Shivpreet Singh
Shivpreet Singh
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Shabad About the Guru Granth Sahib 

I have heard the shabad Sab Sikhan Ko Hukam hai Guru Manyo Granth, which was said by Guru Gobind Singh and we repeat these words in the Ardaas. Today was the first day I attended Gurdwara during the quarantine due to Covid 19. And I heard a shabad about the Guru Granth Sahib. It is a shabad by Guru Arjan sung in Raag Sarang: Pothi Parmeshar Ka Thaan.  More writings on Where God Lives. 

ਸਾਰਗ ਮਹਲਾ ੫ ॥
सारग महला ५ ॥
Sārag mėhlā 5.
Saarang, Fifth Mehl:

ਪੋਥੀ ਪਰਮੇਸਰ ਕਾ ਥਾਨੁ ॥
पोथी परमेसर का थानु ॥
Pothī parmesar kā thān.
This Holy Book is the home of the Transcendent Lord God.

ਸਾਧਸੰਗਿ ਗਾਵਹਿ ਗੁਣ ਗੋਬਿੰਦ ਪੂਰਨ ਬ੍ਰਹਮ ਗਿਆਨੁ ॥੧॥ ਰਹਾਉ ॥
साधसंगि गावहि गुण गोबिंद पूरन ब्रहम गिआनु ॥१॥ रहाउ ॥
Sāḏẖsang gāvahi guṇ gobinḏ pūran barahm giān. ||1|| rahā▫o.
Whoever sings the Glorious Praises of the Lord of the Universe in the Saadh Sangat, the Company of the Holy, has the perfect knowledge of God. ||1||Pause||

ਸਾਧਿਕ ਸਿਧ ਸਗਲ ਮੁਨਿ ਲੋਚਹਿ ਬਿਰਲੇ ਲਾਗੈ ਧਿਆਨੁ ॥
साधिक सिध सगल मुनि लोचहि बिरले लागै धिआनु ॥
Sāḏẖik siḏẖ sagal mun locẖėh birle lāgai ḏẖiān.
The Siddhas and seekers and all the silent sages long for the Lord, but those who meditate on Him are rare.

ਜਿਸਹਿ ਕ੍ਰਿਪਾਲੁ ਹੋਇ ਮੇਰਾ ਸੁਆਮੀ ਪੂਰਨ ਤਾ ਕੋ ਕਾਮੁ ॥੧॥
जिसहि क्रिपालु होइ मेरा सुआमी पूरन ता को कामु ॥१॥
Jisahi kirpāl hoe merā suāmī pūran ṯā ko kām. ||1||
That person, unto whom my Lord and Master is merciful - all his tasks are perfectly accomplished. ||1||

ਜਾ ਕੈ ਰਿਦੈ ਵਸੈ ਭੈ ਭੰਜਨੁ ਤਿਸੁ ਜਾਨੈ ਸਗਲ ਜਹਾਨੁ ॥
जा कै रिदै वसै भै भंजनु तिसु जानै सगल जहानु ॥
Jā kai riḏai vasai bẖai bẖanjan ṯis jānai sagal jahān.
One whose heart is filled with the Lord, the Destroyer of fear, knows the whole world.

ਖਿਨੁ ਪਲੁ ਬਿਸਰੁ ਨਹੀ ਮੇਰੇ ਕਰਤੇ ਇਹੁ ਨਾਨਕੁ ਮਾਂਗੈ ਦਾਨੁ ॥੨॥੯੦॥੧੧੩॥
खिनु पलु बिसरु नही मेरे करते इहु नानकु मांगै दानु ॥२॥९०॥११३॥
Kẖin pal bisar nahī mere karṯe ih Nānak māʼngai ḏān. ||2||90||113||
May I never forget You, even for an instant, O my Creator Lord; Nanak begs for this blessing. ||2||90||113||

Information from Wikipedia on the Guru Granth Sahib: 

The Guru Granth Sahib (Punjabi: ਗੁਰੂ ਗ੍ਰੰਥ ਸਾਹਿਬ, pronounced [ɡʊɾuː ɡɾəntʰᵊ saːhɪb]) is the central religious scripture of Sikhism, regarded by Sikhs as the final, sovereign and eternal living Guru following the lineage of the ten human gurus of the religion. The Adi Granth, its first rendition, was compiled by the fifth Guru, Guru Arjan (1563–1606). Its compilation was completed on 29 August 1604[failed verification] and first installed inside Darbar Sahib in Amritsar on 1 September 1604.[1] Baba Buddha was appointed the first Granthi of the Darbar Sahib. Later, Guru Gobind Singh, the tenth Sikh guru, added all 115 hymns of Guru Tegh Bahadur, the ninth Sikh guru, to the Adi Granth and affirmed the text as his successor.[2] This second rendition became known as the Guru Granth Sahib, and is also sometimes referred to as the Adi Granth.[3][4]

The text consists of 1,430 angs (pages) and 5,894 śabads (line compositions),[5][6][7] which are poetically rendered and set to a rhythmic ancient north Indian classical form of music.[8] The bulk of the scripture is divided into sixty[5][6] rāgas, with each Granth rāga subdivided according to length and author. The hymns in the scripture are arranged primarily by the rāgas in which they are read.[6] The Guru Granth Sahib is written in the Gurmukhi script, in various languages, including Lahnda (Western Punjabi), Braj Bhasha, Kauravi, Sanskrit, Sindhi, and Persian. Copies in these languages often have the generic title of Sant Bhasha.[9]

The Guru Granth Sahib was composed predominantly by six Sikh gurus: Guru Nanak, Guru Angad, Guru Amar Das, Guru Ram Das, Guru Arjan, and Guru Teg Bahadur. It also contains the poetic teachings of thirteen Hindu Bhakti movement sant poets and two Sufi Muslim poets.[10][11]

The vision in the Guru Granth Sahib is of a society based on divine justice without oppression of any kind.[12][13] While the Granth acknowledges and respects the scriptures of Hinduism and Islam, it does not imply a moral reconciliation with either of these religions.[14] It is installed in a Sikh gurdwara (temple). A Sikh typically bows or prostrates before it on entering such a temple.[15] The Granth is revered as eternal gurbānī and the spiritual authority in Sikhism.[16]


More: https://en.wikipedia.org/wiki/Guru_Granth_Sahib 

Guru Arjan says, "Whoever wants, can attain it?" in Jo Mange Thakur Apne Te. But what is one to ask? He mentions later in the shabad exactly what to ask: "Avgun sab mete" - remove all my vices.  That is what we are to ask as Sikhs. Remove the five vices.  This is what this shabad is about. 

Jo Mange (Sarangi version)


The five vices are also called the five thieves because they essentially steal our own authentic self from us.  They rob individuals of their inherent wisdom. These five vices are kama (lust), krodh (anger), lobh (greed), moh (attachment), and ahankar (ego or excessive pride).

We have to conquer these inner vices and render them powerless. And then we win the world. Man Jeetai Jagjit as Guru Nanak explains in the Japji.  

The thoughts and actions of one's mind, and by extension, one's body, should operate independently of these five inner malefactions. It is the duty of a Sikh to resist succumbing to these five desires of the mind. Instead, we are to practice the Five Virtues. 
Kunji Kulaf Praan Kar Karte Baar Na Lai
The creator put both lock and key in breath without delay

Kunji - Key
Kulaf - Lock
Praan - Breath (see below for more detail from Wikipedia)



Both lock and key in our breath. 

We have the choice to do good or not. 

While in most poems, we are encouraged to open the locked mind. In this shabad, Bhagat Kabir implies its best to lock the mind so the five thieves don't enter. The five thieves are kaam krodh lobh moh ahankar ... lust, anger, greed, attachment and ego. 


From Wikipedia on Praan: 

In Hindu philosophy including yoga, Indian medicine and Indian martial arts, prana (प्राण, prāṇa; the Sanskrit word for breath, "life force", or "vital principle") permeates reality on all levels including inanimate objects. In Hindu literature, prana is sometimes described as originating from the Sun and connecting the elements.

Five types of prana, collectively known as the five vāyus ("winds"), are described in Hindu texts. Ayurveda, tantra and Tibetan medicine all describe praṇā vāyu as the basic vāyu from which the other vāyus arise.

Pranayama, one of the eight limbs of yoga, is intended to expand prana.



Original Shabad by Bhagat Kabir:

ਗਉੜੀ ॥
गउड़ी ॥
Ga▫oṛī.
Gauree:

ਖਟ ਨੇਮ ਕਰਿ ਕੋਠੜੀ ਬਾਂਧੀ ਬਸਤੁ ਅਨੂਪੁ ਬੀਚ ਪਾਈ ॥
खट नेम करि कोठड़ी बांधी बसतु अनूपु बीच पाई ॥
Kẖat nem kar koṯẖ▫ṛī bāʼnḏẖī basaṯ anūp bīcẖ pā▫ī.
He fashioned the body chamber with six rings, and placed within it the incomparable thing.

ਕੁੰਜੀ ਕੁਲਫੁ ਪ੍ਰਾਨ ਕਰਿ ਰਾਖੇ ਕਰਤੇ ਬਾਰ ਨ ਲਾਈ ॥੧॥
कुंजी कुलफु प्रान करि राखे करते बार न लाई ॥१॥
Kunjī kulaf parān kar rākẖe karṯe bār na lā▫ī. ||1||
He made the breath of life the watchman, with lock and key to protect it; the Creator did this in no time at all. ||1||

ਅਬ ਮਨ ਜਾਗਤ ਰਹੁ ਰੇ ਭਾਈ ॥
अब मन जागत रहु रे भाई ॥
Ab man jāgaṯ rahu re bẖā▫ī.
Keep your mind awake and aware now, O Sibling of Destiny.

ਗਾਫਲੁ ਹੋਇ ਕੈ ਜਨਮੁ ਗਵਾਇਓ ਚੋਰੁ ਮੁਸੈ ਘਰੁ ਜਾਈ ॥੧॥ ਰਹਾਉ ॥
गाफलु होइ कै जनमु गवाइओ चोरु मुसै घरु जाई ॥१॥ रहाउ ॥
Gāfal ho▫e kai janam gavā▫i▫o cẖor musai gẖar jā▫ī. ||1|| rahā▫o.
You were careless, and you have wasted your life; your home is being plundered by thieves. ||1||Pause||

ਪੰਚ ਪਹਰੂਆ ਦਰ ਮਹਿ ਰਹਤੇ ਤਿਨ ਕਾ ਨਹੀ ਪਤੀਆਰਾ ॥
पंच पहरूआ दर महि रहते तिन का नही पतीआरा ॥
Pancẖ pahrū▫ā ḏar mėh rahṯe ṯin kā nahī paṯī▫ārā.
The five senses stand as guards at the gate, but now can they be trusted?

ਚੇਤਿ ਸੁਚੇਤ ਚਿਤ ਹੋਇ ਰਹੁ ਤਉ ਲੈ ਪਰਗਾਸੁ ਉਜਾਰਾ ॥੨॥
चेति सुचेत चित होइ रहु तउ लै परगासु उजारा ॥२॥
Cẖeṯ sucẖeṯ cẖiṯ ho▫e rahu ṯa▫o lai pargās ujārā. ||2||
When you are conscious in your consciousness, you shall be enlightened and illuminated. ||2||

ਨਉ ਘਰ ਦੇਖਿ ਜੁ ਕਾਮਨਿ ਭੂਲੀ ਬਸਤੁ ਅਨੂਪ ਨ ਪਾਈ ॥
नउ घर देखि जु कामनि भूली बसतु अनूप न पाई ॥
Na▫o gẖar ḏekẖ jo kāman bẖūlī basaṯ anūp na pā▫ī.
Seeing the nine openings of the body, the soul-bride is led astray; she does not obtain that incomparable thing.

ਕਹਤੁ ਕਬੀਰ ਨਵੈ ਘਰ ਮੂਸੇ ਦਸਵੈਂ ਤਤੁ ਸਮਾਈ ॥੩॥੨੨॥੭੩॥
कहतु कबीर नवै घर मूसे दसवैं ततु समाई ॥३॥२२॥७३॥
Kahaṯ Kabīr navai gẖar mūse ḏasvaiʼn ṯaṯ samā▫ī. ||3||22||73||
Says Kabeer, the nine openings of the body are being plundered; rise up to the Tenth Gate, and discover the true essence. ||3||22||73||
Learned today that Dhrupad ... comes from dhruv + pad ... a pad sung with dhruv or rest (very slowly) from the video below. Ustad Nasseruddin Saami seems very well read on history and music and worth learning from.  I have heard him once before and was superbly impressed by his singing (https://www.youtube.com/watch?v=RF__Jlrnv90). 

According to Wikipedia is a Sanskrit name, derived from the words dhruva (immovable, permanent) and pada (verse), a combination that means "pillar". It could either mean that the song is moving slowly, or immovable ... or it is praising the "immovable" lord ... both seem good conjectures. But the second makes more sense, because there are some fast dhrupads as well. 


More from Wikipedia on Dhrupad as of Aug 2020: 

Dhrupad is a genre in Hindustani classical music from the Indian subcontinent. It is the oldest style of major vocal styles associated with Hindustani classical music, Haveli Sangeet and also related to the South Indian Carnatic tradition.[1][2] It is a Sanskrit name, derived from the words dhruva (immovable, permanent) and pada (verse), a combination that means "pillar". The roots of Dhrupad are ancient, and it is discussed in the Hindu Sanskrit text Natyashastra (~200 BCE – 200 CE).[3][4] It is also described in other ancient and medieval Sanskrit texts, such as chapter 33 of Book 10 in the Bhagavata Purana (~800–1000 CE), where the theories of music and devotional songs for Krishna are summarized.[4]

A Dhrupad has at least four stanzas, called Sthayi (or Asthayi), Antara, Sancari and Abhoga. The Sthayi part is a melody that uses the middle octave's first tetrachord and the lower octave notes.[7] The Antara part uses the middle octave's second tetrachord and the higher octave notes.[7] The Samcari part is the development phase, which holistically builds using parts of Sthayi and Antara already played, and it uses melodic material built with all the three octave notes.[7] The Abhoga is the concluding section, that brings the listener back to the familiar starting point of Sthayi, albeit with rhythmic variations, with diminished notes like a gentle goodbye, that are ideally mathematical fractions such as dagun (half), tigun (third) or caugun (fourth).[8] Sometimes a fifth stanza called Bhoga is included. Though usually related to philosophical or Bhakti (emotional devotion to a god or goddess) themes, some Dhrupads were composed to praise kings.[6][8] The term denotes both the verse form of the poetry and the style in which it is sung.[5] It is spiritual, heroic, thoughtful, virtuous, embedding moral wisdom or solemn form of song-music combination.[6][7] Thematic matter ranges from the religious and spiritual (mostly in praise of Hindu deities) to royal panegyrics, musicology and romance.

Kirtan is a joyful service of the one within.  I don't perform.  And if you observe me do kirtan, you are not obliged to pay me.   If there were a fee on the remembrance of oneness, it would be too high for anyone to pay.  I donate proceeds of my kirtan to a nonprofit that I founded: dhunanand.org which supports artists who are committed to oneness.  If you wish, you may donate to it, but you don't have to. 


Youtube is a great resource for learning and there are many channels devoted to learning music and singing. I recommend emulating Jagjit Singh ji and Lata Mangeshkar ji because that is what I did.  I believe there are online academies by Dr. Gurnam Singh, Shankar Mahadevan ji and Pandit Ajoy Chakraborty ji, where you can also learn from. 


Singing is a lot of fun, but it is also a lot of hard work.  

I started learning music from Pt. Raghunath Prasanna when I was very young.  There were hours after hours, year after year of doing sargams.  I did not learn from a traditional hindustani classical vocalist so many of my vocal techniques are different from traditional indian classical music.   Some of my vocal techniques are emulated from the bansuri (which is different from most Indian classical singers who learn with string instruments).  I started singing later in life by listening to Jagjit Singh ji and Lata Mangeshkar ji, and trying to emulate their sweetness. 

I continue to hear many yesteryear and current singers to learn by emulation. For developing my voice I have done Mandra Saptak and Shadaz riyaz for over 20 years.  I also learn by recording myself, hearing my mistakes and trying to correct them. I have also been undeterred by the disappointments; consistency is needed because it is a long, arduous process. 

There are far better musicians and singers than me, and there are so many who are spiritually connected. So I am truly humbled that you want to learn from either from me.  Although I don't provide music lessons, I do offer some workshops that might be beneficial for those interested in music and spirituality. 

Fill this form out and either I or someone who volunteers for me will get back to you within 5 days. If you don't hear back, please send me an email at shivpreetsingh@live.com.



If you want to collaborate with me, read this. 
Lyrics (Bulleh Shah): Uth Jaag Ghurarde Maar Nahi
Composition No. 20135
Randomly picked a musical loop. Randomly came the lyrics across in a book that was lying on my table. The loop reminded me of a Ghulam Ali composition of a punjabi folk. So the melodic inspiration is directly from there and is very similar to that. 

Central idea: Wake up, don't snore. Such sleep is not responsible.   

Starting with this. Different rhyme. 
तूं सुत्त्यां उमर वंजाई ए तूं चरखे तन्द ना पाई ए,
की करसें दाज त्यार नहीं, उट्ठ जाग घुराड़े मार नहीं ।
उट्ठ जाग घुराड़े मार नहीं ।


उट्ठ जाग घुराड़े मार नहीं ।
इह सौन तेरे दरकार नहीं ।


इक रोज़ जहानों जाना ए जा कबरे विच समाना ए,
तेरा गोशत कीड़िआं खाना ए कर चेता मरग विसार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।


तेरा साहा नेड़े आया ए कुझ्झ चोली दाज रंगाइआ ए,
क्युं आपना आप वंजाइआ ए ऐ ग़ाफ़ल तैनूं सार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।


तूं जिस दिन जोबन मत्ती सैं, तूं नाल सईआं दे रत्ती सैं,
हो गाफल गल्लीं वत्ती सैं, इह भोरा तैनूं सार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।

तूं मुढ्ढों बहुत कुचज्जी सैं, निरलज्ज्यां दी निरलज्जी सैं,
तूं खा खा खाने रज्जी सैं, हुन ताईं तेरा बार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।

अज्ज कल्ल्ह तेरा मुक्कलावा ए क्युं सुत्ती कर कर दाअवा ए ?
अनडिठ्यां नाल मिलावा ए इह भलके गरम बज़ार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।

तूं एस जहानों जाएंगी, फिर कदम ना एथे पाएंगी,
इह जोबन रूप वंजाएंगी, तैं रहना विच संसार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।

मंज़ल तेरी दूर दुराडी, तूं पौणां विच जंगल वादी,
औखा पहुंचन पैर प्यादी, दिसदी तूं असवार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।

इक इकल्ली तनहा चलसें, जंगल बरबर्र दे विच रुलस
लै लै तोशा इथों घलसें, उथे लैन उधार नहीं ।
उट्ठ जाग घुराड़े मार नहीं ।

उह खाली ए सुंञ हवेली, तूं विच रहसें इक्क इकेली,
ओथे होसी होर ना बेली, साथ किसे दा बार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।

जेहड़े सन देसां दे राजे, नाल जिन्हां दे वज्जदे वाजे,
गए रो रो बेतखते ताजे, कोई दुनियां दा इतबार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।

कित्थे है सुलतान सिकन्दर, मौत ना छड्डे पीर पैगम्बर,
सभ्भे छड्ड गए अडम्बर, कोई एथे पायदार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।

किथे यूसफ माह-कन्यानी, लई ज़ूलैखां फेर जवानी,
कीती मौत ने ओड़क फ़ानी, फेर उह हार शिंगार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।

कित्थे तख़त सुलेमां वाला, विच हवा उड्डदा सी बाला,
उह भी कादर आप संभाला, कोई ज़िन्दगी दा इतबार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।

कित्थे मीर मलक सुलतानां, सभ्भे छड्ड छड्ड गए टिकाणा,
कोई मार ना बैठे ठाणा, लशकर दा जिन्हां शुमार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।

फुल्लां फुल्ल चम्बेली लाला, सोसन सिम्बल सरू निराला,
बादि-खिज़ां कीता बुर हाला, नरगस नित खुमार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।

जो कुझ करसें, सो कुझ पासें, नहीं ते ओड़क पिछोतासें,
सुंञी कूंज वांङ कुरलासें, खंभां बाझ उडार नहीं ।
उट्ठ जाग घुराड़े मार नहीं ।

डेरा करसें उहनीं जाईं, जिथे सेर पलंग बलाई,
खाली रहसन महल सराईं, फिर तूं विरसेदार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।

असीं आज़ज़ विच कोट इलम दे, ओसे आंदे विच कलम दे,
बिन कलमे दे नाहीं कंम दे, बाझों कलमे पार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।

बुल्ल्हा शौह बिन कोई नाहीं, एथों ओथे दोहीं सराईं,
संभल संभल के कदम टिकाईं, फेर आवन दूजी वार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।
New Composition 
20134 - Amrita Priya Bachan Tuhare
Devgandhari - 120 4/4 G
Inspiration - Just seeing "Raaj na chahon" as a shabad listed on youtube (I didn't hear it).  I had been listening to my new composition for "Raaj Leela" this morning and those lines were very similar.  All the pleasures of kingdom and sanyasa are attained in kirtan says Raaj Leela. I don't want wealth or nirvana says Raaj na chahon.  I also don't have a recorded composition in Devgandhari; so this would be a good addition.  I'm loving the words of Guru Arjan and this composition; but then I think that about all compositions I think. Haha! Oh well!

ਦੇਵਗੰਧਾਰੀ ੫ ॥

ਅੰਮ੍ਰਿਤਾ ਪ੍ਰਿਅ ਬਚਨ ਤੁਹਾਰੇ ॥
ਅਤਿ ਸੁੰਦਰ ਮਨਮੋਹਨ ਪਿਆਰੇ ਸਭਹੂ ਮਧਿ ਨਿਰਾਰੇ ॥੧॥ ਰਹਾਉ ॥

ਰਾਜੁ ਨ ਚਾਹਉ ਮੁਕਤਿ ਨ ਚਾਹਉ ਮਨਿ ਪ੍ਰੀਤਿ ਚਰਨ ਕਮਲਾਰੇ ॥
ਬ੍ਰਹਮ ਮਹੇਸ ਸਿਧ ਮੁਨਿ ਇੰਦ੍ਰਾ ਮੋਹਿ ਠਾਕੁਰ ਹੀ ਦਰਸਾਰੇ ॥੧॥

ਦੀਨੁ ਦੁਆਰੈ ਆਇਓ ਠਾਕੁਰ ਸਰਨਿ ਪਰਿਓ ਸੰਤ ਹਾਰੇ ॥
ਕਹੁ ਨਾਨਕ ਪ੍ਰਭ ਮਿਲੇ ਮਨੋਹਰ ਮਨੁ ਸੀਤਲ ਬਿਗਸਾਰੇ ॥੨॥੩॥੨੯॥


Amriṯā pria bacẖan ṯuhāre.
Aṯ sunḏar manmohan piāre sabẖhū maḏẖ nirāre. ||1|| rahā▫o.

Rāj na cẖāhao mukaṯ na cẖāhao man parīṯ cẖaran kamlāre.
Barahm mahes siḏẖ mun inḏrā mohi ṯẖākur hī ḏarsāre. ||1||

Ḏīn ḏu▫ārai āio ṯẖākur saran pario sanṯ hāre.
Kaho Nānak parabẖ mile manohar man sīṯal bigsāre. ||2||3||29||



Translation (Bhai Manmohan Singh)


My Beloved, ambrosial are Thine words.
Very beauteous Enticer Thou art, O Beloved. Thou art midst all and yet distinct. Pause.

I desire not empire and I desire not salvation, my soul longs for the love of Thine lotus feet.
There are Brahma, Shiv, adepts, sages and Indar, but I desire the Lord's vision alone.

O Lord, I have come helpless to Thy door, and having grown weary, have entered the asylum of Thine saints.
Says Nanak, I have met the beauteous Lord and my soul is cooled and happy.


Related Shabads:

Tera Kiya Meetha Lagai - Meetha Meetha
Amrit Bani Har Har Teri
Sabhai Ghat Ram Bolai
Hamari Pyaari Amritdhari
Mithbolra Ji
“After I Fall Down the Stairs at the Golden Temple”

It is interesting that this falling
For a while I could not remember a word that I was in need of,
And I was bereaved and said: where are you beloved friend?  
 - Mary Oliver

A short poem by Mary Oliver.  I wonder if this was a metaphor or if she actually fell.  I think it’s a metaphor. Someone has suggested that perhaps what she means by a fall is just being old and forgetful. Because the poem is eventually about forgetting words.

And then yearning for them like they were your beloved.  Or perhaps she is “falling” in love. Falling in love with the words.  

Of course, what happens at the Golden temple is shabad kirtan. Literally, the praises of the word. These metaphors and feelings expressed in the poem abound in so many of the shabads often sung there. The one that comes to mind instantaneously after hearing her poem is the following shabad: 







My Notes While Reading Mary Oliver's poem:

It’s okay to take a stroll in the park. Attention is the beginning of devotion. What is really a prayer? Pondering about the creator? Paying attention to its creation is prayer. So the time spent taking a walk in the park is not wasted. What else can be done with ones precious life?



The Summer Day

Who made the world?
Who made the swan, and the black bear?
Who made the grasshopper?
This grasshopper, I mean--
the one who has flung herself out of the grass,
the one who is eating sugar out of my hand,
who is moving her jaws back and forth instead of up and down --
who is gazing around with her enormous and complicated eyes.
Now she lifts her pale forearms and thoroughly washes her face.
Now she snaps her wings open, and floats away.
I don't know exactly what a prayer is.
I do know how to pay attention, how to fall down
into the grass, how to kneel in the grass,
how to be idle and blessed, how to stroll through the fields
which is what I have been doing all day.
Tell me, what else should I have done?
Doesn't everything die at last, and too soon?
Tell me, what is it you plan to do
With your one wild and precious life?

- Mary Oliver
The Summer Day




It’s the same moon and stars, the same burning days  the same earths and swings of wind. Kalyug is of the mind. -Guru Nanak 



ਰਾਮਕਲੀ ਮਹਲਾ ੧ ਅਸਟਪਦੀਆ

ੴ ਸਤਿਗੁਰ ਪ੍ਰਸਾਦਿ ॥

ਸੋਈ ਚੰਦੁ ਚੜਹਿ ਸੇ ਤਾਰੇ ਸੋਈ ਦਿਨੀਅਰੁ ਤਪਤ ਰਹੈ ॥
ਸਾ ਧਰਤੀ ਸੋ ਪਉਣੁ ਝੁਲਾਰੇ ਜੁਗ ਜੀਅ ਖੇਲੇ ਥਾਵ ਕੈਸੇ ॥੧॥

ਜੀਵਨ ਤਲਬ ਨਿਵਾਰਿ ॥
ਹੋਵੈ ਪਰਵਾਣਾ ਕਰਹਿ ਧਿਙਾਣਾ ਕਲਿ ਲਖਣ ਵੀਚਾਰਿ ॥੧॥ ਰਹਾਉ ॥

ਕਿਤੈ ਦੇਸਿ ਨ ਆਇਆ ਸੁਣੀਐ ਤੀਰਥ ਪਾਸਿ ਨ ਬੈਠਾ ॥
ਦਾਤਾ ਦਾਨੁ ਕਰੇ ਤਹ ਨਾਹੀ ਮਹਲ ਉਸਾਰਿ ਨ ਬੈਠਾ ॥੨॥

ਜੇ ਕੋ ਸਤੁ ਕਰੇ ਸੋ ਛੀਜੈ ਤਪ ਘਰਿ ਤਪੁ ਨ ਹੋਈ ॥
ਜੇ ਕੋ ਨਾਉ ਲਏ ਬਦਨਾਵੀ ਕਲਿ ਕੇ ਲਖਣ ਏਈ ॥੩॥

ਜਿਸੁ ਸਿਕਦਾਰੀ ਤਿਸਹਿ ਖੁਆਰੀ ਚਾਕਰ ਕੇਹੇ ਡਰਣਾ ॥
ਜਾ ਸਿਕਦਾਰੈ ਪਵੈ ਜੰਜੀਰੀ ਤਾ ਚਾਕਰ ਹਥਹੁ ਮਰਣਾ ॥੪॥

ਆਖੁ ਗੁਣਾ ਕਲਿ ਆਈਐ ॥
ਤਿਹੁ ਜੁਗ ਕੇਰਾ ਰਹਿਆ ਤਪਾਵਸੁ ਜੇ ਗੁਣ ਦੇਹਿ ਤ ਪਾਈਐ ॥੧॥ ਰਹਾਉ ॥

ਕਲਿ ਕਲਵਾਲੀ ਸਰਾ ਨਿਬੇੜੀ ਕਾਜੀ ਕ੍ਰਿਸਨਾ ਹੋਆ ॥
ਬਾਣੀ ਬ੍ਰਹਮਾ ਬੇਦੁ ਅਥਰਬਣੁ ਕਰਣੀ ਕੀਰਤਿ ਲਹਿਆ ॥੫॥

ਪਤਿ ਵਿਣੁ ਪੂਜਾ ਸਤ ਵਿਣੁ ਸੰਜਮੁ ਜਤ ਵਿਣੁ ਕਾਹੇ ਜਨੇਊ ॥
ਨਾਵਹੁ ਧੋਵਹੁ ਤਿਲਕੁ ਚੜਾਵਹੁ ਸੁਚ ਵਿਣੁ ਸੋਚ ਨ ਹੋਈ ॥੬॥

ਕਲਿ ਪਰਵਾਣੁ ਕਤੇਬ ਕੁਰਾਣੁ ॥ ਪੋਥੀ ਪੰਡਿਤ ਰਹੇ ਪੁਰਾਣ ॥
ਨਾਨਕ ਨਾਉ ਭਇਆ ਰਹਮਾਣੁ ॥ ਕਰਿ ਕਰਤਾ ਤੂ ਏਕੋ ਜਾਣੁ ॥੭॥

ਨਾਨਕ ਨਾਮੁ ਮਿਲੈ ਵਡਿਆਈ ਏਦੂ ਉਪਰਿ ਕਰਮੁ ਨਹੀ ॥
ਜੇ ਘਰਿ ਹੋਦੈ ਮੰਗਣਿ ਜਾਈਐ ਫਿਰਿ ਓਲਾਮਾ ਮਿਲੈ ਤਹੀ ॥੮॥੧॥


Explanation of this shabad found on reddit (https://www.reddit.com/r/Sikh/comments/32yvpt/kalyug_the_age_of_darkness_is_the_sikh_kalyug_and/)

This seems an admonition of a priest who blames everything on Kalyug.  Kalyug is part of the Hindu idea of yugs or ages. In Hinduism, there are 4 yugs. The ages get progressively more immoral and evil, dharam (righteousness) break down. Eventually the world is destroyed and reborn. The Hindu avatars come in each of these yugs. The avatars of Vishnu are linked to these ages, at the end of kalyug, the final avatar will come and end kalyug.

The shabad is on ang 902. This shabad uses events from the time of Guru Nanak Dev Ji as metaphors for the injustice of Kalyug.

ਸੋਈ ਚੰਦੁ ਚੜਹਿ ਸੇ ਤਾਰੇ ਸੋਈ ਦਿਨੀਅਰੁ ਤਪਤ ਰਹੈ ॥ The same moon rises, and the same stars; the same sun shines in the sky. ਸਾ ਧਰਤੀ ਸੋ ਪਉਣੁ ਝੁਲਾਰੇ ਜੁਗ ਜੀਅ ਖੇਲੇ ਥਾਵ ਕੈਸੇ ॥੧॥ The earth is the same, and the same wind blows. The ages play in (affect) the minds of living beings, but in these places. ||1||

Guru Ji is saying no matter what time period or yug we are in, the same moon rises, the same stars shine in the sky. This has been constant over the centuries and time humans have been around. Guru Nanak Dev Ji says that these yugs play in the minds of humans, but they are not real things, they do not affect the Earth or the Universe.

ਜੀਵਨ ਤਲਬ ਨਿਵਾਰਿ ॥ Give up your attachment to life. ਹੋਵੈ ਪਰਵਾਣਾ ਕਰਹਿ ਧਿਙਾਣਾ ਕਲਿ ਲਖਣ ਵੀਚਾਰਿ ॥੧॥ ਰਹਾਉ ॥ Those who act like tyrants are accepted and approved - recognize that this is the sign of the Dark Age of Kali Yuga. ||1||Pause||

Guru Nanak Dev Ji says our problems are not caused by chronological ages. The evil in the world is not a result of some special cycle of time in the Universe. The problem is caused by our chasing of maya, our low level of moral thinking. People are abused by those in power. People want to protect their own interests, to feel power over others. This is the sign of Kalyug.

ਕਿਤੈ ਦੇਸਿ ਨ ਆਇਆ ਸੁਣੀਐ ਤੀਰਥ ਪਾਸਿ ਨ ਬੈਠਾ ॥ Kali Yuga has not been heard to have come to any country, or to be sitting at any sacred shrine. ਦਾਤਾ ਦਾਨੁ ਕਰੇ ਤਹ ਨਾਹੀ ਮਹਲ ਉਸਾਰਿ ਨ ਬੈਠਾ ॥੨॥ It is not where the generous person gives to charities, nor seated in the mansion he has built. ||2||

Guru Nanak Dev Ji says look around Pandit, kalyug is no where to be found. If Kalyug is supposed is supposed to control the world, why can I not find it where people are generous and think of others? The mansion here is not a literal mansion, but the good deeds people have done. That person creates a moral structure, a life of destroying their ego.

ਜੇ ਕੋ ਸਤੁ ਕਰੇ ਸੋ ਛੀਜੈ ਤਪ ਘਰਿ ਤਪੁ ਨ ਹੋਈ ॥ If someone practices Truth, he is frustrated; prosperity does not come to the home of the sincere. ਜੇ ਕੋ ਨਾਉ ਲਏ ਬਦਨਾਵੀ ਕਲਿ ਕੇ ਲਖਣ ਏਈ ॥੩॥ If someone chants the Lord's Name, he is scorned. These are the signs of Kali Yuga. ||3||

People in the state of kalyug scorn others who attempt to live a righteous life. People do not attempt to find Waheguru, to see everything as One.

Now Guru Ji talks about the events that are taking place around him. The events that were taking place in Guru Nanak Dev Ji's time are happening now, they have taken place throughout human history. People give up their own morality and righteousness to please others and because of their attachement and fear.

ਆਖੁ ਗੁਣਾ ਕਲਿ ਆਈਐ ॥ Chant the Praises of the Lord; Kali Yuga has come. ਤਿਹੁ ਜੁਗ ਕੇਰਾ ਰਹਿਆ ਤਪਾਵਸੁ ਜੇ ਗੁਣ ਦੇਹਿ ਤ ਪਾਈਐ ॥੧॥ ਰਹਾਉ ॥ The justice of the previous three ages is gone. One obtains virtue, only if the Lord bestows it. ||1||Pause||

The previous 3 ages of Hindu belief were said to be more righteous than the current age. Guru Ji rejects this idea. Kalyug comes when we slip into immoral behaviour, the only thing that can stop this is to remember Waheguru.

ਕਲਿ ਕਲਵਾਲੀ ਸਰਾ ਨਿਬੇੜੀ ਕਾਜੀ ਕ੍ਰਿਸਨਾ ਹੋਆ ॥ In this turbulent age of Kali Yuga, Muslim law decides the cases, and the blue-robed Qazi is the judge. ਬਾਣੀ ਬ੍ਰਹਮਾ ਬੇਦੁ ਅਥਰਬਣੁ ਕਰਣੀ ਕੀਰਤਿ ਲਹਿਆ ॥੫॥ The Guru's Bani has taken the place of Brahma's Veda, and the singing of the Lord's Praises are good deeds. ||5||

The historical context is the Muslim rulers had taken control of India. The Muslim's used their laws, the Brahmins and Hindus had given in and accepted their masters. The Qazi also represents our minds, we give up our own morality and beliefs and give in to others views and beliefs. Instead of focusing on rituals and following priests (who themselves sold out to their new rulers) listen to the Guru's word, practice good deeds and remember Waheguru. This is how to destroy Kalyug.

ਕਲਿ ਪਰਵਾਣੁ ਕਤੇਬ ਕੁਰਾਣੁ ॥ In Kali Yuga, the Koran and the Bible have become famous. ਪੋਥੀ ਪੰਡਿਤ ਰਹੇ ਪੁਰਾਣ ॥ The Pandit's scriptures and the Puraanas are not respected. ਨਾਨਕ ਨਾਉ ਭਇਆ ਰਹਮਾਣੁ ॥ O Nanak, the Lord's Name now is Rehmaan, the Merciful. ਕਰਿ ਕਰਤਾ ਤੂ ਏਕੋ ਜਾਣੁ ॥੭॥ Know that there is only One Creator of the creation. ||7||

In this line Guru Nanak Dev Ji tells the Brahmin that you have given up your own beliefs! You give in to other's tyranny. Brahmins talk about Dharam (righteousness) and talk about their superiority, but they themselves bow to their new rulers. This is kalyug, the Brahmins are themselves pushed around, but the Brahmins abuse the low castes. This is the tyranny of kalyug, where you abuse and exploit anyone you are able to.

Recognise that Kalyug is not a geological time scale. The age of truth dwells within us, the ability to do good is within us. Waheguru permeates every single being. There is no real Kalyug.

ਨਾਨਕ ਨਾਮੁ ਮਿਲੈ ਵਡਿਆਈ ਏਦੂ ਉਪਰਿ ਕਰਮੁ ਨਹੀ ॥ Nanak has obtained the glorious greatness of the Naam, the Name of the Lord. There is no action higher than this. ਜੇ ਘਰਿ ਹੋਦੈ ਮੰਗਣਿ ਜਾਈਐ ਫਿਰਿ ਓਲਾਮਾ ਮਿਲੈ ਤਹੀ ॥੮॥੧॥ If someone goes out to beg for what is already in his own home, then he should be chastised. ||8||1||

Waheguru is within us, the ability to destroy Kalyug is within us. It is not this Universal event, where an avatar destroys kalyug. The ability to destroy kalyug is within our beings. Remember Waheguru, the One is within all beings. Why go looking outside or waiting for someone else to save us, when Waheguru is within?

Kalyug is a state of time, it is not a chronological event, Guru Nanak Dev Ji rejects the idea that these ages affect the Universe. Guru Ji says kalyug is a state of mind, when we are stuck in maya and ego. Only naam can destroy this.

Reading Khalil Gibran today from "Children of Gods, Scions of Apes"

Animal, Gorilla, Ape, Primate, Herbivore, Silver BackHow amazing time is, and how amazing we are. Time has been transformed, and we have changed; it has advanced and set us in motion; it has unveiled its face, inspiring us with bewilderment and exhilaration.

Yesterday we complained of time and feared it, but today we love and embrace it. Indeed, we have begun to perceive its purposes and characteristics, and to comprehend its secrets and enigmas.

Yesterday we crawled apprehensively, like phantoms quaking between the terrors of night and the horrors of day. Today we stride zealously toward the summits of mountains, where raging storms ensconce themselves and blazing lightning and crashing thunder are engendered.

Yesterday we ate bread kneaded with blood and drank water mingled with tears. But today we dine on manna from the hands of dawn-sprites and sip wine fragrant with the breaths of spring.

Yesterday we were playthings in the hand of fate, and fate was a drunken tyrant, bending us to the right and then to the left. But today fate has sobered up, and we play with it and it plays back; we jest with it and it laughs; then we lead it and it follows behind us.

Yesterday we burned incense before graven images and immolated sacrifices before irascible gods. But today we light incense only for ourselves and offer sacrifices only to our own essences. For the greatest and most gloriously beautiful of deities has made his temple in our breasts.

Yesterday we obeyed kings and bent our necks before emperors. But today we kneel only to the truth, follow only beauty, and obey only love.

Yesterday we humbly lowered our eyes before priests and dreaded the visions of oracles. But today the times have changed and we have changed, and we stare only at the countenance of the sun, listen only to the melodies of the sea, and tremble only with the typhoon.

Yesterday we demolished the thrones of our souls in order to build from them the tombs of our grandfathers. But today our souls have been transformed into holy altars, which the ghosts of dusty centuries cannot approach and the grizzled fingers of the dead cannot touch.

We were a silent, hidden thought in the folds of oblivion, and we have become a voice that causes the heavens to tremble.

We were a faint spark buried in ash, but have become a fire blazing above the sheltered ravine.

How many are the nights that we stayed up late, cradling our heads on the dirt with snow for a blanket, weeping for lost friendships and possessions. How many are the days we spent lying about like sheep without a shepherd, nibbling at our thoughts and chewing our emotions, remaining hungry and thirsty. How often we stood between waning day and onrushing night, mourning our fading youth, yearning for an unknown person, lonely for some obscure reason, staring at a dark, empty sky, listening to the groans of silence and nothingness.

Those centuries passed, like a thieving wolf-pack through a cemetery, but today the sky has awakened and we have awakened. We spend white nights on celestial beds, staying up late with our imaginations, keeping our thoughts company and embracing our passions. Flames glimmer all around us, and we seize them with steady fingers; the spirits of genies ascend all around us, and we address them unequivocally. Hosts of the angels pass by us, and we entice them by the yearning in our hearts and make them drunk with the rhapsodies of our spirits.

Yesterday we were and today we have become, and this is the will of the gods for their children. What, then, is your will, scions of the apes?

Have you advanced even one stride forward since you issued from fissures in the earth? Or have you lifted your gaze toward the heights since the demons opened your eyes? Have you pronounced a single word from the Book of Truth since the serpents kissed your mouths with theirs?

Or have you listened even an instant to the song of life since death stopped up your ears?

I have been passing by you for seven thousand years and have seen you metamorphose like insects in the corners of grottoes. Seven minutes ago I looked at you from behind the pane of my window and found you ambling in filthy alleyways, led by the devils of apathy, the chains of servitude shackling your feet and the wings of death fluttering above your heads. You are today as you were yesterday and shall remain tomorrow and thereafter, just as I saw you in the beginning.

Yesterday we were and today we have become, for this is the wont of the gods with the children of gods. What, then, is the way of apes with you, O scions of the apes?

-Kahlil Gibran


Animals, Ape, Baboon, Three Monkeys, Animal Portrait
The Three Gunas

"Once a rich man was passing through a forest, when three robbers surrounded him and robbed him of everything he had. Then one of the robbers said: 'What's the good of keeping this man alive? Kill him.' He was about to strike their victim with his sword, when the second robber intervened and said: 'There's no use in killing him. Let us bind him fast and leave him here. Then he won't be able to tell the police.' Accordingly, the robbers tied him with a rope and went away."

A Story by Sri Ramakrishna

"After a while the third robber returned to the rich man and said: 'Ah! You're badly hurt, aren't you? Come, I'm going to release you.' The robber set the man free and led him to the edge of the forest. When they came near the highway, the robber said, 'Follow this road and you will reach home easily.' 'But you must come with me too,' said the rich man. 'You have done so much for me. All my people will be happy to see you.' 'No,' said the robber, 'it is not possible for me to go there. The police will arrest me.' So saying, he left the rich man after pointing the way."

"Now," explains Ramakrishna, "the first robber, who said: What's the good of keeping the man alive? Kill him,' is tamas. It destroys. The second robber is rajas, which binds a man to the world and entangles him in a variety of activities. Rajas makes him forget God. Sattva alone shows the way to God. It produces virtues like compassion, righteousness and devotion. Again, sattva is like the last step of the stairs. Next to it the roof. The Supreme Brahman is man's own abode. One cannot attain the Knowledge of Brahman unless one transcends the three gunas."


I heard a very interesting quote from Seamus Heaney from Joe Biden's speech yesterday: ‘History says / Don’t hope on this side of the grave / But then, once in a lifetime / The longed-for tidal wave / Of justice can rise up / And hope and history rhyme.’

I started reading some of Heaney's other poems today and found a very interesting poem "Digging." Here is a decent reading and analysis of this poem I found on youtube (there are several others as well):  


You can find the poem here: https://www.poetryfoundation.org/poems/47555/digging

To me, this poem is about being inspired by your past generations to continue to do the hard work they did. But you don't necessarily have to have the same instruments. Heaney's father and grandfather used to dig, and as he recalls, they dug quite well ... deep and wide. He wants to do that, but instead of with a spade, he wants to do it with a pen. Somewhat similar to the analogy of singing. As long as there is love, your digging is deep, your singing is sweet, no matter what instruments accompany your singing. 

Digging even more subtle

His grandfather uses more muscle
Down the window of my laptop
And Heaney digs with his pen
A finer kind of digging
As generations go on
to reach good turf
we need even less 
to unearth oneness
As I dig with my breath
And this is even more subtle


Gardening
 

 Gardening, Field, Potatoes, Harvest, Dig, Spade, Earth
Refrain: Tudh Bhane Toon Bhavain ("If you please you are pleasing")
Composition 20130
Date: Aug 21, 2020 10AM

Composed in Raag Maajh, "I am bathed in you" ... an area inside the rivers

Inspired by listening to Pandit Maniram and Pandit Jasraj.  Someone sent me the video below this morning. I loved the mix of vilambit and normal/addition of dhrupad gayiki to bhajan gayaki. I have been trying to add dhrupad elements to kirtan singing; and it seems like I was not the only one who came up with the idea. It was being done by Pandit Maniram a century ago. 

Randomly generated Shloka from Guru Nanak from Page 144-145; shabad implies whatever is being done it is because of you. And exposition of Kartapurakh. 

ਸਲੋਕੁ ਮਃ ੧ ॥ (GGS 144-145)
ਤੁਧੁ ਭਾਵੈ ਤਾ ਵਾਵਹਿ ਗਾਵਹਿ ਤੁਧੁ ਭਾਵੈ ਜਲਿ ਨਾਵਹਿ ॥
ਜਾ ਤੁਧੁ ਭਾਵਹਿ ਤਾ ਕਰਹਿ ਬਿਭੂਤਾ ਸਿੰਙੀ ਨਾਦੁ ਵਜਾਵਹਿ ॥
ਜਾ ਤੁਧੁ ਭਾਵੈ ਤਾ ਪੜਹਿ ਕਤੇਬਾ ਮੁਲਾ ਸੇਖ ਕਹਾਵਹਿ ॥
ਜਾ ਤੁਧੁ ਭਾਵੈ ਤਾ ਹੋਵਹਿ ਰਾਜੇ ਰਸ ਕਸ ਬਹੁਤੁ ਕਮਾਵਹਿ ॥
ਜਾ ਤੁਧੁ ਭਾਵੈ ਤੇਗ ਵਗਾਵਹਿ ਸਿਰ ਮੁੰਡੀ ਕਟਿ ਜਾਵਹਿ ॥
ਜਾ ਤੁਧੁ ਭਾਵੈ ਜਾਹਿ ਦਿਸੰਤਰਿ ਸੁਣਿ ਗਲਾ ਘਰਿ ਆਵਹਿ ॥
ਜਾ ਤੁਧੁ ਭਾਵੈ ਨਾਇ ਰਚਾਵਹਿ ਤੁਧੁ ਭਾਣੇ ਤੂੰ ਭਾਵਹਿ ॥
ਨਾਨਕੁ ਏਕ ਕਹੈ ਬੇਨੰਤੀ ਹੋਰਿ ਸਗਲੇ ਕੂੜੁ ਕਮਾਵਹਿ ॥੧॥


Translation: 
Majh Guru Nanak
If you please one praises and sings
If you please one bathes in holy waters
If you please one rubs ashes on their body
If you please one  blows the sacred conch
If you please one reads the Quran and Bible
If you please one becomes a priest
If you please one becomes a king
If you please one enjoys the flavors of royalty
If you please ones' sword removes heads from bodies
If you please one roams the world and hears stories
If you please Name is constructed
If you please you are pleasing
Nanak says everything else is false

Using successive lines as antaras, like so:  

ਤੁਧੁ ਭਾਣੇ ਤੂੰ ਭਾਵਹਿ 
ਤੁਧੁ ਭਾਵੈ ਤਾ ਵਾਵਹਿ ਗਾਵਹਿ ਤੁਧੁ ਭਾਵੈ ਜਲਿ ਨਾਵਹਿ ॥
ਜਾ ਤੁਧੁ ਭਾਵਹਿ ਤਾ ਕਰਹਿ ਬਿਭੂਤਾ ਸਿੰਙੀ ਨਾਦੁ ਵਜਾਵਹਿ ॥

ਤੁਧੁ ਭਾਣੇ ਤੂੰ ਭਾਵਹਿ 
ਜਾ ਤੁਧੁ ਭਾਵੈ ਤਾ ਪੜਹਿ ਕਤੇਬਾ ਮੁਲਾ ਸੇਖ ਕਹਾਵਹਿ ॥
ਜਾ ਤੁਧੁ ਭਾਵੈ ਤਾ ਹੋਵਹਿ ਰਾਜੇ ਰਸ ਕਸ ਬਹੁਤੁ ਕਮਾਵਹਿ ॥

ਤੁਧੁ ਭਾਣੇ ਤੂੰ ਭਾਵਹਿ 
ਜਾ ਤੁਧੁ ਭਾਵੈ ਤੇਗ ਵਗਾਵਹਿ ਸਿਰ ਮੁੰਡੀ ਕਟਿ ਜਾਵਹਿ ॥
ਜਾ ਤੁਧੁ ਭਾਵੈ ਜਾਹਿ ਦਿਸੰਤਰਿ ਸੁਣਿ ਗਲਾ ਘਰਿ ਆਵਹਿ ॥

ਤੁਧੁ ਭਾਣੇ ਤੂੰ ਭਾਵਹਿ 
ਜਾ ਤੁਧੁ ਭਾਵੈ ਨਾਇ ਰਚਾਵਹਿ ਤੁਧੁ ਭਾਣੇ ਤੂੰ ਭਾਵਹਿ ॥
ਨਾਨਕੁ ਏਕ ਕਹੈ ਬੇਨੰਤੀ ਹੋਰਿ ਸਗਲੇ ਕੂੜੁ ਕਮਾਵਹਿ ॥੧॥

Interesting Note on Guru Nanak 

The following is an interesting line, and it comes towards the end. Perhaps Guru nanak is talking about himself: 

ਜਾ ਤੁਧੁ ਭਾਵੈ ਜਾਹਿ ਦਿਸੰਤਰਿ ਸੁਣਿ ਗਲਾ ਘਰਿ ਆਵਹਿ ॥
If you please one roams the world and hear stories


Pandit Maniram Video:
I wish the interviewer had let Pandit Maniram continue his Ragini lecture. That was going so well. But whatever is preserved is still wonderful: 
 
Inspiration: I was listening to some Carnatic music and found a raag that is similar to Raag Asa (Aarbhi). And I was reminded of how during the times of Guru Nanak, Raag Shriraag (Sri/Shri/Shree/Sree) was sung in two thaats: purvi and kafi. The purvi thaat is the only one that remains now in current Sikh music, but I have heard one composition from Bhai Avtar Singh in the kafi thaat.  This raag is very similar to the one that is used in Carnatic music (see below).  I have composed a few shabads in this rare kind of Shriraag. 

I learned a couple of new things today. In Carnatic music, the Shriraag in Kafi thaat is called "Raag Shriragam". so like Gurbani, the word "raag" is in the raag's name, so it is Raag Sriraag, not Raag Shri); see below for the reference. I also listened to the fifth Pancharatna Kriti Endaro mahanubhavulu composed by Tyagaraja in Telugu (listed in Wikipedia, copied below).  Inspired by that I composed this shabad: 

Composition 20129
Refrain Used: Nanak Saachai Ko Sach Jaan
Raag: Shriraag (Kafi Thaat)
8 beat cycle

Truth, Newspaper, News, Printed, Text, Message, Page

The Shabad is about how to stay away from false intoxications of the world, and understand the truth. Raag Shri is often used to remind us of real wealth, lasting reality, and true self.

ਸਿਰੀਰਾਗੁ ਮਹਲਾ ੧ ॥

ਅਮਲੁ ਗਲੋਲਾ ਕੂੜ ਕਾ ਦਿਤਾ ਦੇਵਣਹਾਰਿ ॥
ਮਤੀ ਮਰਣੁ ਵਿਸਾਰਿਆ ਖੁਸੀ ਕੀਤੀ ਦਿਨ ਚਾਰਿ ॥
ਸਚੁ ਮਿਲਿਆ ਤਿਨ ਸੋਫੀਆ ਰਾਖਣ ਕਉ ਦਰਵਾਰੁ ॥੧॥
 
ਨਾਨਕ ਸਾਚੇ ਕਉ ਸਚੁ ਜਾਣੁ ॥
ਜਿਤੁ ਸੇਵਿਐ ਸੁਖੁ ਪਾਈਐ ਤੇਰੀ ਦਰਗਹ ਚਲੈ ਮਾਣੁ ॥੧॥ ਰਹਾਉ ॥

ਸਚੁ ਸਰਾ ਗੁੜ ਬਾਹਰਾ ਜਿਸੁ ਵਿਚਿ ਸਚਾ ਨਾਉ ॥
ਸੁਣਹਿ ਵਖਾਣਹਿ ਜੇਤੜੇ ਹਉ ਤਿਨ ਬਲਿਹਾਰੈ ਜਾਉ ॥
ਤਾ ਮਨੁ ਖੀਵਾ ਜਾਣੀਐ ਜਾ ਮਹਲੀ ਪਾਏ ਥਾਉ ॥੨॥

ਨਾਉ ਨੀਰੁ ਚੰਗਿਆਈਆ ਸਤੁ ਪਰਮਲੁ ਤਨਿ ਵਾਸੁ ॥
ਤਾ ਮੁਖੁ ਹੋਵੈ ਉਜਲਾ ਲਖ ਦਾਤੀ ਇਕ ਦਾਤਿ ॥
ਦੂਖ ਤਿਸੈ ਪਹਿ ਆਖੀਅਹਿ ਸੂਖ ਜਿਸੈ ਹੀ ਪਾਸਿ ॥੩॥

ਸੋ ਕਿਉ ਮਨਹੁ ਵਿਸਾਰੀਐ ਜਾ ਕੇ ਜੀਅ ਪਰਾਣ ॥
ਤਿਸੁ ਵਿਣੁ ਸਭੁ ਅਪਵਿਤ੍ਰੁ ਹੈ ਜੇਤਾ ਪੈਨਣੁ ਖਾਣੁ ॥
ਹੋਰਿ ਗਲਾਂ ਸਭਿ ਕੂੜੀਆ ਤੁਧੁ ਭਾਵੈ ਪਰਵਾਣੁ ॥੪॥੫॥


English Translation: 

The Giver has given man intoxicating pill of falsehood.
Having been intoxicated therewith he has forgotten death and makes merry for four days.
The mortals, who are the nonusers of intoxicants, obtain truthfulness to keep them in God's Court.

O Nanak! know the True Lord alone as True.
By serving whom the mortal attains peace and goes to Thine Court with honour O Lord! Pause.

The wine of truth is prepared without molasses and in that there is the True Name.
I am a sacrifice unto all those who hear and repeat (the True Name).
Only then the man is deemed to be intoxicated when he obtains room in God's mansion.

Take bath in the water of virtues and apply the perfume of sandal of righteousness to the body,
then shall thy face become bright. This is the gift of a hundred thousand gifts.
Tell thine woes to Him, with whom rest all the weals.

Why should we in our mind grow oblivious of Him who is the owner of our soul and life.
Without Him all vestures and viand are impure.
All other things are false. What pleases Thee, (O Lord!) becomes acceptable.

Punjabi Meaning: 

ਪਦ ਅਰਥ: ਅਮਲੁ = ਨਸ਼ਾ (ਅਫ਼ੀਮ ਆਦਿਕ ਦਾ) । ਗਲੋਲਾ = ਗੋਲਾ। ਕੂੜ = ਨਾਸ਼ਵੰਤ ਜਗਤ (ਦਾ ਮੋਹ) । ਦੇਵਣਹਾਰਿ = ਦੇਵਣਹਾਰ ਨੇ। ਮਤੀ = ਮੱਤੀ, ਮਸਤ ਹੋਈ ਨੇ। ਸਚੁ = ਸਦਾ-ਥਿਰ ਰਹਿਣ ਵਾਲਾ ਪ੍ਰਭੂ। ਸੋਫੀ = ਜੋ ਨਸ਼ੇ ਤੋਂ ਪਰਹੇਜ਼ ਕਰਦੇ ਹਨ, ਜਿਨ੍ਹਾਂ ਨਾਸ਼ਵੰਤ ਜਗਤ ਦੇ ਮੋਹ-ਨਸ਼ੇ ਨੂੰ ਛੱਡਿਆ। ਰਾਖਣ ਕਉ = ਮੱਲਣ ਲਈ। ਦਰਵਾਰੁ = ਪ੍ਰਭੂ ਦਾ ਦਰ।1।

ਜਿਤੁ ਸੇਵਿਐ = ਜਿਸ ਦਾ ਸਿਮਰਨ ਕੀਤਿਆਂ। ਚਲੈ ਮਾਣੁ = ਆਦਰ ਮਿਲੇ।1। ਰਹਾਉ।

ਸਰਾ = ਸ਼ਰਾਬ। ਗੁੜ ਬਾਹਰਾ = ਗੁੜ ਪਾਣ ਤੋਂ ਬਿਨਾ ਬਣਾਇਆ ਹੋਇਆ। ਵਖਾਣਹਿ = ਉਚਾਰਦੇ ਹਨ। ਜੇਤੜੇ = ਜੋ ਜੋ ਮਨੁੱਖ। ਹਉ = ਮੈਂ। ਖੀਵਾ = ਮਸਤ। ਮਹਲੀ = ਪਰਮਾਤਮਾ ਦੀ ਹਜ਼ੂਰੀ ਵਿਚ।2।

ਨਾਉ = ਪ੍ਰਭੂ ਦਾ ਨਾਮ। ਨੀਰੁ = (ਇਸ਼ਨਾਨ ਵਾਸਤੇ) ਪਾਣੀ। ਚੰਗਿਆਈਆ = ਪ੍ਰਭੂ ਦੇ ਗੁਣ, ਸਿਫ਼ਤਿ-ਸਾਲਾਹ। ਸਤੁ = ਉੱਚਾ ਆਚਰਨ। ਪਰਮਲੁ = ਸੁਗੰਧੀ। ਤਨਿ = ਤਨ ਉੱਤੇ, ਤਨ ਵਿਚ। ਵਾਸੁ = ਸੁਗੰਧੀ। ਉਜਲਾ = ਰੌਸ਼ਨ, ਸਾਫ਼-ਸੁਥਰਾ। ਆਖੀਅਹਿ = ਆਖੇ ਜਾਂਦੇ ਹਨ।3।

ਮਨਹੁ = ਮਨ ਤੋਂ। ਜੀਅ = ਜਿੰਦ। ਪਰਾਣ = ਸਾਹ। ਜੀਅ ਪਰਾਣ = ਜਿੰਦ-ਜਾਨ। ਜੇਤਾ = ਜਿਤਨਾ ਭੀ, ਸਾਰਾ ਹੀ। ਕੂੜੀਆ = ਕੂੜ ਵਿਚ ਫਸਾਣ ਵਾਲੀਆਂ, ਜਗਤ ਦੇ ਮੋਹ ਵਿਚ ਫਸਾਣ ਵਾਲੀਆਂ। ਪਰਵਾਣੁ = ਸੁਚੱਜੀ, ਚੰਗੀ, ਕਬੂਲ ਕਰਨ-ਜੋਗ।4।

ਅਰਥ: ਦੇਣਹਾਰ ਪ੍ਰਭੂ ਨੇ ਆਪ ਹੀ ਜਗਤ ਦਾ ਮੋਹ-ਰੂਪ ਅਫੀਮ ਦਾ ਗੋਲਾ ਜੀਵ ਨੂੰ ਦਿੱਤਾ ਹੋਇਆ ਹੈ। (ਇਸ ਮੋਹ-ਅਫੀਮ ਨੂੰ ਖਾ ਕੇ) ਮਸਤ ਹੋਈ ਜਿੰਦ ਨੇ ਮੌਤ ਭੁਲਾ ਦਿੱਤੀ ਹੈ, ਚਾਰ ਦਿਨ ਜ਼ਿੰਦਗੀ ਵਿਚ ਰੰਗ-ਰਲੀਆਂ ਮਾਣ ਰਹੀ ਹੈ। ਜਿਨ੍ਹਾਂ ਨੇ ਮੋਹ-ਨਸ਼ਾ ਛੱਡ ਕੇ ਪਰਮਾਤਮਾ ਦਾ ਦਰ ਮੱਲਣ ਦਾ ਆਹਰ ਕੀਤਾ, ਉਹਨਾਂ ਨੂੰ ਸਦਾ-ਥਿਰ ਰਹਿਣ ਵਾਲਾ ਪ੍ਰਭੂ ਮਿਲ ਪਿਆ।1।

ਹੇ ਨਾਨਕ! ਸਦਾ ਕਾਇਮ ਰਹਿਣ ਵਾਲੇ ਪਰਮਾਤਮਾ ਨਾਲ ਸੱਚੀ ਸਾਂਝ ਬਣਾ, ਜਿਸ ਦਾ ਸਿਮਰਨ ਕੀਤਿਆਂ ਸੁਖ ਮਿਲਦਾ ਹੈ। (ਤੇ ਅਰਦਾਸ ਕਰ ਕਿ ਹੇ ਪ੍ਰਭੂ! ਆਪਣਾ ਨਾਮ ਦੇਹ ਜਿਸ ਕਰਕੇ) ਤੇਰੀ ਹਜ਼ੂਰੀ ਵਿਚ ਆਦਰ ਮਿਲ ਸਕੇ।1। ਰਹਾਉ।

ਸਦਾ ਦੀ ਮਸਤੀ ਕਾਇਮ ਰੱਖਣ ਵਾਲਾ ਸ਼ਰਾਬ ਗੁੜ ਤੋਂ ਬਿਨਾ ਹੀ ਤਿਆਰ ਕਰੀਦਾ ਹੈ, ਉਸ (ਸ਼ਰਾਬ) ਵਿਚ ਪ੍ਰਭੂ ਦਾ ਨਾਮ ਹੁੰਦਾ ਹੈ (ਪ੍ਰਭੂ ਦਾ ਨਾਮ ਹੀ ਸ਼ਰਾਬ ਹੈ ਜੋ ਦੁਨੀਆ ਵਲੋਂ ਬੇ-ਪਰਵਾਹ ਕਰ ਦੇਂਦਾ ਹੈ) । ਮੈਂ ਉਹਨਾਂ ਬੰਦਿਆਂ ਤੋਂ ਸਦਕੇ ਹਾਂ ਜੋ ਪ੍ਰਭੂ ਦਾ ਨਾਮ ਸੁਣਦੇ ਤੇ ਉਚਾਰਦੇ ਹਨ। ਮਨ ਨੂੰ ਤਦੋਂ ਹੀ ਮਸਤ ਹੋਇਆ ਜਾਣੋ, ਜਦੋਂ ਇਹ ਪ੍ਰਭੂ ਦੀ ਯਾਦ ਵਿਚ ਟਿਕ ਜਾਏ (ਤੇ, ਮਨ ਟਿਕਦਾ ਹੈ ਸਿਮਰਨ ਦੀ ਬਰਕਤਿ ਨਾਲ) ।2।

ਪਰਮਾਤਮਾ ਦਾ ਨਾਮ ਤੇ ਸਿਫ਼ਤਿ-ਸਾਲਾਹ ਹੋਰ ਸਭ ਦਾਤਾਂ ਨਾਲੋਂ ਵਧੀਆ ਦਾਤ ਹੈ, ਸਿਫ਼ਤਿ-ਸਾਲਾਹ ਨਾਲ ਹੀ ਮਨੁੱਖ ਦਾ ਮੂੰਹ ਸੋਹਣਾ ਲੱਗਦਾ ਹੈ। ਪ੍ਰਭੂ ਦਾ ਨਾਮ ਤੇ ਸਿਫ਼ਤਿ-ਸਾਲਾਹ ਹੀ (ਮੂੰਹ ਉਜਲਾ ਕਰਨ ਲਈ) ਪਾਣੀ ਹੈ, ਤੇ (ਸਿਫ਼ਤਿ-ਸਾਲਾਹ ਦੀ ਬਰਕਤਿ ਨਾਲ ਬਣਿਆ ਹੋਇਆ) ਸੁੱਚਾ ਆਚਰਨ ਸਰੀਰ ਉਤੇ ਲਾਣ ਲਈ ਸੁਗੰਧੀ ਹੈ। ਦੁੱਖਾਂ ਦੀ (ਨਿਵਿਰਤੀ) ਤੇ ਸੁੱਖਾਂ ਦੀ (ਪ੍ਰਾਪਤੀ) ਦੀ ਅਰਜ਼ੋਈ ਪਰਮਾਤਮਾ ਅੱਗੇ ਹੀ ਕਰਨੀ ਚਾਹੀਦੀ ਹੈ।3।

ਜਿਸ ਪ੍ਰਭੂ ਦੀ ਬਖ਼ਸ਼ੀ ਹੋਈ ਇਹ ਜਿੰਦ-ਜਾਨ ਹੈ, ਉਸ ਨੂੰ ਕਦੇ ਮਨ ਤੋਂ ਭੁਲਾਣਾ ਨਹੀਂ ਚਾਹੀਦਾ। ਪ੍ਰਭੂ ਨੂੰ ਵਿਸਾਰਿਆਂ ਖਾਣ ਪਹਿਨਣ ਦਾ ਸਾਰਾ ਹੀ ਉੱਦਮ ਮਨ ਨੂੰ ਹੋਰ ਹੋਰ ਮਲੀਨ ਕਰਦਾ ਹੈ, (ਕਿਉਂਕਿ) ਹੋਰ ਸਾਰੀਆਂ ਗੱਲਾਂ (ਮਨ ਨੂੰ) ਨਾਸਵੰਤ ਸੰਸਾਰ ਦੇ ਮੋਹ ਵਿਚ ਫਸਾਂਦੀਆਂ ਹਨ। (ਹੇ ਪ੍ਰਭੂ!) ਉਹੀ ਉੱਦਮ ਸੁਚੱਜਾ ਹੈ ਜੋ ਤੇਰੇ ਨਾਲ ਪ੍ਰੀਤ ਬਣਾਂਦਾ ਹੈ।4।5।

ਭਾਵ: ਪ੍ਰਭੂ ਦੀ ਯਾਦ ਭੁਲਾਇਆਂ ਜਗਤ ਦਾ ਮੋਹ ਆ ਦਬਾਂਦਾ ਹੈ, ਮੋਹ-ਅਧੀਨ ਹੋ ਕੇ ਕੀਤੇ ਕੰਮ ਮਨ ਨੂੰ ਹੋਰ ਮਲੀਨ ਕਰਦੇ ਜਾਂਦੇ ਹਨ। ਪ੍ਰਭੂ ਦਾ ਨਾਮ ਸਭ ਤੋਂ ਉੱਚੀ ਬਖ਼ਸ਼ਸ਼ ਹੈ, ਇਹ ਇਕ ਐਸਾ ਹੁਲਾਰਾ ਪੈਦਾ ਕਰਦਾ ਹੈ ਜਿਸ ਦਾ ਸਦਕਾ ਮਨੁੱਖ ਮੋਹ ਤੋਂ ਉਤਾਂਹ ਰਹਿ ਕੇ ਸੁੱਚੇ ਆਚਰਨ ਵਾਲਾ ਹੋ ਜਾਂਦਾ ਹੈ ਤੇ ਪ੍ਰਭੂ ਦੀ ਹਜ਼ੂਰੀ ਵਿਚ ਆਦਰ ਪਾਂਦਾ ਹੈ।5।


More on the Kafi Thaat Raag Shri (Carnatic): 

Janyam of 22nd mela Karaharapriya. Alias: shriragam, shreeragam, shri, shree
https://www.ragasurabhi.com/carnatic-music/raga/raga--shri-ragam.html

More from Wikipedia:

Shri ragam is an ancient ragam in the Carnatic tradition. It is also written as Sri or Shree.[1] This scale does not have all the seven swaras (musical notes) in the ascending scale.[1] Shree is the asampurna melakartha equivalent of Kharaharapriya, the 22nd Melakarta rāgam.[1][2] It is the last of the 5 Ghana rāgams of Carnatic music.[1] It is a popular rāgam that is considered to be highly auspicious.[2]

Notably, Carnatic Shree takes the lower madhyamam being the asampurna scale equivalent of Kharaharapriya. It is not related to the Hindustani raga, Shree.


Structure and Lakshana

Ascending scale is same as Madhyamavati scale, shown here with shadjam at C

Notes in descending scale is that of Kharaharapriya scale, shown here with shadjam at C

Shree is an asymmetric rāgam that does not contain gāndhāram or dhaivatam in the ascending scale. It is a audava-vakra-sampurna rāgam (or owdava, meaning pentatonic in ascending scale),[1] where vakra indicates the zig-zag nature of jumping notes in descending scale. Its ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows (see swaras in Carnatic music for details on below notation and terms):

ārohaṇa: S R₂ M₁ P N₂ Ṡ[a]
avarohaṇa: Ṡ N₂ P M₁ R₂ G₂ R₂ S[b] (or) Ṡ N₂ P D₂ N₂ P M₁ R₂ G₂ R₂ S[c]

This scale uses the notes chatushruti rishabham, sadharana gandharam, shuddha madhyamam, panchamam, chatushruti dhaivatam and kaisiki nishadam.

Popular compositions

The fifth Pancharatna Kriti Endaro mahanubhavulu composed by Tyagaraja in Telugu, the last of the 5 gemsShree rāgam has been decorated with compositions by many composers. A few of the popular kritis are listed here.

Sami ninnekori, a Varnam by Karur Devudu Iyer in Telugu
Nama kumusumamula by Tyagaraja in Telugu
Yuktamu gAdu by Tyagaraja in Telugu
Sri Varalakshmi, Sri Muladhara chakra vinayaka , Sri Kamalambike and Sri vishvanatham bhaje by Muthuswami Dikshitar in Sanskrit
Bhavayami Nanda and Reena Madadritha by Swathi Thirunal
Karuna Cheyvan Enthu by Irayimman Thampi
Karuna judu ninnu by Shyama Shastri in Telugu
Mangalam arul by Papanasam Sivan in Tamil
Vande Vasudevam by Annamacharya in Sanskrit
Mayanai part of the Thiruppavai by Andal
Vanajasana Vinuta composed by Subbaraya Shastri in Telugu
Film Songs[edit]
Language: Tamil[edit]
SongMovieComposerSinger
Deviyar Iruvar Kalai Kovil Viswanathan–Ramamoorthy P. Susheela
Sandanathil Nalla Vasam Eduthu Praptham M. S. Viswanathan T. M. Soundararajan, P. Susheela
Sugamana Ragangale(Pallavi only) Miruthanga Chakravarthi Vani Jairam
Enni Irundhadhu Antha Ezhu Naatkal Malaysia Vasudevan, Vani Jairam
Solam Vidhakayile 16 Vayathinile Ilayaraja Illayaraja
Saamakozhi Koovudhamma Ponnu Oorukku Pudhusu Ilayaraja, S. P. Sailaja
Theendai Mei Theendai En Swasa Kaatre A. R. Rahman S. P. Balasubramaniam, K.S. Chitra
Selai Kattum Kodi Parakuthu Hamsalekha
Kaakai Chiraginile Purusha Lakshanam Deva
Manase Manase Nenjinile P. Unnikrishnan, K.S. Chitra
Cochin Madapura Unnudan P. Unnikrishnan, Swarnalatha
Suttipoove Kaivantha Kalai Dhina Karthik, Sadhana Sargam
Sinthamani Sinthamani Aahaa Enna Porutham Vidyasagar Hariharan, S. Janaki
Thodu Thodu Vaa Mella Dharma Devathai Raveendran K.J. Yesudas, S. Janaki
Pooncholai Kiliye Aran Joshua Sridhar Karthik, Asha G. Menon

Related rāgams[edit]

This section covers the theoretical and scientific aspect of this rāgam.
Scale similarities[edit]
Madhyamavati is a rāgam which has a symmetric ascending and descending scale, which matches the ascending scale of Shree. Its ārohaṇa-avarohaṇa structure is S R2 M1 P N2 S : S N2 P M1 R2 S
Manirangu is a rāgam which has gāndhāram in the descending scale, while all other notes in both the ascending and descending scale are same as Madhyamavati. Its ārohaṇa-avarohaṇa structure is S R2 M1 P N2 S : S N2 P M1 G2 R2 S
Composition 20128 
Aug 17, 2020
Raag Asa, Pg. 385
Inspiration - Someone singing this shabad on instagram
Although the refrain is Sarab Sukhan (on which I have composed earlier), this composition uses Raaj Leela as the refrain. 

ਆਸਾ ਮਹਲਾ ੫ ॥

ਰਾਜ ਲੀਲਾ ਤੇਰੈ ਨਾਮਿ ਬਨਾਈ ॥
ਜੋਗੁ ਬਨਿਆ ਤੇਰਾ ਕੀਰਤਨੁ ਗਾਈ ॥੧॥

ਸਰਬ ਸੁਖਾ ਬਨੇ ਤੇਰੈ ਓਲ੍ਹ੍ਹੈ ॥
ਭ੍ਰਮ ਕੇ ਪਰਦੇ ਸਤਿਗੁਰ ਖੋਲ੍ਹ੍ਹੇ ॥੧॥ ਰਹਾਉ ॥

ਹੁਕਮੁ ਬੂਝਿ ਰੰਗ ਰਸ ਮਾਣੇ ॥
ਸਤਿਗੁਰ ਸੇਵਾ ਮਹਾ ਨਿਰਬਾਣੇ ॥੨॥

ਜਿਨਿ ਤੂੰ ਜਾਤਾ ਸੋ ਗਿਰਸਤ ਉਦਾਸੀ ਪਰਵਾਣੁ ॥
ਨਾਮਿ ਰਤਾ ਸੋਈ ਨਿਰਬਾਣੁ ॥੩॥

ਜਾ ਕਉ ਮਿਲਿਓ ਨਾਮੁ ਨਿਧਾਨਾ ॥
ਭਨਤਿ ਨਾਨਕ ਤਾ ਕਾ ਪੂਰ ਖਜਾਨਾ ॥੪॥੬॥੫੭॥

English Transliteration

aasaa mahalaa panjavaa ||

raaj leelaa terai naam banaiee ||
jog baniaa teraa keeratan gaiee ||1||

sarab sukhaa bane terai ol(h)ai ||
bhram ke paradhe satigur khol(h)e ||1|| rahaau ||

hukam boojh ra(n)g ras maane ||
satigur sevaa mahaa nirabaane ||2||

jin too(n) jaataa so girasat udhaasee paravaan ||
naam rataa soiee nirabaan ||3||

jaa kau milio naam nidhaanaa ||
bhanat naanak taa kaa poor khajaanaa ||4||6||57||


Professor Sahib Singh
References -
Punjabi: http://www.gurugranthdarpan.net/0385.html 
Hindi: http://www.gurugranthdarpan.net/hindi/0385.html

ਆਸਾ ਮਹਲਾ ੫ ॥ ਰਾਜ ਲੀਲਾ ਤੇਰੈ ਨਾਮਿ ਬਨਾਈ ॥ ਜੋਗੁ ਬਨਿਆ ਤੇਰਾ ਕੀਰਤਨੁ ਗਾਈ ॥੧॥ ਸਰਬ ਸੁਖਾ ਬਨੇ ਤੇਰੈ ਓਲ੍ਹ੍ਹੈ ॥ ਭ੍ਰਮ ਕੇ ਪਰਦੇ ਸਤਿਗੁਰ ਖੋਲ੍ਹ੍ਹੇ ॥੧॥ ਰਹਾਉ ॥ ਹੁਕਮੁ ਬੂਝਿ ਰੰਗ ਰਸ ਮਾਣੇ ॥ ਸਤਿਗੁਰ ਸੇਵਾ ਮਹਾ ਨਿਰਬਾਣੇ ॥੨॥ ਜਿਨਿ ਤੂੰ ਜਾਤਾ ਸੋ ਗਿਰਸਤ ਉਦਾਸੀ ਪਰਵਾਣੁ ॥ ਨਾਮਿ ਰਤਾ ਸੋਈ ਨਿਰਬਾਣੁ ॥੩॥ ਜਾ ਕਉ ਮਿਲਿਓ ਨਾਮੁ ਨਿਧਾਨਾ ॥ ਭਨਤਿ ਨਾਨਕ ਤਾ ਕਾ ਪੂਰ ਖਜਾਨਾ ॥੪॥੬॥੫੭॥ {ਪੰਨਾ 385}

ਪਦ ਅਰਥ: ਰਾਜ ਲੀਲਾ = ਰਾਜ ਦਾ ਮੌਜ-ਮੇਲਾ, ਰਾਜ ਤੋਂ ਮਿਲਣ ਵਾਲਾ ਸੁਖ-ਆਨੰਦ। ਤੇਰੈ ਨਾਮਿ = ਤੇਰੇ ਨਾਮ ਨੇ। ਗਾਈ = ਮੈਂ ਗਾਂਦਾ ਹਾਂ।1।

ਤੇਰੈ ਓਲ੍ਹ੍ਹੈ– ਤੇਰੇ ਆਸਰੇ (ਰਹਿਣ ਨਾਲ) । ਭ੍ਰਮ = ਭਟਕਣਾ।1। ਰਹਾਉ।

ਬੂਝਿ = ਸਮਝ ਕੇ। ਨਿਰਬਾਣੇ = ਵਾਸਨਾ-ਰਹਿਤ ਅਵਸਥਾ।2।

ਜਿਨਿ = ਜਿਸ ਨੇ। ਤੂੰ = ਤੈਨੂੰ। ਉਦਾਸੀ = ਤਿਆਗੀ। ਪਰਵਾਣੁ = ਕਬੂਲ। ਨਾਮਿ = ਨਾਮ ਵਿਚ। ਨਿਰਬਾਣੁ = ਵਾਸਨਾ ਤੋਂ ਰਹਿਤ।3।

ਜਾ ਕਉ = ਜਿਸ ਨੂੰ। ਨਿਧਾਨਾ = ਖ਼ਜ਼ਾਨਾ। ਭਨਤਿ = ਆਖਦਾ ਹੈ। ਪੂਰ = ਭਰਿਆ ਹੋਇਆ।4।

ਅਰਥ: ਹੇ ਪ੍ਰਭੂ! (ਜਦੋਂ ਤੋਂ) ਸਤਿਗੁਰੂ ਨੇ (ਮੇਰੇ ਅੰਦਰੋਂ ਮਾਇਆ ਦੀ ਖ਼ਾਤਰ) ਭਟਕਣਾ ਪੈਦਾ ਕਰਨ ਵਾਲੇ ਪੜਦੇ ਖੋਹਲ ਦਿੱਤੇ ਹਨ (ਤੇ ਤੇਰੇ ਨਾਲੋਂ ਮੇਰੀ ਵਿੱਥ ਮੁੱਕ ਗਈ ਹੈ, ਤਦੋਂ ਤੋਂ) ਤੇਰੇ ਆਸਰੇ-ਪਰਨੇ ਰਹਿਣ ਨਾਲ ਮੇਰੇ ਵਾਸਤੇ ਸਾਰੇ ਸੁਖ ਹੀ ਸੁਖ ਬਣ ਗਏ ਹਨ।1। ਰਹਾਉ।

ਹੇ ਪ੍ਰਭੂ! ਤੇਰੇ ਨਾਮ ਨੇ ਮੇਰੇ ਵਾਸਤੇ ਉਹ ਮੌਜ ਬਣਾ ਦਿੱਤੀ ਹੈ ਜੋ ਰਾਜੇ ਲੋਕਾਂ ਨੂੰ ਰਾਜ ਤੋਂ ਮਿਲਦੀ ਪ੍ਰਤੀਤ ਹੁੰਦੀ ਹੈ, ਜਦੋਂ ਮੈਂ ਤੇਰੀ ਸਿਫ਼ਤਿ-ਸਾਲਾਹ ਦਾ ਗੀਤ ਗਾਂਦਾ ਹਾਂ ਤਾਂ ਮੈਨੂੰ ਜੋਗੀਆਂ ਵਾਲਾ ਜੋਗ ਪ੍ਰਾਪਤ ਹੋ ਜਾਂਦਾ ਹੈ (ਦੁਨੀਆ ਵਾਲਾ ਸੁਖ ਤੇ ਫ਼ਕੀਰੀ ਵਾਲਾ ਸੁਖ ਦੋਵੇਂ ਹੀ ਮੈਨੂੰ ਤੇਰੀ ਸਿਫ਼ਤਿ-ਸਾਲਾਹ ਵਿਚੋਂ ਮਿਲ ਰਹੇ ਹਨ) ।

ਹੇ ਪ੍ਰਭੂ! ਤੇਰੀ ਰਜ਼ਾ ਨੂੰ ਸਮਝ ਕੇ ਮੈਂ ਸਾਰੇ ਆਤਮਕ ਆਨੰਦ ਮਾਣ ਰਿਹਾ ਹਾਂ, ਸਤਿਗੁਰੂ ਦੀ (ਦੱਸੀ) ਸੇਵਾ ਦੀ ਬਰਕਤਿ ਨਾਲ ਮੈਨੂੰ ਬੜੀ ਉੱਚੀ ਵਾਸਨਾ-ਰਹਿਤ ਅਵਸਥਾ ਪ੍ਰਾਪਤ ਹੋ ਗਈ ਹੈ।2।

ਹੇ ਪ੍ਰਭੂ! ਜਿਸ ਮਨੁੱਖ ਨੇ ਤੇਰੇ ਨਾਲ ਡੂੰਘੀ ਸਾਂਝ ਪਾ ਲਈ ਉਹ ਚਾਹੇ ਗ੍ਰਿਹਸਤੀ ਹੈ ਚਾਹੇ ਤਿਆਗੀ ਉਹ ਤੇਰੀਆਂ ਨਜ਼ਰਾਂ ਵਿਚ ਕਬੂਲ ਹੈ। ਜੇਹੜਾ ਮਨੁੱਖ, ਹੇ ਪ੍ਰਭੂ! ਤੇਰੇ ਨਾਮ (-ਰੰਗ) ਵਿਚ ਰੰਗਿਆ ਹੋਇਆ ਹੈ ਉਹੀ ਸਦਾ ਦੁਨੀਆ ਦੀਆਂ ਵਾਸਨਾ ਤੋਂ ਬਚਿਆ ਰਹਿੰਦਾ ਹੈ।3।

ਨਾਨਕ ਆਖਦਾ ਹੈ– ਹੇ ਪ੍ਰਭੂ! ਜਿਸ ਮਨੁੱਖ ਨੂੰ ਤੇਰਾ ਨਾਮ-ਖ਼ਜ਼ਾਨਾ ਮਿਲ ਗਿਆ ਹੈ ਉਸ ਦਾ (ਉੱਚੇ ਆਤਮਕ ਜੀਵਨ ਦੇ ਗੁਣਾਂ ਦਾ) ਖ਼ਜ਼ਾਨਾ ਸਦਾ ਭਰਿਆ ਰਹਿੰਦਾ ਹੈ।4।6। 57।

Key words in shabad: 

Nirvana - In the last two stanzas; related to "Sukha" in the refrain.   

Raaj ... Jog, Choice between Householder and Sanyasi: surprise is both are okay if "you are known."






Related Gurbani 

ਕਰਮ ਧਰਮ ਪਾਖੰਡ ਜੋ ਦੀਸਹਿ ਤਿਨ ਜਮੁ ਜਾਗਾਤੀ ਲੂਟੈ ॥
करम धरम पाखंड जो दीसहि तिन जमु जागाती लूटै ॥
Karam ḏẖaram pakẖand jo ḏīsėh ṯin jam jāgāṯī lūtai.
The religious rites, rituals and hypocrisies which are seen, are plundered by the Messenger of Death, the ultimate tax collector.

ਨਿਰਬਾਣ ਕੀਰਤਨੁ ਗਾਵਹੁ ਕਰਤੇ ਕਾ ਨਿਮਖ ਸਿਮਰਤ ਜਿਤੁ ਛੂਟੈ ॥੧॥
निरबाण कीरतनु गावहु करते का निमख सिमरत जितु छूटै ॥१॥
Nirbāṇ kīrṯan gāvhu karṯe kā nimakẖ simraṯ jiṯ cẖẖūtai. ||1||
In the state of Nirvaanaa, sing the Kirtan of the Creator's Praises; contemplating Him in meditation, even for an instant, one is saved. ||1||


ਪ੍ਰਭ ਕਿਰਪਾ ਤੇ ਮਨੁ ਵਸਿ ਆਇਆ ॥
प्रभ किरपा ते मनु वसि आइआ ॥
Parabẖ kirpā ṯe man vas ā▫i▫ā.
By God's Grace, the mind is brought under control;

ਨਾਨਕ ਗੁਰਮੁਖਿ ਤਰੀ ਤਿਨਿ ਮਾਇਆ ॥੪॥
नानक गुरमुखि तरी तिनि माइआ ॥४॥
Nānak gurmukẖ ṯarī ṯin mā▫i▫ā. ||4||
O Nanak, the Gurmukh crosses over the ocean of Maya. ||4||


ਸੁਣਿ ਬੇਨੰਤੀ ਸੁਆਮੀ ਅਪੁਨੇ ਨਾਨਕੁ ਇਹੁ ਸੁਖੁ ਮਾਗੈ ॥
सुणि बेनंती सुआमी अपुने नानकु इहु सुखु मागै ॥
Suṇ benanṯī su▫āmī apune Nānak ih sukẖ māgai.
Hear my prayer, O Lord and Master; Nanak begs for this happiness:

ਜਹ ਕੀਰਤਨੁ ਤੇਰਾ ਸਾਧੂ ਗਾਵਹਿ ਤਹ ਮੇਰਾ ਮਨੁ ਲਾਗੈ ॥੪॥੬॥
जह कीरतनु तेरा साधू गावहि तह मेरा मनु लागै ॥४॥६॥
Jah kīrṯan ṯerā sāḏẖū gāvahi ṯah merā man lāgai. ||4||6||
wherever Your Holy Saints sing the Kirtan of Your Praises, let my mind be attached to that place. ||4||6||



ਅਨਿਕ ਕਰਮ ਕੀਏ ਬਹੁਤੇਰੇ ॥
अनिक करम कीए बहुतेरे ॥
Anik karam kī▫e bahuṯere.
You may do innumerable deeds,

ਜੋ ਕੀਜੈ ਸੋ ਬੰਧਨੁ ਪੈਰੇ ॥
जो कीजै सो बंधनु पैरे ॥
Jo kījai so banḏẖan paire.
but whatever you do, only serves to tie your feet.

ਕੁਰੁਤਾ ਬੀਜੁ ਬੀਜੇ ਨਹੀ ਜੰਮੈ ਸਭੁ ਲਾਹਾ ਮੂਲੁ ਗਵਾਇਦਾ ॥੫॥
कुरुता बीजु बीजे नही जमै सभु लाहा मूलु गवाइदा ॥५॥
Kuruṯā bīj bīje nahī jammai sabẖ lāhā mūl gavā▫iḏā. ||5||
The seed which is planted out of season does not sprout, and all one's capital and profits are lost. ||5||



ਕਲਜੁਗ ਮਹਿ ਕੀਰਤਨੁ ਪਰਧਾਨਾ ॥
कलजुग महि कीरतनु परधाना ॥
Kaljug mėh kīrṯan parḏẖānā.
In this Dark Age of Kali Yuga, the Kirtan of the Lord's Praises are most sublime and exalted.

ਗੁਰਮੁਖਿ ਜਪੀਐ ਲਾਇ ਧਿਆਨਾ ॥
गुरमुखि जपीऐ लाइ धिआना ॥
Gurmukẖ japī▫ai lā▫e ḏẖi▫ānā.
Become Gurmukh, chant and focus your meditation.

ਆਪਿ ਤਰੈ ਸਗਲੇ ਕੁਲ ਤਾਰੇ ਹਰਿ ਦਰਗਹ ਪਤਿ ਸਿਉ ਜਾਇਦਾ ॥੬॥
आपि तरै सगले कुल तारे हरि दरगह पति सिउ जाइदा ॥६॥
Āp ṯarai sagle kul ṯāre har ḏargėh paṯ si▫o jā▫iḏā. ||6||
You shall save yourself, and save all your generations as well. You shall go to the Court of the Lord with honor. ||6||




Related Gurbani - Full Shabads 

ਆਸਾ ਮਹਲਾ ੫ ॥
आसा महला ५ ॥
Āsā mėhlā 5.
Aasaa, Fifth Mehl:

ਤੀਰਥਿ ਜਾਉ ਤ ਹਉ ਹਉ ਕਰਤੇ ॥
तीरथि जाउ त हउ हउ करते ॥
Ŧirath jā▫o ṯa ha▫o ha▫o karṯe.
Journeying to sacred shrines of pilgrimage, I see the mortals acting in ego.

ਪੰਡਿਤ ਪੂਛਉ ਤ ਮਾਇਆ ਰਾਤੇ ॥੧॥
पंडित पूछउ त माइआ राते ॥१॥
Pandiṯ pūcẖẖa▫o ṯa mā▫i▫ā rāṯe. ||1||
If I ask the Pandits, I find them tainted by Maya. ||1||

ਸੋ ਅਸਥਾਨੁ ਬਤਾਵਹੁ ਮੀਤਾ ॥
सो असथानु बतावहु मीता ॥
So asthān baṯāvhu mīṯā.
Show me that place, O friend,

ਜਾ ਕੈ ਹਰਿ ਹਰਿ ਕੀਰਤਨੁ ਨੀਤਾ ॥੧॥ ਰਹਾਉ ॥
जा कै हरि हरि कीरतनु नीता ॥१॥ रहाउ ॥
Jā kai har har kīrṯan nīṯā. ||1|| rahā▫o.
where the Kirtan of the Lord's Praises are forever sung. ||1||Pause||

ਸਾਸਤ੍ਰ ਬੇਦ ਪਾਪ ਪੁੰਨ ਵੀਚਾਰ ॥
सासत्र बेद पाप पुंन वीचार ॥
Sāsṯar beḏ pāp punn vīcẖār.
The Shaastras and the Vedas speak of sin and virtue;

ਨਰਕਿ ਸੁਰਗਿ ਫਿਰਿ ਫਿਰਿ ਅਉਤਾਰ ॥੨॥
नरकि सुरगि फिरि फिरि अउतार ॥२॥
Narak surag fir fir a▫uṯār. ||2||
they say that mortals are reincarnated into heaven and hell, over and over again. ||2||

ਗਿਰਸਤ ਮਹਿ ਚਿੰਤ ਉਦਾਸ ਅਹੰਕਾਰ ॥
गिरसत महि चिंत उदास अहंकार ॥
Girsaṯ mėh cẖinṯ uḏās ahaʼnkār.
In the householder's life, there is anxiety, and in the life of the renunciate, there is egotism.

ਕਰਮ ਕਰਤ ਜੀਅ ਕਉ ਜੰਜਾਰ ॥੩॥
करम करत जीअ कउ जंजार ॥३॥
Karam karaṯ jī▫a ka▫o janjār. ||3||
Performing religious rituals, the soul is entangled. ||3||

ਪ੍ਰਭ ਕਿਰਪਾ ਤੇ ਮਨੁ ਵਸਿ ਆਇਆ ॥
प्रभ किरपा ते मनु वसि आइआ ॥
Parabẖ kirpā ṯe man vas ā▫i▫ā.
By God's Grace, the mind is brought under control;

ਨਾਨਕ ਗੁਰਮੁਖਿ ਤਰੀ ਤਿਨਿ ਮਾਇਆ ॥੪॥
नानक गुरमुखि तरी तिनि माइआ ॥४॥
Nānak gurmukẖ ṯarī ṯin mā▫i▫ā. ||4||
O Nanak, the Gurmukh crosses over the ocean of Maya. ||4||


ਸਾਧਸੰਗਿ ਹਰਿ ਕੀਰਤਨੁ ਗਾਈਐ ॥
साधसंगि हरि कीरतनु गाईऐ ॥
Sāḏẖsang har kīrṯan gā▫ī▫ai.
In the Saadh Sangat, the Company of the Holy, sing the Kirtan of the Lord's Praises.

ਇਹੁ ਅਸਥਾਨੁ ਗੁਰੂ ਤੇ ਪਾਈਐ ॥੧॥ ਰਹਾਉ ਦੂਜਾ ॥੭॥੫੮॥
इहु असथानु गुरू ते पाईऐ ॥१॥ रहाउ दूजा ॥७॥५८॥
Ih asthān gurū ṯe pā▫ī▫ai. ||1|| rahā▫o ḏūjā. ||7||58||
This place is found through the Guru. ||1||Second. Pause||7||58||



ਸੋਰਠਿ ਮਹਲਾ ੫ ॥
सोरठि महला ५ ॥
Soraṯẖ mėhlā 5.
Sorat'h, Fifth Mehl:

ਸੁਖੀਏ ਕਉ ਪੇਖੈ ਸਭ ਸੁਖੀਆ ਰੋਗੀ ਕੈ ਭਾਣੈ ਸਭ ਰੋਗੀ ॥
सुखीए कउ पेखै सभ सुखीआ रोगी कै भाणै सभ रोगी ॥
Sukẖī▫e ka▫o pekẖai sabẖ sukẖī▫ā rogī kai bẖāṇai sabẖ rogī.
To the happy person, everyone seems happy; to the sick person, everyone seems sick.

ਕਰਣ ਕਰਾਵਨਹਾਰ ਸੁਆਮੀ ਆਪਨ ਹਾਥਿ ਸੰਜੋਗੀ ॥੧॥
करण करावनहार सुआमी आपन हाथि संजोगी ॥१॥
Karaṇ karāvanhār su▫āmī āpan hāth sanjogī. ||1||
The Lord and Master acts, and causes us to act; union is in His Hands. ||1||

ਮਨ ਮੇਰੇ ਜਿਨਿ ਅਪੁਨਾ ਭਰਮੁ ਗਵਾਤਾ ॥
मन मेरे जिनि अपुना भरमु गवाता ॥
Man mere jin apunā bẖaram gavāṯā.
O my mind, no one appears to be mistaken,

ਤਿਸ ਕੈ ਭਾਣੈ ਕੋਇ ਨ ਭੂਲਾ ਜਿਨਿ ਸਗਲੋ ਬ੍ਰਹਮੁ ਪਛਾਤਾ ॥ ਰਹਾਉ ॥
तिस कै भाणै कोइ न भूला जिनि सगलो ब्रहमु पछाता ॥ रहाउ ॥
Ŧis kai bẖāṇai ko▫e na bẖūlā jin saglo barahm pacẖẖāṯā. Rahā▫o.
one who has dispelled his own doubts; he realizes that everyone is God. ||Pause||

ਸੰਤ ਸੰਗਿ ਜਾ ਕਾ ਮਨੁ ਸੀਤਲੁ ਓਹੁ ਜਾਣੈ ਸਗਲੀ ਠਾਂਢੀ ॥
संत संगि जा का मनु सीतलु ओहु जाणै सगली ठांढी ॥
Sanṯ sang jā kā man sīṯal oh jāṇai saglī ṯẖāʼndẖī.
One whose mind is comforted in the Society of the Saints, believes that all are joyful.

ਹਉਮੈ ਰੋਗਿ ਜਾ ਕਾ ਮਨੁ ਬਿਆਪਿਤ ਓਹੁ ਜਨਮਿ ਮਰੈ ਬਿਲਲਾਤੀ ॥੨॥
हउमै रोगि जा का मनु बिआपित ओहु जनमि मरै बिललाती ॥२॥
Ha▫umai rog jā kā man bi▫āpaṯ oh janam marai billāṯī. ||2||
One whose mind is afflicted by the disease of egotism, cries out in birth and death. ||2||

ਗਿਆਨ ਅੰਜਨੁ ਜਾ ਕੀ ਨੇਤ੍ਰੀ ਪੜਿਆ ਤਾ ਕਉ ਸਰਬ ਪ੍ਰਗਾਸਾ ॥
गिआन अंजनु जा की नेत्री पड़िआ ता कउ सरब प्रगासा ॥
Gi▫ān anjan jā kī neṯrī paṛi▫ā ṯā ka▫o sarab pargāsā.
Everything is clear to one whose eyes are blessed with the ointment of spiritual wisdom.

ਅਗਿਆਨਿ ਅੰਧੇਰੈ ਸੂਝਸਿ ਨਾਹੀ ਬਹੁੜਿ ਬਹੁੜਿ ਭਰਮਾਤਾ ॥੩॥
अगिआनि अंधेरै सूझसि नाही बहुड़ि बहुड़ि भरमाता ॥३॥
Agi▫ān anḏẖerai sūjẖas nāhī bahuṛ bahuṛ bẖarmāṯā. ||3||
In the darkness of spiritual ignorance, he sees nothing at all; he wanders around in reincarnation, over and over again. ||3||

ਸੁਣਿ ਬੇਨੰਤੀ ਸੁਆਮੀ ਅਪੁਨੇ ਨਾਨਕੁ ਇਹੁ ਸੁਖੁ ਮਾਗੈ ॥
सुणि बेनंती सुआमी अपुने नानकु इहु सुखु मागै ॥
Suṇ benanṯī su▫āmī apune Nānak ih sukẖ māgai.
Hear my prayer, O Lord and Master; Nanak begs for this happiness:

ਜਹ ਕੀਰਤਨੁ ਤੇਰਾ ਸਾਧੂ ਗਾਵਹਿ ਤਹ ਮੇਰਾ ਮਨੁ ਲਾਗੈ ॥੪॥੬॥
जह कीरतनु तेरा साधू गावहि तह मेरा मनु लागै ॥४॥६॥
Jah kīrṯan ṯerā sāḏẖū gāvahi ṯah merā man lāgai. ||4||6||
wherever Your Holy Saints sing the Kirtan of Your Praises, let my mind be attached to that place. ||4||6||


One Tree with the Fruit of Naam - Shabad -

ਆਸਾ ਮਹਲਾ ੫ ॥ ਏਕੁ ਬਗੀਚਾ ਪੇਡ ਘਨ ਕਰਿਆ ॥ ਅੰਮ੍ਰਿਤ ਨਾਮੁ ਤਹਾ ਮਹਿ ਫਲਿਆ ॥੧॥ ਐਸਾ ਕਰਹੁ ਬੀਚਾਰੁ ਗਿਆਨੀ ॥ ਜਾ ਤੇ ਪਾਈਐ ਪਦੁ ਨਿਰਬਾਨੀ ॥ ਆਸਿ ਪਾਸਿ ਬਿਖੂਆ ਕੇ ਕੁੰਟਾ ਬੀਚਿ ਅੰਮ੍ਰਿਤੁ ਹੈ ਭਾਈ ਰੇ ॥੧॥ ਰਹਾਉ ॥ ਸਿੰਚਨਹਾਰੇ ਏਕੈ ਮਾਲੀ ॥ ਖਬਰਿ ਕਰਤੁ ਹੈ ਪਾਤ ਪਤ ਡਾਲੀ ॥੨॥ ਸਗਲ ਬਨਸਪਤਿ ਆਣਿ ਜੜਾਈ ॥ ਸਗਲੀ ਫੂਲੀ ਨਿਫਲ ਨ ਕਾਈ ॥੩॥ ਅੰਮ੍ਰਿਤ ਫਲੁ ਨਾਮੁ ਜਿਨਿ ਗੁਰ ਤੇ ਪਾਇਆ ॥ ਨਾਨਕ ਦਾਸ ਤਰੀ ਤਿਨਿ ਮਾਇਆ ॥੪॥੫॥੫੬॥ {ਪੰਨਾ 385}
Peacock, Bird, Animal, Head, Eye, Peacock Feathers

Kabir says, "What is the point if you don't give up pride!" and Guru Arjan says, "Without renouncing ego, how can one be a renunciate?"
The Māṇḍūkya Upaniṣad (Sanskrit: माण्डूक्य उपनिषद्, Māṇḍūkya Upaniṣad) is the shortest of all the Upanishads, and is assigned to Atharvaveda. It is listed as number 6 in the Muktikā canon of 108 Upanishads. It is considered one of the toughest to understand despite its short length ("like a small chilli that is very hot"). 

It is in prose, consisting of twelve terse verses, and is associated with a Rig Vedic school of scholars. It discusses the syllable Aum, presents the theory of four states of consciousness, and asserts that Aum is Brahman, which is the Whole, and that Brahman is this self (ātman).

The Mandukya Upanishad is notable for having been recommended in the Muktikā Upanishad by Rama as the one Upanishad that alone is sufficient for knowledge to gain moksha, and as first in its list of eleven principal Upanishads. The text is also notable for inspiring Gaudapada's Karika, a classic for the Vedanta school of Hinduism. Mandukya Upanishad is among the oft cited texts on chronology and philosophical relationship between Hinduism and Buddhism.

The seventh matra of the upanishad is one of the most profound: 


http://www.swami-krishnananda.org/mand/Mandukya_Upanishad.pdf



English Transliteration

MANDUKYA UPANISHAD

1: Hari Om. Om-ity-etad-aksharam-idam sarvam, tasyopavyakhyanam bhutam bhavad bhavishyaditi sarvam-omkara eva. Yaccanyat trikalatitam tadapy omkara eva
  
All is OM: Hari Om. The whole universe is the syllable Om. Following is the exposition of Om. Everything that was, is, or will be is, in truth Om. All else which transcends time, space, and causation is also Om.
  
2: Sarvam hyetad brahmayam-atma brahma soyamatma catushpat
  
Atman has Four Aspects: All of this, everywhere, is in truth Brahman, the Absolute Reality. This very Self itself, Atman, is also Brahman, the Absolute Reality. This Atman or Self has four aspects through which it operates.
  
3: Jagarita-sthano bahish-prajnahsaptanga ekonavimsatimukhah sthula-bhug vaisvanarah prathamah padah
  
First is Waking / Gross: The first aspect of Atman is the Self in the Waking state, Vaishvanara. In this first state, consciousness is turned outward to the external world. Through its seven instruments* and nineteen channels* it experiences the gross objects of the phenomenal world.
  
*The seven instruments are the more macrocosmic instruments, while the  nineteen channels relate more to the microcosmic, individual person.
  
Seven Instruments: First, Consciousness manifests outward as elements space, air, fire, water, and earth, along with the individuation from the  whole and the flow of energy (which we know as the pulsing impulse  towards breath).
  
Nineteen Channels: Then, the individual operates through the four functions of mind (aspects of antahkarana, the inner instrument), which are manas, chitta, ahamkara, and buddhi. Those four operate through the five vayus (prana, apana, samana, udana, and vyana), the five active senses or indriyas (karmendriyas of eliminating, procreating, moving, grasping, and speaking), and the five cognitive senses (jnanendriyas of smelling, tasting, seeing, touching, and hearing)
  
4: Svapna-sthano’ntah-prajnah saptanga ekonavimsatimukhah praviviktabhuk taijaso dvitiyah padah
  
Second is Dreaming / Subtle: The second aspect of Atman is the Self in the Dreaming state, Taijasa. In this second state, consciousness is turned towards the inner world. It also operates through seven instruments and nineteen channels, which engage the subtle objects of the mental realm.
  
5: Yatra supto na kancana kamam kamayate na kancana svapnam pasyati tat sushuptam. Sushupta-asthāna ekibhutah prajnanaghana evanandamayo hyanandabhuk chetomukhah prajnastrityah padah
  
Third is Deep Sleep / Causal: The third aspect of Atman is the Self operating in the Deep Sleep state, Prajna. In this third state, there is neither the desire for any gross or subtle object, nor any dream sequences. In deep sleep, all such experiences have receded or merged into the ground of undifferentiated consciousness. Here, one is filled with the experience of bliss, and can also find the way to clearer knowledge of the two preceding states.
  
6: Esha sarvesvara esha sarvajna esho’ntaryamy-esha yonih sarvasya prabhavapyayau hi bhutanam
  
Find the Experiencer: The one who experiences all of these states of consciousness is the omniscient, indwelling source and director of all. This one is the womb out of which all of the other emerges. All things originate from and dissolve back into this source.
  
7: Nantah-prajnam na bahih-prajnam, nobhayatah-prajnam na prajnana-ghanam na prajnam naprajnam. Adrishtam-avyavaharayam-agrahyam-  alakshanam-acintyam-avyapadesyam-ekatma-pratyayasaram, prapancopasarnam santam sivam-advaitam caturtham manyante sa tm sa vijneyah
  
The Fourth Aspect is Turiya: The fourth aspect of Atman or Self is Turiya, literally the fourth. In this fourth state, consciousness is neither turned outward nor inward. Nor is it both outward and inward; it is beyond both cognition and the absence of cognition. This fourth state of Turiya cannot be experienced through the senses or known by comparison, deductive reasoning or inference; it is indescribable, incomprehensible, and unthinkable with the mind. This is Pure Consciousness itself. This is the real Self. It is within the cessation of all phenomena. It is serene, tranquil, filled with bliss, and is one without second. This is the real or true Self that is to be realized.
  
8: So’yam-atma adhyaksharam-omkaro dhimatram pada matra matrasca pada akara ukaro makara iti
  
Those Four are the Same with “A-U-M” and Silence: That Om, though described as having four states, is indivisible; it is pure Consciousness itself. That Consciousness is Om. The three sounds A-U-M  (ah, ou, mm) and the three letters A, U, M are identical with the three states of waking, dreaming, and sleeping, and these three states are identical with the three sounds and letters. The fourth state, Turiya is to be realized only in the silence behind or beyond the other three.
  
9: Jagarita-sthano vaisvanaro’karah prathama matra. apteradimatvad-vapnoti ha vai sarvan kamanadisca bhavati ya evam veda
  
The Sound “A” is Waking / Gross: Vaishvanara is the consciousness experienced during the waking state, and is A, the first letter of Om. That simple sound of A is first and permeates all other sounds. One who is aware of this first level of reality has fulfillment of all longings and is successful.
  
10: Svapna-stahnas taijasa ukaro dvitiya matrotkarshadu-ubhayatvad- votkarsati ha vai jnana-santatim samanasca bhavati nasyabrahmavit kule bhavati ya evam veda
  
The Sound “U” is Dreaming / Subtle: Taijasa is the consciousness experienced during the dreaming state, and is U, the second letter of Om. This intermediate state operates between the waking and sleeping states, reflecting some qualities of the other two. One who knows this subtler state is superior to others. For one who knows this, knowers of Brahman, the Absolute Reality, will be born into his family.
  
11: Sushupta-sthnah prajno makras tritiya mtr miterapiter va minoti ha va idam sarvam-apitisca bhavati ya evam veda
  
The Sound “M” is Deep Sleep / Causal: Prajna is the consciousness experienced during the state of dreamless, deep sleep, and is M, the third letter of Om. It contains the other two, and is that from which the other two emerge, and into they recede or merge. A knower of this more subtle state can understand all within himself.
  
12: Amatras-caturtho’vyavaharyah prapancopasamah sivo’dvaita evamomkara atmaiva samvisaty-atman-atmanam ya evam veda.
  
Silence after “A-U-M” is the True Self: The fourth aspect is the soundless aspect of Om. It is not utterable and is not comprehended through the senses or by the mind. With the cessation of all phenomena, even of bliss, this soundless aspect becomes known. It is a state of nondual (advaita) reality—one without a second. This fourth state, Turiya, is the real Self or true Self. One with direct experience of this expands to Universal Consciousness.

Simple Translation of Mandukya Upanishad

I

Harih Aum! AUM, the word, is all this, the whole universe. A clear explanation of it is as follows: All that is past, present and future is, indeed, AUM. And whatever else there is, beyond the threefold division of time—that also is truly AUM.

II

All this is, indeed, Brahman. This Atman is Brahman. This same Atman has four quarters.

III

The first quarter is called Vaisvanara, whose sphere of activity is the waking state, who is conscious of external objects, who has seven limbs and nineteen mouths and who is the experiencer of gross objects.

IV

The second quarter is Taijasa, whose sphere of activity is the dream state, who is conscious of internal objects, who is endowed with seven limbs and nineteen mouths and who is the experiencer of subtle objects.

V

That is the state of deep sleep wherein one asleep neither desires any object nor sees any dream. The third quarter is Prajna, whose sphere is deep sleep, in whom all experiences become unified, who is, verily, a mass of consciousness, who is full of bliss and experiences bliss and who is the door leading to the knowledge of dreaming and waking.

VI

He is the Lord of all. He is the knower of all. He is the inner controller. He is the source of all; for from him all beings originate and in him they finally disappear.

VII

Turiya is not that which is conscious of the inner (subjective) world, nor that which is conscious of the outer (objective) world, nor that which is conscious of both, nor that which is a mass of consciousness. It is not simple consciousness nor is It unconsciousness. It is unperceived, unrelated, incomprehensible, uninferable, unthinkable and indescribable. The essence of the Consciousness manifesting as the self in the three states, It is the cessation of all phenomena; It is all peace, all bliss and non—dual. This is what is known as the Fourth (Turiya). This is Atman and this has to be realized.

VIII

The same Atman explained before as being endowed with four quarters is now described from the standpoint of the syllable AUM. AUM, too, divided into parts, is viewed from the standpoint of letters. The quarters of Atman are the same as the letters of AUM and the letters are the same as the quarters. The letters are A, U and M.

IX

Vaisvanara Atman, whose sphere of activity is the waking state, is A, the first letter of AUM, on account of his all—pervasiveness or on account of his being the first. He who knows this obtains all desires and becomes first among the great.

X

Taijasa Atman, whose sphere of activity is the dream state, is U, the second letter of AUM, on account of his superiority or intermediateness. He who knows this attains a superior knowledge, receives equal treatment from all and finds in his family no one ignorant of Brahman.

XI

Prajna Atman, whose sphere is deep sleep, is M, the third letter of AUM, because both are the measure and also because in them all become one. He who knows this is able to measure all and also comprehends all within himself.

XII

The Fourth (Turiya) is without parts and without relationship; It is the cessation of phenomena; It is all good and non—dual. This AUM is verily Atman. He who knows this merges his self in Atman—yea, he who knows this.


A comparison of ten complete translations.



Translated by

E. Röer (1891)

Sri Aurobindo (c. 1900‒02)

R.E. Hume (1921)

Sri Purohit Swami and W.B. Yeats (1937)

Swami Nikhilananda (1952)

S. Radhakrishnan (1953)

Swami Gambhirananda (1958)

Juan Mascaró (1965)

Eknath Easwaran (1987)

Patrick Olivelle (1996)

THIS IS THE SHORTEST major Upanishad and the one that sets forth the famous Vedantin theory of the states of consciousness: waking, dreaming, deep sleep, and the fourth state (turiya), which is the Self.

Adi Shankara said that this Upanishad, together with Gaudapada’s commentary on it, “contains the epitome of the substance of the import of Vedanta.”

You will find below ten translations of this Upanishad. In each case we’ve included the entire text of the Upanishad itself but omitted notes and commentary.
Recommendations

In case you’ve come to this page looking for recommendations about which translation is best, we’ll briefly state our opinion. The super-short version is that you should get both Swami Gambhirananda’s translation and Olivelle’s and read them side by side. In order to really understand the Upanishads you need the whole books, not just the portions reprinted below, because the notes and commentary are essential. Here’s the longer version of our opinion:

First you must decide which kind of translation you want. There are three kinds:

1. Traditional translations. These books include commentaries and explanations that are usually longer than the Upanishads themselves. These books interpret the Upanishads as they have been traditionally understood in India, usually through the lens of Advaita Vedanta. In our opinion, the best translation of this type is Swami Gambhirananda’s. Swami Nikhilananda’s is also good. Both include Gaudapada’s Karika and Shankara’s commentary.

2. Academic translations. These books attempt to uncover the original meaning of the text as it was understood at the time when it was composed. They do not assume that the commentaries are correct. They do not defer to Shankara or Advaita Vedanta or any other tradition. The best translation of this kind is Olivelle’s. Hume’s is second, but scholars learned so much in the 75 years that separate the two men that Olivelle’s is much better.

3. Idiosyncratic translations that do not attempt to convey traditional Vedanta or modern academic scholarship. Sometimes a translation in this category can be spectacularly good — Byrom’s translation of the Ashtavakra Gita comes to mind — but in the case of the Mandukya Upanishad we don’t see anything we can recommend. Easwaran’s translation is the most popular one in this category on Amazon.

1

Röer

“Om” this is immortal. Its explanation is this all; what was, what is, and what will be, all is verily the word “Om;” and everything else which is beyond the threefold time is also verily the word “Om.”
Aurobindo

OM is this imperishable Word, OM is the Universe, and this is the exposition of OM. The past, the present and the future, all that was, all that is, all that will be, is OM. Likewise all else that may exist beyond the bounds of Time, that too is OM.
Hume

Om! — This syllable is this whole world.

Its further explanation is:—

The past, the present, the future — everything is just the word Om.

And whatever else that transcends threefold time — that, too, is just the word Om.
Purohit Swami and Yeats

The word Ôm is the Imperishable; all this its manifestation. Past, present, future — everything is Ôm. Whatever transcends the three divisions of time, that too is Ôm.
Swami Nikhilananda

Harih Aum! AUM, the word, is all this, [i.e. the whole universe]. A clear explanation of it is as follows: All that is past, present and future is, indeed, AUM. And whatever else there is, beyond the threefold division of time — that also is truly AUM.
Radhakrishnan

Aum, this syllable is all this. An explanation of that (is the following). All that is the past, the present and the future, all this is only the syllable aum. And whatever else there is beyond the threefold time, that too is only the syllable aum.
Swami Gambhirananda

This letter that is Om is all this. Of this a clear exposition (is started with): All that is past, present, or future is verily Om. And whatever is beyond the three periods of time is also verily Om.
Mascaró

OM. This eternal Word is all: what was, what is and what shall be, and what beyond is in eternity. All is OM.
Easwaran

AUM stands for the supreme Reality.

It is a symbol for what was, what is,

And what shall be. AUM represents also

What lies beyond past, present, and future.
Olivelle

OṂ — this whole world is that syllable! Here is a further explanation of it. The past, the present, and the future — all that is simply OṂ; and whatever else that is beyond the three times, that also is simply OṂ —

2

Röer

For this all (represented by “Om”) is Brahma; this soul is Brahma. This soul has four conditions.
Aurobindo

All this Universe is the Eternal Brahman, this Self is the Eternal, and the Self is fourfold.
Hume

For truly, everything here is Brahma; this self (ātman) is Brahma. This same self has four fourths.
Purohit Swami and Yeats

There is nothing that is not Spirit. The personal self is the impersonal Spirit. It has four conditions.
Swami Nikhilananda

All this is, indeed, Brahman. This Ātman is Brahman. This same Ātman has four quarters (pādas).
Radhakrishnan

All this is, verily, Brahman. This self is Brahman. This same self has four quarters.
Swami Gambhirananda

All this is surely Brahman. This Self is Brahman. The Self, such as It is, is possessed of four quarters.
Mascaró

Brahman is all and Atman is Brahman. Atman, the Self, has four conditions.
Easwaran

Brahman is all, and the Self is Brahman.

This Self has four states of consciousness.
Olivelle

— for this brahman is the Whole. Brahman is this self (ātman); that [brahman] is this self (ātman) consisting of four quarters.

3

Röer

The first condition is Vaisvánara, whose place is in the waking state, whose knowledge are external objects, who has seven members, who has nineteen mouths, (and) who enjoys the gross (objects).
Aurobindo

He whose place is the wakefulness, who is wise of the outward, who has seven limbs, to whom there are nineteen doors, who feeleth and enjoyeth gross objects, Vaiswanor, the Universal Male, He is the first.
Hume

The waking state (jāgarita-sthāna), outwardly cognitive, having seven limbs, having nineteen mouths, enjoying the gross (sthūla-bhuj), the Common-to-all-men (vaiśvānara), is the first fourth.
Purohit Swami and Yeats

First comes the material condition — common to all — perception turned outward, seven agents, nineteen agencies, wherein the Self enjoys coarse matter. This is known as the waking condition.
Swami Nikhilananda

The first quarter (pāda) is called Vaiśvānara, whose sphere of activity is the waking state, who is conscious of external objects, who has seven limbs and nineteen mouths and who is the experiencer of gross objects.
Radhakrishnan

The first quarter is Vaiśvānara, whose sphere (of activity) is the waking state, who cognises external objects, who has seven limbs and nineteen mouths and who enjoys (experiences) gross (material) objects.
Swami Gambhirananda

The first quarter is Vaiśvānara whose sphere (of action) is the waking state, whose consciousness relates to things external, who is possessed of seven limbs and nineteen mouths, and who enjoys gross things.
Mascaró

The first condition is the waking life of outward-moving consciousness, enjoying the seven outer gross elements.
Easwaran

The first is called Vaishvanara, in which

One lives with all the senses turned outward,

Aware only of the external world.
Olivelle

The first quarter is Vaiśvānara — the Universal One — situated in the waking state, perceiving what is outside, possessing seven limbs and nineteen mouths, and enjoying gross things.

4

Röer

His second condition is Taijasa, whose place is in dream whose knowledge are the internal objects [sic], who has seven members, nineteen mouths (and) enjoys the subtle (objects).
Aurobindo

He whose place is the dream, who is wise of the inward, who has seven limbs, to whom there are nineteen doors, who feeleth and enjoyeth subtle objects, Taijasa, the Inhabitant in Luminous Mind, He is the second.
Hume

The dreaming state (svapna-sthāna), inwardly cognitive, having seven limbs, having nineteen mouths, enjoying the exquisite (pravivikta-bhuj), the Brilliant (taijasa), is the second fourth.
Purohit Swami and Yeats

The second is the mental condition, perception turned inward, seven agents, nineteen agencies, wherein the Self enjoys subtle matter. This is known as the dreaming condition.
Swami Nikhilananda

The second quarter (pāda) is Taijasa, whose sphere of activity is the dream state, who is conscious of internal objects, who is endowed with seven limbs and nineteen mouths, and who is the experiencer of subtle objects.
Radhakrishnan

The second quarter is taijasa, whose sphere (of activity) is the dream state, who cognises internal objects, who has seven limbs and nineteen mouths, and who enjoys (experiences) the subtle objects.
Swami Gambhirananda

Taijasa is the second quarter, whose sphere (of activity) is the dream state, whose consciousness is internal, who is possessed of seven limbs and nineteen mouths, and who enjoys subtle objects.
Mascaró

The second condition is the dreaming life of inner-moving consciousness, enjoying the seven subtle inner elements in its own light and solitude.
Easwaran

Taijasa is the name of the second,

The dreaming state in which, with the senses

Turned inward, one enacts the impressions

Of past deeds and present desires.
Olivelle

The second quarter is Taijasa — the Brilliant One — situated in the state of dream, perceiving what is inside, possessing seven limbs and nineteen mouths, and enjoying refined things.

5

Röer

When the sleeper desires no desires, sees no dream, this is sound sleep. His third condition is Prájna (who completely knows) who has become one, whose knowledge is uniform alone, whose nature is like bliss, who enjoys bliss, and whose mouth is knowledge.
Aurobindo

When one sleepeth and yearneth not with any desire, nor seeth any dream, that is the perfect slumber. He whose place is the perfect slumber, who is become Oneness, who is wisdom gathered into itself, who is made of mere delight, who enjoyeth delight unrelated, to whom conscious mind is the door, Prajna, the Lord of Wisdom, He is the third.
Hume

If one asleep desires no desire whatsoever, sees no dream whatsoever, that is deep sleep (suṣupta).

The deep-sleep state (suṣupta-sthāna), unified (ekī-bhūta), just (eva) a cognition-mass (prajñāna-ghana), consisting of bliss (ānanda-maya), enjoying bliss (ānanda-bhuj), whose mouth is thought (cetas-), the cognitional (prājña), is the third fourth.
Purohit Swami and Yeats

In deep sleep man feels no desire, creates no dream. This undreaming sleep is the third condition, the intellectual condition. Because of his union with the Self and his unbroken knowledge of it, he is filled with joy, he knows his joy; his mind is illuminated.
Swami Nikhilananda

That is the state of deep sleep wherein one asleep neither desires any object nor sees any dream. The third quarter is Prājña, whose sphere is deep sleep, in whom all experiences become unified, who is, verily, a mass of consciousness, who is full of bliss and experiences bliss and who is the door leading to the knowledge [of dreaming and waking].
Radhakrishnan

Where one, being fast asleep, does not desire any desire whatsoever and does not see any dream whatsoever, that is deep sleep. The third quarter is prājña, whose sphere (of activity) is the state of deep sleep, who has become one, who is verily, a mass of cognition, who is full of bliss and who enjoys (experiences) bliss, whose face is thought.
Swami Gambhirananda

That state is deep sleep where the sleeper does not desire any enjoyable thing and does not see any dream. The third quarter is Prājña who has deep sleep as his sphere, in whom everything becomes undifferentiated, who is a mass of mere consciousness, who abounds in bliss, who is surely an enjoyer of bliss, and who is the doorway to the experience (of the dream and waking states).
Mascaró

The third condition is the sleeping life of silent consciousness when a person has no desires and beholds no dreams. That condition of deep sleep is one of oneness, a mass of silent consciousness made of peace and enjoying peace.
Easwaran

The third state is called Prajna, of deep sleep,

In which one neither dreams nor desires.

There is no mind in Prajna, there is no

Separateness; but the sleeper is not

Conscious of this. Let him become conscious

In Prajna and it will open the door

To the state of abiding joy.
Olivelle

The third quarter is Prājña — the Intelligent One — situated in the state of deep sleep — deep sleep is when a sleeping man entertains no desires or sees no dreams —; became one, and thus being a single mass of perception; consisting of bliss, and thus enjoying bliss; and having thought as his mouth.

6

Röer

He (the Prájna) is the lord of all; he is omniscient, he is the internal ruler; he is the source of all; for he is the origin and destruction of (all) beings.
Aurobindo

This is the Almighty, this is the Omniscient, this is the Inner Soul, this is the Womb of the Universe, this is the Birth and Destruction of creatures.
Hume

This is the lord of all (sarveśvara). This is the all-knowing (sarva-jña). This is the inner controller (antar-yāmin). This is the source (yoni) of all, for this is the origin and the end (prabhavāpyayau) of beings.
Purohit Swami and Yeats

The Self is the lord of all; inhabitant of the hearts of all. He is the source of all; creator and dissolver of beings. There is nothing He does not know.
Swami Nikhilananda

He is the Lord of all. He is the knower of all. He is the inner controller. He is the source of all; for from him all beings originate and in him they finally disappear.
Radhakrishnan

This is the lord of all, this is the knower of all, this is the inner controller; this is the source of all; this is the beginning and the end of beings.
Swami Gambhirananda

This one is the Lord of all; this one is Omniscient; this one is the inner Director (of all); this one is the Source of all; this one is verily the place of origin and dissolution of all beings.
Mascaró

This silent consciousness is all-powerful, all-knowing, the inner ruler, the source of all, the beginning and end of all beings.
Easwaran

Prajna, all-powerful and all-knowing,

Dwells in the hearts of all as the ruler.

Prajna is the source and end of all.
Olivelle

He is the Lord of all; he is the knower of all; he is the inner controller; he is the womb of all — for he is the origin and the dissolution of beings.

7

Röer

They think the fourth him, whose knowledge are not internal objects, nor internal, nor both, who has not uniform knowledge, who is not intelligent and not unintelligent, who is invisible, imperceptible, unseizable, incapable of proof, beyond thought, not to be defined, whose only proof is the belief in the soul, in whom all the spheres have ceased, who is tranquil, blissful, and without duality.
Aurobindo

He who is neither inward-wise, nor outward-wise, nor both inward and outward wise, nor wisdom self-gathered, nor possessed of wisdom, nor unpossessed of wisdom, He Who is unseen and incommunicable, unseizable, featureless, unthinkable, and unnameable, Whose essentiality is awareness of the Self in its single existence, in Whom all phenomena dissolve, Who is Calm, Who is Good, Who is the One than Whom there is no other, Him they deem the fourth; He is the Self, He is the object of Knowledge.
Hume

Not inwardly cognitive (antaḥ-prajña), not outwardly cognitive (bahiḥ-prajña), not both-wise cognitive (ubhayatah-prajña), not a cognition-mass (prajñāna-ghana, not cognitive (prajña), not non-cognitive (a‑prajña), unseen (a‑dṛṣṭa), with which there can be no dealing (a‑vyavahārya), ungraspable (a‑grāhya), having no distinctive mark (a‑lakṣaṇa), non-thinkable (a‑cintya), that cannot be designated (a‑vyapadeśya), the essence of the assurance of which is the state of being one with the Self (ekātmya-pratyaya-sāra), the cessation of development (prapañcopaśama), tranquil (śanta), benign (śiva), without a second (a‑dvaita) — [such] they think is the fourth. He is the Self (Ātman). He should be discerned.
Purohit Swami and Yeats

He is not knowable by perception, turned inward or outward, nor by both combined. He is neither that which is known, nor that which is not known, nor is He the sum of all that might be known. He cannot be seen, grasped, bargained with. He is undefinable, unthinkable, indescribable.

The only proof of His existence is union with Him. The world disappears in Him. He is the peaceful, the good, the one without a second. This is the fourth condition of the Self — the most worthy of all.
Swami Nikhilananda

Turiya is not that which is conscious of the inner (subjective) world, nor that which is conscious of the outer (objective) world, nor that which is conscious of both, nor that which is a mass of consciousness. It is not simple consciousness nor is It unconsciousness. It is unperceived, unrelated, incomprehensible, uninferable, unthinkable, and indescribable. The essence of the Consciousness manifesting as the self [in the three states], It is the cessation of all phenomena; It is all peace, all bliss, and non-dual. This is what is known as the Fourth (Turiya). This is Ātman, and this has to be realized.
Radhakrishnan

(Turīya is) not that which cognises the internal (objects), not that which cognises the external (objects), not what cognises both of them, not a mass of cognition, not cognitive, not non-cognitive. (It is) unseen, incapable of being spoken of, ungraspable, without any distinctive marks, unthinkable, unnameable, the essence of the knowledge of the one self, that into which the world is resolved, the peaceful, the benign, the non-dual, such, they think, is the fourth quarter. He is the self; He is to be known.
Swami Gambhirananda

They consider the Fourth to be that which is not conscious of the internal world, nor conscious of the external world, nor conscious of both the worlds, nor a mass of consciousness, nor conscious, nor unconscious; which is unseen, beyond empirical dealings, beyond the grasp (of the organs of action), uninferable, unthinkable, indescribable; whose valid proof consists in the single belief in the Self; in which all phenomena cease; and which is unchanging, auspicious, and non-dual. That is the Self, and That is to be known.
Mascaró

The fourth condition is Atman in his own pure state: the awakened life of supreme consciousness. It is neither outer nor inner consciousness, neither semi-consciousness, nor sleeping-consciousness, neither consciousness nor unconsciousness. He is Atman, the Spirit himself, that cannot be seen or touched, that is above all distinction, beyond thought and ineffable. In the union with him is the supreme proof of his reality. He is the end of evolution and non-duality. He is peace and love.
Easwaran

The fourth is the superconscious state called

Turiya, neither inward nor outward,

Beyond the senses and the intellect,

In which there is none other than the Lord.

He is the supreme goal of life. He is

Infinite peace and love. Realize him!
Olivelle

They consider the fourth quarter as perceiving neither what is inside nor what is outside, nor even both together; not as a mass of perception, neither as perceiving nor as not perceiving; as unseen; as beyond the reach of ordinary transaction; as ungraspable; as without distinguishing marks; as unthinkable; as indescribable; as one whose essence is the perception of itself alone; as the cessation of the visible world; as tranquil; as auspicious; as without a second. That is the self (ātman), and it is that which should be perceived.

8

Röer

This soul depends upon the word “Om,” which depends upon its parts. The conditions (of the soul) are parts (of the “Om”), these parts conditions. (Those parts are) the letters A, U, and M.
Aurobindo

Now this the Self, as to the imperishable Word, is OM; and as to the letters, His parts are the letters and the letters are His parts, namely, A U M.
Hume

This is the Self with regard to the word Om, with regard to its elements. The elements (mātra), are the fourths; the fourths, the elements: the letter a, the letter u, the letter m.
Purohit Swami and Yeats

This Self, though beyond words, is that supreme word Om; though indivisible, it can be divided in three letters corresponding to the three conditions of the Self, the letter A, the letter U, and the letter M.
Swami Nikhilananda

The same Ātman [explained before as being endowed with four quarters] is now described from the standpoint of the syllable AUM. AUM, too, divided into parts, is viewed from the standpoint of letters. The quarters [of Ātman] are the same as the letters of AUM and the letters are the same as the quarters. The letters are A, U and M.
Radhakrishnan

This is the self, which is of the nature of the syllable aum, in regard to its elements. The quarters are the elements, the elements are the quarters, namely the letter a, the letter u and the letter m.
Swami Gambhirananda

That very Self, considered from the standpoint of the syllable (denoting It) is Om. Considered from the standpoint of the letters (constituting Om), the quarters (of the Self) are the letters (of Om), and the letters are the quarters. (The letters are): a, u, and m.
Mascaró

This Atman is the eternal Word OM. Its three sounds, A, U, and M, are the first three states of consciousness, and these three states are the three sounds.
Easwaran

Turiya is represented by AUM.

Though indivisible, it has three sounds.
Olivelle

With respect to syllables, OṂ is this very self (ātman); whereas with respect to the constituent phonemes of a syllable, it is as follows. The constituent phonemes are the quarters, and the quarters are the constituent phonemes, namely, ‘a’, ‘u’, and ‘m’.

9

Röer

Vaiśvánara, who abides in the waking state, is the letter A, the first part, (either) from pervading (aptéh), or from its being the first (letter). He verily obtains all desires and is the first who thus knows.
Aurobindo

The Waker, Vaiswanor, the Universal Male, He is A, the first letter, because of Initiality and Pervasiveness; he that knoweth Him for such pervadeth and attaineth all his desires; he becometh the source and first.
Hume

The waking state, the Common-to-all-men, is the letter a, the first element, from āpti (‘obtaining’) or from ādimatvā (‘being first’).

He obtains, verily, indeed, all desires, he becomes first — he who knows this.
Purohit Swami and Yeats

The waking condition, called the material condition, corresponds to the letter A, which leads the alphabet and breathes in all the other letters. He who understands, gets all he wants; becomes a leader among men.
Swami Nikhilananda

Vaiśvānara Ātman, whose sphere of activity is the waking state, is A, the first letter of AUM, on account of his all-pervasiveness or on account of his being the first. He who knows this obtains all desires and becomes first [among the great].
Radhakrishnan

Vaiśvānara, whose sphere (of activity) is the waking state, is the letter a, the first element, either from the root ap to obtain or from being the first. He who knows this, obtains, verily, all desires, also, he becomes first.
Swami Gambhirananda

Vaiśvānara, having the waking state as his sphere, is the first letter a, because of the (the similarity of) pervasiveness or being the first. He who knows thus, does verily attain all desirable things, and becomes the foremost.
Mascaró

The first sound A is the first state of waking consciousness, cOMmon to all men. It is found in the words Apti, ‘attaining’, and Adimatvam, ‘being first’. Who knows this attains in truth all his desires, and in all things becOMes first.
Easwaran

A stands for Vaishvanara. Those who know this,

Through mastery of the senses, obtain

The fruit of their desires and attain greatness.
Olivelle

The first constituent phoneme — ‘a’ — is Vaiśvānara situated in the waking state, so designated either because of obtaining (āpti) or because of being first (ādimattva). Anyone who knows this is sure to obtain all his desires and to become the first.

10

Röer

Taijasa who abides in dream, is the letter U, the second part, from its being more elevated or from its being in the midst. He verily elevates the continuance of knowledge, and becomes the like (to friend and foe) and has no descendant ignorant of Brahma who thus knows.
Aurobindo

The Dreamer, Taijasa, the Inhabitant in Luminous Mind, He is U, the second letter, because of Advance and Centrality; he that knoweth Him for such, advanceth the bounds of his knowledge and riseth above difference; nor of his seed is any born that knoweth not the Eternal.
Hume

The sleeping state, the Brilliant, is the letter u, the second element, from utkarṣa (‘exaltation’) or from ubhayatvā (intermediateness).

He exalts, verily, indeed, the continuity of knowledge; and he becomes equal (samāna); no one ignorant of Brahman is born in the family of him who knows this.
Purohit Swami and Yeats

The dreaming condition, called the mental condition, corresponds to the second letter U. It upholds; stands between waking and sleeping. He who understands, upholds the tradition of spiritual knowledge; looks upon everything with an impartial eye. No one ignorant of Spirit is born into his family.
Swami Nikhilananda

Taijasa Ātman, whose sphere of activity is the dream state, is U, the second letter [of AUM], on account of his superiority or intermediateness. He who knows this attains a superior knowledge, receives equal treatment from all, and finds in his family no one ignorant of Brahman.
Radhakrishnan

Taijasa, whose sphere (of activity) is the dream state, is the letter u, the second element, from exaltation or intermediateness. He who knows this exalts, verily, the continuity of knowledge and he becomes equal; in his family is born no one who does not know Brahman.
Swami Gambhirananda

He who is Taijasa with the state of dream as his sphere (of activity) is the second letter u (of Om); because of the similarity of excellence and intermediateness. He who knows thus increases the current of knowledge and becomes equal to all. None is born in his line who is not a knower of Brahman.
Mascaró

The second sound U is the second state of dreaming consciousness. It is found in the words Utkarsha, ‘uprising’, and Ubhayatvam, ‘bothness’. Who knows this raises the tradition of knowledge and attains equilibrium. In his famiy is never born any one who knows not Brahman.
Easwaran

U indicates Taijasa. Those who know this,

By mastering even their dreams, become

Established in wisdom. In their family

Everyone leads the spiritual life.
Olivelle

The second constituent phoneme — ‘u’ — is Taijasa situated in the state of dream, so designated either because of heightening (utkarṣa) or because of being intermediate (ubhayatva). Anyone who knows this is sure to heighten the continuity of knowledge and to become common; and a man without the knowledge of brahman will not be born in his lineage.

11

Röer

Prájna (the perfect wise) who abides in deep sleep, is the letter M, the third part, from its being a measure (mitéh), or from its being of one and the same nature. He verily measures this all and becomes of the same nature who thus knows.
Aurobindo

The Sleeper, Prajna, the Lord of Wisdom, He is M, the third letter, because of Measure and Finality; he that knoweth Him for such measureth with himself the Universe and becometh the departure into the Eternal.
Hume

The deep-sleep state, the cognitional, is the letter m, the third element, from miti (‘erecting’) or from apiti (‘immerging’).

He, verily, indeed, erects (‘minoti’) this whole world, and he becomes its immerging — he who knows this.
Purohit Swami and Yeats

Undreaming sleep, called the intellectual condition, corresponds to the third letter, M. It weighs and unites. He who understands, weighs the world; rejects; unites himself with the cause.
Swami Nikhilananda

Prājña Ātman, whose sphere is deep sleep, is M, the third letter [of AUM], because both are the measure and also because in them all become one. He who knows this is able to measure all and also comprehends all within himself.
Radhakrishnan

Prājña, whose sphere (of activity) is the state of deep sleep is the letter m, the third element, either from the root mi, to measure or because of merging. He who knows this measures (knows) all this and merges also (all this in himself).
Swami Gambhirananda

Prājña with his sphere of activity in the sleep state is m, the third letter of Om, because of measuring or because of absorption. Anyone who knows thus measures all this, and he becomes the place of absorption.
Mascaró

The third sound M is the third state of sleeping consciousness. It is found in the words Miti, ‘measure’, and in the root Mi, ‘to end’, that gives Apiti, ‘final end’. Who knows ths measures all with his mind and attains the final End.
Easwaran

M corresponds to Prajna. Those who know this,

By stilling the mind, find their true stature

And inspire everyone around to grow.
Olivelle

The third constituent phoneme — ‘m’ — is Prājña situated in the state of deep sleep, so designated either because of construction (miti) or because of destruction (apīti). Anyone who knows this is sure to constuct this whole world and to become also its destruction.

12

Röer

(The “Om”) which is without part is the fourth (condition of Brahma) which is imperceptible in which all the spheres have ceased, which is blissful (and) without duality. The “Om,” thus (meditated upon) is soul alone. He enters with his soul the soul, who thus knows, who thus knows.
Aurobindo

Letterless is the fourth, the Incommunicable, the end of phenomena, the Good, the One than Whom there is no other; thus is OM. He that knoweth is the Self and entereth by his self into the Self, he that knoweth, he that knoweth.
Hume

The fourth is without an element, with which there can be no dealing, the cessation of development, benign, without a second.

Thus Om is the Self (Ātman) indeed.

He who knows this, with his self enters the Self — yea, he who knows this!
Purohit Swami and Yeats

The fourth condition of the Self corresponds to Ôm as One, indivisible Word. He is whole; beyond bargain. The world disappears in Him. He is the good; the one without a second. Thus Ôm is nothing but Self. He who understands, with the help of his personal Self, merges himself into the impersonal Self; He who understands.
Swami Nikhilananda

The Fourth (Turiya) is without parts and without relationship; It is the cessation of phenomena; It is all good and non-dual. This AUM is verily Ātman. He who knows this merges his self in Ātman — yea, he who knows this.
Radhakrishnan

The fourth is that which has no elements, which cannot be spoken of, into which the world is resolved, benign, non-dual. Thus the syllable aum is the very self. He who knows it thus enters the self with his self.
Swami Gambhirananda

The partless Om is Turīya — beyond all conventional dealings, the limit of the negation of the phenomenal world, the aupicious, and the non-dual. Om is thus the Self to be sure. He who knows thus enters the Self through his self.
Mascaró

The word OM as one sound is the fourth state of supreme consciousness. It is beyond the senses and is the end of evolution. It is non-duality and love. He goes with his self to the supreme Self who knows this, who knows this.
Easwaran

The mantram AUM stands for the supreme state

Of turiya, without parts, beyond birth

And death, symbol of everlasting joy.

Those who know AUM as the Self become the Self;

Truly they become the Self.


OM shanti shanti shanti
Olivelle

The fourth, on the other hand, is without constituent phonemes; beyond the reach of ordinary transaction; the cessation of the visible world; auspicious; and unique.

Accordingly, the very self (ātman) is OṂ. Anyone who knows this enters the self (ātman) by himself (ātman).
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