away somewhere else
There is not enough room for them in my sorrowful heart

I had requested for a long life of four days
Two were spent in praying/wishing and two were spent in waiting

How ill-fated Zafar is! For his own burial
He couldn't even get two yards of earth in land of the beloved

The Story Behind Two Ghazals Attributed To Bahadur Shah Zafar

Article by Ajay Mankotia

Na kisi ki aankh ka noor hoon
Na kisi ke dil ka qaraar hoon
Jo kisi ke kaam na aa sake
Main woh ek musht-e-gubaar hoon

A whole generation has grown up in the subcontinent listening to the pathos-filled, divine-voiced, masterly rendition by Rafi of this ghazal written by Bahadur Shah Zafar from Lal Qila released in 1960. SN Tripathi's music was minimal, thus enhancing the pain and suffering suffusing the ghazal of the last Mughal emperor.

In the same film, Rafi also sang, in a recitational style, the other jewel in Zafar's oeuvre - "Lagta nahin hai dil mera".

The longing, despair and helplessness of the Rangoon-exiled monarch is very movingly conveyed in the last stanza - Kitnaa hai badnaseeb Zafar, dafn ke liye, do gaz zameen bhi na mili, koo-e-yaar mein.

Earlier, in the early '50s, Habib Wali Muhammad had recorded "Lagta nahin" under the music direction of Saraswati Devi (India's first female music director). After this ghazal was broadcast on Radio Ceylon, it became very popular. Habib later migrated to Pakistan.

But it was Rafi who brought the two ghazals and Zafar's authorship of them into national consciousness. The association of Zafar with these two ghazals has continued to be reinforced in popular culture. "Lagta nahin" was so inextricably linked to Zafar that it was represented on a commemorative postage stamp released in his honour in 1975. Last year, I saw Salman Khurshid's play Sons of Babur with Zafar as the central character where these ghazals were featured.


Imagine, therefore, the shock when Javed Akhtar recently announced that "Na kisi ki aankh ka noor hoon" was actually penned by his grandfather Muztar Khairabadi (1865-1927). Javed's father, the noted poet Jan Nisar Akhtar, had some of Muztar's works with him. His remaining works were found in libraries and private collections in Khairabad, Lucknow, Tonk, Rampur, Indore, Gwalior, Bhopal and Indore - cities where Muztar had worked as a judicial magistrate. Javed found the original copy of the ghazal in the pages of his grandfather's personal books. He collected all of Muztar's ghazals into a book consisting of five volumes - Khirman - which was launched by the vice president of India in September this year.

Among the cognoscenti, the debate, however, has been raging for long, much before Javed's disclosure. There is a considerable section which believes that the provenance of both the ghazals is not Zafar. In fact, some quarters in popular culture also uphold this view. Theatre director Sayeed Alam's play Lal Quile ka Akhri Mushaira, inspired by Muhammad Hussain Azad's Ab-e-Hayat and Farhatullah Beg's Dehli ki Aakhri Shama mentions the two ghazals as not having been penned by Zafar. In the opening scene of Bahadur Shah Zafar, a television serial directed by Baldev Raj Chopra in 1986, the names that appear on the screen are Zauq, Bahadur Shah Zafar, Muztar Khairabadi and Ghalib. William Dalrymple in his book The Last Mughal also refers to the controversy.

How did the controversy begin?

Jan Nisar Akhtar, in a 1938 article in the magazine Suhail, claimed that "Na kisi ki aankh" was in Muztar's handwritten divan (collection of poems), which he had in his possession. An essay by Yunus Hasni, "Shah Zafar nahin - Muztar Khairabadi", appeared in Nigar-e- Pakistan in January 1963, making the same claim.

The ghazal is not to be found in any of Zafar's divans. His first divan (believed to be completed in 1808) was published in 1845 or 1846. The second divan appeared in 1849. His third and fourth divans were probably published in 1856. His Kulliyat (collection) of all four divans was first published in 1862, and then in 1870 or 1887.

But could Zafar have written them during his exile in Rangoon post-1857 and that's why they don't appear in his divans? There's very little evidence that Zafar ever composed any more poetry after his four pre-1857 divans. During his stay in Rangoon, it wasn't possible for him to write as pen, ink and paper were strictly prohibited (jail governor quoted in Biyaz-e-Zafar). While he could have composed ghazals and remembered it by heart, the public was not allowed to hold intercourse with the prisoners. Zafar had no communication with the outside world.

Till 1958, this ghazal was not mentioned in any recognised Urdu publication. It had only been recited in mushairas and mehfils from where it travelled to ghazal singers and qawwals. From there it found its way to a paperback called Guldasta and got published as that of Zafar. The first published attribution of this ghazal to Zafar appeared in a selection called Navaa-e Zafar, published in 1958. The reading public readily accepted Zafar's authorship.

Similarly, "Lagta nahin hai dil mera" is attributed to Seemab Akbarabadi. One of the couplets of the ghazal is:

Umr-e-daraaz maang kar laaye they chaar din, do arzoo mein kat gaye do intezaar mein.

This verse appeared in Nigar's special issue on autobiographies (January-February 1941). Seemab himself selected this couplet for the special issue as one of his favourite verses.

Why were these ghazals attributed to Zafar?

In Urdu poetry, there is a tradition to write ghazals in the style of famous poets. They thus resemble, in style and substance, the ghazals of the poet concered. Zafar was an accomplished poet with a distinct style. His ghazals are a beautiful collection of words that spell magic and are read with awe and admiration. It's not unusual, therefore, for these two ghazals to be wrongly attributed to Zafar. There are examples galore of such misattributions. Regarding "Na kisi ki aankh", there are similar such couplets which are in circulation, like:

Na raha voh rang na boo rahi, na gulon ki khoobi-o-khoo rahi

Jo khizaan ke haathon tabaah hai, main voh yaadgaar-e-bahaar hoon

Most people were of the view that only a doomed emperor like Zafar could create self-pity of the sort expressed in the two ghazals. To use the imagery of Kitnaa hai badnaseeb Zafar, dafn ke liye, do gaz zameen bhi na mili, koo-e-yaar mein, to declare that it must have been written after his arrest and exile made it that much more poignant. How tragic that the last Mughal to rule India had been imprisoned and then exiled to Burma, ruing his fate, missing the land he was born in, knowing that he wouldn't be buried there. This was romanticism at its very best! Since this ghazal is in a melancholic style and the maqta has Zafar's takhallus, the association with Zafar became even stronger.

There exists a contrarian view that Muztar couldn't have suffered such pain, which Zafar had to undergo. The emperor passed away in 1862 in exile in Rangoon and wrote these soul touching words in a state of utter loneliness, they claim. There are others who argue that Muztar was a man with a religious bent of mind and could not have written a ghazal of absolute hopelessness. The counter argument adduced is that Khairabadi's maternal grandfather, poet and philosopher Maulvi Fazl-i-Haq Khairabadi, was a freedom fighter who played an important role in 1857. He was later banished to the Andamans. His despondence and hopelessness were similar to what Zafar experienced, hence the similarity.

Zafar was a poet of great charm and accomplishment. Even if the two ghazals are not his, it doesn't detract from his immense talent and popularity. His poetry breathed the simmering anger, despair and revolt against the British rule. Once taunted:

Dumdamein mein dum nahin khair maango jaan ki

Aey Zafar thandi hui shamsheer Hindustan ki

Zafar riposted:

Gaziyon mein boo rahegi jab tak imaan ki

Tab toh London tak chalegi teg Hindustan ki

Only a true patriot could have uttered those words and paid a heavy price for it!
Eduardo Villarreal is an Engineer, Six Sigma Master Black Belt, Mathematician and New Age Music Composer. Eduardo was born in Guadalajara, Mexico in November 1982. He started to play keyboards at the age of 15 but it wasn’t until the age of 18 that he discovered his true passion: Composition. Eduardo holds a Master Degree in Operations Research by UNAM. During his MC studies, he developed a mathematical algorithm in order to generate random music using Marcov Chains and Montecarlo Simulation.

He reminds me that there is music in math, one of my favorite subjects growing up (which I used extensively in all of my jobs being a Scientist, Statistician and Financial Analyst). He reminds me again that the purpose of life is to sing of oneness ...


The updated note can be found here: https://www.shivpreetsingh.com/2011/05/dulhani-by-kabir.html

Translation of Dulhani (A song written by Kabir, Sung in Raag Asa)

Gaa-o gaa-o ree dulhanee mangalchaaraa.
Mayray garih aa-ay raajaa raam bhataaraa.

Sing, sing, O soul bride,
sing the song of my marriage
King Raam has come to my house
to become my husband

Tan rainee man pun rap kar
ha-o paacha-o tat baraatee.
Raam raa-ay si-o bhaavar laiha-o
aatam tih rang raatee. ||1||

To beautify myself I have annointed my body with good deeds
and that color was so strong my mind has also been dyed.
Five elements have come together as guests
and as I circumambulate with Raam*
my soul is too imbued with His Love.

In the Hindu Marriage ceremony, the couple takes 7 circles around the sacred fire. The word used by Kabir is "Bhaavar" - likening the marriage to a bee circles a flower - the word used in current Hindi is "Phera" or "circle.

The word "Pun" is sometimes translated as "again," but that is wrong.  Pun is the plural of "Punu" which comes from Sanskrit and means good deads.  The words used for again in Gurbani is "Phun."  Professor Sahib Singh explains this in his punjabi teeka of the Guru Granth Sahib and I agree with this definition. In Sohela we also sing a shabad in raag Gauri Purbi where we say, "Kar Sadhu Anjuli Pun wadda hay, Kar Dandaut Pun Wadda Hay" - it is a virtuous deed to bow to the "Sadhus" or the ones who have achieved inner peace.

Gur Arjan Dev says, "Among all religions, the best religion is to remember the Name and do good deeds" in Sukhmani Sahib: "Sarab Dharam mai Srestha Dharam, Har ko Naam Jap Nirmal Karam"


Naabh kamal meh baydee rach lay
barahm gi-aan uchaaraa.
Raam raa-ay so doolahu paa-i-o
as badbhaag hamaaraa. ||2||

Make the navel-lotus my bridal pavilion
And let Brahma* recite holy mantras
I have obtained the Raam as my Husband
such is my great good fortune. ||2||

* Note: According to old scriptures, Brahma, the creator (also the God of knowledge) sits on the lotus that grows from the Navel of Vishnu. Lotus obviously also reminds the reader of purity despite maligned surroundings. Brahma is also credited to first having "recited" the "Vedas" -- some of the oldest scriptures written in human history. There is a temple in India (near Thanesar) called "Kamal Naabhi" or "Lotus Navel" where Brahma was born from the Navel of Vishnu.


Sur nar mun jan ka-utak aa-ay
kot taytees ujaanaaN.
Kahi kabeer mohi bi-aahi chalay hai
purakh ayk bhagvaanaa. ||3||

Angles, holy men, sages, and deities have come
in thousands of heavenly chariots to see
my husband take me with him
because Raam is none other than the One Almighty ||3||
Listened to this on the radio today. Why does Bhagat Ji name all these worldly goods as something he wants. There must be a problem with this translation.

gopwl qyrw Awrqw ]

O Lord of the world, this is Your lamp-lit worship service.

jo jn qumrI Bgiq krMqy iqn ky kwj svwrqw ]1] rhwau ]

You are the Arranger of the affairs of those humble beings who perform Your devotional worship service. ||1||Pause||

dwil sIDw mwgau GIau ]

Lentils, flour and ghee - these things, I beg of You.

hmrw KusI krY inq jIau ]

My mind shall ever be pleased.

pn@IAw Cwdnu nIkw ] Anwju mgau sq sI kw ]1]

Shoes, fine clothes, and grain of seven kinds - I beg of You. ||1||

gaU BYs mgau lwvyrI ]

A milk cow, and a water buffalo, I beg of You,

iek qwjin qurI cMgyrI ]

and a fine Turkestani horse.

Gr kI gIhin cMgI ]

A good wife to care for my home

jnu DMnw lyvY mMgI ]2]4]

- Your humble servant Dhanna begs for these things, Lord. ||2||4||
Update Note on Dulhani: https://www.shivpreetsingh.com/2011/05/dulhani-by-kabir.html

Translation of Dulhani

gaa-o gaa-o ree dulhanee mangalchaaraa.
mayray garih aa-ay raajaa raam bhataaraa.

Sing, sing, O soul bride,
sing the song of my marriage
King Raam has come to my house
to become my husband

tan rainee man pun rap kar
ha-o paacha-o tat baraatee.
raam raa-ay si-o bhaavar laiha-o
aatam tih rang raatee.

I make my body the dying vat, and within it, I dye my mind.
I make the five elements my marriage guests.
As I take my marriage vows with the Lord, my King;
my soul is too imbued with His Love.

naabh kamal meh baydee rach lay
barahm gi-aan uchaaraa.
raam raa-ay so doolahu paa-i-o
as badbhaag hamaaraa. ||2||

Make the lotus from the navel (where Brahma sits) my bridal pavilion
And let Brahma say the wisdom
I have obtained the Lord King as my Husband
such is my great good fortune. ||2||

suir nr muin jn kauqk Awey koit qyqIs aujwnW ]
sur nar mun jan ka-utak aa-ay
kot taytees ujaanaaN.
kahi kabeer mohi bi-aahi chalay hai
purakh ayk bhagvaanaa. ||3||2||24||

Angles, holy men, sages, and deities have come
in thousands of heavenly chariots to see
my husband take me with him
as I am married to the One Almighty ||3||2||24||
Updated Note: https://www.shivpreetsingh.com/2011/05/dulhani-by-kabir.html

Poetry Inspired by Kabir:

Sing O Soul, O soul you sing!
sing freely sing, O fondly sing!
sing sated sweet savory song
sing I hear my wedding bells ring!

Start to sing a song so complete
that with my love, five elements sing
and rain my body and mind so replete,
that you too drenched delighted sing

Sing O soul, a song so pure
as sacred vows that I need sing
on a lotus altar white for sure
sitting I hear mantras Brahma sing!

Sing O soul, a song so magical
come angels, fairies, maidens sing
on heavenly chariots so fanciful
as my Love whisks me away and sings!

sing of my fortuity sing!
Sing the beauty of purity sing
sing this mystical magical song
sing I hear my wedding bells ring!

- Shiv
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Singing oneness!
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