Shivpreet Singh
Shivpreet Singh
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This morning I am ruminating and meditating on poetry about being woven from one thread. 


Just like one thread holds a thousand beads - Bhagat Namdev

ੴ ਸਤਿਗੁਰ ਪ੍ਰਸਾਦਿ ॥
ੴ सतिगुर प्रसादि ॥
Ikoaʼnkār saṯgur parsāḏ.
One Universal Creator God. By The Grace Of The True Guru:

ਆਸਾ ਬਾਣੀ ਸ੍ਰੀ ਨਾਮਦੇਉ ਜੀ ਕੀ
आसा बाणी स्री नामदेउ जी की
Āsā baṇī sarī nāmḏeo jī kī
Aasaa, The Word Of The Reverend Naam Dayv Jee:

ਏਕ ਅਨੇਕ ਬਿਆਪਕ ਪੂਰਕ ਜਤ ਦੇਖਉ ਤਤ ਸੋਈ ॥
एक अनेक बिआपक पूरक जत देखउ तत सोई ॥
Ėk anek biāpak pūrak jaṯ ḏekẖau ṯaṯ soī.
In the one and in the many, He is pervading and permeating; wherever I look, there He is.

ਮਾਇਆ ਚਿਤ੍ਰ ਬਚਿਤ੍ਰ ਬਿਮੋਹਿਤ ਬਿਰਲਾ ਬੂਝੈ ਕੋਈ ॥੧॥
माइआ चित्र बचित्र बिमोहित बिरला बूझै कोई ॥१॥
Māiā cẖiṯar bacẖiṯar bimohiṯ birlā būjẖai koī. ||1||
The marvelous image of Maya is so fascinating; how few understand this. ||1||

ਸਭੁ ਗੋਬਿੰਦੁ ਹੈ ਸਭੁ ਗੋਬਿੰਦੁ ਹੈ ਗੋਬਿੰਦ ਬਿਨੁ ਨਹੀ ਕੋਈ ॥
सभु गोबिंदु है सभु गोबिंदु है गोबिंद बिनु नही कोई ॥
Sabẖ gobinḏ hai sabẖ gobinḏ hai gobinḏ bin nahī koī.
God is everything, God is everything. Without God, there is nothing at all.

ਸੂਤੁ ਏਕੁ ਮਣਿ ਸਤ ਸਹੰਸ ਜੈਸੇ ਓਤਿ ਪੋਤਿ ਪ੍ਰਭੁ ਸੋਈ ॥੧॥ ਰਹਾਉ ॥
सूतु एकु मणि सत सहंस जैसे ओति पोति प्रभु सोई ॥१॥ रहाउ ॥
Sūṯ ek maṇ saṯ sahaʼns jaise oṯ poṯ parabẖ soī. ||1|| rahāo.
As one thread holds hundreds and thousands of beads, He is woven into His creation. ||1||Pause||

ਜਲ ਤਰੰਗ ਅਰੁ ਫੇਨ ਬੁਦਬੁਦਾ ਜਲ ਤੇ ਭਿੰਨ ਨ ਹੋਈ ॥
जल तरंग अरु फेन बुदबुदा जल ते भिंन न होई ॥
Jal ṯarang ar fen buḏbuḏā jal ṯe bẖinn na hoī.
The waves of the water, the foam and bubbles, are not distinct from the water.

ਇਹੁ ਪਰਪੰਚੁ ਪਾਰਬ੍ਰਹਮ ਕੀ ਲੀਲਾ ਬਿਚਰਤ ਆਨ ਨ ਹੋਈ ॥੨॥
इहु परपंचु पारब्रहम की लीला बिचरत आन न होई ॥२॥
Ih parpancẖ pārbarahm kī līlā bicẖraṯ ān na hoī. ||2||
This manifested world is the playful game of the Supreme Lord God; reflecting upon it, we find that it is not different from Him. ||2||

ਮਿਥਿਆ ਭਰਮੁ ਅਰੁ ਸੁਪਨ ਮਨੋਰਥ ਸਤਿ ਪਦਾਰਥੁ ਜਾਨਿਆ ॥
मिथिआ भरमु अरु सुपन मनोरथ सति पदारथु जानिआ ॥
Mithiā bẖaram ar supan manorath saṯ paḏārath jāniā.
False doubts and dream objects - man believes them to be true.

ਸੁਕ੍ਰਿਤ ਮਨਸਾ ਗੁਰ ਉਪਦੇਸੀ ਜਾਗਤ ਹੀ ਮਨੁ ਮਾਨਿਆ ॥੩॥
सुक्रित मनसा गुर उपदेसी जागत ही मनु मानिआ ॥३॥
Sukariṯ mansā gur upḏesī jāgaṯ hī man māniā. ||3||
The Guru has instructed me to try to do good deeds, and my awakened mind has accepted this. ||3||

ਕਹਤ ਨਾਮਦੇਉ ਹਰਿ ਕੀ ਰਚਨਾ ਦੇਖਹੁ ਰਿਦੈ ਬੀਚਾਰੀ ॥
कहत नामदेउ हरि की रचना देखहु रिदै बीचारी ॥
Kahaṯ nāmḏeo har kī racẖnā ḏekẖhu riḏai bīcẖārī.
Says Naam Dayv, see the Creation of the Lord, and reflect upon it in your heart.

ਘਟ ਘਟ ਅੰਤਰਿ ਸਰਬ ਨਿਰੰਤਰਿ ਕੇਵਲ ਏਕ ਮੁਰਾਰੀ ॥੪॥੧॥
घट घट अंतरि सरब निरंतरि केवल एक मुरारी ॥४॥१॥
Gẖat gẖat anṯar sarab niranṯar keval ek murārī. ||4||1||
In each and every heart, and deep within the very nucleus of all, is the One Lord. ||4||1||


There is a thread you follow - William Stafford


The Way it is

There’s a thread you follow. It goes among
things that change. But it doesn’t change.
People wonder about what you are pursuing.
You have to explain about the thread.
But it is hard for others to see.
While you hold it you can’t get lost.
Tragedies happen; people get hurt
or die; and you suffer and get old.
Nothing you do can stop time’s unfolding.
You don’t ever let go of the thread.

- William Stafford

I remember you on the rosary of my breath - Mirabai

Saanson Ki Mala Pe, made famous by Nusrat Fateh Ali Khan and written inspired by Mirabai and Amir Khusro. 

SANSON KI MALA PE SIMRUUN MAIN PEE KA NAAM
I bead my beloveds name on the garland of my breaths

PREM KI MAALA JAPTE JAPTE AAP BANI MEIN SHAYAAM
Beading the garland of love my beloveds name I myself became the God or shyaam,
I forgot about my own physical and spiritual existence


PREETAM KA KUCH DOSH NAHI HAI, WO TO HAI NIRDOSH
My beloved is not guilty He is innocent he is blemish less

APNE AAP SE BAATEIN KER KE HOO GAYI MEIN BADNAAM
Like insane person by talking with myself, I got a bad repute , bad name


PREM PIYALA JAB SE PIYA HAI, JEE KA HAI YEH HAAL
Since I drank the love from the glass of love my condition is such that

TAARO  PE NEEND AA JAYE KAANTON PE AARAM
On burning coils I can sleep and thorns I can rest



JEEVAN KA SHINGAR  HAI PREETAM, MAANG KA HAI SINDOOR
My beloved is the beautification adornment of  life and  vermilion in my hair

PREETAM KI NAZROON SE GIR KER JEENA HAI KISS KAAM
When fallen from  the eyes of my beloved what is the use of such living


In one thread everyone is strung - Guru Arjan


ਪਉੜੀ ॥
पउड़ी ॥
Paoṛī.
Pauree:

ਓਅੰ ਗੁਰਮੁਖਿ ਕੀਓ ਅਕਾਰਾ ॥
ओअं गुरमुखि कीओ अकारा ॥
Oaʼn gurmukẖ kīo akārā.
ONG: The One Universal Creator created the Creation through the Word of the Primal Guru.

ਏਕਹਿ ਸੂਤਿ ਪਰੋਵਨਹਾਰਾ ॥
एकहि सूति परोवनहारा ॥
Ėkėh sūṯ parovanhārā.
He strung it upon His one thread.

ਭਿੰਨ ਭਿੰਨ ਤ੍ਰੈ ਗੁਣ ਬਿਸਥਾਰੰ ॥
भिंन भिंन त्रै गुण बिसथारं ॥
Bẖinn bẖinn ṯarai guṇ bisthāraʼn.
He created the diverse expanse of the three qualities.

ਨਿਰਗੁਨ ਤੇ ਸਰਗੁਨ ਦ੍ਰਿਸਟਾਰੰ ॥
निरगुन ते सरगुन द्रिसटारं ॥
Nirgun ṯe sargun ḏaristāraʼn.
From formless, He appeared as form.

ਸਗਲ ਭਾਤਿ ਕਰਿ ਕਰਹਿ ਉਪਾਇਓ ॥
सगल भाति करि करहि उपाइओ ॥
Sagal bẖāṯ kar karahi upāio.
The Creator has created the creation of all sorts.

ਜਨਮ ਮਰਨ ਮਨ ਮੋਹੁ ਬਢਾਇਓ ॥
जनम मरन मन मोहु बढाइओ ॥
Janam maran man moh badẖāio.
The attachment of the mind has led to birth and death.

ਦੁਹੂ ਭਾਤਿ ਤੇ ਆਪਿ ਨਿਰਾਰਾ ॥
दुहू भाति ते आपि निरारा ॥
Ḏuhū bẖāṯ ṯe āp nirārā.
He Himself is above both, untouched and unaffected.

ਨਾਨਕ ਅੰਤੁ ਨ ਪਾਰਾਵਾਰਾ ॥੨॥
नानक अंतु न पारावारा ॥२॥
Nānak anṯ na pārāvārā. ||2||
O Nanak, He has no end or limitation. ||2||


One thread of cotton - Bhai Gurdas

ਵਾਰਾਂ ਭਾਈ ਗੁਰਦਾਸ : ਵਾਰ ੨ ਪਉੜੀ ੧੦

ਹੋਵੇ ਸੂਤ ਕਪਾਹ ਦਾ ਕਰਿ ਤਾਣਾ ਵਾਣਾ।
Hovay Sootu Kapaah Daa Kari Taanaa Vaanaa |
From cotton the thread and then its warp and waft is prepared.

ਸੂਤਹੁ ਕਪੜੁ ਜਾਣੀਐ ਆਖਾਣ ਵਖਾਣਾ।
Sootahu Kaparhu Jaaneeai Aakhaan Vakhaanaa |
It is well known that from that very thread the cloth is made.

ਚਉਸੀ ਤੈ ਚਉਤਾਰ ਹੋਇ ਗੰਗਾ ਜਲੁ ਜਾਣਾ।
Chausee Tai Chautaar Hoi Gangaa Jalu Jaanaa |
Made of the four threads are what are known as chausi, gangajali etc.(in india).

ਖਾਸਾ ਮਲਮਲ ਸਿਰੀਸਾਫੁ ਤਨਸੁਖ ਮਨਿ ਭਾਣਾ।
Khaasaa Malamal Sireesaadhu Tan Sukh Mani Bhaanaa |
The superior clothes (malmal, sirisaph) made out of it impart comfort and pleasure to the body.

ਪਾਗ ਦੁਪਟਾ ਚੋਲਣਾ ਪਟਕਾ ਪਰਵਾਣਾ।
Pag Dupataa Cholanaa Patukaa Pravaanaa |
By becoming turban, scarf, waist coat etc that thread from cotton becomes acceptable to one and all.

ਆਪੇ ਆਪਿ ਵਰਤਦਾ ਗੁਰਮੁਖਿ ਰੰਗ ਮਾਣਾ ॥੧੦॥
Aapay Aapi Varatadaa Guramukhi Rang Maanaa ||10 ||
The Lord permeates among all and the gurmukhs enjoy His love.


The Master Weaver - Unknown


The Master Weaver
- Unknown

Our lives are but fine weavings,
that God and we prepare,
each life becomes a fabric planned,
and fashioned in his care . . .

We may not always see,
just how the weavings intertwine,
but we must trust the Master’s hand,
and follow His design.

For He can view the pattern,
upon the upper side,
while we must look from underneath,
and trust in Him to guide.

Sometimes a strand of sorrow,
is added to His plan,
and though it’s difficult for us,
we still must understand.

That it’s He who flies the shuttle,
it’s He who knows what’s best,
so we must weave in patience,
and leave to Him the rest . . .

Not till the loom is silent,
and the shuttles cease to fly,
shall God unroll the canvas,
and explain the reason why.

The dark threads are as needed,
in the Weaver’s skillful hand,
as the threads of gold and silver,
in the pattern He has planned


The above poem seems to be anonymous but it has similarities to the following: 

“Life is but a Weaving” (The Tapestry Poem) by Corrie ten Boom

My life is but a weaving
Between my God and me.
I cannot choose the colors
He weaveth steadily.

Oft’ times He weaveth sorrow;
And I in foolish pride
Forget He sees the upper
And I the underside.

Not ’til the loom is silent
And the shuttles cease to fly
Will God unroll the canvas
And reveal the reason why.

The dark threads are as needful
In the weaver’s skillful hand
As the threads of gold and silver
In the pattern He has planned

He knows, He loves, He cares;
Nothing this truth can dim.
He gives the very best to those
Who leave the choice to Him.

Corrie ten Boom

Separation by W.S. Merwin


Separation
By W. S. Merwin


Your absence has gone through me
Like thread through a needle.
Everything I do is stitched with its color


Life weaves itself into its patterns - Kabir



ਗਉੜੀ ॥
गउड़ी ॥
Gaoṛī.
Gauree:

ਗਜ ਨਵ ਗਜ ਦਸ ਗਜ ਇਕੀਸ ਪੁਰੀਆ ਏਕ ਤਨਾਈ ॥
गज नव गज दस गज इकीस पुरीआ एक तनाई ॥
Gaj nav gaj ḏas gaj ikīs purīā ek ṯanāī.
Nine yards, ten yards, and twenty-one yards - weave these into the full piece of cloth;

ਸਾਠ ਸੂਤ ਨਵ ਖੰਡ ਬਹਤਰਿ ਪਾਟੁ ਲਗੋ ਅਧਿਕਾਈ ॥੧॥
साठ सूत नव खंड बहतरि पाटु लगो अधिकाई ॥१॥
Sāṯẖ sūṯ nav kẖand bahṯar pāt lago aḏẖikāī. ||1||
take the sixty threads and add nine joints to the seventy-two on the loom. ||1||

ਗਈ ਬੁਨਾਵਨ ਮਾਹੋ ॥
गई बुनावन माहो ॥
Gaī bunāvan māho.
Life weaves itself into its patterns.

ਘਰ ਛੋਡਿਐ ਜਾਇ ਜੁਲਾਹੋ ॥੧॥ ਰਹਾਉ ॥
घर छोडिऐ जाइ जुलाहो ॥१॥ रहाउ ॥
Gẖar cẖẖodiai jāe julāho. ||1|| rahāo.
Leaving her home, the soul goes to the world of the weaver. ||1||Pause||

ਗਜੀ ਨ ਮਿਨੀਐ ਤੋਲਿ ਨ ਤੁਲੀਐ ਪਾਚਨੁ ਸੇਰ ਅਢਾਈ ॥
गजी न मिनीऐ तोलि न तुलीऐ पाचनु सेर अढाई ॥
Gajī na miniai ṯol na ṯulīai pācẖan ser adẖāī.
This cloth cannot be measured in yards or weighed with weights; its food is two and a half measures.

ਜੌ ਕਰਿ ਪਾਚਨੁ ਬੇਗਿ ਨ ਪਾਵੈ ਝਗਰੁ ਕਰੈ ਘਰਹਾਈ ॥੨॥
जौ करि पाचनु बेगि न पावै झगरु करै घरहाई ॥२॥
Jou kar pācẖan beg na pāvai jẖagar karai gẖarhāī. ||2||
If it does not obtain food right away, it quarrels with the master of the house. ||2||

ਦਿਨ ਕੀ ਬੈਠ ਖਸਮ ਕੀ ਬਰਕਸ ਇਹ ਬੇਲਾ ਕਤ ਆਈ ॥
दिन की बैठ खसम की बरकस इह बेला कत आई ॥
Ḏin kī baiṯẖ kẖasam kī barkas ih belā kaṯ āī.
How many days will you sit here, in opposition to your Lord and Master? When will this opportunity come again?

ਛੂਟੇ ਕੂੰਡੇ ਭੀਗੈ ਪੁਰੀਆ ਚਲਿਓ ਜੁਲਾਹੋ ਰੀਸਾਈ ॥੩॥
छूटे कूंडे भीगै पुरीआ चलिओ जुलाहो रीसाई ॥३॥
Cẖẖūte kūnde bẖīgai purīā cẖalio julāho rīsāī. ||3||
Leaving his pots and pans, and the bobbins wet with his tears, the weaver soul departs in jealous anger. ||3||

ਛੋਛੀ ਨਲੀ ਤੰਤੁ ਨਹੀ ਨਿਕਸੈ ਨਤਰ ਰਹੀ ਉਰਝਾਈ ॥
छोछी नली तंतु नही निकसै नतर रही उरझाई ॥
Cẖẖocẖẖī nalī ṯanṯ nahī niksai naṯar rahī urjẖāī.
The wind-pipe is empty now; the thread of the breath does not come out any longer. The thread is tangled; it has run out.

ਛੋਡਿ ਪਸਾਰੁ ਈਹਾ ਰਹੁ ਬਪੁਰੀ ਕਹੁ ਕਬੀਰ ਸਮਝਾਈ ॥੪॥੩॥੫੪॥
छोडि पसारु ईहा रहु बपुरी कहु कबीर समझाई ॥४॥३॥५४॥
Cẖẖod pasār īhā rahu bapurī kaho Kabīr samjẖāī. ||4||3||54||
So renounce the world of form and substance while you remain here, O poor soul; says Kabeer: you must understand this! ||4||3||54||


No one knows the secret of the cosmic weaver - Kabir


ਆਸਾ ॥
आसा ॥
Āsā.
Aasaa:

ਕੋਰੀ ਕੋ ਕਾਹੂ ਮਰਮੁ ਨ ਜਾਨਾਂ ॥
कोरी को काहू मरमु न जानां ॥
Korī ko kāhū maram na jānāʼn.
No one knows the secret of God, the Cosmic Weaver.

ਸਭੁ ਜਗੁ ਆਨਿ ਤਨਾਇਓ ਤਾਨਾਂ ॥੧॥ ਰਹਾਉ ॥
सभु जगु आनि तनाइओ तानां ॥१॥ रहाउ ॥
Sabẖ jag ān ṯanāio ṯānāʼn. ||1|| rahāo.
He has stretched out the fabric of the whole world. ||1||Pause||

ਜਬ ਤੁਮ ਸੁਨਿ ਲੇ ਬੇਦ ਪੁਰਾਨਾਂ ॥
जब तुम सुनि ले बेद पुरानां ॥
Jab ṯum sun le beḏ purānāʼn.
When you listen to the Vedas and the Puraanas,

ਤਬ ਹਮ ਇਤਨਕੁ ਪਸਰਿਓ ਤਾਨਾਂ ॥੧॥
तब हम इतनकु पसरिओ तानां ॥१॥
Ŧab ham iṯnak pasrio ṯānāʼn. ||1||
you shall know that the whole world is only a small piece of His woven fabric. ||1||

ਧਰਨਿ ਅਕਾਸ ਕੀ ਕਰਗਹ ਬਨਾਈ ॥
धरनि अकास की करगह बनाई ॥
Ḏẖaran akās kī kargah banāī.
He has made the earth and sky His loom.

ਚੰਦੁ ਸੂਰਜੁ ਦੁਇ ਸਾਥ ਚਲਾਈ ॥੨॥
चंदु सूरजु दुइ साथ चलाई ॥२॥
Cẖanḏ sūraj ḏue sāth cẖalāī. ||2||
Upon it, He moves the two bobbins of the sun and the moon. ||2||

ਪਾਈ ਜੋਰਿ ਬਾਤ ਇਕ ਕੀਨੀ ਤਹ ਤਾਂਤੀ ਮਨੁ ਮਾਨਾਂ ॥
पाई जोरि बात इक कीनी तह तांती मनु मानां ॥
Pāī jor bāṯ ik kīnī ṯah ṯāʼnṯī man mānāʼn.
Placing my feet together, I have accomplished one thing - my mind is pleased with that Weaver.

ਜੋਲਾਹੇ ਘਰੁ ਅਪਨਾ ਚੀਨ੍ਹ੍ਹਾਂ ਘਟ ਹੀ ਰਾਮੁ ਪਛਾਨਾਂ ॥੩॥
जोलाहे घरु अपना चीन्हां घट ही रामु पछानां ॥३॥
Jolāhe gẖar apnā cẖīnĥāʼn gẖat hī rām pacẖẖānāʼn. ||3||
I have come to understand my own home, and recognize the Lord within my heart. ||3||

ਕਹਤੁ ਕਬੀਰੁ ਕਾਰਗਹ ਤੋਰੀ ॥
कहतु कबीरु कारगह तोरी ॥
Kahaṯ Kabīr kārgah ṯorī.
Says Kabeer, when my body workshop breaks,

ਸੂਤੈ ਸੂਤ ਮਿਲਾਏ ਕੋਰੀ ॥੪॥੩॥੩੬॥
सूतै सूत मिलाए कोरी ॥४॥३॥३६॥
Sūṯai sūṯ milāe korī. ||4||3||36||
the Weaver shall blend my thread with His thread. ||4||3||36||

I weave your name on the loom of my mind - Kabir

I weave your name on the loom of my mind,
To make my garment when you come to me.
My loom has ten thousand threads
To make my garment when you come to me.
The sun and moon watch while I weave your name;
The sun and moon hear while I count your name.
These are the wages I get by day and night
To deposit in the lotus bank of my heart.
I weave your name on the loom of my mind
To clean and soften ten thousand threads
And to comb the twists and knots of my thoughts.
No more shall I weave a garment of pain.
For you have come to me, drawn by my weaving,
Ceaselessly weaving your name on the loom of my mind.
— Kabir

Māḏẖve ṯum na ṯorahu ṯao ham nahī ṯorėh.

Today I found a Meera bhajan that was very similar to a shabad by Bhagat Ravidas: "Māḏẖve ṯum na ṯorahu ṯao ham nahī ṯorėh."  Interesting! Lyrics of both are below ...

Bhagat Ravidas


ਜਉ ਤੁਮ ਗਿਰਿਵਰ ਤਉ ਹਮ ਮੋਰਾ ॥
जउ तुम गिरिवर तउ हम मोरा ॥
Jao ṯum girivar ṯao ham morā.
If You are the mountain, Lord, then I am the peacock.

ਜਉ ਤੁਮ ਚੰਦ ਤਉ ਹਮ ਭਏ ਹੈ ਚਕੋਰਾ ॥੧॥
जउ तुम चंद तउ हम भए है चकोरा ॥१॥
Jao ṯum cẖanḏ ṯao ham bẖae hai cẖakorā. ||1||
If You are the moon, then I am the partridge in love with it. ||1||

ਮਾਧਵੇ ਤੁਮ ਨ ਤੋਰਹੁ ਤਉ ਹਮ ਨਹੀ ਤੋਰਹਿ ॥
माधवे तुम न तोरहु तउ हम नही तोरहि ॥
Māḏẖve ṯum na ṯorahu ṯao ham nahī ṯorėh.
O Lord, if You will not break with me, then I will not break with You.

ਤੁਮ ਸਿਉ ਤੋਰਿ ਕਵਨ ਸਿਉ ਜੋਰਹਿ ॥੧॥ ਰਹਾਉ ॥
तुम सिउ तोरि कवन सिउ जोरहि ॥१॥ रहाउ ॥
Ŧum sio ṯor kavan sio jorėh. ||1|| rahāo.
For, if I were to break with You, with whom would I then join? ||1||Pause||

ਜਉ ਤੁਮ ਦੀਵਰਾ ਤਉ ਹਮ ਬਾਤੀ ॥
जउ तुम दीवरा तउ हम बाती ॥
Jao ṯum ḏīvrā ṯao ham bāṯī.
If You are the lamp, then I am the wick.

ਜਉ ਤੁਮ ਤੀਰਥ ਤਉ ਹਮ ਜਾਤੀ ॥੨॥
जउ तुम तीरथ तउ हम जाती ॥२॥
Jao ṯum ṯirath ṯao ham jāṯī. ||2||
If You are the sacred place of pilgrimage, then I am the pilgrim. ||2||


ਸਾਚੀ ਪ੍ਰੀਤਿ ਹਮ ਤੁਮ ਸਿਉ ਜੋਰੀ ॥
साची प्रीति हम तुम सिउ जोरी ॥
Sācẖī parīṯ ham ṯum sio jorī.
I am joined in true love with You, Lord.

ਤੁਮ ਸਿਉ ਜੋਰਿ ਅਵਰ ਸੰਗਿ ਤੋਰੀ ॥੩॥
तुम सिउ जोरि अवर संगि तोरी ॥३॥
Ŧum sio jor avar sang ṯorī. ||3||
I am joined with You, and I have broken with all others. ||3||

ਜਹ ਜਹ ਜਾਉ ਤਹਾ ਤੇਰੀ ਸੇਵਾ ॥
जह जह जाउ तहा तेरी सेवा ॥
Jah jah jāo ṯahā ṯerī sevā.
Wherever I go, there I serve You.

ਤੁਮ ਸੋ ਠਾਕੁਰੁ ਅਉਰੁ ਨ ਦੇਵਾ ॥੪॥
तुम सो ठाकुरु अउरु न देवा ॥४॥
Ŧum so ṯẖākur aor na ḏevā. ||4||
There is no other Lord Master than You, O Divine Lord. ||4||

ਤੁਮਰੇ ਭਜਨ ਕਟਹਿ ਜਮ ਫਾਂਸਾ ॥
तुमरे भजन कटहि जम फांसा ॥
Ŧumre bẖajan katėh jam fāʼnsā.
Meditating, vibrating upon You, the noose of death is cut away.

ਭਗਤਿ ਹੇਤ ਗਾਵੈ ਰਵਿਦਾਸਾ ॥੫॥੫॥
भगति हेत गावै रविदासा ॥५॥५॥
Bẖagaṯ heṯ gāvai Raviḏāsā. ||5||5||
To attain devotional worship, Ravi Daas sings to You, Lord. ||5||5||




Sant Mirabai


जो तुम तोडो पियो मैं नही तोडू। तोरी प्रीत तोडी कृष्ण कोन संग जोडू
॥ध्रु०॥
तुम भये तरुवर मैं भई पखिया। तुम भये सरोवर मैं तोरी मछिया॥ जो०॥१॥
तुम भये गिरिवर मैं भई चारा। तुम भये चंद्रा हम भये चकोरा॥ जो०॥२॥
तुम भये मोती प्रभु हम भये धागा। तुम भये सोना हम भये स्वागा॥ जो०॥३॥
बाई मीरा कहे प्रभु ब्रजके बाशी। तुम मेरे ठाकोर मैं तेरी दासी॥ जो०॥४॥

Words are slightly different; one key difference is "Toso preet tod" which is similar to gurbani. Also dhrupad antaras are combined to have a total of two antaras compared to four. 

Sanson ki Maala was made famous by Nusrat Fateh Ali Khan sahib.  Although some have attributed this song to Mirabai and Khusro, this is a ghazal that was written by Tufail Hoshiarpuri. Even the wikipedia page says this is a bhajan, when it is actually a ghazal. 



Selected Shers Sung by NFAK


These are the shers from the ghazal that Nusrat Sahib sings. For the complete ghazal please see below.

Sanson Ki Mala Pe
Simroon Main Pi Ka Naam

Prem Ke Raang Mein Aisi Doobi
Ban Gaya Ek Hi Roop
Prem Ki Mala Japte Japte
Aap Bani Main Shaam

Preetam Ka Kuch Dosh Nahi Hai
Woh To Hai Nirdosh
Aapne Aap Se Batein Karke
Ho Gayee Main Badnaam

Jeevan Ka Shingar Hai Preetam
Mang Pe Hai Sindoor
Preetam Ki Nazron Se Girr Karr
Jeena Hai Kis Kaam




Lyrics with Translation -


Sanson Ki Mala Pe
Simroon Main Pi Ka Naam

On the garland of my breaths 
I have bejewelled my beloved’s name

Prem Ke Raang Mein Aisi Doobi
Ban Gaya Ek Hi Roop
Prem Ki Mala Japte Japte
Aap Bani Main Shaam

In the colours of love, I have become so absorbed
That everything appears to be of one reflection
Collecting garlands of love
I have become Shaam

Preetam Ka Kuch Dosh Nahi Hai
Woh To Hai Nirdosh
Aapne Aap Se Batein Karke
Ho Gayee Main Badnaam

It’s not the mistake of my beloved
And he is not to be blamed
Talking to myself like an insane
I have got a bad name

Jeevan Ka Shingar Hai Preetam
Mang Pe Hai Sindoor
Preetam Ki Nazron Se Girr Karr
Jeena Hai Kis Kaam

My beloved is the beautification of life
And also the vermilion in my hair
When fallen in my beloved’s eyes
What use is living?

Sanson Ki Mala Pe
Simroon Main Pi Ka Naam

On the garland of my breaths 
I have bejewelled my beloved’s name


Sanson Ki Maala: Full Ghazal by Tufail Hoshiarpuri


sāñsoñ kī maalā par simrūñ nis-din pī kā naam 
apne man kī maiñ jānūñ aur pī ke man kī raam 

prem ke rañg meñ aise Duubī ban gayā ek hī ruup 
shyām kī maalā japte-japte aap banī maiñ shyām 

añg-añg meñ rachī huī hai yuuñ mohan kī priit 
ek aañkh vrindāvan merī duujī gokul dhaam 

prem pyāla jab se piyā hai jī kā hai ye haal 
añgāroñ par niiñd aa jaaye kāñToñ par ārām 

pītam kā kuchh dosh nahīñ hai vo to haiñ nirdos 
apne aap se bāteñ kar ke ho ga.ī maiñ badnām 

jaag uThtī hai jab hirday meñ prem kī sachchī jot 
is nagrī meñ ho jaatā hai pītam kā vishrām 

jī ne jab se jaan liyā hai dukh bhī hai un kī den 
paap samajh rakkhā hai maiñ ne lenā sukh kā naam 

jīvan kā siñgār hai pirītam maañg kā hai sindūr 
pirītam kī nazroñ se gir kar jiinā hai kis kaam 

darshan jal kī pyāsī āñkheñ ro ro kar ga.iiñ suukh 
añdhiyāroñ meñ Duub ga.e birhan ke sub.h-o-shām 



For links see the end
Meera, also known as Mirabai[2] (मीराबाई; c.1498–c.1546), was a 16th-century Hindu mystic poet and devotee of Krishna. She was originally named 'Mihira' but in her poetry she introduced her name in the changed form Meera owing to the Rajasthani accent and therefore became more popular as Meera. She is a celebrated Bhakti saint, particularly in the North Indian Hindu tradition.[3][4]

Mirabai was born into a Rajput royal family in Kudki, Pali district, Rajasthan, Mira then spent her childhood in Merta, Rajasthan. She is mentioned in Bhaktamal, confirming that she was widely known and a cherished figure in the Bhakti movement culture by about 1600 CE.[5] Most legends about Meera mention her fearless disregard for social and family conventions, her devotion to Lord Krishna, her treating Lord Krishna as her husband and being persecuted by her in-laws for her religious devotion.[1][5] She has been the subject of numerous folk tales and hagiographic legends, which are inconsistent or widely different in details.[1][6] Thousands of devotional hymns in passionate praise of Lord Krishna are attributed to Meerabai in the Indian tradition, but just a few hundred are believed to be authentic by scholars, and the earliest written records suggest that except for two hymns, most were written down only in the 18th century.[7] Many poems attributed to Meera were likely composed later by others who admired Meera. These hymns are commonly known as bhajans, and are popular across India.[8] Hindu temples, such as in Chittorgarh fort, are dedicated to Mira Bai's memory.[1] Legends about Meera's life, of contested authenticity, have been the subject of movies, comic strips and other popular literature in modern times.[9]

Biography

Meera's temple to Krishna at Chittor Fort, Rajasthan
Authentic records about Meera are not available, and scholars have attempted to establish Meera's biography from secondary literature that mention her, and wherein dates and other moments. Meera unwillingly married Bhoj Raj, the crown prince of Mewar, in 1516.[10][11] Her husband was wounded in one of the ongoing wars with the Delhi Sultanate in 1518, and he died of battle wounds in 1521. Both her father and father-in-law (Rana Sanga) died a few days after their defeat in the Battle of Khanwa against first Mughal Emperor Babur.

After the death of her father-in-law Rana Sanga, Vikram Singh became the ruler of Mewar. According to a popular legend, her in-laws tried many times to assassinate her, such as sending Meera a glass of poison and telling her it was nectar or sending her a basket with a snake instead of flowers.[2][10] According to the hagiographic legends, she was not harmed in either case, with the snake miraculously becoming a Krishna idol (or a garland of flowers depending on the version).[6][10] In another version of these legends, she is asked by Vikram Singh to go drown herself, which she tries but she finds herself floating on water.[12] Yet another legend states that the third Mughal emperor Akbar the Great came with Tansen to visit Meera and presented a pearl necklace, but scholars doubt this ever happened because Tansen joined Akbar's court in 1562, 15 years after she died.[12] Similarly, some stories state that Guru Ravidas was her guru (teacher), but there is no corroborating historical evidence for this. Some versions suggest this could likely have happened. Others disagree.[12]

The three different oldest records known as of 2014 that mention Meera,[13] all from the 17th century and written within 150 years of Meera's death, neither mention anything about her childhood or circumstances of her marriage to Bhojraj, nor do they mention that the people who persecuted her were her in-laws or from some Rajput royal family.[14] Nancy Martin-Kershaw states that to the extent Meera was challenged and persecuted, religious or social conventions were unlikely to have been the cause, rather the likely cause were political chaos and military conflicts between the Rajput kingdom and the Mughal Empire.

Other stories state that Mira Bai left the kingdom of Mewar and went on pilgrimages. In her last years, Meera lived in Dwarka or Vrindavan, where legends state she miraculously disappeared by merging into an idol of Krishna in 1547.[1][2] While miracles are contested by scholars for the lack of historical evidence, it is widely acknowledged that Meera dedicated her life to Lord Krishna, composing songs of devotion and was one of the most important poet-saint of the Bhakti movement period.[2][12][15]

Poetry

Most of Meera's poems are dedicated to God in the form of Krishna (left), calling him the Dark One or the Mountain Lifter. Some Meera songs include Radha (right), the lover of Krishna. All her poems have philosophical connotations.[16]
A number of compositions by Meera Bai continue to be sung today in India, mostly as devotional songs (bhajans) though nearly all of them have a philosophical connotation.[17] One of her most popular compositions remains "Paayoji maine Ram Ratan dhan paayo" (पायो जी मैंने राम रतन धन पायो।, "I have been given the richness of Lord Ram's blessing").[18][19] Meera's poems are lyrical padas (metric verses) in Rajasthani language.[12] While thousands of verses are attributed to her, scholars are divided in their opinion as to how many of them were actually penned by Meera herself.[20] There are no surviving manuscripts of her poetry from her time, and the earliest records with two poems credited to her are from early 18th-century, more than 150 years after she died.[7]

Hindi and Rajasthani
The largest collection of poems credited to her are in 19th-century manuscripts. Scholars have attempted to establish authenticity based on both the poem and Meera being mentioned in other manuscripts as well as from style, linguistics and form.[7][21] John Stratton Hawley cautions, "When one speaks of the poetry of Mirabai, then, there is always an element of enigma. (...) there must always remain a question about whether there is any real relation between the poems we cite and a historical Mira."[22]

In her poems, Krishna is a yogi and lover, and she herself is a yogini ready to take her place by his side into a spiritual marital bliss.[7] Meera's style combines impassioned mood, defiance, longing, anticipation, joy and ecstasy of union, always centred on Krishna.[21]

My Dark One has gone to an alien land.
He has left me behind, he's never returned, he's never sent me a single word.
So I've stripped off my ornaments, jewels and adornments, cut my hair from my head.
And put on holy garments, all on his account, seeking him in all four directions.
Mira: unless she meets the Dark One, her Lord, she doesn't even want to live.

— Mira Bai, Translated by John Stratton Hawley[23]
Meera speaks of a personal relationship with Krishna as her lover, lord and mountain lifter. (Sanson Ki Mala Pe Simru Main Pi Ka Naam) is written by Meera Bai Shows her dedication towards Lord Krishna.The characteristic of her poetry is complete surrender.

After making me fall for you so hard, where are you going?
Until the day I see you, no repose: my life, like a fish washed on shore, flails in agony.
For your sake I'll make myself a yogini, I'll hurl myself to death on the saw of Kashi.
Mira's Lord is the clever Mountain Lifter, and I am his, a slave to his lotus feet.

— Mira Bai, Translated by John Stratton Hawley[24]
Meera is often classed with the northern Sant bhaktis who spoke of Lord Sri Krishna.

Sikh literature
Prem Ambodh Pothi, a text attributed to Guru Gobind Singh and completed in 1693 CE, includes poetry of Mira Bai as one of sixteen historic bhakti saints important to Sikhism.[25]

Influence
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Scholars acknowledge that Meera was one of the central poet-saints of the Bhakti movement which was during a difficult period in Indian history filled with religious conflicts. Yet, they simultaneously question the extent to which Meera was a canonical projection of social imagination that followed, where she became a symbol of people's suffering and a desire for an alternative.[26] Dirk Wiemann, quoting Parita Mukta, states,

If one accepts that someone very akin to the Mira legend [about persecution and her devotion] existed as an actual social being, the power of her convictions broke the brutal feudal relationships that existed at that time. The Mira Bai of the popular imagination, then, is an intensely anachronistic figure by virtue of that anticipatory radical democracy which propels Meera out of the historicity that remains nonetheless ascribed to her. She goes beyond the shadowy realms of the past to inhabit the very core of a future which is embodied within the suffering of a people who seek an alternative.

— Dirk Wiemann / Parita Mukta, On Meera[26][27]
The continued influence of Meera, in part, has been her message of freedom, her resolve and right to pursue her devotion to deity Krishna and her spiritual beliefs as she felt drawn to despite her persecution.[26][27] Her appeal and influence in Indian culture, writes Edwin Bryant, is from her emerging, through her legends and poems, as a person "who stands up for what is right and suffers bitterly for holding fast to her convictions, as other men and women have", yet she does so with a language of love, with words painting the "full range of emotions that mark love, whether between human beings or between human and divine".[28]


A modern painting of Mirabai
English versions
Aliston and Subramanian have published selections with English translation in India.[29][30] Schelling[31] and Landes-Levi[32] have offered anthologies in the USA. Snell[33] has presented parallel translations in his collection The Hindi Classical Tradition. Sethi has selected poems which Mira composed presumably after she came in contact with Saint Ravidas.[34] and Meera Pakeerah.

Some bhajans of Meera have been rendered into English by Robert Bly and Jane Hirshfield as Mirabai: Ecstatic Poems.[35]

Popular culture

Mirabai Museum Merta
Composer John Harbison adapted Bly's translations for his Mirabai Songs. There is a documentary film A Few Things I Know About Her by Indian film director Anjali Panjabi.[36]

Two well-known films of her life have been made in India, Meera (1945), a Tamil language film starring M. S. Subbulakshmi, and Meera a 1979 Hindi film by Gulzar. Other Indian films about her include: Meerabai (1921) by Kanjibhai Rathod, Sant Mirabai (1929) by Dhundiraj Govind Phalke, Rajrani Meera/Meerabai (1933) by Debaki Bose, Meerabai (1936) by T. C. Vadivelu Naicker and A. Narayanan, Sadhvi Meerabai (1937) by Baburao Painter, Bhakta Meera (1938) by Y. V. Rao, Meerabai (1940) by Narasimha Rao Bhimavarapu, Meera (1947) by Ellis Dungan, Matwali Meera (1947) by Baburao Patel, Meerabai (1947) by W. Z. Ahmed, Meerabai (1947) by Nanabhai Bhatt, Girdhar Gopal Ki Mira (1949) by Prafulla Roy, Raj Rani Meera (1956) by G. P. Pawar, Meera Shyam (1976), Meera Ke Girdhar (1992) by Vijay Deep.[37]

Meera, a 2009 Indian television series based on her life aired on NDTV Imagine.

Meera Bai's life has been interpreted as a musical story in Meera—The Lover…, a music album based on original compositions for some well known Meera bhajans, released 11 October 2009.[38]

The Meera Mahal in Merta is a museum dedicated to telling the story of Mirabai through sculptures, paintings, displays and a shaded garden.[39]Meerabai poetry

https://www.hindi-kavita.com/SantMeeraBai.php


First of manu bhajans with explanations

https://hi.krishnakosh.org/%E0%A4%95%E0%A5%83%E0%A4%B7%E0%A5%8D%E0%A4%A3/%E0%A4%AE%E0%A4%A8_%E0%A4%B0%E0%A5%87_%E0%A4%AA%E0%A4%B0%E0%A4%B8%E0%A4%BF_%E0%A4%B9%E0%A4%B0%E0%A4%BF_%E0%A4%95%E0%A5%87_%E0%A4%9A%E0%A4%B0%E0%A4%A3_-%E0%A4%AE%E0%A5%80%E0%A4%B0%E0%A4%BE%E0%A4%81%E0%A4%AC%E0%A4%BE%E0%A4%88

A good background on Meera: 

https://ph.krishnakosh.org/krishn/%E0%A4%AE%E0%A5%80%E0%A4%B0%E0%A4%BE%E0%A4%82



"Mira Has Finished with Waiting"
"It's True I Went to the Market"
"Ankle Bells"
"In All My Lives"
"Mira the Bee"
"Awake to the Name"
"To My Brother-in-Law Rana"
"A Dream of Marriage"
"Why Mira Can't Come Back to Her Old House"
"Polish into Gold"
"The Necklace"
"Mira the Lotus"


Versions by Robert Bly & Jane Hirshfield
Mirabai: Ecstatic Poems (2004)


Mira Has Finished with Waiting

O friends on this path,
My eyes are no longer my eyes.
A sweetness has entered through them,
Has pierced through to my heart.
How long did I stand in the house of this body
And stare at the road?
My Beloved is a steeped herb, he has cured me for life.
Mira belongs to Giridhara, the One Who Lifts All,
And everyone says she is mad.
*******************************

It's True I Went to the Market

My friend, I went to the market and bought the Dark One.
You claim by night, I claim by day.
Actually, I was beating a drum all the time I was burying him.
You say I gave too much, I say too little.
Actually, I put him on a scale before I bought him.
What I paid was my social body, my town body,
my family body, and all my inherited jewels.
Mirabai says: The Dark One is my husband now.
Be with me when I lie down; you promised me
this in an earlier life.
*******************************

Ankle Bells

Mira dances, how can her ankle bells not dance?
"Mir is insane," strangers say that. "The family's ruined."
Poison came to the door one day; she drank it and laughed.
I am at Hari's feet; I give him body and soul.
A glimpse of him is water: How thirsty I am for that!
Mira's Lord is the one who lifts mountains,
he removes evil from human life.
Mira's Lord attacks the beings of greed;
for safety I go to him.
*******************************

In All My Lives

In all my lives you have been with me;
whether day or night I remember.
When you fall out of my sight, I am restless
day and night, burning.
I climb hilltops; I watch for signs of your return;
my eyes are swollen with tears.
The ocean of life— that's not genuine the ties
of family, the obligations to the world—
they're not genuine.
It is your beauty that makes me drunk.
Mira's Lord is the Great Dark Snake. That love
comes up from the ground of the heart.
*******************************

Mira the Bee

O my friends
What can you tell me of Love,
Whose pathways are filled with strangeness?
When you offer the Great One your love,
At the first step you body is crushed.
Next be ready to offer your head as his seat.
Be ready to orbit his lamp like a moth
giving in to the light,
To live in the deer as she runs toward
the hunter's call,
In the partridge that swallows hot coals
for love of the moon,
In the fish that, kept from the sea, happily dies.
Like a bee trapped for life in the closing
of the sweet flower.
Mira has offered herself to her Lord.
She says, the single Lotus will swallow you whole.
*******************************

Awake to the Name

To be born in a human body is rare,
Don't throw away the reward of your past good deeds.
Life passes in an instant— the leaf doesn't go
back to the branch.
The ocean of rebirth sweeps up all beings hard,
Pulls them into its cold-running, fierce, implacable currents.
Giridhara, your name is the raft, the one safe-passage over.
Take me quickly.
All the awake ones travel with Mira, singing the name.
She says with them: Get up, stop sleeping—
the days of a life are short.
*******************************

To My Brother-in-Law Rana

I don't like your strange, strange world, Rana.
There are no holy men in it, and the people are trash.
I don't wear jewelry anymore; I don't bind my hair.
I've given up darkening my eyelids and doing
my hair the married way.
Mira's Lord is the One Who Lifts Mountains;
I don't need a bridegroom.
*******************************

A Dream of Marriage

In my dreams the Great One married me.
Four thousand people came to the wedding.
My bridegroom was the Lord Brajanath,
and in the dream all the doorways
were made royal, and he held my hand.
In my dream he married me, and fortune came to me.
Mirabai has found the Great Snake Giridhar; she must
have done something good in an earlier life.
*******************************

Why Mira Can't Come Back to Her Old House

The colors of the Dark One have penetrated Mira's
body; all the other colors washed out.
Making love with the Dark One and eating little,
those are my pearls and my carnelians.
Meditation beads and the forehead streak,
these are my scarves and my rings.
That's enough feminine wiles for me.
My teacher taught me this.
Approve me or disapprove me: I praise
the Mountain Energy night and day.
I take the path that ecstatic human beings
have taken for centuries.
I don't steal money, I don't hit anyone.
What will you charge me with?
I have felt the swaying of the elephant's shoulders;
and now you want me to climb
on a jackass? Try to be serious.
*******************************

Polish into Gold

I give my heart without fear to the Beloved:
As the polish goes into the gold, I have gone into him.
Through many lives, I heard only the outer music.
Now the teacher has whispered into my ears,
And familiar ties have gone the way of weak thread.
Mira has met the Energy That Lifts Mountains—
That good luck now is her home.
*******************************

The Necklace

O friend, I sit alone while the world sleeps.
In the palace that held love's pleasure
the abandoned one sits.
She who once threaded a necklace of pearls
is now stringing tears.
He has left me. The night passes while I count stars.
When will the Hour arrive?
This sorrow must end. Mira says:
Lifter of Mountains, return.

*******************************

Mira the Lotus

My Lord, the love that binds us cannot be broken.
It is hard as the diamond that shatters
the hammer that strikes it.
As polish goes into the gold, my heart
has gone into you.
As a lotus lives in its water, I am rooted in you.
Like the bird that gazes all night at the passing moon,
I have blinded myself in giving my eyes to your beauty.
She who offers herself completely asks only this:
That her Lord love Mira as fully as he is loved.

— Mirabai (1498-1550),
Mirabai: Ecstatic Poems
Versions by Robert Bly & Jane Hirshfield
Beacon Press, Boston, 2004


It is raining today in San Ramon and I am reminded of a beautiful poem from Meerabai (see below for info on Meerabai). I have been singing this poem in Raag Malhar and hope to publish it soon. Rain reminds Meera of the presence of her love, Krishna, nearby and she sings songs of love to welcome him.




Lyrics

barse badariyA sAwan ki
sAwan ki man bhavan ki

sAwan mein umangyo merO manvA
jhanak suni hari Avan ki

umad ghumad cAhun disa sE AyO
dAmini dhamke jhar lAvan ki

nanhi nanhi bUndhan meghA barse
shItal pavan suhAvan ki

meerA kE prabhu giridhar nAgar
Anand mangal gAvan ki


Translation

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

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

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

Tiny droplets of water drops
A cool breeze blows pleasantly

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

More on Meerabai (See more on wikipedia)

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

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

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

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


Lyrics in Hindi

बरसे बदरिया सावन की।
सावन की मन भावन की॥

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

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

नन्हे नन्हे बूंदन मेघा बरसे।
शीतल पवन सुहावन की॥

मीरा के प्रभु गिरिधर नगर।
आनंद मंगल गावन की॥


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

बरसे बदरिया सावन की, सावन की मनभावन की,

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

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




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SHIVPREET SINGH

Singing oneness!
- Shivpreet Singh

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