Shivpreet Singh
Shivpreet Singh
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In memory of Guru Tegh Bahadur, who gave his head and changed the history of freedom in India



Guru Tegh Bahadur was the ninth spiritual master in the lineage of Guru Nanak, the singer of oneness. 

Aurangzeb, the last great Mughal emperor, ruled with an oppressive government, marked by the ruthless murder of his own brothers and jailed his father. Aurangzeb had Sufi saint Sarmad beheaded in 1661. Later that decade, in 1669, he ordered the destruction of the Kashi Vishwanath Temple in Varanasi. That same year, he brutally suppressed the Jat revolt in Mathura led by Gokal Jat, and the Satnamis faced eradication. In 1671, Aurangzeb appointed Nawab Iftikhar Khan as the governor of Kashmir, initiating a mission to convert Kashmiri Pandits to Islam, putting the existence of the community in jeopardy.

Amidst these challenges, a 15-member delegation of Kashmiri Pandits, led by Kirpa Ram Dat of Matan, arrived at Anandpur on May 25, 1675. Guru Tegh Bahadur felt a deep sense of compassion and restlessness for the plight of the innocent people. The little Gobind Rai, without any hesitation, supported his 

It was then that an eight-year-old Gobind Rai, inquisitive about the prevailing sadness, innocently asked the Guru and the visitors about its cause. The Guru explained that if the old customs and traditions of India were to be kept alive, it would require a holy person to sacrifice their life. The little Gobind Rai, without any hesitation, remarked that there could be no holier person for this sacrifice than the Guru himself. Little did he know, this remark would set profound events into motion.

Upon the Guru's instruction, the Pandits were advised to request the governor to have Tegh Bahadur convert first, with the assurance that they would follow suit. The Pandits conveyed this to the Governor, who then relayed it to Aurangzeb at Hasan Abdal, near the Kashmir borders. Already biased against Tegh Bahadur, Aurangzeb issued an edict to the governor of Lahore, instructing the Guru's arrest and imprisonment until summoned to Delhi.

The Governor of Lahore passed the edict to Abdul Aziz Dilawar Khan, the Faujdar of Sarhind, with discreet execution instructions. Nur Muhammad Khan Mirza, the Kotwal of Rupar, was instructed to quietly arrest the Guru and send him to Sarhind.

On July 11, 1675, Guru Tegh Bahadur, accompanied by three devoted Sikhs, Mati Das, Sati Das, and Dyal Das, left Anandpur. After covering about 40 kms, they halted for the night at Muslim Ranghar village near Rupar. At around 3 o'clock the next morning on July 12, the Guru and his companions were taken prisoners and hurriedly transported to Sarhind.

After four months, the Faujdar placed the Guru in an iron cage on the back of an elephant, while his companions were fettered and handcuffed, taken to Delhi in a bullock cart. Aurangzeb urged the Guru to embrace Islam, but he affirmed his faith, stating that he considered his religion as good as Islam. The emperor ordered severe tortures, and after five days, Aurangzeb attempted to forcibly convert the Guru.

Bhai Dyal Das, steadfast in his refusal, was bound with an iron chain and immersed into a massive cauldron of boiling oil. He endured a gruesome fate, roasted alive into a block of charcoal. Following suit, Bhai Sati Das who also resisted conversion, faced a brutal end, being hacked limb by limb.

Throughout these horrifying events, Tegh Bahadur witnessed it all, continuously uttering 'Waheguru.' Aware that his turn was imminent, he remained stoic, unaffected, and undaunted. Focused on Waheguru, his thoughts, ideas, and emotions concentrated, as a radiant divine light illuminated his face. He understood that such immortal sacrifices would not be in vain; their names would endure forever.

On November 11, 1675, around 11 o'clock in the morning, the appointed time for Guru Tegh Bahadur to respond arrived. Shortly before 11 o'clock, he was brought to the execution site in Chandni Chowk, now the location of Gurdwara Sis Ganj. The Qazi, high officials, and the executioner, Sayyid Jalal-ud-din of Samana, armed with a gleaming broadsword, were already present. Mughal soldiers formed a guard, and a sizable crowd gathered outside the barricade.

Facing the Qazi, Guru Tegh Bahadur was given the choice to perform a miracle, embrace Islam, or meet death. The Guru steadfastly refused to convert. The fatal blow was delivered, and his head rolled onto the floor.

The Guru's body lay at the gate. Jaita slipped out quietly, picked up the head and fled away towards Sabzi Mandi. He tied the head in a sheet, fastened it on his back and covered his body in an old, dirty blanket. Lakhi's son and a servant lifted the body, hid it in cotton and rushed off to Raisina, and to their home in Rakab Ganj village. Lakhi set fire to the house to avoid detection to perform cremation of Guru's body. After two days the Guru's ashes were collected. They were put in a bronze pot, and buried under ground at that very spot. Gurdwara Rakab Ganj marks this site.

Jaita carried the Guru's head, traveling from Azadpur to Sonipat, then Karnal, and finally taking the route to Pehowa, Ismailabad, and Ambala. He arrived at Kiratpur on the afternoon of Tuesday, November 16, 1675, covering a distance of 320 kms in five days. Gobind Rai conducted the ceremonial cremation of the head on November 17.

The common people were profoundly disturbed by the execution of the Guru and his three courageous companions. Guru Tegh Bahadur's death marked a turning point in the history of India. His son and successor, Guru Gobind Singh, reflected on the broader history of India.

From the execution of his great-grandfather, Guru Arjan, in Lahore to the imprisonment of his grandfather, Guru Hargobind, in the Gwalior fort, and the beheading of his father, the sixth Guru, the rulers' attitude remained unchanged over two hundred years. Guru Gobind Singh concluded that if the ruler was oppressive, people must rise in revolt.

Following the Guru's guidance, the Khalsa embraced the profession of arms. The once subjugated populace transformed into formidable warriors. Over the next century, they not only ended foreign rule but also thwarted invasions from the northwest. Aurangzeb became the last great Mughal emperor. The sikhs of Guru Tegh Bahadur can be found around the world.




Shlokas of Guru Nanak: 


ਜਉ ਤਉ ਪ੍ਰੇਮ ਖੇਲਣ ਕਾ ਚਾਉ ॥
jau tau prem khelan kaa chaau ||
If you desire to play this game of love with Me,
ਸਿਰੁ ਧਰਿ ਤਲੀ ਗਲੀ ਮੇਰੀ ਆਉ ॥
sir dhar talee galee meree aau ||
then step onto My Path with your head in hand.

ਇਤੁ ਮਾਰਗਿ ਪੈਰੁ ਧਰੀਜੈ ॥
eit maarag pair dhareejai ||
When you place your feet on this Path,
ਸਿਰੁ ਦੀਜੈ ਕਾਣਿ ਨ ਕੀਜੈ ॥੨੦॥
sir dheejai kaan na keejai ||20||
give Me your head, and do not pay any attention to public opinion. ||20||

Baani of Guru Gobind Singh: 


ਤਿਲਕ ਜੰਞੂ ਰਾਖਾ ਪ੍ਰਭ ਤਾ ਕਾ ॥
tilak ja(n)n(j)oo raakhaa prabh taa kaa ||
He protected the forehead mark (tilak) and sacred thread (of the Hindus),
ਕੀਨੋ ਬਡੋ ਕਲੂ ਮਹਿ ਸਾਕਾ ॥
keeno baddo kaloo meh saakaa ||
which marked a great event in this age of Kaljug (era of sin).

ਸਾਧਨ ਹੇਤਿ ਇਤੀ ਜਿਨਿ ਕਰੀ ॥
saadhan het itee jin karee ||
For the sake of Saints,
ਸੀਸੁ ਦੀਆ ਪਰੁ ਸੀ ਨ ਉਚਰੀ ॥੧੩॥
sees dheeaa par see na ucharee ||13||
He laid down His head without even a sign of whimper.

ਧਰਮ ਹੇਤ ਸਾਕਾ ਜਿਨਿ ਕੀਆ ॥
dharam het saakaa jin keeaa ||
For the sake of Dharma (righteousness),
ਸੀਸੁ ਦੀਆ ਪਰ ਸਿਰਰੁ ਨ ਦੀਆ ॥
sees dheeaa par sirar na dheeaa ||
He sacrificed Himself. He laid down His head, remaining uncompromising in His principles.


ਠੀਕਰ ਫੋਰਿ ਦਿਲੀਸ ਸਿਰਿ ਪ੍ਰਭ ਪੁਰਿ ਕੀਯਾ ਪਯਾਨ ॥
Theekar for dhilees sir prabh pur keeyaa payaan ||
Breaking the potsherd of his body head of the king of Delhi (Aurangzeb), He left for the abode of the Lord.

ਤੇਗ ਬਹਾਦਰ ਸੀ ਕ੍ਰਿਆ ਕਰੀ ਨ ਕਿਨਹੂੰ ਆਨ ॥੧੫॥
teg bahaadhar see kriaa karee na kinahoo(n) aan ||15||
None could perform such a feat as that of Tegh Bahadur.15.

ਤੇਗ ਬਹਾਦਰ ਕੇ ਚਲਤ ਭਯੋ ਜਗਤ ਕੋ ਸੋਕ ॥
teg bahaadhar ke chalat bhayo jagat ko sok ||
The whole world bemoaned the departure of Tegh Bahadur.

ਹੈ ਹੈ ਹੈ ਸਭ ਜਗ ਭਯੋ ਜੈ ਜੈ ਜੈ ਸੁਰ ਲੋਕ ॥੧੬॥
hai hai hai sabh jag bhayo jai jai jai sur lok ||16||
While the world lamented, the gods hailed his arrival in heavens.16.


Gurbani


ਠੀਕਰ ਫੋਰਿ ਦਿਲੀਸ ਸਿਰਿ ਪ੍ਰਭ ਪੁਰਿ ਕੀਯਾ ਪਯਾਨ ॥ 
ਤੇਗ ਬਹਾਦਰ ਸੀ ਕ੍ਰਿਆ ਕਰੀ ਨ ਕਿਨਹੂੰ ਆਨ ॥੧੫॥

ਤੇਗ ਬਹਾਦਰ ਕੇ ਚਲਤ ਭਯੋ ਜਗਤ ਕੋ ਸੋਕ ॥ 
ਹੈ ਹੈ ਹੈ ਸਭ ਜਗ ਭਯੋ ਜੈ ਜੈ ਜੈ ਸੁਰ ਲੋਕ ॥੧੬॥

ਠੀਕਰ ਫੋਰਿ ਦਿਲੀਸ ਸਿਰਿ ਪ੍ਰਭ ਪੁਰਿ ਕੀਯਾ ਪਯਾਨ ॥ 
ਤੇਗ ਬਹਾਦਰ ਸੀ ਕ੍ਰਿਆ ਕਰੀ ਨ ਕਿਨਹੂੰ ਆਨ ॥੧੫॥

ਤੇਗ ਬਹਾਦਰ ਕੇ ਚਲਤ ਭਯੋ ਜਗਤ ਕੋ ਸੋਕ ॥ 
ਹੈ ਹੈ ਹੈ ਸਭ ਜਗ ਭਯੋ ਜੈ ਜੈ ਜੈ ਸੁਰ ਲੋਕ ॥੧੬॥

ਜਉ ਤਉ ਪ੍ਰੇਮ ਖੇਲਣ ਕਾ ਚਾਉ ॥ ਸਿਰੁ ਧਰਿ ਤਲੀ ਗਲੀ ਮੇਰੀ ਆਉ ॥
ਇਤੁ ਮਾਰਗਿ ਪੈਰੁ ਧਰੀਜੈ ॥ ਸਿਰੁ ਦੀਜੈ ਕਾਣਿ ਨ ਕੀਜੈ ॥੨੦॥

ਤਿਲਕ ਜੰਞੂ ਰਾਖਾ ਪ੍ਰਭ ਤਾ ਕਾ ॥ ਕੀਨੋ ਬਡੋ ਕਲੂ ਮਹਿ ਸਾਕਾ ॥

ਸਾਧਨ ਹੇਤਿ ਇਤੀ ਜਿਨਿ ਕਰੀ ॥ ਸੀਸੁ ਦੀਆ ਪਰੁ ਸੀ ਨ ਉਚਰੀ ॥੧੩॥

ਧਰਮ ਹੇਤ ਸਾਕਾ ਜਿਨਿ ਕੀਆ ॥ ਸੀਸੁ ਦੀਆ ਪਰ ਸਿਰਰੁ ਨ ਦੀਆ ॥

ਠੀਕਰ ਫੋਰਿ ਦਿਲੀਸ ਸਿਰਿ ਪ੍ਰਭ ਪੁਰਿ ਕੀਯਾ ਪਯਾਨ ॥ 
ਤੇਗ ਬਹਾਦਰ ਸੀ ਕ੍ਰਿਆ ਕਰੀ ਨ ਕਿਨਹੂੰ ਆਨ ॥੧੫॥

ਤੇਗ ਬਹਾਦਰ ਕੇ ਚਲਤ ਭਯੋ ਜਗਤ ਕੋ ਸੋਕ ॥ 
ਹੈ ਹੈ ਹੈ ਸਭ ਜਗ ਭਯੋ ਜੈ ਜੈ ਜੈ ਸੁਰ ਲੋਕ ॥੧੬॥

My Translation

O Prabhu's he saved your tilak and Janeu
He did an amazing feat in this age of Kaljug.

For the sake of Saints,
He laid down His head without even a sign of pain.

For the sake of Dharma (righteousness),
He laid down His head, not His principles.

Breaking the potsherd head of the king of Delhi, He left for the abode of the Lord.
No one else has done what was done by Tegh Bahadur.

The whole world bemoaned the departure of Tegh Bahadur.
While the world Iamented, the gods hailed his arrival in heavens.

 Nothing Gold Can Stay

- Robert Frost

Nature’s first green is gold,
Her hardest hue to hold.
Her early leaf’s a flower;
But only so an hour.
 
Then leaf subsides to leaf.
So Eden sank to grief,
So dawn goes down to day.
Nothing gold can stay.




Analysis - Nothing Gold Can Stay

"Nature's first green is gold,"
Here, Frost is likely referring to the first buds of spring, which often have a golden hue before they mature to a deeper green. Perhaps they are gold in the light of the rising sun. Or perhaps its nature's currency! In any case, this is a metaphor for the freshness and beauty of youth or the start of something. 

"Her hardest hue to hold."
The color gold is hard for nature to "hold" or maintain, because it is fleeting and soon turns to green. This is symbolic of the fleeting nature of beauty and perfection. Things start off perfect and then change, just as the golden buds mature and change color.

"Her early leaf's a flower;"
This line furthers the image of fresh spring growth. A leaf at its earliest stage can be as beautiful as a flower, but it doesn't stay that way. This could be seen as a metaphor for innocence and the inevitable loss of it with growth and maturity.

"But only so an hour."
The beauty of the early leaf, like the gold color, doesn't last. It's there only for an hour, which is a metaphor for a short period of time. This reinforces the theme of transience.

"Then leaf subsides to leaf."
The beautiful young leaf "subsides" or changes into an ordinary leaf. Here, Frost could be suggesting that the extraordinary becomes ordinary, the exciting becomes mundane as time passes.

"So Eden sank to grief,"
This line is a biblical allusion to the Garden of Eden, a paradise that was lost due to human sin. This can be seen as a metaphor for the loss of innocence and the fall from grace or perfection.

"So dawn goes down to day."
The dawn, with its beautiful, golden light, goes down or gives way to day. The beautiful, golden dawn is fleeting, just like the gold of the early leaf. This is a metaphor for the passing of time and the inevitability of change.

"Nothing gold can stay."
The final line wraps up the poem's theme. Nothing that is "gold" or perfect, beautiful, fresh, or young can stay that way. Everything changes, and all beauty and youth fade.

Overall, the poem is a reflection on the passage of time, the fleeting nature of beauty and youth, and the inevitability of change. It suggests a certain melancholy in the face of these facts, but also an acceptance of them as a natural part of life.


Embracing Satnam: Finding Inner Peace and Resilience

In the transient tapestry of nature, we find an exquisite metaphor for the impermanence of our existence. The changing seasons, the falling leaves, and the fading flowers—all serve as a poignant reminder that nothing gold can stay. Yet, amidst this impermanence, there exists something unchanging within us, a guiding light that transcends time and space. This essence, known as Satnam, represents the unshakable core of our being—the source of eternal peace, wisdom, and love.

As we immerse ourselves in the contemplation of nature's transient beauty, we are given an opportunity to turn inward and connect with our true essence. Just as the first green of spring gives way to the vibrant hues of life, we too must recognize the impermanence of the external world. This fleeting beauty, like the changing colors of nature, calls us to turn our gaze inward and seek union with our unchanging truth. Through this deep connection with Satnam, we find a stability that remains unshaken amidst life's inevitable changes.

When we anchor ourselves in Satnam, we cultivate a sense of inner peace that transcends the ebb and flow of life. We become attuned to the rhythm of the universe and learn to embrace each moment with gratitude and acceptance. This connection to our true essence allows us to navigate life's transitions with grace and resilience, drawing strength from the unwavering truth of our being.

Furthermore, Satnam allows us to transcend the limitations of the physical world. It is a timeless and boundless presence that connects us to all of creation, fostering compassion and empathy for all beings. Through this profound connection, we develop a deep awareness of our interconnectedness with the cosmos, recognizing the universal bond that unites us with all of existence.

In the face of life's trials and uncertainties, our connection to Satnam provides us with unwavering strength and fortitude. Like the steadfast mountains that endure the test of time, our true essence imbues us with resilience and courage, enabling us to navigate adversity with grace and steadfastness. As we draw upon the unchanging truth of Satnam, we find the inner resources to overcome obstacles and face life's challenges with unwavering determination.

In concluding our meditation on Satnam, let us carry the awareness of our unchanging truth with us into the world. May we embody the timeless qualities of Satnam—peace, compassion, and resilience—in all our interactions and endeavors. Let our connection to the unchanging truth serve as a guiding light, illuminating our path with wisdom and love.

In embracing Satnam, we find a profound source of inner peace and resilience, transcending the ephemeral nature of the external world. This unchanging truth at the heart of our existence provides us with a steady anchor amidst life's ever-changing landscape. As we embrace our true essence, may we find the strength, wisdom, and compassion to navigate the journey of life with grace and fortitude.

 

Tere Gun Gaavaan in Raag Bilawal


Gurpreet Bhaji was visiting me from Sacramento and called me.  We had no plans so I just sang this shabad because it was on my mind. Its my second recording of it; the first was part of an album released as a celebration of Guru Nanak's 550th Gurpurab. 

The melody is inspired by Bhai Samund Singh's composition. However, I have made many changes to it.  

Alternate Translation: 

ਰਾਗੁ ਬਿਲਾਵਲੁ ਮਹਲਾ ੧ ਚਉਪਦੇ ਘਰੁ ੧ ॥
raag bilaaval mahalaa pehilaa chaupadhe ghar pehilaa ||
Raag Bilaaval, First Mehla, Chau-Padhay, First House:

ਤੂ ਸੁਲਤਾਨੁ ਕਹਾ ਹਉ ਮੀਆ ਤੇਰੀ ਕਵਨ ਵਡਾਈ ॥
too sulataan kahaa hau meeaa teree kavan vaddaiee ||
You are the Emperor, and I call You a chief - how does this add to Your greatness?

ਜੋ ਤੂ ਦੇਹਿ ਸੁ ਕਹਾ ਸੁਆਮੀ ਮੈ ਮੂਰਖ ਕਹਣੁ ਨ ਜਾਈ ॥੧॥
jo too dheh su kahaa suaamee mai moorakh kahan na jaiee ||1||
As You permit me, I praise You, O Lord and Master; I am ignorant, and I cannot chant Your Praises. ||1||

ਤੇਰੇ ਗੁਣ ਗਾਵਾ ਦੇਹਿ ਬੁਝਾਈ ॥
tere gun gaavaa dheh bujhaiee ||
Please bless me with such understanding, that I may sing Your Glorious Praises.

ਜੈਸੇ ਸਚ ਮਹਿ ਰਹਉ ਰਜਾਈ ॥੧॥ ਰਹਾਉ ॥
jaise sach meh rahau rajaiee ||1|| rahaau ||
May I dwell in Truth, according to Your Will. ||1||Pause||

ਜੋ ਕਿਛੁ ਹੋਆ ਸਭੁ ਕਿਛੁ ਤੁਝ ਤੇ ਤੇਰੀ ਸਭ ਅਸਨਾਈ ॥
jo kichh hoaa sabh kichh tujh te teree sabh asanaiee ||
Whatever has happened, has all come from You. You are All-knowing.

ਤੇਰਾ ਅੰਤੁ ਨ ਜਾਣਾ ਮੇਰੇ ਸਾਹਿਬ ਮੈ ਅੰਧੁਲੇ ਕਿਆ ਚਤੁਰਾਈ ॥੨॥
teraa a(n)t na jaanaa mere saahib mai a(n)dhule kiaa chaturaiee ||2||
Your limits cannot be known, O my Lord and Master; I am blind - what wisdom do I have? ||2||

ਕਿਆ ਹਉ ਕਥੀ ਕਥੇ ਕਥਿ ਦੇਖਾ ਮੈ ਅਕਥੁ ਨ ਕਥਨਾ ਜਾਈ ॥
kiaa hau kathee kathe kath dhekhaa mai akath na kathanaa jaiee ||
What should I say? While talking, I talk of seeing, but I cannot describe the indescribable.

ਜੋ ਤੁਧੁ ਭਾਵੈ ਸੋਈ ਆਖਾ ਤਿਲੁ ਤੇਰੀ ਵਡਿਆਈ ॥੩॥
jo tudh bhaavai soiee aakhaa til teree vaddiaaiee ||3||
As it pleases Your Will, I speak; it is just the tiniest bit of Your greatness. ||3||

ਏਤੇ ਕੂਕਰ ਹਉ ਬੇਗਾਨਾ ਭਉਕਾ ਇਸੁ ਤਨ ਤਾਈ ॥
ete kookar hau begaanaa bhaukaa is tan taiee ||
Among so many dogs, I am an outcast; I bark for my body's belly.

ਭਗਤਿ ਹੀਣੁ ਨਾਨਕੁ ਜੇ ਹੋਇਗਾ ਤਾ ਖਸਮੈ ਨਾਉ ਨ ਜਾਈ ॥੪॥੧॥
bhagat heen naanak je hoigaa taa khasamai naau na jaiee ||4||1||
Without devotional worship, O Nanak, even so, still, my Master's Name does not leave me. ||4||1||

Pondering upon some of Guru Nanak's words: Bujhai, Asnaai, Jaayi:


1 Hour Meditation on this shabad




Gurpreet was visiting me from Sacramento and called me.  We had no plans so I just sang this shabad because it was on my mind. Its my second recording of it; the first was part of an album released as a celebration of Guru Nanak's 550th Gurpurab. 

The melody is inspired by Bhai Samund Singh's composition. However, I have made many changes to it.  

Alternate Translation: 

ਰਾਗੁ ਬਿਲਾਵਲੁ ਮਹਲਾ ੧ ਚਉਪਦੇ ਘਰੁ ੧ ॥
raag bilaaval mahalaa pehilaa chaupadhe ghar pehilaa ||
Raag Bilaaval, First Mehla, Chau-Padhay, First House:

ਤੂ ਸੁਲਤਾਨੁ ਕਹਾ ਹਉ ਮੀਆ ਤੇਰੀ ਕਵਨ ਵਡਾਈ ॥
too sulataan kahaa hau meeaa teree kavan vaddaiee ||
You are the Emperor, and I call You a chief - how does this add to Your greatness?

ਜੋ ਤੂ ਦੇਹਿ ਸੁ ਕਹਾ ਸੁਆਮੀ ਮੈ ਮੂਰਖ ਕਹਣੁ ਨ ਜਾਈ ॥੧॥
jo too dheh su kahaa suaamee mai moorakh kahan na jaiee ||1||
As You permit me, I praise You, O Lord and Master; I am ignorant, and I cannot chant Your Praises. ||1||

ਤੇਰੇ ਗੁਣ ਗਾਵਾ ਦੇਹਿ ਬੁਝਾਈ ॥
tere gun gaavaa dheh bujhaiee ||
Please bless me with such understanding, that I may sing Your Glorious Praises.

ਜੈਸੇ ਸਚ ਮਹਿ ਰਹਉ ਰਜਾਈ ॥੧॥ ਰਹਾਉ ॥
jaise sach meh rahau rajaiee ||1|| rahaau ||
May I dwell in Truth, according to Your Will. ||1||Pause||

ਜੋ ਕਿਛੁ ਹੋਆ ਸਭੁ ਕਿਛੁ ਤੁਝ ਤੇ ਤੇਰੀ ਸਭ ਅਸਨਾਈ ॥
jo kichh hoaa sabh kichh tujh te teree sabh asanaiee ||
Whatever has happened, has all come from You. You are All-knowing.

ਤੇਰਾ ਅੰਤੁ ਨ ਜਾਣਾ ਮੇਰੇ ਸਾਹਿਬ ਮੈ ਅੰਧੁਲੇ ਕਿਆ ਚਤੁਰਾਈ ॥੨॥
teraa a(n)t na jaanaa mere saahib mai a(n)dhule kiaa chaturaiee ||2||
Your limits cannot be known, O my Lord and Master; I am blind - what wisdom do I have? ||2||

ਕਿਆ ਹਉ ਕਥੀ ਕਥੇ ਕਥਿ ਦੇਖਾ ਮੈ ਅਕਥੁ ਨ ਕਥਨਾ ਜਾਈ ॥
kiaa hau kathee kathe kath dhekhaa mai akath na kathanaa jaiee ||
What should I say? While talking, I talk of seeing, but I cannot describe the indescribable.

ਜੋ ਤੁਧੁ ਭਾਵੈ ਸੋਈ ਆਖਾ ਤਿਲੁ ਤੇਰੀ ਵਡਿਆਈ ॥੩॥
jo tudh bhaavai soiee aakhaa til teree vaddiaaiee ||3||
As it pleases Your Will, I speak; it is just the tiniest bit of Your greatness. ||3||

ਏਤੇ ਕੂਕਰ ਹਉ ਬੇਗਾਨਾ ਭਉਕਾ ਇਸੁ ਤਨ ਤਾਈ ॥
ete kookar hau begaanaa bhaukaa is tan taiee ||
Among so many dogs, I am an outcast; I bark for my body's belly.

ਭਗਤਿ ਹੀਣੁ ਨਾਨਕੁ ਜੇ ਹੋਇਗਾ ਤਾ ਖਸਮੈ ਨਾਉ ਨ ਜਾਈ ॥੪॥੧॥
bhagat heen naanak je hoigaa taa khasamai naau na jaiee ||4||1||
Without devotional worship, O Nanak, even so, still, my Master's Name does not leave me. ||4||1||




It is unusual for ghazals to have a central idea, because generally the individual couplets are independent. However, this Mirza Ghalib (like a few others of his), has a central idea.  The central theme of this poem is the transformative power of love and longing. 

The ghazal explores the tension between the ephemeral and the eternal, the tangible and the intangible. The poet uses powerful metaphors to depict the experience of unrequited love and the profound impact it has on the individual. The journey from sigh to longing, from a drop to a pearl, from acknowledgement to becoming ash, all underscore the transformative nature of deep affection and longing. The poet also uses the symbol of "glance" to highlight the powerful impact of love on the lover, capable of both giving life and causing death. The inevitability of life's suffering and the transient nature of existence are also explored, with death positioned as the ultimate release from this cycle. 

The poem beautifully weaves the themes of love, longing, transformation, and mortality into a poignant exploration of human existence.

Aah Ko Chaahiye - Ghazal by Mirza Ghalib


aah ko chaahiye ik umr asar hone tak
kaun jiitaa hai tirii zulf ke sar hone tak

daam-e har mauj mein hai halqah-e sad kaam-e nihang
dekhein kyaa guzre hai qatre pah guhar hone tak

aashiqii sabr-talab aur tamannaa betaab
dil kaa kyaa rang karuun khun-e jigar hone tak

ham ne maanaa kih tagaaful na karoge lekin
khaak ho jaaeinge ham tum ko khabar hone tak

partav-e khur se hai shabnam ko fanaa ki taaliim
main bhii huun ek inaayat kii nazar hone tak

yak nazar besh nahiin fursat-e hastii gaafil
garmii-e bazm hai ik raqs-e sharar hone tak

gam-e hastii kaa asad kis se ho juz marg ilaaj
shamma har rang mein jaltii hai sahar hone tak 

Translation of Aah Ko Chahiye


A sigh might take a lifetime to reveal its effects,
Until then, who will wait to see you untangle your locks?

A hundred dragon mouths weave waves into a net from a single ocean,
Oh, what an endeavor it is for a drop, until it morphs into a pearl.

Love demands patience, but lust knows only restlessness,
Until my heart bleeds to death, what color should it bear?

I know you won't overlook me, yet,
Until you acknowledge me, I would have transformed into ash.

Each bead of dew knows it can evaporate with the sun's rays,
Similarly, I will endure, until you bestow upon me your glance.

Your glances hold the power to cease my life,
As dancing sparks end a jovial gathering, not until the final dance.

Life is an abyss of suffering, Asad, death can provide the cure,
The candle burns in varied hues, not extinguished until the morning's arrival.
The awakening of the soul bride

In the embrace of night, adorned with dewdrops,
and in the tender arms of day's delight,
her love shines through the soul window  
and stirs the slumbering soul-bride.

The young bride awakens from love's light
she finds herself imbued with the essence truth.
She is fortunate to have her lovers' love. 
She foresakes the veils of falsehood and deceit,
she casts away the allure of dualistic love,
and relinquishes slavery of others. 

She wears the necklace of truth
around her neck.  With palms pressed together, 
she asks for the precious gift of the True Name:

"I am blessed with what you please. 
Now my day is beautiful and my night is auspicious" 




#singingwithnanak
A live Diwali celebration:





Guru Gobind Singh's Savaiyya:

Jagat Jot japai nis basur
ek bina man naik n anai.

Puran prem pratit sajai,
bart, gor, marhi, matt bhul n manai.

Tirath dan daya tap sanjam,
ek bina neh ek pachhanai.

Puran jot jagai ghat main,
tab khalas tahey nkhalas janai.

Word Meanings: 

Jagat Jot(i)-awakened and effulgent; 
Nis Basur-night and day; 
Ek bina - without Ek Omkar 
Naik-not even one.
Sajai-adorn; 
Brat-fasting; 
Gor-grave; 
Marhi-a memorial built at the site of cremation; 
Matt-math; 
Tirath-places of pilgrimage; 
Daya-on the name of kindness but is not even remotely connected with kindness, a ritual done in the name of non-violence; 
Tap-putting body through strenuous ordeals for attainment of salvation (remaining hungry, sitting with fire surrounding all around, standing in cold water for hours etc.); 
Sanjam-restraint, continence; 
Puran jot(i)-light effulgence of Lords knowledge; 
Jagai-awakened spiritually; 
Ghat mai(n)-in the mind; 
Nkhalas-absolutely pure; second meaning is "not pure"

Two More Interpretations -


Awakening Lamp 


Let nothing enter your mind except oneness
Day & night, rekindle this awakening lamp

You don’t need fasts, shrines, and temples
Adorn the wisdom of real love

Pilgrimage, charity, kindness, meditation, equanimity
None of these have any credence without oneness

If you want to see clearly
Light the authentic lamp within 


Truest Lamp


Let your mind be a vessel for oneness alone,
Both day and night, nurture this awakening lamp.

Fasts, shrines, temples, they're not your path,
Adorn yourself with the wisdom of genuine love.

Pilgrimages, charity, meditation, kindness, equanimity
are all empty without the essence of oneness 

To live in utmost purity, perceive with absolute clarity
Ignite this truest lamp, and let it shine brightly.

We will continue our meditation on the light. Today we will continue to discuss the light of Guru Ramdas. I did not answer one of the questions in our last meditation session. And that was this: Why do we celebrate Guru Ramdas' Prakash Gurpurab with the shabad "Baitha Sodhi Paatshah" when Gurbani is against casteism.  I have had the chance to think about this now and I will share my thoughts.  Feel free to write comments in my blog if you want to share your opinion. 


These words are taken from Bhai Gurdas' the 47th pauri of his first vaar. For folks who are interested in the context and doing more research, find it on SikhiToTheMax. From Pauris 23-48 Vaar 1 of Bhai Gurdas has the history of the first six Gurus.  So we have to see the context of these writings. Bhai Gurdas is highly respected, so much so that, besides the Gurus only Bhai Gurdas' and Bhai Nandlal's bani can be recited in the Harmandir Sahib.  If Bhai Gurdas' writings are held in such high esteem, why is there such an emphasis on "Sodhi Paatshaah" in describing Guru Ramdas, when Gurbani is against casteism? 

Again, please feel free to write comments in my blog if you want to share your opinion. I will read these before our meditation this evening. 

ਪਉੜੀ ੪੭ : ਗੁਰੂ ਰਾਮਦਾਸ ਤੇ ਗੁਰੂ ਅਰਜਨ ਦੇਵ
pauRee 47 : guroo raamadhaas te guroo arajan dhev
Guru Ram Das and Guru Arjan Dev

ਦਿਚੈ ਪੂਰਬਿ ਦੇਵਣਾ ਜਿਸ ਦੀ ਵਸਤੁ ਤਿਸੈ ਘਰਿ ਆਵੈ।
dhichai poorab dhevanaa jis dhee vasat tisai ghar aavai|
Liabilities of the previous births have to be settled and the thing goes to the house it belongs to.

ਬੈਠਾ ਸੋਢੀ ਪਾਤਿਸਾਹੁ ਰਾਮਦਾਸੁ ਸਤਿਗੁਰੂ ਕਹਾਵੈ।
baiThaa soddee paatisaahu raamadhaas satiguroo kahaavai|
Now Guru Ram Das, a Sodhi emperor, seated on the Guru-seat is called the true Guru.

ਪੂਰਨੁ ਤਾਲੁ ਖਟਾਇਆ ਅੰਮ੍ਰਿਤਸਰਿ ਵਿਚਿ ਜੋਤਿ ਜਗਾਵੈ।
pooran taal khaTaiaa a(n)mritasar vich jot jagaavai|
He got dug the complete holy tank and here settling down at Amritsar, he spread his light.

ਉਲਟਾ ਖੇਲੁ ਖਸੰਮ ਦਾ ਉਲਟੀ ਗੰਗ ਸਮੁੰਦ੍ਰਿ ਸਮਾਵੈ।
aulaTaa khel khasa(n)m dhaa ulaTee ga(n)g samu(n)dhr samaavai|
Wondrous is the play of the Lord. He can cause the Ganges to run in the opposite direction and to merge in the ocean.

ਦਿਤਾ ਲਈਯੇ ਆਪਣਾ ਅਣਿਦਿਤਾ ਕਛੁ ਹਥਿ ਨ ਆਵੈ।
dhitaa lieeye aapanaa anidhitaa kachh hath na aavai|
You get your own; given nothing cannot bring to you anything.

ਫਿਰਿ ਆਈ ਘਰਿ ਅਰਜਣੇ ਪੁਤੁ ਸੰਸਾਰੀ ਗੁਰੂ ਕਹਾਵੈ।
fir aaiee ghar arajane put sa(n)saaree guroo kahaavai|
Now the Guruship entered the house of Arjan (Dev) who, to say was the son, but, he proved through his good deeds to be worthy of the Guru-seat.

ਜਾਣਿ ਨ ਦੇਸਾਂ ਸੋਢੀਓਂ ਹੋਰਸਿ ਅਜਰੁ ਨ ਜਰਿਆ ਜਾਵੈ।
jaan na dhesaa(n) soddeeo(n) horas ajar na jariaa jaavai|
This Guruship would not go beyond Sodhis because none else can bear with this unbearable.

ਘਰ ਹੀ ਕੀ ਵਥੁ ਘਰੇ ਰਹਾਵੈ ॥੪੭॥
ghar hee kee vath ghare rahaavai ||47||
The thing of the House should remain in the House.
Reading and Meditating upon Allama Iqbal's poem, Aqal-o-Dil (Mind And Heart). This reminds me of Kabir's words: Meera Daana Dil Soch. And Also Emily Dickinson's poem on the same topic, The Mind lives on the Heart


Aqal Ne Aik Din Ye Dil Se Kaha
Bhoole Bhatke Ki Rahnuma Hun Main

One day reason said to the heart:
‘I am a guide for those who are lost.


Hun Zameen Par, Guzr Falak Pe Mera
Dekh To Kis Qadar Rasa Hun Main

I live on earth, but I roam the skies—
just see the vastness of my reach.


Kaam Dunya Mein Rahbari Hai Mera
Misl-e-Khizr-e-Khajasta Pa Hun Main

My task in the world is to guide and lead,
I am like Khizr of blessed steps.


Hun Mufassir-e-Kitab-e-Hasti Ki
Mazhar-e-Shan-e-Kibriya Hun Main

I interpret the book of life,
And through me Divine Glory shines forth.


Boond Ek Khoon Ki Hai Tu Lekin
Ghairat-e-Laal-e-Be Baha Hun Main

You are no more than a drop of blood,
While I am the envy of the priceless pearl!


Dil Ne Sun Kar Kaha Ye Sub Sach Hai
Par Mujhe Bhi To Dekh, Kya Hun Main

The heart listened, and then said: ‘This is all true,
But now look at me, And see what I am.


Raaz-e-Hasti Ko Ti Samajhti Hai
Aur Ankhon Se Dekhta Hun Main!

You penetrate the secret of existence,
But 1 see it with my eyes.


Hai Tujhe Wasta Mazahir Se
Aur Batin Se Ashna Hun Main

You deal With the outward aspect of things,
I know what lies within.


Ilm Tujh Se To Maarifat Mujh Se
Tu Khuda Joo, Khuda Numa Hun Main

Knowledge comes from you, gnosis from me;
You seek God, I reveal Him.


Ilm Ki Intiha Hai Betaabi
Iss Marz Ki Magar Dawa Hun Main

Attaining the ultimate in knowledge only makes one restless—
I am the cure for that malady.


Shama Tu Mehfil-e-Sadaqat Ki
Husn Ki Bazm Ka Diya Hun Main

You are the candle of the Assembly of Truth;
1 am the lamp of the Assembly of Beauty.


Tu Zaman-o-Makan Se Rishta Bapa
Taeer-e-Sidra Se Ashna Hun Main

You are hobbled by space and time,
While I am the bird in the Lotus Tree.


Kis Bulandi Pe Hai Maqam Mera
Arsh Rab-e-Jaleel Ka Hun Main!

My status is so high—
I am the throne of the God of Majesty!


This beautiful poem by Allama Iqbal, a renowned philosopher, poet, and scholar, captures a profound conversation between reason (Aqal) and the heart (Dil). It explores the distinct roles and perspectives of these two faculties in understanding the world, spirituality, and God. Here's a commentary on the poem:

Reason as the Guide : Reason is presented as the guide for those who are lost in the complexities of life. It's the rational and analytical part of human consciousness that seeks to provide direction and understanding.

Heart's Vast Perspective : The heart, in contrast, claims to possess a broader perspective. While reason lives on earth, the heart is not confined by such boundaries, symbolizing its emotional and spiritual depth.

Metaphorical Reference to Khizr : The mention of Khizr, a revered and mysterious figure in Islamic tradition, emphasizes the heart's connection to mysticism and spirituality, suggesting that the heart has insights beyond the rational.

Interpreting the Book of Life : Reason claims to interpret the book of existence, while the heart represents divine glory. This implies that both reason and emotion have their unique roles in understanding life and spirituality.

Value of the Heart's Perspective : The heart counters reason's assertions, highlighting its significance by comparing itself to a priceless pearl and stating that it can see existence through its own eyes.

Heart's Understanding : The heart claims to understand the secrets of existence and focuses on the inner aspects of things, suggesting that it holds a profound understanding of the metaphysical.

Quest for Gnosis and God : Reason seeks knowledge, while the heart is associated with gnosis (knowledge of the divine). The heart claims to reveal God, implying a spiritual connection beyond intellectual comprehension.

Restlessness in Knowledge : The heart acknowledges that attaining the ultimate knowledge can lead to restlessness, and it positions itself as a cure for this restlessness, suggesting that it brings a sense of spiritual peace.

Metaphorical Imagery : The poem uses rich metaphors, such as the heart being the lamp of beauty and the bird in the Lotus Tree, to illustrate the heart's connection to aesthetics and the divine.

Elevated Status of the Heart : The poem concludes by elevating the heart's status to a higher level, suggesting that it is the throne of the divine. This emphasizes the importance of spirituality and intuition in understanding God.

Overall, Iqbal's poem beautifully contrasts reason and the heart, highlighting their distinct but complementary roles in human understanding and spirituality. It encourages the reader to reflect on the interplay between intellect and intuition in their own life's journey.





What is the Sarovar of Guru Ramdas?


"What is the 'Sarovar of Guru Ramdas'? Is it the holy pool around the Harmandir Sahib?" someone once asked me. I paused, realizing that the Sarovar of Ramdas is more than just the physical embodiment of water surrounding the magnificent Harmandir Sahib. To truly understand the essence of this Sarovar, we must delve into the life and teachings of Guru Ramdas, the fourth Guru of Sikhism.

Guru Ramdas, initially named Jetha, was the eldest son of his parents, who, unfortunately, passed away when he was merely seven years old. This early loss led to a life of abject poverty for young Jetha. He was taken in by his grandmother, who would prepare black beans for him to sell and help support the family. However, even in those trying circumstances, Jetha's heart was incredibly generous. He would often encounter poor or saintly individuals who were hungry, and without hesitation, he would share his beans with them, refusing any payment. This act of selflessness, performed by the young Jetha, foreshadowed the remarkable role he would play in the construction of the Harmandir Sahib, a sacred place that feeds countless people every year, embodying the spirit of compassion and community.

The Sarovar of Guru Ramdas encompasses not only his life experiences but also the profound impact of his spiritual teachings. His Baani, or spiritual poetry, is a significant element of this Sarovar. In his verses, Guru Ramdas expressed the deep yearning to unite with the Divine, exemplified in lines like "Koi Aan Milavai Mera Preetam Pyaara" (May someone unite me with my beloved). The love and devotion he conveyed in his poetry form a vital part of the Sarovar, a wellspring of inspiration for Sikhs and seekers of spiritual truth.

A remarkable incident involving Guru Ramdas and Baba Srichand, the eldest son of Guru Nanak and the founder of the Udasi sect, provides further insight into Guru Ramdas's character. When Baba Srichand, with curiosity, asked Guru Ramdas about the reason behind his long flowing beard, Guru Ramdas responded with humility, "To wipe the dust from the holy feet of the saints like you." This response left Baba Srichand deeply moved, acknowledging the Guru's sweet humility as a source of greatness. The interaction between these two spiritual leaders underscores the essence of the Sarovar of Guru Ramdas – a deep sense of humility and respect for all, regardless of their spiritual or social standing.

In essence, the Sarovar of Ramdas is not confined to the waters surrounding the Harmandir Sahib but extends far beyond. It is a spiritual reservoir that encompasses the compassionate heart of a young Jetha, the poetic verses of a devoted Guru, and the profound humility that characterized his interactions. The Sarovar of Guru Ramdas serves as a reminder of the values and principles that underpin the Sikh faith, inspiring generations to embrace compassion, humility, and devotion as they journey towards spiritual enlightenment.

I have worked on this shabad off and on for 6 years. Thanks to music contributions by Bhai Gopal Singh ji, Rajhesh Vaidhya (Veena), Janapriyan Levine (Guitar) and Suellen Primost (cello).  

This sacred hymn serves as a heartfelt homage to Guru Ramdas by his devoted disciple and the fifth guru, Guru Arjan Dev. It is meant to be sung and contemplated with the profound love of a disciple, with a special focus on the disciple's affection for the divine wisdom imparted by the Guru.

Lyrics and Alternative Translation

ਰਾਮਦਾਸ ਸਰੋਵਰਿ ਨਾਤੇ ॥
रामदास सरोवरि नाते ॥
Rāmḏās sarovar nāṯe.
Bathing in the nectar tank of Ram Das,

ਸਭਿ ਉਤਰੇ ਪਾਪ ਕਮਾਤੇ ॥
सभि उतरे पाप कमाते ॥
Sabẖ uṯre pāp kamāṯe.
all sins are erased.

ਨਿਰਮਲ ਹੋਏ ਕਰਿ ਇਸਨਾਨਾ ॥
निरमल होए करि इसनाना ॥
Nirmal hoe kar isnānā.
One becomes immaculately pure, taking this cleansing bath.

ਗੁਰਿ ਪੂਰੈ ਕੀਨੇ ਦਾਨਾ ॥੧॥
गुरि पूरै कीने दाना ॥१॥
Gur pūrai kīne ḏānā. ||1||
The Perfect Guru has bestowed this gift. ||1||

ਸਭਿ ਕੁਸਲ ਖੇਮ ਪ੍ਰਭਿ ਧਾਰੇ ॥
सभि कुसल खेम प्रभि धारे ॥
Sabẖ kusal kẖem parabẖ ḏẖāre.
God has blessed all with peace and pleasure.

ਸਹੀ ਸਲਾਮਤਿ ਸਭਿ ਥੋਕ ਉਬਾਰੇ ਗੁਰ ਕਾ ਸਬਦੁ ਵੀਚਾਰੇ ॥ ਰਹਾਉ ॥
सही सलामति सभि थोक उबारे गुर का सबदु वीचारे ॥ रहाउ ॥
Sahī salāmaṯ sabẖ thok ubāre gur kā sabaḏ vīcẖāre. Rahāo.
Everything is safe and sound, as we contemplate the Word of the Guru's Shabad. ||Pause||

ਸਾਧਸੰਗਿ ਮਲੁ ਲਾਥੀ ॥
साधसंगि मलु लाथी ॥
Sāḏẖsang mal lāthī.
In the Saadh Sangat, the Company of the Holy, filth is washed off.

ਪਾਰਬ੍ਰਹਮੁ ਭਇਓ ਸਾਥੀ ॥
पारब्रहमु भइओ साथी ॥
Pārbarahm bẖaio sāthī.
The Supreme Lord God has become our friend and helper.

ਨਾਨਕ ਨਾਮੁ ਧਿਆਇਆ ॥
नानक नामु धिआइआ ॥
Nānak nām ḏẖiāiā.
Nanak meditates on the Naam, the Name of the Lord.

ਆਦਿ ਪੁਰਖ ਪ੍ਰਭੁ ਪਾਇਆ ॥੨॥੧॥੬੫॥
आदि पुरख प्रभु पाइआ ॥२॥१॥६५॥
Āḏ purakẖ parabẖ pāiā. ||2||1||65||
He has found God, the Primal Being. ||2||1||65|| 

Today I started the day watching this beautiful video describing ee cumming's shortest poem. Loneliness, in essence, is but a fleeting departure from oneness. It's a poetic analogy: akin to the way a leaf descends, parting from its larger entity, the tree, only to merge with the earth – a greater whole. The solitude experienced by the leaf during its descent is merely a momentary pause in its intrinsic oneness.
 
ee cummings' shortest poem

l(a

le
af
fa

ll

s)
one
l

iness

—ee cummings

More on "l(a"


"l(a" is a remarkable and innovative poem written by E. E. Cummings, a celebrated American poet known for his unconventional and experimental approach to poetry. This poem serves as the opening piece in his 1958 collection titled "95 Poems." "l(a" is a prime example of Cummings' unique style and his ability to blend form and content in a way that captivates readers.

The most striking aspect of "l(a" is its visual structure. The poem is presented in a vertical format, with groups of one to five letters stacked one on top of the other. However, when the text is read horizontally, it unveils two different interpretations. The first reading reveals "l(a leaf falls)oneliness," where the word "loneliness" is interrupted by the insertion of the phrase "a leaf falls" between its initial letters "l" and "o." The second reading presents "l(a le af fa ll s) one l iness," with "one l iness" formed by the insertion of "le af fa ll s" between "a l" and "oneliness."

Cummings' biographer, Richard S. Kennedy, has aptly described "l(a" as "the most delicately beautiful literary construct that Cummings ever created." This poem showcases Cummings' mastery of language and his ability to convey profound ideas through minimalist and visually striking means.

The central theme of "l(a" revolves around loneliness, a topic that is symbolically represented by a single falling leaf. In the realm of literature and symbolism, a solitary falling leaf is often associated with solitude and isolation. Cummings cleverly employs the structural fragmentation of the poem's words to visually emphasize the theme of separation, which is the root cause of loneliness. The fragmented word "loneliness" itself becomes a potent symbol, as it highlights the presence of "one" within it, suggesting that even in isolation, there is an inherent oneness or unity.

The isolated letter "l" in the poem can initially be mistaken for the numeral one, creating the effect that the leaf remains one, or "oneliness," whole within itself, even after being detached from the tree. This play on words and visual elements adds depth and complexity to the poem's exploration of loneliness and individuality.

"l(a" is a prime example of Cummings' ability to merge form and content to convey profound emotions and ideas. It reminds readers of other works by Cummings that experiment with typography and structure, such as "i carry your heart with me(i carry it in," and "Buffalo Bill's defunct." These poems, like "l(a," challenge conventional notions of poetry and invite readers to explore the interplay between language and meaning in innovative ways.

From Isolation to Unity - Tuhi Tuhi



E. E. Cummings' poem "l(a" beautifully echoes the theme of seeking oneness through acceptance of separation, akin to profound meditation on "tuhi tuhi" or "you only." Both these poems invite readers to contemplate the journey from isolation to unity. Cummings' poem uses the falling leaf as a metaphor for loneliness and its eventual integration with a larger whole, illustrating the transient nature of solitude. Similarly, the meditation on "tuhi tuhi" emphasizes the singular focus on the Divine, where the seeker strives to dissolve their individual identity and merge completely with the divine essence, achieving a state of spiritual oneness. In both cases, these texts encourage individuals to embrace separation and isolation as steps towards a deeper, more profound connection with the larger, interconnected universe.

Kabir says, When one give up "I", one become you. The letting go is like the fall of the leaf.  This is how Kabir becomes one. Tu Tu Karta Tu Hua

Saying you you, I became you
Now everywhere I look, I see you




Our friends might leave us. Our families might leave us. But you stay!  Raghunath's support is unending. The leaf falls but finds support in the earth.  This is the support of being one. Tek Ek Raghunath.  The one support is Raghunath. The support of Raghunath is oneness. 

My associates and companions have all deserted me; no one remains with me.
Says Nanak, in this tragedy, the Lord alone is my Support. ||55||



The only loneliness in the world is separation from you. When Guru Gobind Singh is utterly isolated in the jungles of Machhiwara he sings not about the separation from his worldly family, not about losing all his worldly possessions, he writes an ode about missing "you", who he calls "the loving friend", mittar pyare nu: 






Guru Arjan's Music in Silence

This beautiful poem by Guru Arjan highlights the spiritual journey and the transcendent experiences of those who have delved deep into their inner selves. The "Glory of God" is equated with the "Sound-current of the Naad," which represents the divine resonance that underlies all creation. The poem suggests that this celestial music can be heard in the silence of meditation and contemplation. As the silent sages and humble beings come together in the "Realm of the Saints," they tap into this divine harmony. Through practices like meditation, faith, and chanting, they become attuned to the inner "Naam," the Name of the Lord, which is associated with a profound inner sound. This inner music not only leads to the dissolution of sins but also represents a form of spiritual enlightenment. Ultimately, it culminates in the merging of the individual soul into the divine Light, where all pain and suffering cease, and only the eternal music of silence remains.


Gun Naad Dhun Anand Bed - Bhai Avtar Singh

Melodic Stream of the Naad

The Glory of God resonates in the melodic stream of the Naad,
Celestial music of boundless bliss, Vedas' wisdom, forever clad.
In speech and silence, sages and humble souls unite,
In the Realm of Saints, a realm so pure and bright.

Spiritual wisdom, meditation, faith, and acts of grace,
Their minds imbibe the Naam's sweet, divine embrace.
Chanting it, sins are shattered, they find their release,
This is the Yoga's art, devotion's path, inner peace.

Intuitive knowing of the Shabad's eternal song,
Certain knowledge of Reality, steady and strong.
Chanting, meditating, in unbroken contemplation,
O Nanak, in the Light, find eternal liberation.


Notes on Gun Naad Dhun Anand Bed Composition in Raag Kalyan


July 15, 2021

I have recorded this several dozen times in the past month and meditated upon the shabad. Now singing and recording this in Bb. Added cello (Suellen Primost) and sax (Jeremy Marais) to it; but perhaps not satisfied with those recordings.  I've played a sampled cello myself; perhaps mix it with piano is my current thought.  Some synths have been added for rhythm and ambience. I am starting to hear the majesty of the Naad. Also named "Dhun Anand" project based on this.  Started using "Mil Sant Mandali" as meditation element.  

June 18, 2021

New Composition
21093 - Gun Naad
Raag Kalyaan
C - 60bpm - 6/8 (36 matras)



Lyrics and Translation: Gun Naad Dhun Anand Bed

ਕਲਿਆਨ ਮਹਲਾ ੫ ॥
कलिआन महला ५ ॥
Kaliān mėhlā 5.
Kalyaan, Fifth Mehl:

ਗੁਨ ਨਾਦ ਧੁਨਿ ਅਨੰਦ ਬੇਦ ॥
गुन नाद धुनि अनंद बेद ॥
Gun nāḏ ḏẖun anand beḏ.
The Glory of God is the Sound-current of the Naad, the Celestial Music of Bliss, and the Wisdom of the Vedas.

ਕਥਤ ਸੁਨਤ ਮੁਨਿ ਜਨਾ ਮਿਲਿ ਸੰਤ ਮੰਡਲੀ ॥੧॥ ਰਹਾਉ ॥
कथत सुनत मुनि जना मिलि संत मंडली ॥१॥ रहाउ ॥
Kathaṯ sunaṯ mun janā mil sanṯ mandlī. ||1|| rahāo.
Speaking and listening, the silent sages and humble beings join together, in the Realm of the Saints. ||1||Pause||

ਗਿਆਨ ਧਿਆਨ ਮਾਨ ਦਾਨ ਮਨ ਰਸਿਕ ਰਸਨ ਨਾਮੁ ਜਪਤ ਤਹ ਪਾਪ ਖੰਡਲੀ ॥੧॥
गिआन धिआन मान दान मन रसिक रसन नामु जपत तह पाप खंडली ॥१॥
Giān ḏẖiān mān ḏān man rasik rasan nām japaṯ ṯah pāp kẖandlī. ||1||
Spiritual wisdom, meditation, faith and charity are there; their minds savor the Taste of the Naam, the Name of the Lord. Chanting it, sins are destroyed. ||1||

ਜੋਗ ਜੁਗਤਿ ਗਿਆਨ ਭੁਗਤਿ ਸੁਰਤਿ ਸਬਦ ਤਤ ਬੇਤੇ ਜਪੁ ਤਪੁ ਅਖੰਡਲੀ ॥
जोग जुगति गिआन भुगति सुरति सबद तत बेते जपु तपु अखंडली ॥
Jog jugaṯ giān bẖugaṯ suraṯ sabaḏ ṯaṯ beṯe jap ṯap akẖandlī.
This is the technology of Yoga, spiritual wisdom, devotion, intuitive knowledge of the Shabad, certain knowledge of the Essence of Reality, chanting and unbroken intensive meditation.

ਓਤਿ ਪੋਤਿ ਮਿਲਿ ਜੋਤਿ ਨਾਨਕ ਕਛੂ ਦੁਖੁ ਨ ਡੰਡਲੀ ॥੨॥੨॥੫॥
ओति पोति मिलि जोति नानक कछू दुखु न डंडली ॥२॥२॥५॥
Oṯ poṯ mil joṯ Nānak kacẖẖū ḏukẖ na dandlī. ||2||2||5||
Through and through, O Nanak, merging into the Light, you shall never again suffer pain and punishment. ||2||2||5||
Joy Harjo's poem called "Remember" is a thoughtful and calming poem. It tells us to think about and connect with different parts of life and nature. This poem talks about how everything in the world is connected, like how we are connected to our families and the Earth. It reminds us to be kind to ourselves, our loved ones, everyone on Earth, and the future generations. This poem is like Guru Nanak's Pavan Guru, which says that we're only here for a short time, and those who remember who we truly are will be happy. It's also like Guru Arjan's Bisar Gayi, which tells us that there are no strangers in the world, and we should be kind to everyone.




Remember
Joy Harjo

Remember the sky that you were born under,
know each of the star’s stories.
Remember the moon, know who she is.
Remember the sun’s birth at dawn, that is the
strongest point of time. Remember sundown
and the giving away to night.
Remember your birth, how your mother struggled
to give you form and breath. You are evidence of
her life, and her mother’s, and hers.
Remember your father. He is your life, also.
Remember the earth whose skin you are:
red earth, black earth, yellow earth, white earth
brown earth, we are earth.
Remember the plants, trees, animal life who all have their
tribes, their families, their histories, too. Talk to them,
listen to them. They are alive poems.
Remember the wind. Remember her voice. She knows the
origin of this universe.
Remember you are all people and all people
are you.
Remember you are this universe and this
universe is you.
Remember all is in motion, is growing, is you.
Remember language comes from this.
Remember the dance language is, that life is.
Remember.

I love Walt Whitman for his personal and evocative poetry. He has written several poems where he directly addresses the reader and shows affection from this.  "To You" is one such poem.  Through this poem he celebrates the beauty any reader of his poem.  I find it beautiful that while it may seem he doesn't know the peculiarity of this reader, he connects with their soul.  He still professes his love even though he has not "met" them.  This is the kind of unconditional love of the creation and creator that Kabir talks about when he sings Tu Tu Karta Tu Hua (Saying you you I have become you). 


The poem begins by making the reader walk out of their dream. Guru Tegh Bahadur says, Sagal Jagat hai jaise supna: What is this life but a dream; it can be over in an instant. What we think are the realities of life, the mundane routines and distractions that often occupy our thoughts, are really temporary.  They only blur the lines between what is real and what is imagined. 

The person that Walt Whitman wants to love is the real person underneath.  As the reader reads through this poem he starts shedding his superficial trappings of everyday existence. Whitman notes that even the most defining aspects of our lives—the features we bear, the joys we experience, the houses we inhabit, the trades we pursue, the manners we adopt, the troubles we face, the follies we commit, and even the crimes we may be guilty of—dissipate when viewed through the lens of his poetic gaze. In doing so, Whitman uncovers the profound truth of Ekonkar — the true soul and body of the reader emerge not from the mundane affairs of life but from the core of their being, beyond the constructs of society.

I think Whitman's declaration that "now I place my hand upon you, that you be my poem" is a pivotal moment in the poem. Here, he bestows upon the reader the highest honor, asking them to be the living embodiment of his art. He whispers to the reader, expressing his affection in intimate terms. He acknowledges the vastness of his love, claiming to have loved many individuals in his lifetime, but none as deeply and profoundly as the reader. 

As he realizes his love, his own past a bit. He feels that he has been "dilatory and dumb," wasting time and remaining silent when he should have been actively celebrating and championing the reader. He wishes that he had directed all his energy and creativity toward the reader sooner, forsaking all distractions and focusing solely on extolling their essence. This sense of urgency underscores the depth of Whitman's affection and his unwavering commitment to the reader.

In perhaps the most profound gesture of love, Whitman vows to "leave all and come and make the hymns of you." He promises to forsake everything else, leaving behind the mundane to craft hymns that capture the essence of the reader. What is this essence other than Satnam, Ekonkar? This act of dedication signifies the reader's uniqueness and the reverence with which Whitman holds them. In Whitman's eyes, the reader is not just a person; they are a source of inspiration and a reflection of the grandeur of the universe. 

My favorite lines in this poem are the following:

Whoever you are, now I place my hand upon you, that you be my poem,
I whisper with my lips close to your ear,
I have loved many women and men, but I love none better than you.
O I have been dilatory and dumb,
I should have made my way straight to you long ago, 
I should have blabb'd nothing but you, I should have chanted nothing but you.
I will leave all and come and make the hymns of you ...
By placing his hand upon the reader metaphorically, Whitman symbolically transfers his love and reverence onto them, urging them to be the living expression of his poetry. In this act, Whitman not only cherishes the reader's individuality but also envisions them as the ultimate muse, inspiring his poetic creations. This gesture represents a unique and intimate bond between poet and reader, where the reader becomes the vessel for Whitman's deepest emotions and the living testament to his poetic love. And from there on, he leaves everything else and makes "hymns of you."

This reminds me of Guru Arjan's immortal words: Rasna Japti Tuhi Tuhi -  my tongue chants, "Only you!" "Only you!"


To You by Walt Whitman
To You
Walt Whitman

Whoever you are, I fear you are walking the walks of dreams,
I fear these supposed realities are to melt from under your feet and hands
Even now your features, joys, speech, house, trade, manners, troubles, follies, costume, crimes, dissipate away from you,
Your true soul and body appear before me,
They stand forth out of affairs, out of commerce, shops, work, farms, clothes, the house, buying, selling, eating, drinking, suffering, dying.

Whoever you are, now I place my hand upon you, that you be my poem,
I whisper with my lips close to your ear,
I have loved many women and men, but I love none better than you.
O I have been dilatory and dumb,
I should have made my way straight to you long ago, 
I should have blabb'd nothing but you, I should have chanted nothing but you.

I will leave all and come and make the hymns of you,
None has understood you, but I understand you, 
None has done justice to you, you have not done justice to yourself
None but has found you imperfect, I only find no imperfection in you,
None but would subordinate you, I only am he who will never consent to subordinate you,
I only am he who places over you no master, owner, better, God, beyond what waits intrinsically in yourself.
   
Painters have painted their swarming groups and the centre-figure of all,
From the head of the centre-figure spreading a nimbus of gold-color'd light,
But I paint myriads of heads, but paint no head without its nimbus of gold-color'd light,
From my hand from the brain of every man and woman it streams, effulgently flowing forever.

O I could sing such grandeurs and glories about you!
You have not known what you are, you have slumber'd upon yourself all your life,
Your eyelids have been the same as closed most of the time,
What you have done returns already in mockeries, 
Your thrift, knowledge, prayers, if they do not return in mockeries, what is their return?)

The mockeries are not you,
Underneath them and within them I see you lurk,
I pursue you where none else has pursued you,
Silence, the desk, the flippant expression, the night, the accustom'd routine, if these conceal you from others or from yourself, they do not conceal you from me,
The shaved face, the unsteady eye, the impure complexion, if these balk others they do not balk me,
The pert apparel, the deform'd attitude, drunkenness, greed, premature death, all these I part aside

There is no endowment in man or woman that is not tallied in you,
There is no virtue, no beauty in man or woman, but as good is in you,
No pluck, no endurance in others, but as good is in you,
No pleasure waiting for others, but an equal pleasure waits for you.

As for me, I give nothing to any one except I give the like carefully to you,
I sing the songs of the glory of none, not God, sooner than I sing the songs of the glory of you.

Whoever you are! claim your own at any hazard! 
These shows of the East and West are tame compared to you, 
These immense meadows, these interminable rivers, you are immense and interminable as they,
These furies, elements, storms, motions of Nature, throes of apparent dissolution, you are he or she who is master or mistress over them,
Master or mistress in your own right over Nature, elements, pain, passion, dissolution.

The hopples fall from your ankles, you find an unfailing sufficiency,
Old or young, male or female, rude, low, rejected by the rest, whatever you are promulges itself,
Through birth, life, death, burial, the means are provided, nothing is scanted,
Through angers, losses, ambition, ignorance, ennui, what you are picks its way.
I am meditating on Guru Arjan's Shabad Rasna Japti Tuhi Tuhi.  It is a shabad about complete surrender to oneness. First the shabad; Lyrics, translation and my thoughts are below. 

Rasna Japti Tuhi Tuhi - Raag Sarang

Surrendering to My Source, Sustenance and Sanctuary


This shabad by Guru Arjan is about the undying theme of surrender to oneness. While the Guru doesn't specifically talk about merging into the divine, this is a beautiful submersion. 

In this version of the poem, the speaker articulates, "My tongue chants 'You alone' 'You alone.'" This repetition of the phrase "tuhi" or "You alone" emphasizes a singular focus on the divine presence, making it the sole object of veneration. All other distractions and attachments fade away. Only you is left. Just oneness. Only divinity. 

The divine as not just the creator, but also its constant sustainer and in the end its final sanctuary. At every moment, and in every place, the singer is replete with this oneness. This oneness is closer than all relationships, even the closest ones, like that of a father, a mother, a sibling and a friend.  The singer longs for a sense of belonging to truth, Satnam, the true home. 

This oneness is also the true wealth.  The divine is presented as a repository of treasures, symbolizing spiritual wealth and fulfillment. This ultimately leads to a state of bliss and contentment - "You fulfill all my desires; I am in bliss." 

A deep and intimate connection with a divine presence serves as the source, sustainer and sanctuary of life. Oneness becomes the ultimate desire, the consistent bliss.

Rasna Japti Lyrics

Rasnā japṯī ṯūhī ṯūhī.
Māṯ garabẖ ṯum hī priṯpālak mriṯ mandal ik ṯuhī. ||1|| rahāo.

Ŧumėh piṯā ṯum hī phun māṯā ṯumėh mīṯ hiṯ bẖrāṯā.
Ŧum parvār ṯumėh āḏẖārā ṯumėh jīa prānḏāṯā. ||1||

Ŧumėh kẖajīnā ṯumėh jarīnā ṯum hī māṇak lālā.
Ŧumėh pārjāṯ gur ṯe pāe ṯao Nānak bẖae nihālā. ||2||

Rasna Japti Translations

My First Translation

My tongue chants "You only" "You only"
You only are the birthing mother, the sustaining father, the mortal world.

You are my Father, my Mother, my Loving Friend and Sibling.
You are my Family, my Support,  the source of my life's breath. 

You are my Treasure, my Wealth, my Gems and Jewels.
You fulfill all my wishes, so I am enraptured.

Current Working Translation: 

My tongue chants 
"You alone" "You alone"
My initial source, my ultimate home
you alone, you alone

You're my Father, my Mother, close friend and brother,
My Family and support, life's breath you alone!

You're my Treasure, my rubies and jewels
my desires, my bliss, you alone, you alone!

Meditation

Shabad Vichaar

Rasna - Tongue
Tuhi - You only
Mrit Mandal - Mortal World
Maat Garabh, Pritpaalak, Mrit Mandal - Trinity of creator, sustainer, emancipator
Paarjaat - One of the 14 gifts extracted from the mythological churning of the ocean by the devas and asuras. 

Related Gurbani and Poetry

Everything is you

Rasna Japti Tuhi Tuhi: My tongue remembers only you

  • Khudaaya - Guru Nanak
Guru Nanak says in this shabad in Farsi, "I just want this one life-giving thing, not the other poisons of the world." The remembrance of oneness is life giving.  As long as the singer sings, he lives. As soon as he forgets he dies.  This is the only ask of the singer.  


  • Tu Sarvar Tu Hans - Guru Nanak
Guru Nanak says, "You are the lake and you are the swan." We are not separate from the universe or from God. We are interconnected with all of creation and the presence of God within this oneness. You are in so many colors. 

  • Jalas Tuhi Thalas Tuhi ... Tuhi Tuhi Tuhi Tuhi - Guru Gobind Singh
In Akaal Ustat Guru Gobind Singh starts with elements, you are water, you are earth ... and ends with "Tuhi" 16 times in the end. It is said that, just like Guru Nanak couldn't stop saying Tera tera, Guru Gobind Singh couldn't stop saying Tuhi Tuhi.

  • Khud kuza o khud kuzagar
In his beautiful ghazal "Har lehza ba shakl aan" Shams Mashraqi says You are yourself the clay, the clay flask, potter, and also the wine tippler. You too are the buyer of the flask and the one who breaks it. 

  • Gaahe Sufi Gaahe Zaahid - Bhai Nandlal
Somewhere as a mystic, somewhere you appear as a hermit, at other times you appear as an epicure. You have so many colors - mirroring Guru Nanak's sentiment.

  • Iota Subscript - Robert Frost
In "Iota Subscript," Robert Frost's speaker humbly acknowledges their own insignificance, choosing to downplay their ego represented by the letter "I." Instead, they embrace the role of a "subscript" to the omnipresent "you." This transformation signifies a shift from self-importance to a more selfless and humble stance. The poem suggests that by diminishing the emphasis on the self, one can connect more deeply with others and the world around them.

You are my support

  • Tu mera pita tuhai mera maata - Guru Arjan (Raag Maajh)

  • Deen Dayaal Bharose Tere - Bhagat Kabir
I completely trust oneness.  And I am ferried accross with my family. 


I am you - you are my wealth



I am also you!

  • Maati ek anek bhaant kar - Bhagat Kabir
We come from the same light. Divine Light.  We all come from the same earth. The divine potter makes different vessels from the same clay. 

  • Mera Ghar Baneya - Guru Arjan
Obtaining the attributes of oneness, we find our true home.  

  • Sabh Main Jot Jot Hai Soi - Guru Nanak
Guru Nanak says in his Aarti: You are in every face, but none is like you.  Within everyone's light is your glow.

  • Tu tu karta Tu Hua - Bhagat Kabir
We do a meditation on you, so we can become you! 

  • To You - Walt Whitman
In this deeply personal Walt Whitman poem, the speaker addresses the reader directly, expressing a profound sense of love for the reader.  The poem underscores the reader's intrinsic greatness, highlighting that they are a reflection of the grandeur of the universe. Through this poem Walt Whitman reaches out to every generations of humans who have a penchant for oneness.

Lyrics and Alternative Translation

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

ਰਸਨਾ ਜਪਤੀ ਤੂਹੀ ਤੂਹੀ ॥
रसना जपती तूही तूही ॥
Rasnā japṯī ṯūhī ṯūhī.
My tongue chants Your Name, Your Name.

ਮਾਤ ਗਰਭ ਤੁਮ ਹੀ ਪ੍ਰਤਿਪਾਲਕ ਮ੍ਰਿਤ ਮੰਡਲ ਇਕ ਤੁਹੀ ॥੧॥ ਰਹਾਉ ॥
मात गरभ तुम ही प्रतिपालक म्रित मंडल इक तुही ॥१॥ रहाउ ॥
Māṯ garabẖ ṯum hī parṯipālak miṯar mandal ik ṯuhī. ||1|| rahāo.
In the mother's womb, You sustained me, and in this mortal world, You alone help me. ||1||Pause||

ਤੁਮਹਿ ਪਿਤਾ ਤੁਮ ਹੀ ਫੁਨਿ ਮਾਤਾ ਤੁਮਹਿ ਮੀਤ ਹਿਤ ਭ੍ਰਾਤਾ ॥
तुमहि पिता तुम ही फुनि माता तुमहि मीत हित भ्राता ॥
Ŧumėh piṯā ṯum hī fun māṯā ṯumėh mīṯ hiṯ bẖarāṯā.
You are my Father, and You are my Mother; You are my Loving Friend and Sibling.

ਤੁਮ ਪਰਵਾਰ ਤੁਮਹਿ ਆਧਾਰਾ ਤੁਮਹਿ ਜੀਅ ਪ੍ਰਾਨਦਾਤਾ ॥੧॥
तुम परवार तुमहि आधारा तुमहि जीअ प्रानदाता ॥१॥
Ŧum parvār ṯumėh āḏẖārā ṯumėh jīa parānḏāṯā. ||1||
You are my Family, and You are my Support. You are the Giver of the Breath of Life. ||1||

ਤੁਮਹਿ ਖਜੀਨਾ ਤੁਮਹਿ ਜਰੀਨਾ ਤੁਮ ਹੀ ਮਾਣਿਕ ਲਾਲਾ ॥
तुमहि खजीना तुमहि जरीना तुम ही माणिक लाला ॥
Ŧumėh kẖajīnā ṯumėh jarīnā ṯum hī māṇik lālā.
You are my Treasure, and You are my Wealth. You are my Gems and Jewels.

ਤੁਮਹਿ ਪਾਰਜਾਤ ਗੁਰ ਤੇ ਪਾਏ ਤਉ ਨਾਨਕ ਭਏ ਨਿਹਾਲਾ ॥੨॥੩੩॥੫੬॥
तुमहि पारजात गुर ते पाए तउ नानक भए निहाला ॥२॥३३॥५६॥
Ŧumėh pārjāṯ gur ṯe pāe ṯao Nānak bẖae nihālā. ||2||33||56||
You are the wish-fulfilling Elysian Tree. Nanak has found You through the Guru, and now he is enraptured. ||2||33||56|| 
Mere Shauk Da Nai Aitbar is the Punjabi translation of a Farsi ghazal by Mirza Ghalib that was translated to Punjabi. Punjabi lyrics translated by Sufi Ghulam Mustafa Tabassum.  I heard today from a historian in Pakistan that it was one of the first songs that made Ghulam Ali popular. The ghazal has been composed in Raag Dhanasri, which seems a raag that Ghulam Ali is one of the few people that has as his favorite.  His other famous ghazal, Chupke Chupke is also in the same raag. 

Here is the ghazal, its lyrics in punjabi and the original farsi ghazal by Mirza Ghalib. The subject of the ghazal is love; especially being intoxicated in love over following the ways of the world.  




Punjabi Translation of Mere Shau Da Nahi

Original lyrics: Mirza Ghalib
Punjabi Translation: Sufi Ghulam Mustafa Tabassum

mere shauq da nahiiN aitbaar teN nuuN aa jaa vekh meraa intezaar aa jaa
aiNveN laRan b'haane labhnaa iiN, kii tuu sochanaa iiN sitamgaar aa jaa

bhaaveN hij'r te bhaaveN visaal hove, vakkho vakkh dohaan diiaaN lazttaN neN
mere sohniaa jaa tuu hzaar vaarii, aa jaa piaaria te lakkh vaar aa jaa

eh rivaaz ai masjidaaN maNdiraaN da, othe hastiiaaN te Khud parastiiaaN neN
maiKhaane vicch mastiiaaN ii mastiiaaN neN, hosh kar ban ke hoshiaar aa jaa

tuu saada te tera dil saadaa, teN nuuN aiNveN raqiib kuraah paaia
je tuuN mere janaaze te nahiiN aaia, raah takdaa ii terii m'zaar aa jaa

sukhii vassna je tuuN chauhnaa eN, mere ghaliba ais j'haan andar
aa jaa riNdaaN dii bazam vicch aa beh jaa, aithe baithde neN Khaaksaar aa jaa


Ghalib took great pride in his Farsi poetry as opposed to his
work in Urdu. He has said:

Farsi been ta ba-beeni naqsh-haa'-e- rang rang
ba-guzar az majmoo'-e-Urdu keh be-rang-e-man ast
[Farsi ko dekho ta keh ranga rang naqsh dekho
maire Urdu ke majmoo'e ko chhoRo keh be-rang hai]

Ghalib's Original Ghazal - za man gar-at na-bavad intezaar be'aa

za man gar-at na-bavad intezaar be'aa
bahaana jooe mabaash va sateeza-kaar be'aa
[agar maire intizaar ka yaqeen nahin karta to aa ja
bahaane na banaa aur jaldi aa ja]

be yak do sheva-e-sitam dil nam-me shavad khursand
be marg-e-man keh ba saamaan-e-rozgaar be'aa

[aik do sitam se dil ko tasalli nahiN hoti
meri maut ke liye, jahaan ke saamaan ke saath aa ???????]

bahaana joo'st dar ilzaam mudda'ee shauq-at
yake ba raghm-e-dil-e-naa-umeed vaar be'aa
[teri muhabbat ka daa'va karne vaala (dil) bahaana-joo hai
aik dafa' dil-e-naa-umeedvaar ki hiqaarat (to spite it) meN hi
aa ja]

halaak-e-shevah-e-tamkeen ma-kha(w)aah mastaan raa
'anaan gasastah-tar az baad-e-nau-bahaar be'aa
[yeh na chaah ke tere divaane tere naaz se halaak ho jaa'eN
havaa se zayaadah aazaad (be-lagaam) ho kar aa ja]

za-maa gasasti va ba deegaraan garo basti
be'aa keh 'ehd-e-vafaa neest ustavaar be'aa
[ham se rishta toR kar doosaroN se baaNdh diya hai
aa keh 'ehd-evafaa pakka nahiN hai]

vadaa'-o-vasl judaagaana lazzate daarad
hazaar baar baro, sad hazaar baar be'aa
[vadaa' (goodbye) aur vasl ki lazzat judaa gaana hai
hazaar baar jaa, aur laakh baar aa]

za khoo'-e-tu-st nehaad-e-shakeeb naazuk-tar
be'aa keh dast-o-dil-am me-ravad za-kaar be'aa
[teri khoo se sabr ki tabee'at naazuk tar hai
aa keh mere dast-o-dil kaam se jaane vaale haiN]

hisaar-e'aafiyati gar havas kuni Ghalib
chu maa ba halqa'e'rindaan-e-khaak-saar be'aa
[Ghalib agar tu chaahta hai keh 'aafiat (khairiyyat) ke hisaar
(qil'e) meN rahe
to hamaari tarah rindaan-e-khaaksaar ke halqe meN aa ja].

Translation in English: 
Translated by Shivpreet Singh

Come Fast

You appear to doubt the depth of my passion,
Why not witness my fervor firsthand, come fast!
Don't delay with trivial excuses and hesitations,
Such skepticism? Oh, you who hold sway, come fast!

Whether from afar or in close vicinity,
I savor delight in each, individually.
My love, you may leave me a thousand times if you wish,
But my dearest, come a million times, come fast!

In the tradition of mosques and temples,
You will find big figures and egos there
In this realm of wine, only ecstasy reigns,
Show some wisdom, be sober, come fast!

Your purity matches the purity of your heart,
Your unwarranted enmity is unjustified from the start.
Since you didn't attend my final rite,
My grave yearns your presence, come fast!

If you wish to attain bliss,
in this world, O Ghalib
Join the intoxicated souls without delay,
Come sit with the down-to-earth ones, come fast!





[intro video of waves]
I am looking out at the vast ocean in front of my eyes here in Oahu, Hawaii and thinking of how sweet those ...

[blend in pineapple picture - scene 1]
pineapples were that we had at the Dole Plantation. So sweet, succulent and aromatic. This sweetness plays to me to an old Bhai Gopal Singh composition ...

[Quote 1 on screen - Satgur Ki Seva Saphal Hai] 
Satgur Ki Seva where Guru Amar Das says "The service of the true guru is fruitful ..." The obvious question is what is service of the Guru, how can it be successful, and what does it cost?  We had paid $6 for a pineapple ice cream at Dole's, but the question is what can you offer to the Guru to achieve a fruitful life. 

[show quote 2] 
Like Guru Nanak asks, what should we offer the guru when we see his palace so we can have his sweet love back?  

[show quote 3] 
Guru Arjan responds the only thing of value that we can barter to attain the Guru's love is your own heart. You have to sell yourself to imbibe the sweetness of the Guru's love.   

[show quote 4 line 1] 
Satgur ki seva safal hai, je ko kare chit laye [emphasis on the second line] "The service of the true guru is fruitful, if you put your heart in it."  

[show Quote 4 line 2]
Man Chindeya Phal Paavana, Haume Vichoh Jaye  - When your ego departs your mind consumes the most desirable fruit. So the price of a sweet and fruitful life is giving up your self ... that is living a life of love. 

Shabad video with scenes 1 and 2

[outro waves video]
[purpose of life is to sing video]


Quote 1

Saṯgur kī sevā safal hai 
Service of the true guru is fruitful 


Quote 2

Fer kė agai rakẖīai jiṯ ḏisai ḏarbār
What should I offer you when I see your palace?

Muhou kė bolaṇ bolīai jiṯ suṇ ḏẖare piār
What words should I speak so you love me back?

- Guru Nanak's Japji, Pauri 4
Quote 3

Man becẖai saṯgur kai pās
The one who sells his mind to Satguru

Ŧis sevak ke kāraj rās
That disciple's affairs are resolved

- Guru Arjan's Sukhmani, Ashtpadi 18.2

Quote 4

Saṯgur kī sevā safal hai je ko kare cẖiṯ lāe
Service to the True Guru is fruitful and rewarding, if one performs it with his mind focused on it.

Man cẖinḏiā fal pāvṇā haumai vicẖahu jāe
The fruits of the mind's desires are obtained, and egotism departs from within.


Latest Message

Last week I was looking out at the vast ocean in front of my eyes here in Oahu, Hawaii and thinking of how sweet those pineapples were that we recently had at the Dole Plantation. So sweet, succulent and aromatic. This sweetness plays to me to an old Bhai Gopal Singh composition ... Satgur Ki Seva where Guru Amar Das says "The service of the true guru is fruitful ..." The obvious question is what is service of the Guru, how can it be successful, and what does it cost?  We had paid $6.95 for a pineapple ice cream at Dole's, but the question is what can you offer to the Guru to achieve a fruitful life. What should we offer the guru, says Guru Nanak, when we see his palace so we can have his sweet love back?  Guru Arjan responds the only thing of value that we can barter to attain the Guru's love is your own heart. You have to sell yourself to imbibe the sweetness of the Guru's love.   Satgur ki seva safal hai, je ko kare chit laye [emphasis on the second line] "The service of the true guru is fruitful, if you put your heart in it."  Man Chindeya Phal Paavana, Haume Vichoh Jaye  - When your ego departs your mind consumes the most desirable fruit. So the price of a sweet and fruitful life is giving up your self ... that is living a life of love. 
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SHIVPREET SINGH

Singing oneness!
- Shivpreet Singh

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