Following the Daisy Because Love is Sweet - Reflecting Upon Emily Dickinson

The Daisy follows soft the Sun –

And when his golden walk is done –

Sits shily at his feet –

He – waking – finds the flower there –

Wherefore – Marauder – art thou here?

Because, Sir, love is sweet!

We are the Flower – Thou the Sun!

Forgive us, if as days decline –

We nearer steal to Thee!

Enamored of the parting West –

The peace – the flight – the amethyst –

Night’s possibility!

- Emily Dickinson

Standing here among the damp April grass, I watch the daisies turn their faces toward the sun. They are doing what flowers have always done—following light—but today, because of Emily Dickinson, I cannot see it as mere botany. The small white petals are a kind of courtship. The whole garden is a conversation. The whole garden is a trade. Come, beloved, where are you?

“The Daisy follows soft the Sun,” Emily writes, and the word soft does something unexpected. Does it refer to the daisy, the sun or the following? Let us for an instant think it is the following—the quality of attention, the tenderness of a creature that positions itself not to demand but to be near. This is not pursuit; it is devotion conducted at the proper distance. The daisy waits through the golden arc of the sun’s labor, and when his walk is done, she “Sits shily at his feet.” (I am assuming that's how she spells shyly). The line break suspends her there, in that posture of waiting, of hoping to be noticed without presuming. It suspends me too.

But notice does come. Emily stages a dawn reunion so delicate it reads like a waking dream. Perhaps on rising the sun finds her there, and his question—“Wherefore—Marauder—art thou here?”—is not quite anger. The word marauder is almost playful, a mock-accusation that contains its own forgiveness. A true marauder does not sit shyly; a true marauder does not wait all night at your feet. The daisy’s answer is disarmingly simple: “Because, Sir, love is sweet!” There is no elaborate defense, no philosophy. Just sweetness. Just the irreducible fact of affection.

And then the poem does something breathtaking. It shifts from third person to first, from observation to confession. “We are the Flower—Thou the Sun!” Suddenly I am no longer watching daisies. I am implicated. We are all implicated. The poem has been a prayer disguised as a fable, and now the veil lifts. We are the ones who follow, who steal nearer as the light declines. We are the ones enamored of endings.

This is where Emily becomes unbearable in the best way. The poem could have ended with “love is sweet”—it is complete, it is satisfied. But she pushes further, into the twilight we usually try to avoid. “Forgive us, if as days decline— / We nearer steal to Thee!” The movement toward the beloved is also a movement toward disappearance. The “parting West” is both the sunset and the horizon of mortality. The “amethyst” is that impossible color between day and night, presence and absence. And then the final phrase—“Night’s possibility!”—hovers there, both terrifying and tender. It is the same word she uses elsewhere when she says she “dwells in Possibility”—as if the fading light opens more rooms than noon ever could. Dickinson does not insist on the end; she only acknowledges that it might be coming, and that this knowledge sharpens devotion until it is almost unbearable. This would be sung in Raag Asa because it is in between, and it is all about love. The daisy follows the sun, like we follow Emily's words, those soft daisies, 

I look down at the daisies again. They are still following the sun, but now I understand that they are not naïve. They know the sun sets. They know night comes. They steal nearer anyway. This is what it means to love in full knowledge of loss—the fleetingness itself sharpening the sweetness until it is almost unbearable. The flower does not ask to be saved from evening. It asks only to be forgiven for wanting to be near the light until the very last moment.

Emily, like any ancient bard, understood that the smallest things—a daisy, a sunset, a word spoken in the morning—could hold the whole weight of what we are too afraid to say directly. So she says it slant, through flowers and suns and shy petitioners. And now, kneeling here in the grass, I find myself saying it too: Because, Sir, love is sweet. And because the sweetness does not last, but while it does, we follow.

The earth blossoms, the sky blossoms

Every heart blossoms, when the soul blossoms

Flowers can teach us about oneness through their symbolism of unity, diversity, and interconnectedness. Flowers, despite their differences in color, shape, and fragrance, are all connected in the same ecosystem, relying on pollination and symbiotic relationships with other living beings for their survival. This reflects the idea of oneness in nature, where everything is connected and interdependent. Additionally, the beauty and harmonious arrangement of different flowers in a garden can symbolize the beauty and unity that can be achieved through diversity.

ਕਬੀਰ ਜੀ ਘਰੁ ੧

ੴ ਸਤਿਗੁਰ ਪ੍ਰਸਾਦਿ ॥

ਮਉਲੀ ਧਰਤੀ ਮਉਲਿਆ ਅਕਾਸੁ ॥

ਘਟਿ ਘਟਿ ਮਉਲਿਆ ਆਤਮ ਪ੍ਰਗਾਸੁ ॥੧॥

ਰਾਜਾ ਰਾਮੁ ਮਉਲਿਆ ਅਨਤ ਭਾਇ ॥

ਜਹ ਦੇਖਉ ਤਹ ਰਹਿਆ ਸਮਾਇ ॥੧॥ ਰਹਾਉ ॥

ਦੁਤੀਆ ਮਉਲੇ ਚਾਰਿ ਬੇਦ ॥

ਸਿੰਮ੍ਰਿਤਿ ਮਉਲੀ ਸਿਉ ਕਤੇਬ ॥੨॥

ਸੰਕਰੁ ਮਉਲਿਓ ਜੋਗ ਧਿਆਨ ॥

ਕਬੀਰ ਕੋ ਸੁਆਮੀ ਸਭ ਸਮਾਨ ॥੩॥੧॥

New Composition in Raag Basant: Mai Mai Dhan Payo Har Naam -

Shivpreet Singh · Mayi Mai Dhan Payo Hari Naam - concept-04

In this shabad, Guru Tegh Bahadur expresses the ultimate fulfillment found in the wealth of the Hari's Name. The restless mind, once chasing worldly desires, now sits in stillness, having found true rest (bisram). In the composition I tried to reflect the running and resting in the music.  

Guru Sahib explains that attachment to Maya—illusion and possessiveness—has vanished, replaced by the clarity of divine wisdom. This transformation leads to an inner state where greed and attachment cannot even approach. Instead, the soul clings to the path of devotion, discovering a priceless jewel—the Naam.

The Guru presents this journey as the dissolution of doubt and desire, allowing one to merge into nij sukh—the pure bliss of one's own inner being. But such a state is not achieved through effort alone; it is the result of divine grace. The closing lines emphasize that only the Gurmukh—one who turns towards the Guru—gathers this wealth of realization.

Why is this Shabad in Raag Basant?

The choice of Basant amplifies the theme of transformation.  Raag Basant is traditionally associated with the rejuvenation of spring, the melting away of winter’s cold, and the blossoming of new life. In the context of this shabad, Basant symbolizes an inner spring—the renewal of the soul upon realizing the Naam. Just as nature sheds the barrenness of winter, the seeker in this shabad sheds attachments, cynicism, and desire, stepping into a state of spiritual awakening. The joy of divine wisdom is not just intellectual but experiential, much like the vibrant bloom of springtime.

ਬਸੰਤੁ ਮਹਲਾ ੯ ॥

basa(n)t mahalaa nauvaa ||

बसंतु महला ९ ॥

Basant, Ninth Mehla:

maiee mai dhan paio har naam ||

माई मै धनु पाइओ हरि नामु ॥

O mother, I have gathered the wealth of the Lord's Name.

ਹੇ (ਮੇਰੀ) ਮਾਂ! (ਜਦੋਂ ਦਾ ਗੁਰੂ ਦੀ ਸਰਨ ਪੈ ਕੇ) ਮੈਂ ਪਰਮਾਤਮਾ ਦਾ ਨਾਮ-ਧਨ ਹਾਸਲ ਕੀਤਾ ਹੈ,

ਹੇ (ਮਾਈ) ਸੰਤ ਜਨੋਂ! ਮੈਂਨੇ ਹਰੀ ਨਾਮੁ ਧਨੁ ਪਾਇਆ ਹੈ॥

man mero dhaavan te chhooTio kar baiTho bisaraam ||1|| rahaau ||

मनु मेरो धावन ते छूटिओ करि बैठो बिसरामु ॥१॥ रहाउ ॥

My mind has stopped its wanderings, and now, it has come to rest. ||1||Pause||

ਮੇਰਾ ਮਨ (ਮਾਇਆ ਦੀ ਖ਼ਾਤਰ) ਦੌੜ-ਭੱਜ ਕਰਨ ਤੋਂ ਬਚ ਗਿਆ ਹੈ, (ਹੁਣ ਮੇਰਾ ਮਨ ਨਾਮ-ਧਨ ਵਿਚ) ਟਿਕਾਣਾ ਬਣਾ ਕੇ ਬਹਿ ਗਿਆ ਹੈ ।੧।ਰਹਾਉ।

ਅਬ ਮੇਰਾ ਮਨੁ ਧਾਵਨੇ ਸੇ (ਛੂਟਿਓ) ਰਹਿਤੁ ਹੂਆ ਹੈ ਔਰ ਸ੍ਵਰੂਪ ਮੇਂ (ਬਿਸਰਾਮੁ) ਇਸਥਤੀ ਕਰ ਬੈਠਾ ਹੈ॥੧॥ ਰਹਾਉ ॥

maiaa mamataa tan te bhaagee upajio niramal giaan ||

माइआ ममता तन ते भागी उपजिओ निरमल गिआनु ॥

Attachment to Maya has run away from my body, and immaculate spiritual wisdom has welled up within me.

ਹੇ ਮੇਰੀ ਮਾਂ! (ਗੁਰੂ ਦੀ ਕਿਰਪਾ ਨਾਲ ਮੇਰੇ ਅੰਦਰ) ਸੁੱਧ-ਸਰੂਪ ਪਰਮਾਤਮਾ ਨਾਲ ਡੂੰਘੀ ਸਾਂਝ ਬਣ ਗਈ ਹੈ (ਜਿਸ ਕਰਕੇ) ਮੇਰੇ ਸਰੀਰ ਵਿਚੋਂ ਮਾਇਆ ਜੋੜਨ ਦੀ ਲਾਲਸਾ ਦੂਰ ਹੋ ਗਈ ਹੈ ।

ਮਾਯਾ ਕੀ ਮਮਤਾ (ਤਨ ਤੇ) ਮਨ ਸੇ ਭਾਗੀ ਹੈ ਔਰ ਨਿਰਮਲ ਗ੍ਯਾਨੁ ਉਤਪੰਨ ਹੂਆ ਹੈ॥

lobh moh eh paras na saakai gahee bhagat bhagavaan ||1||

लोभ मोह एह परसि न साकै गही भगति भगवान ॥१॥

Greed and attachment cannot even touch me; I have grasped hold of devotional worship of the Lord. ||1||

(ਜਦੋਂ ਤੋਂ ਮੈਂ) ਭਗਵਾਨ ਦੀ ਭਗਤੀ ਹਿਰਦੇ ਵਿਚ ਵਸਾਈ ਹੈ ਲੋਭ ਅਤੇ ਮੋਹ ਇਹ ਮੇਰੇ ਉਤੇ ਆਪਣਾ ਜ਼ੋਰ ਨਹੀਂ ਪਾ ਸਕਦੇ ।੧।

ਲੋਭ ਅਰ ਮੋਹ ਯਿਹ ਸੁਪਰਸ ਨਹੀਂ ਕਰ ਸਕਤੇ ਹੈਂ, ਕ੍ਯੋਂਕਿ ਭਗਵਾਨ ਕੀ ਭਗਤੀ ਗ੍ਰਹਣ ਕਰੀ ਹੈ॥੨॥

janam janam kaa sa(n)saa chookaa ratan naam jab paiaa ||

जनम जनम का संसा चूका रतनु नामु जब पाइआ ॥

The cynicism of countless lifetimes has been eradicated, since I obtained the jewel of the Naam, the Name of the Lord.

ਹੇ ਮੇਰੀ ਮਾਂ! ਜਦੋਂ ਤੋਂ (ਗੁਰੂ ਦੀ ਕਿਰਪਾ ਨਾਲ) ਮੈਂ ਪਰਮਾਤਮਾ ਦਾ ਅਮੋਲਕ ਨਾਮ ਲੱਭਾ ਹੈ, ਮੇਰਾ ਜਨਮਾਂ ਜਨਮਾਂਤਰਾਂ ਦਾ ਸਹਿਮ ਦੂਰ ਹੋ ਗਿਆ ਹੈ;

ਜਬ ਰਤਨ ਰੂਪ ਨਾਮੁ ਪਾਯਾ ਤਬ ਜਨਮ ਜਨਮ ਕਾ ਸੰਸਾ ਥਾ, ਸੋ ਨਿਬ੍ਰਿਤ ਹੋ ਗਿਆ॥

tirasanaa sakal binaasee man te nij sukh maeh samaiaa ||2||

तृसना सकल बिनासी मन ते निज सुख माहि समाइआ ॥२॥

My mind was rid of all its desires, and I was absorbed in the peace of my own inner being. ||2||

ਮੇਰੇ ਮਨ ਵਿਚੋਂ ਸਾਰੀ ਤ੍ਰਿਸ਼ਨਾ ਮੁੱਕ ਗਈ ਹੈ, ਹੁਣ ਮੈਂ ਉਸ ਆਨੰਦ ਵਿਚ ਟਿਕਿਆ ਰਹਿੰਦਾ ਹਾਂ ਜਿਹੜਾ ਸਦਾ ਮੇਰੇ ਨਾਲ ਟਿਕਿਆ ਰਹਿਣ ਵਾਲਾ ਹੈ ।੨।

ਪੁਨਹ ਮਨ ਸੇ ਤ੍ਰਿਸਨਾ ਸਭ ਨਸਟ ਹੋ ਗਈ ਹੈ ਔਰ (ਨਿਜ ਸੁਖ) ਸ੍ਵੈ ਸ੍ਵਰੂਪ ਕੇ ਸੁਖ ਮੇਂ ਹਮਾਰਾ ਮਨੁ ਸਮਾਇਆ ਹੈ॥੨॥

jaa kau hot dhiaal kirapaa nidh so gobi(n)dh gun gaavai ||

जा कउ होत दइआलु किरपा निधि सो गोबिंद गुन गावै ॥

That person, unto whom the Merciful Lord shows compassion, sings the Glorious Praises of the Lord of the Universe.

ਹੇ ਮਾਂ! ਕਿਰਪਾ ਦਾ ਖ਼ਜ਼ਾਨਾ ਗੋਬਿੰਦ ਜਿਸ ਮਨੁੱਖ ਉੱਤੇ ਦਇਆਵਾਨ ਹੁੰਦਾ ਹੈ, ਉਹ ਮਨੁੱਖ ਉਸ ਦੇ ਗੁਣ ਗਾਂਦਾ ਰਹਿੰਦਾ ਹੈ ।

ਜਿਸ ਕੋ ਕ੍ਰਿਪਾ ਨਿਧ ਵਾਹਿਗੁਰੂ ਦਯਾਲ ਹੋਤਾ ਹੈ, ਸੋ ਪੁਰਸ ਗੋਬਿੰਦ ਕੇ ਗੁਨ ਗਾਵਤਾ ਹੈ॥

kahu naanak ieh bidh kee sa(n)pai kouoo gurmukh paavai ||3||3||

कहु नानक इह बिधि की संपै कोऊ गुरमुखि पावै ॥३॥३॥

Says Nanak, this wealth is gathered only by the Gurmukh. ||3||3||

ਹੇ ਨਾਨਕ! ਆਖ—(ਹੇ ਮਾਂ) ਕੋਈ ਵਿਰਲਾ ਮਨੁੱਖ ਇਸ ਕਿਸਮ ਦਾ ਧਨ ਗੁਰੂ ਦੇ ਸਨਮੁਖ ਰਹਿ ਕੇ ਹਾਸਲ ਕਰਦਾ ਹੈ ।੩।੩।

Why should I go anywhere else

When my own house is colorful

- Bhagat Ramanand

Today is Holi

the festival of colors

But there is a sadness

in the colors of Holi today

There is

an angst

Of a barbaric

Invasion that has uprooted 

millions of lives

UNICEF says 

more than 1.5 million children 

have been forced to become refugees. 

I have talked to some of their parents. 

They have left their homes,

They have lost everything they had. 

possessions. family members, friends, limbs. lives. 

But I have also seen some

Amazingly positive things. 

I have seen courage and fearlessness. 

I have seen kindness and compassion

I have seen an entire world choose

sunflowers over tanks

But most heartening

Is this girl I have seen from Ukraine

With pride she waves their colors

The colors of sunflowers 

That sing peace 

are within her

the colors of the sky

That sing freedom

Are within her

You can remove her from her home

But you can never her hope from within

May her holy dream of 

freedom and peace

Come true soon

One day I had a desire. I made myself beautiful by rubbing sandalwood

Then I took off to find Brahma. Guru told me that Brahma is my mind.

ਰਾਮਾਨੰਦ ਜੀ ਘਰੁ ੧     ੴ ਸਤਿਗੁਰ ਪ੍ਰਸਾਦਿ ॥ ਕਤ ਜਾਈਐ ਰੇ ਘਰ ਲਾਗੋ ਰੰਗੁ ॥ ਮੇਰਾ ਚਿਤੁ ਨ ਚਲੈ ਮਨੁ ਭਇਓ ਪੰਗੁ ॥੧॥ ਰਹਾਉ ॥ ਏਕ ਦਿਵਸ ਮਨ ਭਈ ਉਮੰਗ ॥ ਘਸਿ ਚੰਦਨ ਚੋਆ ਬਹੁ ਸੁਗੰਧ ॥ ਪੂਜਨ ਚਾਲੀ ਬ੍ਰਹਮ ਠਾਇ ॥ ਸੋ ਬ੍ਰਹਮੁ ਬਤਾਇਓ ਗੁਰ ਮਨ ਹੀ ਮਾਹਿ ॥੧॥ ਜਹਾ ਜਾਈਐ ਤਹ ਜਲ ਪਖਾਨ ॥ ਤੂ ਪੂਰਿ ਰਹਿਓ ਹੈ ਸਭ ਸਮਾਨ ॥ ਬੇਦ ਪੁਰਾਨ ਸਭ ਦੇਖੇ ਜੋਇ ॥ ਊਹਾਂ ਤਉ ਜਾਈਐ ਜਉ ਈਹਾਂ ਨ ਹੋਇ ॥੨॥ ਸਤਿਗੁਰ ਮੈ ਬਲਿਹਾਰੀ ਤੋਰ ॥ ਜਿਨਿ ਸਕਲ ਬਿਕਲ ਭ੍ਰਮ ਕਾਟੇ ਮੋਰ ॥ ਰਾਮਾਨੰਦ ਸੁਆਮੀ ਰਮਤ ਬ੍ਰਹਮ ॥ ਗੁਰ ਕਾ ਸਬਦੁ ਕਾਟੈ ਕੋਟਿ ਕਰਮ ॥੩॥੧॥ {ਪੰਨਾ 1195}

ਪਦ ਅਰਥ: ਕਤ = ਹੋਰ ਕਿੱਥੇ? ਰੇ = ਹੇ ਭਾਈ! ਰੰਗੁ = ਮੌਜ। ਘਰ = ਹਿਰਦੇ-ਰੂਪ ਰ ਵਿਚ ਹੀ। ਨ ਚਲੈ-ਭਟਕਦਾ ਨਹੀਂ ਹੈ। ਪੰਗੁ = ਪਿੰਗਲਾ, ਜੋ ਹਿੱਲ ਜੁਲ ਨਹੀਂ ਸਕਦਾ, ਥਿਰ।1। ਰਹਾਉ।

ਦਿਵਸ = ਦਿਨ। ਉਮੰਗ = ਚਾਹ, ਤਾਂਘ, ਖ਼ਾਹਸ਼। ਘਸਿ = ਘਸਾ ਕੇ। ਚੋਆ = ਅਤਰ। ਬਹੁ = ਕਈ। ਸੁਗੰਧ = ਸੁਗੰਧੀਆਂ। ਬ੍ਰਹਮ ਠਾਇ = ਠਾਕੁਰ ਦੁਆਰੇ, ਮੰਦਰ ਵਿਚ।1।

ਜੋਇ = ਢੂੰਡ ਕੇ, ਖੋਜ ਕੇ। ਤਹ = ਉਥੇ। ਜਲ ਪਖਾਨ = (ਤੀਰਥਾਂ ਤੇ) ਪਾਣੀ, (ਮੰਦਰਾਂ ਵਿਚ) ਪੱਥਰ। ਸਮਾਨ = ਇੱਕੋ ਜਿਹਾ। ਊਹਾਂ = ਤੀਰਥਾਂ ਤੇ ਮੰਦਰਾਂ ਵਲ। ਤਉ = ਤਾਂ ਹੀ। ਜਉ = ਜੇ। ਈਹਾਂ = ਇਥੇ ਹਿਰਦੇ ਵਿਚ।2।

ਬਲਿਹਾਰੀ ਤੋਰ = ਤੈਥੋਂ ਸਦਕੇ। ਜਿਨਿ = ਜਿਸ ਨੇ। ਬਿਕਲ = ਕਠਨ। ਭ੍ਰਮ = ਵਹਿਮ, ਭੁਲੇਖੇ। ਮੋਰ = ਮੇਰੇ। ਰਾਮਾਨੰਦ ਸੁਆਮੀ = ਰਾਮਾਨੰਦ ਦਾ ਪ੍ਰਭੂ। ਰਮਤ = ਸਭ ਥਾਂ ਮੌਜੂਦ ਹੈ। ਕੋਟਿ = ਕ੍ਰੋੜਾਂ। ਕਰਮ = (ਕੀਤੇ ਹੋਏ ਮੰਦੇ) ਕੰਮ।3।1।

ਅਰਥ: ਹੇ ਭਾਈ! ਹੋਰ ਕਿਥੇ ਜਾਈਏ? (ਹੁਣ) ਹਿਰਦੇ-ਘਰ ਵਿਚ ਹੀ ਮੌਜ ਬਣ ਗਈ ਹੈ; ਮੇਰਾ ਮਨ ਹੁਣ ਡੋਲਦਾ ਨਹੀਂ, ਥਿਰ ਹੋ ਗਿਆ ਹੈ।1। ਰਹਾਉ।

ਇੱਕ ਦਿਨ ਮੇਰੇ ਮਨ ਵਿਚ ਭੀ ਤਾਂਘ ਪੈਦਾ ਹੋਈ ਸੀ, ਮੈਂ ਚੰਦਨ ਘਸਾ ਕੇ ਅਤਰ ਤੇ ਹੋਰ ਕਈ ਸੁਗੰਧੀਆਂ ਲੈ ਲਈਆਂ, ਤੇ ਮੈਂ ਮੰਦਰ ਵਿਚ ਪੂਜਾ ਕਰਨ ਲਈ ਤੁਰ ਪਈ। ਪਰ ਹੁਣ ਤਾਂ ਮੈਨੂੰ ਉਹ ਪਰਮਾਤਮਾ (ਜਿਸ ਨੂੰ ਮੈਂ ਮੰਦਰ ਵਿਚ ਰਹਿੰਦਾ ਸਮਝਦੀ ਸਾਂ) ਮੇਰੇ ਗੁਰੂ ਨੇ ਮੇਰੇ ਮਨ ਵਿਚ ਵੱਸਦਾ ਹੀ ਵਿਖਾ ਦਿੱਤਾ ਹੈ।1।

(ਤੀਰਥਾਂ ਉਤੇ ਜਾਈਏ ਚਾਹੇ ਮੰਦਰਾਂ ਵਿਚ ਜਾਈਏ) ਜਿਥੇ ਭੀ ਜਾਈਏ ਉਥੇ ਪਾਣੀ ਹੈ ਜਾਂ ਪੱਥਰ ਹਨ। ਹੇ ਪ੍ਰਭੂ! ਤੂੰ ਹਰ ਥਾਂ ਇੱਕੋ ਜਿਹਾ ਭਰਪੂਰ ਹੈਂ, ਵੇਦ ਪੁਰਾਨ ਆਦਿਕ ਧਰਮ-ਪੁਸਤਕਾਂ ਭੀ ਖੋਜ ਕੇ ਵੇਖ ਲਈਆਂ ਹਨ। ਸੋ ਤਰੀਥਾਂ ਤੇ ਮੰਦਰਾਂ ਵਿਚ ਤਦੋਂ ਹੀ ਜਾਣ ਦੀ ਲੋੜ ਪਏ ਜੇ ਪਰਮਾਤਮਾ ਇਥੇ ਮੇਰੇ ਮਨ ਵਿਚ ਨਾਹ ਵੱਸਦਾ ਹੋਵੇ।2।

ਹੇ ਸਤਿਗੁਰੂ! ਮੈਂ ਤੈਥੋਂ ਸਦਕੇ ਹਾਂ, ਜਿਸ ਨੇ ਮੇਰੇ ਸਾਰੇ ਔਖੇ ਭੁਲੇਖੇ ਦੂਰ ਕਰ ਦਿੱਤੇ ਹਨ। ਰਾਮਾਨੰਦ ਦਾ ਮਾਲਕ ਪ੍ਰਭੂ ਹਰ ਥਾਂ ਮੌਜੂਦ ਹੈ (ਤੇ, ਗੁਰੂ ਦੀ ਰਾਹੀਂ ਮਿਲਦਾ ਹੈ, ਕਿਉਂਕਿ) ਗੁਰੂ ਦਾ ਸ਼ਬਦ ਕ੍ਰੋੜਾਂ (ਕੀਤੇ ਮੰਦੇ) ਕਰਮਾਂ ਦਾ ਨਾਸ ਕਰ ਦੇਂਦਾ ਹੈ।3।1।

Meaning: O brother! Where else to go? (Now) merriment has become in the Hirda-ghar itself; My mind does not waver now, it has become still.1. Get rid of

One day a longing arose in my mind, I rubbed sandalwood and took perfume and many other perfumes, and I went to worship in the temple. But now that God (whom I thought lived in the temple) my Guru has shown me to dwell in my mind.1.

(Go to the shrines whether we go to the temples) Wherever we go there is water or stones. O Lord! You are equally abundant everywhere, you have searched and seen the ancient Vedic scriptures. So I had to go to the temples and shrines only if God did not dwell in my mind here.2.

O Satguru! I am a sacrifice to Thee, who has removed all my difficult delusions. The Lord, the Master of Ramananda, is present everywhere (and is found through the Guru, because) the Guru's word destroys crores (of evil deeds) done.3.1.

Like the new breeze of spring

that grants blossoms their hue,

come forth love, grant the garden

leave to go about its business.

This birdcage is forlorn.

Call upon the gentle wind, friends

to petition the Lord, if it will,

to speak of my beloved.

Let the dawn, for once, arrive

through the archway of your lips.

Let the dusk spread its perfume

like musk from your tresses.

This impoverished heart

is privileged to suffer

and, hearing your name,

to swell, leaving comfort behind.

What is done is done

but, sundering night,

know that your passing

is adorned with our tears.

So insatiable is my vehemence

to be in your presence, my love,

I bunch up my shirt in a knot

and rip its collar to shreds.

No destination along the way

has any appeal for Faiz,

a step away from his beloved’s street

is a giant leap to the gallows pole.

1. Gulon mein rang bhare baad-e-naubahaar* chale

Chale bhi aao ke gulshan** ka kaarobaar chale

गुलों मे रंग भरे, बाद-ए-नौबहार चले

चले भी आओ कि गुलशन का कारोबार चले

Let the breeze of a new spring, flow and Fill the flowers with colours

Please do come so that the garden can get on with its daily business

Gul गुल گل = flower

shammaa parvaanaa hon ke Gunchaa o gul

zindagii kis ko raas aa.ii hai #Shakeel badayuni

baad-e-naubahaar बाद-ए-नौ-बहार

بادِ نوبہار =breeze of new spring

Baad= here it means breeze , wind, air but also means afterwards , subsequent )

Gulshan , गुलशन

گلشن = garden/ rose garden

ai nau-bahaar-e-naaz terii nikhaton* kii KHair (*khushbu)

daaman jhaTak ke nikle tere gulsitaan se ham #Ahmed Nadeem Qasmi

Kaarobaar ,कारोबार , کاروبار = business, affair, kaamkaaj

kaarobaar-e-jahaan sanvarte hain

hosh jab be-KHudii* se miltaa hai Jigar Moradabadi ( Being besides Oneself, Intoxication, Rapture, Senseless)

2. Qafas* udaas hai yaaron sabaa** se kuchh tau kaho

Kahin to bahr-e-Khuda*** aaj zikr-e-yaar chale

कफ़स उदास है यारों सबा से कुछ तो कहो

कहीं तो बह्र-ए-खुदा आज ज़िक्र-ए-यार चले

The prison is sad, friends ask the breeze to say something

At least somewhere for God’s sake, let there be discussion of the beloved

Qafas क़फ़स قفس = cage, prison ( emphasis on ‘f’)

qafas mein jii nahiin lagtaa kisii tarah

lagaa do aag koii aashiyaan men #Altaf Hussain Hali

Sabaa सबा صبا = a gentle breeze

KHush-buu pighalte lamhon kii saanson mein kho gaii

KHush-buu kii vaadiyon mein sabaa le gaii mujhe

#Iffat Zarrin

Bahr e Khuda बहर-ए-ख़ुदा بہر خدا = khuda ke liye, for God’s sake

zikr-e-yaar ज़िक्र-ए-यार ذکرِ یار = mehboob ki baatein , mention of the beloved

maahaul saaz-gaar karo main nashe mein huun//

zikr-e-nigaah-e-yaar karo main nashe mein huun

Ganesh Bihari ‘tarz’

3. kabhi tau subah tere kunj-e-lab* se ho aaghaz**

Kabhi to shab sar-e-kaakul se mushakbaar *** chale

कभी तो सुब्ह तेरे कुन्ज-ए-लब से हो आगाज़

कभी तो शब् सर-ए-काकुल से मुश्कबार चले

At least once let the morning start from the corner of your lips ( a gentle morning kiss/touch)

At least once let the night be filled with the musky smell of your tresses

Kunj e lab कुन्ज -ए-लब کنج لب = kunj=corner. Lab =lips here it refers to a smile or a touch/ kiss

سرِ کاکل Sar e kakul सर-ए-काकुल = tresses

आग़ाज़ AaGaaz beginning, commencement,start, genesis

Ibtidaa* ishq kii hai dekh ‘amaanat’ hushyaar

ye vo aaGaaz** hai jis kaa ko.ii anjaam nahii.n (both mean beginning, start, commencement but aaghaaz also used for genesis #Amaanat Lukhnavi

Aaghaaz karna= Commence, Start

Aaghaaz hona= start

Din ka aaghaaz = start of day

Mushk-baar मुश्क-बार مشکبار = scented like musk

kah sabaa vo khulii hai zulf kahaa.n

tujh me.n buu mushk-naab* kii sii hai ( smell of pure, unadulterated musk )

#Sher Mohd Imaan

4. Jo hum pe guzri so guzri magar shab-e-hijraan*

Hamaare ashk** teri aaqibat*** sanwaar chale

जो हम पे गुज़री सो गुज़री मगर शब्-ए-हिजरां

हमारे अश्क तेरी आक़िबत संवार चले

Whatever befell me, I endured but at least on the night of separation

My tears adorned your future

Guzri — ‘z’ not ‘j’

Shab e hijraan शब-ए- हिजरां شبِ ہجراں = the night of separation ( shab = night| hijr = separation)

Ashk अश्क اشک ( k not q ) = aansoo, tears

Aaqibat आक़िबत عاقبت = the end, conclusion , future life

And aaqabat (conclusion, future, future life, life after death, other world),

http://www.websters-online-dictionary.org/definition/conclusion

future 2) other world 3) life after death 4) conclusion

5. huzuur-e-yaar huyii daftar-e-junuun* kii talab

girah men le ke girebaan kaa taar taar chale

हुज़ूर-ए-यार हुई दफ़्तर-ए-जुनूँकी तलब

गिरह मे लेके गरेबां के तार-तार चले

The beloved has summoned me to her court with my documents of infatuation

I have only my torn to tatters collar, which I take tied in a knot

Daftar e junuun دفتر جنوں = literally multitude of frenzy/ but here documentation of infatuation

Roz-e-hisaab jab mera pesh ho daftar-e-amal

Aap bhi sharmsaar ho, mujh ko bhi sharmsaar kar #Iqbal

daftar didn’t originally mean office .It was a colloquial term 4 file/folder The clerk looking after them in govt offices was called daftari, a Class IV position in govt offices.

girah गिरह گرہ = here it means a knot, but is also used for one-sixteenth of gaz(yard)

the famous song “dil ki girah khol do, chup na baitho koi geet gao”.

girebaan गरेबां گریبان = literally means the collar,the opening of breast portion of a garment

apne girebaan mein jhank kar dekho = self introspection

chaak-e-garebaan = collar torn to bits in amorous frenzy.

Girebaan-geer= adj.: accuser, one catching by neck or collar, plaintiff

aashiq hain magar ishq numaayaa’n nahiin rakhte

ham dil kii tarah chaak girebaan nahiin rakhte Bekhud dehalvi

kaanTon ko bhii ab baad-e-sabaa chheD rahii hai

phuulon ke hasiin chaak girebaan se guzar ke #Ali Jawwad Zaidi

6. Maqaam* Faiz koi raah mein jacha** hi nahin

Jo ku e yaar*** se nikle to su e daar**** chale

मक़ाम फैज़ कोई राह मे जचा ही नही

जो कू-ए-यार से निकले तो सू-ए-दार चले

No place attracted Faiz, en-route

After leaving the Beloved’s lane he headed for the gallows

Maqaam मक़ाम مقام = dwelling,occasion,place,position ( here place)

جچا जचा jacha = liked

Kuu e yaar कू-ए-यार کوئے یار = yaar ki gali , lover’s street

kitnaa hai bad-nasiib ‘zafar’ dafn ke liye

do gaz zamiin bhii na milii kuu-e-yaar me.n

yaaro kuu-e-yaar kii baate’n kare’n

phir gul o gul-zaar kii baate’n kare’n

Akhtar Shiraani

Suu e daar सू-ए-दार سُوئے دار = towards the gallows ( suu-e = towards / suu = evil, bad |

daar = gallows as here but also means house ,place )

ham na iisaa na Sarmad* o Mansur(name of a Sufi saint who was hanged for saying “I am God”)

log kyuu.n suu-e-daar le ke chale (* hanged for heresy by Aurangzeb) #Naushad Ali

The flowers need to flush with color,

The winds need to blow in the change,

Love, would waft in like the spring?

The flowers, they need to bloom again.

The cage around us is still, and silent,

Please, speak of kindness into the breeze

For god’s sake, fill the quiet around us,

With beautiful descriptions of my lover.

Someday, somewhere, my day will start

From the corner of your smiling lips,

Someday, somewhere, my day will end

With the heady perfume of your hair.

The bond that pain forges is strong,

Though we, alone, have broken, weak hearts,

But we will wait, in anticipation of you,

Your call pulling us through the haze.

What we have felt, and we have borne,

Will end as this evening of separation will,

Maybe my tears will drip on your soul,

And washed it clean for your next life.