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.
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SHIVPREET SINGH

Singing oneness!
- Shivpreet Singh

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