In May, 2026 we released a new shabad. It is in collaboration with Anshmeet Singh, a budding videographer from India who made a beautiful video to go along with this shabad which I have been working on for the past year.
In the great epic of the Mahabharata, a simple yet piercing moment unfolds. Krishna arrives in the kingdom where Duryodhana rules with power, wealth, and unquestioned authority. The palace is prepared, the finest arrangements are made, and the expectation is clear: the Divine will surely come where greatness has been assembled. Yet Krishna does not go there. Instead, he walks quietly to the humble dwelling of Vidura, a man without status or display, whose home is small but whose heart is open. When Duryodhan hears of this, he is unsettled, even offended. How could the Divine leave grandeur for simplicity? How could a hut be chosen over a palace?
This shabad by Bhai Gurdas teaches us how to invite divinity home. Lets take one line at a time:
ਆਇਆ ਸੁਣਿਆ ਬਿਦਰ ਦੇ ਬੋਲੈ ਦੁਰਜੋਧਨੁ ਹੋਇ ਰੁਖਾ।
Duryodhan hears that the Divine has gone to Vidur’s home, but his hearing is dry, sharp, and reactive. This is the first fracture: hearing without bhaav. In bhagati, listening is not the movement of the ear but the softening of the mind. The “ghar” here is already being tested—what kind of house is it if it cannot receive without comparison? A house without love becomes a place of noise, even if filled with knowledge.
ਘਰਿ ਅਸਾਡੇ ਛਡਿ ਕੈ ਗੋਲੇ ਦੇ ਘਰਿ ਜਾਹਿ ਕਿ ਸੁਖਾ।
He questions why the Divine would leave a palace for a servant’s hut. Here, “ghar” becomes externalized—measured in size, wealth, comfort. But bhagati reverses this. The true house is not built of walls but of bhaav. Where love resides, that is the dwelling. A palace without love is empty; a hut with love becomes vast. The Divine does not move toward luxury—it moves toward warmth.
ਭੀਖਮੁ ਦੋਣਾ ਕਰਣ ਤਜਿ ਸਭਾ ਸੀਗਾਰ ਵਡੇ ਮਾਨੁਖਾ।
Duryodhan lists the great names—Bhishma, Drona, Karna—men adorned in courts, recognized, accomplished. This is the house of reputation, the architecture of recognition. But bhagati does not gather around greatness as the world defines it. It gathers where humility allows listening. The more a house fills itself with status, the less space remains for bhaav.
ਝੁੰਗੀ ਜਾਇ ਵਲਾਇਓਨੁ ਸਭਨਾ ਦੇ ਜੀਅ ਅੰਦਰਿ ਧੁਖਾ।
He says they are pained that the Divine chose a hut. Yet this pain is not the dissolving pain of bhagati—it is the tightening pain of ego. True bhagati, as we saw, sends pain away and brings sukh into the house. But here, the house produces more suffering because it is built on comparison and pride. A house without bhaav cannot hold peace.
ਹਸਿ ਬੋਲੇ ਭਗਵਾਨ ਜੀ ਸੁਣਿਹੋ ਰਾਜਾ ਹੋਇ ਸਨਮੁਖਾ।
The Divine smiles and invites the king to come closer and listen. This is always the gesture: come near, not in position, but in awareness. The house of bhagati begins here—not in argument, but in listening. To come “sanmukh” is to turn inward, to face what is true. The Guru’s path always begins by asking us to listen again, but this time with love.
ਤੇਰੇ ਭਾਉ ਨ ਦਿਸਈ ਮੇਰੇ ਨਾਹੀ ਅਪਦਾ ਦੁਖਾ।
“I do not see bhaav in you.” This is not condemnation—it is clarity. Without bhaav, there is no meeting. The Divine is not absent out of refusal, but because there is no space to dwell. The house is closed. Bhagatī is not technique; it is the opening of the inner house. Where there is no love, the doors remain shut, even if rituals are performed inside.
ਭਾਉ ਜਿਵੇਹਾ ਬਿਦਰ ਦੇ ਹੋਰੀ ਦੇ ਚਿਤਿ ਚਾਉ ਨ ਚੁਖਾ।
“No one holds love like Vidur.” Now the contrast becomes luminous. Vidur’s house is small, but his heart is expansive. His ghar is made of attention, humility, and welcome. This is bhaav bhagat: not singing alone, but singing that listens; not offering things, but offering oneself. His house does not try to impress—it simply receives.
ਗੋਬਿੰਦ ਭਾਉ ਭਗਤਿ ਦਾ ਭੁਖਾ ॥੭॥
Gobind is hungry—for bhaav bhagati. This hunger is not for food, not for wealth, not for performance. It is for that state where singing, listening, and loving become one movement. The true house is wherever this happens. When you give your time, when you listen with love, when you dissolve comparison—that is where the Divine arrives, because that is where it is already welcome.
Not Just a Story
In the end, these figures are not just from story—they are within us. Krishna represents the living presence of the Divine, always moving toward love. Vidura is the part of us that is humble, open, and quietly devoted—the inner house prepared with bhaav. Duryodhana is the part that seeks recognition, compares, and tries to host the Divine through status rather than sincerity. Bhagati, as revealed through Guru Nanak, is the movement from Duryodhan to Vidur—from outer house to inner house, from performance to presence, from singing alone to singing, listening, and holding love. That is the house where Gobind dwells.
First Guru Amardas' shabad that has the most elegant definition of Maya in my view. It comes from Anand Sahib (Pauri 29). Maya is anything that takes us away from our true essence. Following my interpretation, I am sharing the poems I have written that are inspired by this shabad.
Finding Joy in a Burning World
In a world that often feels like it is burning—consumed by conflict, ambition, illness, and endless wanting—the search for peace can feel like a search for an exit. We imagine that somewhere there must be a cool, quiet place far away from the heat of life. Escape is not possible. And escape is not needed. Joy comes from remembering what the fire is for. I have been thinking of this as I reflect on the following words from Guru Amardas (29th of 40 verses in his Verses of Joy):
Eh māyā
This is Maaya,
jit har visrai
by which Hari is forgotten …
moh upjai
by which greed arises …
bhāo dūjā lāyā
by which duality attaches.
Jaisee agan udar meh taisee bāhar māyā
As is the fire within the womb, so is Maya outside
Māiā agan sabh iko jehee kartai khel rachāyā
The fire of Maya is one and the same the Creator has staged this play
Jā tis bhāṇā tā jamiā parvār bhalā bhāyā
Divine order results in birth and the family is very pleased.
Liv chhuṛkee lagee trisnā māiā amar vartāyā
Love wears off, attachments trap Maya runs limitless
Kahai Nānak gur parsādī jinā liv lāgee tinee viche māyā pāyā
By Guru's Grace, those who are enrapt in love find Hari within Maya
Eh māyā jit har visrai moh upjai bhāo dūjā lāyā
Kahai Nānak gur parsādī jinā liv lāgee tinee viche māyā pāyā
The Shabad begins with a diagnosis of the human condition. Maya—the world of appearances, desires, relationships, ambitions—is the place where the Divine is often forgotten. When remembrance fades, attachment arises and a feeling of separation takes root. But then the Guru introduces a startling image. Maya is compared to fire.
Jaisee agan udar meh taisee bāhar māyā.
The fire outside is the same as the fire within the womb.
This line changes everything. The heat of the womb cooks the body of the unborn child. Without that warmth, nothing forms. Life itself depends on that quiet fire. The Guru is suggesting that the same energy that gives life in the womb also fuels the world outside: desire, creativity, ambition, longing, love. The fire itself is not the enemy.
The problem is forgetfulness. When the Divine is forgotten, the fire becomes destructive. Attachment hardens. Craving multiplies. Duality spreads. But the Guru insists that the Creator has staged this entire play with one fire. The same energy that binds us can also awaken us. This is why the Shabad does not call us to escape the world. Instead, it invites us to discover the Divine within Maya itself.
And this insight finds a remarkable echo in a contemporary poem by Katie Farris, written centuries later but addressing the same burning world.
Why Write Love Poetry in a Burning World
- Katie Farris
To train myself to find, in the midst of hell
what isn't hell.
The body, bald, cancerous, but still
beautiful enough to
imagine living the body
washing the body
replacing a loose front
porch step the body chewing
what it takes to keep a body
going—
This scene has a tune
a language I can read a door
I cannot close I stand
within its wedge
a shield.
Why write love poetry in a burning world?
To train myself, in the midst of a burning world
to offer poems of love to a burning world.
Farris's poem begins with a simple but difficult practice: to train myself to find, in the midst of hell, what isn't hell. She does not deny suffering. The body in her poem is bald from cancer. The world is burning. The pain is real. But even within that burning world she searches for what remains alive—small acts of care, attention, and tenderness. Washing a body. Replacing a porch step. Chewing food slowly enough to continue living. The poem suggests that love is not an escape from the burning world. Love is a discipline practiced inside it.
In that sense, Farris's poem is another way of standing inside the fire without forgetting what it is for. She is not looking for a way out. She is looking for what is still sacred within the flames. This is the same orientation the Guru points toward. The final lines of the Shabad reveal the transformation that makes joy possible: jinā liv lāgee tinee viche māyā pāyā. Those whose consciousness is absorbed in love find the Divine within Maya itself.
The fire does not disappear. The world continues with all its heat—its ambitions, fears, griefs, and desires. But something fundamental changes in the way we stand within it. The same flame that burns a house down can bake bread. The same Maya that traps the mind in craving becomes, when remembrance awakens, the place where the Divine is discovered.
This is why saints sing and poets write love poems even when the world burns. They are practicing remembrance. They are training themselves to notice what is still alive in the fire. Peace, then, is not a cool oasis somewhere outside the flames. It is a change of orientation within the heat of life. It is what happens when love learns how to stand inside the fire without being consumed by it. The world may burn. But the fire was never meant only to destroy. Sometimes it is there to bake the bread of joy.
In a world that often feels like it is burning—consumed by conflict, ambition, illness, and endless wanting—the search for peace can feel like a search for an exit. We imagine that somewhere there must be a cool, quiet place far away from the heat of life. Escape is not possible. And escape is not needed. Joy comes from remembering what the fire is for. I have been thinking of this as I reflect on the following words from Guru Amardas (29th of 40 verses in his Verses of Joy).
This is why saints sing and poets write love poems even when the world burns. They are practicing remembrance. They are training themselves to notice what is still alive in the fire. Peace, then, is not a cool oasis somewhere outside the flames. It is a change of orientation within the heat of life. It is what happens when love learns how to stand inside the fire without being consumed by it. The world may burn. But the fire was never meant only to destroy. Sometimes it is there to bake the bread of joy.
The Story of the Wrong Petal
Once I played a wrong note
in Raag Ramkali—
the raag that sprouts
love of wholeness.
One finger slipped,
a small rebellion on the string,
and I could hear sirens
of the raag-police.
Yet the note kept opening—
like a heart
breaking into bloom.
For a moment I wondered:
how could this be any different
from Anandkali—joy itself, sprouting?
Afterwards the tanpura
kept breathing
its ancient tale: yes.
Choosing Petals
The fire that burns us within
is not unlike what chars the world.
- Guru Amardas
More dangerous than those
who believe God is seated
on some distant seventh sky,
and perhaps even more fickle
than those who think
He is sitting quietly beside us,
are those who decide
the only place He sits
is on a mitochondrial throne
within us. It begins
with a small preference—
a petal over the flower,
a daisy over a wild spring,
a season over the one sun
that burns without choosing.
Maya, Holding Love’s Hand
This morning I considered your hand in mine
the way one considers weather—
a warmth arriving
that leaves with its pockets full of light.
My chai cooled while I thought about
the thousand songs of forever,
of two people holding on.
Then an ancient bard cleared his throat
from somewhere behind the Bhagavad Gita
hummed a single note:
love ends but never maya.
Outside, a couple passed, hand in hand,
while the wind turned one leaf into two.
Magic of Maya
Once I saw a magician
stretch one red ribbon
and suddenly there are two.
Today I watched a baby lizard
slide out of its parent
in an Instagram video,
landing on a thin branch
as if the tree itself
had just invented it.
What could be
more magical
than birth?
Especially one followed by no school,
no rehearsal, just climbing
already without eyes.
The ancient bard claims
Maya makes two out of one.
And what about death?
Death, that lizard still clinging
to the branch long after the tree
has turned back into earth.
Even more
magical
than birth.
The First Separation
The first thing that happens to us
is eviction.
Someone lifts us into the light,
cuts our cord to our origin,
and suddenly the world has edges—
your body here,
your mother — somewhere else
already being called someone other.
Eh Maya!
And from that moment on
everyone encourages the distance.
They give us mirrors,
names,
opinions about what belongs to us.
The world becomes a long lesson
in the word mine.
My shoes.
My thoughts.
My problems.
Maya!
By the time we grow up
we are excellent at being separate—
little islands with excellent Wi-Fi.
The ancient bard once
appeared in the name
of ever-serving and
sang the song of anand,
the song of joy!
Right here,
inside this very body
made of dust and grocery lists
and the occasional headache,
there is a door
that does not lead outward.
Eh Maya!
It opens inward.
And when the throat loosens—
just a little—
a song slips through
and suddenly
the walls between things
forget their jobs.
The body remembers the ocean
it was briefly separated from,
and for a few minutes
while the note is traveling,
mother, child, world, breath—
everything
is singing the same line.
Eh Maya
Ghar Ghar Baba — the album is out now. These five shabads are available on Spotify, YouTube, and Apple Music:
Tera Daasan Daasa
Eh Maaya
Ghar Ghar Baba
Mittar Pyare Nu (feat. Suhail Yusuf Khan)
Yaad-e-oo
The phrase Ghar Ghar Baba comes from Bhai Gurdas’s shabad in praise of Guru Nanak. Literally, it means “Baba in every home.” But ghar is not just a physical structure—it is a doorway to something deeper. A house can be a shelter, yes, but it can also be the ribcage that holds each breath, a memory passed down through generations, a fleeting moment, even a planet or a universe. In this way, every breath becomes a home, every heart a dwelling place, every cell a quiet chamber of presence. And Baba may be the Guru, Guru Nanak, wisdom itself, or simply—love.
This album is a humble attempt to listen for that presence—the quiet, abiding wisdom that moves through every doorway of life. If we listen closely, perhaps we begin to hear what the old singers were pointing toward: that the world itself is one vast home, and the song of the Guru is already echoing in every house.
I have been thinking of greatness these days and this morning I remembered a shlok by Guru Nanak which I used to often hear from my grandmother, and the more I have meditated upon it the more I have come to realize who it is a masterclass in spiritual poetry. It uses vivid natural imagery and incisive social observation to guide the seeker towards a fundamental truth. This particular composition, found on Ang 1412 of the Guru Granth Sahib, is not a single, linear argument but a diptych: two panels that, when viewed together, reveal a complete picture of spiritual integrity. The first panel uses the metaphor of the grand but useless silk-cotton tree to establish a principle of inner value. The second panel moves to the human realm, dissecting the nature of true humility versus its empty, performative shadow. Together, they form a powerful discourse on the essence of virtue, which the Guru identifies not in outward show, but in the sweet, lowly, and pure state of the heart. Here is the verse:
ਸਿੰਮਲ ਰੁਖੁ ਸਰਾਇਰਾ ਅਤਿ ਦੀਰਘ ਅਤਿ ਮੁਚੁ ॥
simmal rukh saraira at deeragh at much
The silk-cotton tree stands tall — very tall, very wide.
ਓਇ ਜਿ ਆਵਹਿ ਆਸ ਕਰਿ ਜਾਹਿ ਨਿਰਾਸੇ ਕਿਤੁ ॥
oi je aaveh aas kar jaye niraase kit
Those who come with hope leave disappointed.
ਫਲ ਫਿਕੇ ਫੁਲ ਬਕਬਕੇ ਕੰਮਿ ਨ ਆਵਹਿ ਪਤ ॥
fal fike ful bakabake kam na aaveh pat
Its fruit is tasteless, its flowers showy, its leaves of no use.
ਮਿਠਤੁ ਨੀਵੀ ਨਾਨਕਾ ਗੁਣ ਚੰਗਿਆਈਆ ਤਤੁ ॥
mithat neevi naanka gun changyaiyan tat
Sweetness and humility, Nanak — these are the essence of virtue.
ਸਭੁ ਕੋ ਨਿਵੈ ਆਪ ਕਉ ਪਰ ਕਉ ਨਿਵੈ ਨ ਕੋਇ ॥
sabh ko nivai aap kau par kau nivai na koye
Everyone bows for themselves. Few bow for another.
ਧਰਿ ਤਾਰਾਜੂ ਤੋਲੀਐ ਨਿਵੈ ਸੁ ਗਉਰਾ ਹੋਇ ॥
dhar taraajoo toliyai nivai su gauraa hoye
Place it on the scale — what lowers is weighty.
ਅਪਰਾਧੀ ਦੂਣਾ ਨਿਵੈ ਜੋ ਹੰਤਾ ਮਿਰਗਾਹਿ ॥
aparaadhee doonaa nivai jo ha(n)taa miragaeh
The guilty bow twice — like a hunter in the forest.
ਸੀਸਿ ਨਿਵਾਇਐ ਕਿਆ ਥੀਐ ਜਾ ਰਿਦੈ ਕੁਸੁਧੇ ਜਾਹਿ ॥੧॥
sees nivaiaai kiaa theeaai jaa ridhai kusudhe jaeh
What happens by lowering the head if the heart remains impure?
The opening image is striking and immediate: "The silk-cotton tree stands tall — very tall, very wide." The Guru paints a picture of immense physical grandeur. The simmal (silk-cotton tree) is a botanical marvel, towering over its surroundings, its thick trunk and sprawling branches promising shade and sustenance. It is, by all external measures, a success. Yet, this promise is a profound deception. Guru Nanak immediately subverts the image of majesty: "Those who come with hope / leave disappointed." The tree is a monument to futility. Its fruit is tasteless, offering no nourishment; its flowers are showy but lack fragrance or substance; its leaves are coarse and useless. Every part of this magnificent structure is, upon closer inspection, hollow. The tree is all form and no function, all appearance and no reality. It exists only for itself, taking up space and offering nothing of value to the world. This is a powerful allegory for a life lived solely on the surface—a life of status, wealth, and physical prowess that, devoid of inner goodness, ultimately leaves both the self and others unfulfilled.
From this negative example, the Guru distills a positive, counter-intuitive truth in the concluding couplet of the first panel: "Sweetness and humility, Nanak — / these are the essence of virtue." The word for sweetness, miṭhat, implies not just a pleasant taste but a gentle, amiable, and benevolent nature. Nīvī, or humility, is the quality of being low, both in stature and in ego. The contrast with the silk-cotton tree is absolute. The tree's virtue was in its appearance of height; true virtue lies in the "lowness" of humility. The tree's nature was bitter or useless; the virtuous nature is sweet. The Guru redefines the axis of value: spiritual weight is not measured by how high one stands, but by how deeply one can bow.
This redefinition sets the stage for the second panel, which plunges us into the complexities of human behavior. The Guru begins with a blunt observation of social reality: "Everyone bows for themselves. / Few bow for another." Here, "bowing" is a metaphor for service, deference, and sacrifice. Most human action, the Guru observes, is ultimately self-serving. Even acts of apparent kindness are often performed for personal gain, reputation, or a sense of self-satisfaction. This is the bow of the ego, a transaction where the "bow" is simply the price paid for a desired outcome.
Guru Nanak then introduces a profound paradox to redefine what true "weight" or worth is: "Place it on the scale — / what lowers is weighty." In the physical world, a heavier object makes the scale go down. In the spiritual realm, Guru Nanak reverses this law. The being who is genuinely humble, who "lowers" themselves in selfless service and submission to the Divine Will, is the one who is truly substantial, truly valuable. They have the "weight" of spiritual merit.
The Guru then provides two contrasting examples of "lowness" to clarify this paradox. The first is the hunter in the forest. To successfully hunt a deer, the hunter must crouch low, becoming small and inconspicuous. This bowing is born of aparādh, or guilt—the intention to do harm. It is a strategic lowering of the self for a selfish and violent purpose. This bow is heavy with sin, not virtue. The second example is implied in the rhetorical question that ends the salok: "What happens by lowering the head / if the heart remains impure?" This points to the ritualistic bow, the empty gesture of piety performed in temples or before holy men, while the heart remains filled with ego, greed, and malice. This bow is like the silk-cotton tree—impressive in its outward form but utterly hollow at its core. It carries no weight on the spiritual scale.
The hunter and the hypocrite perform the same physical act as the truly humble person—they lower themselves. But their inner state, their intention, is diametrically opposed. The true humility the Guru advocates is not a posture but a condition of the heart. It is a sweetness of being that arises from the eradication of ego, a natural lowness that seeks nothing for itself. It is the essence (tat) of virtue, the reality behind the form.
In this salok, Guru Nanak guides the seeker from a deceptive exterior to a truthful interior. He dismantles our attachment to the grand and the showy, using the silk-cotton tree as a warning against a life of hollow appearance. He then challenges our understanding of human action, forcing us to look beyond the gesture to the intention. The true measure of a person, the Guru declares, is not their height, their show, or even their bowed head, but the purity of their heart. To be truly "weighty," one must be inwardly sweet and genuinely low—a state of being that requires no performance, for it is the very essence of the soul in harmony with the Divine.
And the epitome of harmony with the Divine: considering everything that is happening as sweet. A matra to live by: Meetha Meetha!
Guru Gobind Singh's powerful mantra -
Chattr chakr vartee, Chattr chakr bhugato
Suyambhav Subham Sarabadaa Sarab Jugate
Dukaalam Pranasi, Dayalam Saroope
Sadaa Ang Sange, Abhangang Bibhoote
Pervader of All Directions, Experiencing All That is
Self-arising, Self-luminous, Ever-present, Every Way
Destroyer of Darkness, Compassionate in Form
Forever Within, Indivisible Residual Presence
Chattr Chakr Varti – Reflection (Shivpreet Singh)
You pervade every direction, every circle of existence,
and You are the one who holds it, inhabits it, governs it—
not distant from creation, but fully present within it.
You are self-existent, self-arising, radiant in Your own being,
beautiful and auspicious by nature.
You are present in all, joined to all—
the hidden method, the inner intelligence by which everything coheres.
You are the destroyer of dukaal:
hard time, inner famine, fear, the collapse of meaning.
And You are dayaal—compassion itself,
mercy not abstract, but taking form.
You are always with us—limb with limb, breath with breath.
And yet You are abhang: unbreakable, indivisible, beyond decay.
Your power, bibhuti, remains even as ash—
not an ending, but the residue of truth.
This passage reads less like a checklist of divine qualities and more like a shift in how we’re meant to see. Guru Gobind Singh begins by loosening the familiar idea that God sits somewhere “over there,” a fixed point or a remote authority. Chattr chakr vartee points to a presence moving through every direction and every circle of existence—political, cosmic, psychological. And chattr chakr bhugatai takes it further: the One doesn’t just rule the circles of life from above; the One lives inside them, holds them, even “tastes” them. In this vision, power shows up as closeness.
The next lines widen that closeness into something almost metaphysical. Suyambhav names a reality that arises from itself—self-existent, self-illumined. Yet that kind of sovereignty doesn’t create distance. Sarabadaa sarab jugatai says this same self-existent One is present in all and threaded through all, the inner way things connect. God becomes the unseen coherence of life, the quiet intelligence that makes relationship possible.
Then the poem turns toward lived experience, especially the hard seasons. Dukaalam pranaasee isn’t only about famine or historical crisis. It also names the inner drought: fear, despair, the time when the mind collapses and meaning dries up. The line praises the One as the end of that season, the breaker of the spell. Immediately after, dayaalam saroopai brings tenderness into focus. Compassion isn’t an afterthought here. Mercy has presence. It takes shape. It enters the world in a recognizable form.
The final pair of lines lands the poem’s central tension in a way that feels deeply human. Sadaa ang sangai says the Divine stays close—limb with limb, breath with breath. That intimacy could sound fragile, as if closeness depends on conditions. Abhangang bibhute corrects that. This presence doesn’t crack under pressure. Even when everything burns down to ash, something remains—bibhuti, sacred residue, power that survives change.
Taken together, the passage offers a theology that refuses easy categories. God fills the world without getting diluted by it. God stays close without becoming breakable. God ends the drought and also arrives as compassion you can feel. Guru Gobind Singh gives us a vision where closeness carries authority, relationship carries eternity, and even ash holds a faint, stubborn light.
Recording this shabad and teaching this shabad for the kids for the upcoming Basant.
Meditating Upon Mauli Dharti
Bhagat Kabir's Mauli Dharti is about the blossoming of the spiritual seeker. Bhagat Kabir emphasizes the importance of spiritual growth and the pursuit of enlightenment. In Mauli Dharti, one of his poems, he uses the metaphor of a flower to illustrate his point about the potential for recognizing presence, enabling growth and encouraging transformation in all aspects of human life. This poem of the spring time encourages us to be like a flower, blossoming and growing in all our actions, whether we are creating, sustaining, or culminating something.
Refrain: Blossoming of the Inner Soul
Mauli Dharti Mauleya Akaas
Ghat Ghat Mauleya Aatam Pragaas
The earth blossoms, the sky blossoms
Every heart blossoms, when the soul blossoms
When the spiritual seeker is blossoming from within (aatam pragaas), which Guru Nanak calls "the light of the flower" (phoolant jyoti) in his aarti, it’s seems like everything around is blossoming. The earth is blossoming (mauli dharti), the sky is also blossoming (mauleya akaas) and every heart is blossoming (ghat ghat mauleya).
Verses: Blossoming in Every Action
To me, the three verses of the poem correspond to the three potential actions we might be engaged in: creation, sustaining, or culmination, and the three divisions of self: mind, body and soul.
1. Sustainer - Vishnu - Body
Raaja Raam Mauleo Anant Bhaye
Jeh Dekhon Teh Reheya Samaaye
King Raam blossoms many ways
Wherever I see he permeates
The soul like Raaja Raam, is present in all the forms that we are existing in the universe. All its forms that are existing are blossoming:
2. Creator - Brahma - Mind
Dvitiya Moule Chaare Bed
Simriti Mouli Syon Kateb
Second blossom the four vedas
Simrities blossom along with Quran and Bible
3. Transformer - Mahesh - Soul
Shankar Mauleyo Jog Dhyaan
Kabir Ko Swami Sab Samaan
Shankar blossoms through meditation
My master, all the same
Meditating upon the poem invokes the creation, sustaining, and culmination agents within us: our body, mind, and soul. By aligning these aspects of ourselves with the natural growth and transformation that is inherent in the universe, we can become more fully realized and fulfilled human beings. The more we meditate on this poem, the more we realize our true essence, we realize our presence in every entity around us, we find spiritual growth in every scripture that we turn to, and we are eventually transformed to be a flower that does not have an ego and flowers on seeing others flowers blossom. We bloom in every aspect of our lives and can tap into the innate potential for growth and transformation that exists within us, and ultimately reach a state of greater awareness and enlightenment.
The Music and Artwork
I have been meditating on this Bhagat Kabir shabad since November. My daughter Geet learned this shabad from Bhai Tajvinder Singh ji and this composition is derived from that traditional composition. You can find this recording on iTunes, spotify and YouTube music and several other places - just look for “Mauli Dharti.”
Mauli Dharti: Artwork
Thanks to Snizhana Kozakevich (@snizhokartist) for her beautiful art inspired by Bhagat Kabir’s poetry - please support Ukrainian artists if you can. You can ask her for prints and this artwork. You can also contribute to artists like Snizhana who are helping make this a better planet by donating to Dhunanand Foundation to which I donate all proceeds of my music.
What do Flowers Teach Us
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.
The album celebrates the voice of Guru Gobind Singh's voice through his and Bhai Nandlal's words. Two of the compositions are brand new, and three are expansions or completely new versions of my older compositions. The album converses in the languages of the 10th guru: braj bhasha, punjabi, and farsi.
Rather than treating Guru Gobind Singh as a distant historical figure, this album approaches him as living radiance: a light that instructs, unsettles, consoles, and awakens. In his own words - Sada Ang Sange Abhangam Bibhoote - you are always with me, indivisible from the the ash which comes from your holy fire.
Each shabad in this collection reveals a different shade of Guru Gobind Singh's light—meditative stillness, ecstatic love, poetic praise, musical wonder, and practical wisdom for living fully awake in the world.
The Shabads & Their Light
1. Raagan Painda — The Path of Raag 2. Jin Prem Kiyo — Love beyond surfaces 3. Aalam-e-Raushan — The World Made Bright 4. Puran Jot Jagai — Lighting the Inner Lamp
5. Chattr Chakra Varti — A Chant for All Directions
Pervading every direction, delighting in all that is.
Self-arising, radiant, woven into everything.
The end of hard seasons, mercy given form.
Always by my side— unbroken, ash-pure.
Happy Diwali, folks! I’m thrilled to share that my poem “Moondrunk on Diwali” is up at Rattle today—my first published poem.
Huge thanks to Tim Green, Rattle’s editor, for the care he brings to the magazine and the countless hours he gives to poetry. Editing is tough, generous work—making space for others to shine—and from everything I’ve seen these past months, Tim does it in service of poetry.
If you’re new to Rattle: it’s a reader-friendly poetry journal with a subscription base of around 12,000, they read 250,000 poems and publish 300 every year, and their mission is—to promote the practice of poetry. Learn more about Rattle and while you’re visiting, here are three recent poems I loved:
I’ve been learning my way through contemporary poetry for about a decade, but only started submitting to journals last month (mid-September). Four more poems are slated to appear in other magazines soon (The Woolf, Santa Clara Review, UNHOUSED anthology by Prolific Press, Neon & Smoke) —more on that when they land.
I guess am having some beginner's luck. But its not all luck. I wanted to thank to a few friends & contemporary poetry teachers who shaped my work: Robert Hass (initial direction in 2008), the late Tony Hoagland (encouragement and generosity to use his poems on my blog), Billy Collins (his poems, his masterclass, his advice on flow, titles, and wonder), Kristen Mears (for editing some of my poetry over the past 2 years), Jane Hirshfield (for her essays, poetry readings and receptivity), Hannah Yerrington (to firm my believe in the poetry of joy/praise), Tess Taylor (for her poetry submissions class), Maggie Queeney (for her form/repetition classes at the Poetry Foundation -- this poem came from an assignment in her class), Maya Popa (for her class on how to review poems). Also to the Seekers and Seers group who get to bear some of the raw poems I am writing, and still encourage me.
Last month I had a very interesting conversation with Lucky Singh, a wonderful podcaster from Connecticut. I am sharing the video here followed by comments from one of the Seeker's from our Seekers and Seers group as to the best things she liked in this conversation.
Comments from Neelu Singh
(on what she liked the best):
1) Guru Nanak was the original Podcaster
2) we are all cartoons
3) mein Banjaran ram ki--you gave the full meaning in a short crisp way
4) Want to sing like Guru Nanak and tears rolling while Gagan mein thal (it endorses the bhav part)
5) Guru Arjan Dev ji's reply--kinka jis - - and not the voluminous Guru Granth sahib
6) philosophy of sikhs--shabad has to go into the conscience
By listening
7) Asking--dhana story-no compromise-being one with the ONE
8) Mitter pyare nu---Missing You story
9) one breath-to sing in the breath. Whatever suits you jee 🙏
Launching this shabad as part of Guru Nanak's 555th birth centenary celebrations. I also wrote a poem inspired by this shabad while I was visiting New Jersey last week. For me the celebrations continue long after the supposed birthday is over. May the Guru continue to bless you!
Here is an excerpt from my poem:
Where you belong
Some moments you don’t want to end— standing across the Hudson, Manhattan glowing like a promise, its lights flickering into the water ...
I released a 13 Shabad Album launched to celebrate 555th Gurpurab of Guru Nanak Dev. I have been working on some of these shabads for several years. Hope you enjoy them.
Contemplation Series:
Every Morning From Nov 15 - Nov 28 2024 we will be celebrating Guru Nanak at 7:30am IST / 6:00pm PST / 9:00pm EST. Among other things I will be sharing learnings from my recent album, Hum Ghar Saajan Aye. The contemplation theme for the next few weeks will be how to invite the beloved home or how to go to the beloved's home. invite your beloved home.
Raam So Daas
Happy Gurpurab everyone! Raam So Daas. Guru Ramdas! If you ask Bhai Santokh Singh who Guru Ramdas is, this is his answer. The daas is just like raam, the servant is a reflection of the master. Truly in the gurmat spirity of Har Jan Aisa Chahiye, Jaisa Har Hi Hoye (Bhagat Kabir: A true Hari jan is just like Hari).
A couple of weeks ago I was working on Gur Ramdas Rakho Sharnayi in a new raag that is a gift from Guru Ramdas. It is inspired both by Kalavati and komal Ni Asa. As a tribute to the great guru, I am calling it Raag Daas. At one of the live meditations I will cover this raag. There are 2 other compositions that I have landed on me in this raag in the past week or so, and I look forward to sharing those as well.
Thanks to Rajesh Prasanna for recording Bansuri on this track. I only composed this three days ago, recorded and sent it to him, he sent it back to me today and I mixed and produced this beautiful poem. I shared an earlier version of this poem with the Seekers group and they agreed with me: the spirit of Guru Ramdas is in these words.
This is the first time I have read any poem by Bhai Santokh Singh, and I must say I am blown over. The depth and the gurmat sikhya in each phrase is amazingly beautiful. I tried to share the lines of Gurbani that each phrase reminded me of in the video.
May the spirit of Guru Ramdas reside with you.
Celebrating Guru Ramdas' Gurpurab this year with his beautiful words. He says of all the good deeds, one of the great good deeds is to bow before a Sadhu, a person who is a seeker and is walking on the path of oneness. Despite our tradition of humility we often forget to respect those who are walking on the path of oneness. May we always be inspired to be inspired by them.
Much thanks and gratitude to Ahsan Ali for his beautiful Sarangi and Bhai Rajvinder Singh ji for his inimitable Tabla.
The following are the traditional translations. I will be discussing this shabad later this week in live contemplations. For a more detailed introduction on this shabad please see: 1 hour discussion on Kar Sadhu Anjali
ਰਾਗੁ ਗਉੜੀ ਪੂਰਬੀ ਮਹਲਾ ੪ ॥
raag gauRee poorabee mahalaa chauthhaa ||
रागु गउड़ी पूरबी महला ४ ॥
Raag Gauree Poorbee, Fourth Mehla:
ਕਾਮਿ ਕਰੋਧਿ ਨਗਰੁ ਬਹੁ ਭਰਿਆ ਮਿਲਿ ਸਾਧੂ ਖੰਡਲ ਖੰਡਾ ਹੇ ॥
kaam karodh nagar bahu bhariaa mil saadhoo kha(n)ddal kha(n)ddaa he ||
कामि करोधि नगरु बहु भरिआ मिलि साधू खंडल खंडा हे ॥
The body-village is filled to overflowing with anger and sexual desire; these were broken into bits when I met with the Holy Saint.
The more they walk away, the deeper it pierces them, and the more they suffer in pain, until finally, the Messenger of Death smashes his club against their heads. ||2||
Google Play: https://play.google.com/store/music/artist/Shivpreet_Singh?id=Aoqsuo6pyrdjdkld6uutbsxty7a
Baba Farid Lecture Series: Magic Mantra of Sweetness
This video was recorded recently with Dr. Asma Qadri, professor of classic punjabi poetry from Punjabi University, Lahore, as part of the Baba Farid Lecture Series. To join these lectures, you can join Seekers and Seers.
Humility is the alphabet, and forgiveness if the virtue that comes from humility, which eventually gives rise to the magic mantra character of sweetness.
In many religious and spiritual traditions, humility is revered as a foundational trait, described as the alphabet upon which all other virtues are built. This metaphor emphasizes the essential role humility plays in shaping one’s character and spiritual journey. From humility springs the virtue of forgiveness, which further develops into the sweetness of one’s words and actions—an attribute described as the "magic mantra" that has the power to transform and captivate.
The verse from Gurbani that asks, "What is that word, what is that virtue, and what is that magic mantra?" invites deep contemplation. It seeks to uncover the core principles that can guide an individual toward spiritual fulfillment. The answer lies in the subsequent lines, where humility is identified as the "akhar" (letter), forgiveness as the "gun" (virtue), and sweetness in speech as the "mant" (mantra). These three qualities together form the essence of a life that resonates with divinity and harmony.
Humility as the Alphabet
Humility, in this context, is likened to the alphabet—the building blocks of language and communication. Just as letters are fundamental to forming words and conveying meaning, humility is fundamental to spiritual growth and ethical living. It is the first step in the journey of self-realization, where one acknowledges their smallness in the vastness of the universe. By embracing humility, one begins to dismantle the ego, which is often the greatest barrier to true understanding and connection with the divine.
Humility is not just about lowering oneself but recognizing the interconnectedness of all beings. It’s about seeing oneself as part of a larger whole, where the well-being of others is as important as one’s own. This perspective naturally leads to the next virtue: forgiveness.
Forgiveness as the Virtue
Forgiveness is the direct outcome of humility. When one is humble, they can see beyond their own pain and grievances, recognizing that others, too, are fallible. Forgiveness becomes a way of releasing the burden of anger and resentment, allowing both the forgiver and the forgiven to move forward. In Sikhism, forgiveness is not merely an act but a state of being—a constant readiness to let go of grudges and embrace others with compassion.
This virtue is powerful because it breaks the cycle of vengeance and hostility, replacing it with understanding and peace. It is through forgiveness that relationships are healed and communities are strengthened. This virtue also paves the way for the next transformative quality: sweetness in speech.
Sweetness as the Magic Mantra
The culmination of humility and forgiveness is sweetness—both in speech and in demeanor. Sweet speech is described as a "magic mantra" because of its ability to soothe, comfort, and bring joy to others. It is a reflection of inner peace and contentment, qualities that are nurtured by humility and forgiveness.
Sweetness in communication is not just about being polite; it is about speaking with sincerity, kindness, and a genuine concern for the well-being of others. It is the outward expression of a heart that has been softened by humility and forgiveness. This sweetness has a transformative effect, creating a ripple of positivity that can touch everyone it encounters.
The Divine Connection
The verse concludes by advising the "wearing" of these three qualities—humility, forgiveness, and sweetness—as garments that will captivate the "Husband Lord," a metaphor for the divine presence. This suggests that these virtues are not merely moral guidelines but spiritual practices that bring one closer to the divine. By embodying these traits, one becomes aligned with the divine will, living in harmony with the universe and experiencing a deep sense of fulfillment.
In essence, humility, forgiveness, and sweetness form a triad of virtues that are foundational to a life of spiritual richness. They are interdependent, each reinforcing the other in a cycle that leads to greater understanding, compassion, and joy. These qualities are not just ideals to aspire to but practical tools for daily living, guiding one toward a more peaceful and meaningful existence.
ਕਵਣੁ ਸੁ ਅਖਰੁ ਕਵਣੁ ਗੁਣੁ ਕਵਣੁ ਸੁ ਮਣੀਆ ਮੰਤੁ ॥
kavanu su akhar kavan gun kavanu su maneeaa ma(n)t ||
What is that word, what is that virtue, and what is that magic mantra?
ਕਵਣੁ ਸੁ ਵੇਸੋ ਹਉ ਕਰੀ ਜਿਤੁ ਵਸਿ ਆਵੈ ਕੰਤੁ ॥੧੨੬॥
kavanu su veso hau karee jit vas aavai ka(n)t ||126||
What are those clothes, which I can wear to captivate my Husband Lord? ||126||
ਨਿਵਣੁ ਸੁ ਅਖਰੁ ਖਵਣੁ ਗੁਣੁ ਜਿਹਬਾ ਮਣੀਆ ਮੰਤੁ ॥
nivanu su akhar khavan gun jihabaa maneeaa ma(n)t ||
Humility is the letter, forgiveness is the virtue, and sweet speech is the magic mantra.
ਏ ਤ੍ਰੈ ਭੈਣੇ ਵੇਸ ਕਰਿ ਤਾਂ ਵਸਿ ਆਵੀ ਕੰਤੁ ॥੧੨੭॥
e trai bhaine ves kar taa(n) vas aavee ka(n)t ||127||
Wear these three robes, O sister, and you will captivate your Husband Lord. ||127||
Bhagat Sheikh Fareed Ji in Salok Fareed Jee - 1384
Notice what Guru Nanak says about sweetness in this shabad in Raag Shri:
ਕਰਤਾ ਸਭੁ ਕੋ ਤੇਰੈ ਜੋਰਿ ॥
karataa sabh ko terai jor ||
O Creator Lord, all are in Your Power.
ਏਕੁ ਸਬਦੁ ਬੀਚਾਰੀਐ ਜਾ ਤੂ ਤਾ ਕਿਆ ਹੋਰਿ ॥੧॥ ਰਹਾਉ ॥
ek sabadh beechaareeaai jaa too taa kiaa hor ||1|| rahaau ||
I dwell upon the One Word of the Shabad. You are mine-what else do I need? ||1||Pause||
ਜਾਇ ਪੁਛਹੁ ਸੋਹਾਗਣੀ ਤੁਸੀ ਰਾਵਿਆ ਕਿਨੀ ਗੁਣਂੀ ॥
jai puchhahu sohaaganee tusee raaviaa kinee gunee(n) ||
Go, and ask the happy soul-brides, ""By what virtuous qualities do you enjoy your Husband Lord?""
ਸਹਜਿ ਸੰਤੋਖਿ ਸੀਗਾਰੀਆ ਮਿਠਾ ਬੋਲਣੀ ॥
sahaj sa(n)tokh seegaareeaa mittaa bolanee ||
"We are adorned with intuitive ease, contentment and sweet words.
ਪਿਰੁ ਰੀਸਾਲੂ ਤਾ ਮਿਲੈ ਜਾ ਗੁਰ ਕਾ ਸਬਦੁ ਸੁਣੀ ॥੨॥
pir reesaaloo taa milai jaa gur kaa sabadh sunee ||2||
We meet with our Beloved, the Source of Joy, when we listen to the Word of the Guru's Shabad.""||2||
Guru Nanak Dev Ji in Siree Raag - 17
Next up in the series:
ਫਰੀਦਾ ਜੇ ਤੂ ਅਕਲਿ ਲਤੀਫੁ ਕਾਲੇ ਲਿਖੁ ਨ ਲੇਖ ॥
fareedhaa je too akal lateef kaale likh na lekh ||
Fareed, if you have a keen understanding, then do not write black marks against anyone else.
ਆਪਨੜੇ ਗਿਰੀਵਾਨ ਮਹਿ ਸਿਰੁ ਨਂੀਵਾਂ ਕਰਿ ਦੇਖੁ ॥੬॥
aapanaRe gireevaan meh sir nee(n)vaa(n) kar dhekh ||6||
Look underneath your own collar instead. ||6||
Bhagat Sheikh Fareed Ji in Salok Fareed Jee - 1378
Sukhmani Sahib - Walk Slowly, Bow Often
In the quiet of the morning, a hummingbird visits my window, seeking nectar from the flowers outside. It flits rapidly, here and there, its wings a blur of motion, until it finally hovers, almost still, over a single blossom.
This weekend in my weekly meditation, I described how Guru Arjan's concept of Ek Kinka has been transformational for me. Guru Arjan speaks of Ek Kinka—a single, small granule, a droplet from the vast ocean, a twig from the tree of seekers, a single grain of sand from life’s endless shore, or a note lifted from the grand symphony of existence. It reminded me of both Mary Oliver's poem (When I am among the trees) Bhagat Kabir's shabad (Har Ka Bilovana) where he talks about how Brahma and his sons missed out on focusing on the small details and instead got lost in the vastness.
What about the ocean's depths, where fish swim in schools, unseen? What about the countless leaves of the tree, each a green flag waving in the wind? What of the beach that stretches out like a promise, endless and inviting, where life unfolds in grains too numerous to count? And what about the songs—all the songs we might have sung, each a melody waiting to be born? These questions reflect a common human fear—the fear of missing out, the quiet ache known as *birha*—the separation that lingers within us, reminding us of the vastness from which we have come. This separation, this feeling that we are somehow missing the bigger picture, is a thread we pull but cannot follow to its end.
Yet, the poem suggests that it is precisely this separation that renews us. It is this distance that sharpens our sight, allowing us to see more clearly. *Separation is the Amrit*—the nectar that sweetens our understanding and clears our vision. This concept is further illustrated by an ancient bard's wisdom, which tells us that darkness is another kind of light. Each granule of darkness is like a photon, invisible to the eye but still carrying light within it.
As the hummingbird remains still over the flower, drawing in the nectar, this moment becomes a microcosm of all the world’s sweetness. It is a reminder that in such small, simple moments, all the wisdom we need is contained. No other scriptures are necessary; this moment of connection, of understanding, is enough for emancipation. We are left to reflect on the significance of smallness and separation in our lives. The vastness of existence lies in appreciating the tiny, seemingly insignificant moments that make up our everyday experience. Just as the hummingbird finds sustenance in a single flower, we too can find profound meaning in the smallest details of our lives, realizing that they are not separate from the whole but an essential part of it.
When I am among the trees
by Mary Oliver
When I am among the trees,
especially the willows and the honey locust,
equally the beech, the oaks and the pines,
they give off such hints of gladness.
I would almost say that they save me, and daily.
I am so distant from the hope of myself,
in which I have goodness, and discernment,
and never hurry through the world
but walk slowly, and bow often.
Around me the trees stir in their leaves
and call out, “Stay awhile.”
The light flows from their branches.
And they call again, “It’s simple,” they say,
“and you too have come
into the world to do this, to go easy, to be filled
with light, and to shine.”
ਦੁਤੁਕੇ
dhutuke
Dho-Thukay
ੴ ਸਤਿਗੁਰ ਪ੍ਰਸਾਦਿ ॥
ikOankaar satigur prasaadh ||
One Universal Creator God. By The Grace Of The True Guru:
ਆਸਾ ਸ੍ਰੀ ਕਬੀਰ ਜੀਉ ਕੇ ਚਉਪਦੇ ਇਕਤੁਕੇ ॥
aasaa sree kabeer jeeau ke chaupadhe ikatuke ||
Aasaa Of Kabeer Jee, Chau-Padhay, Ek-Thukay:
ਸਨਕ ਸਨੰਦ ਅੰਤੁ ਨਹੀ ਪਾਇਆ ॥
sanak sana(n)dh a(n)t nahee paiaa ||
Sanak and Sanand, the sons of Brahma, could not find the Lord's limits.
ਬੇਦ ਪੜੇ ਪੜਿ ਬ੍ਰਹਮੇ ਜਨਮੁ ਗਵਾਇਆ ॥੧॥
bedh paRe paR brahame janam gavaiaa ||1||
Brahma wasted his life away, continually reading the Vedas. ||1||
ਹਰਿ ਕਾ ਬਿਲੋਵਨਾ ਬਿਲੋਵਹੁ ਮੇਰੇ ਭਾਈ ॥
har kaa bilovanaa bilovahu mere bhaiee ||
Churn the churn of the Lord, O my Siblings of Destiny.
ਸਹਜਿ ਬਿਲੋਵਹੁ ਜੈਸੇ ਤਤੁ ਨ ਜਾਈ ॥੧॥ ਰਹਾਉ ॥
sahaj bilovahu jaise tat na jaiee ||1|| rahaau ||
Churn it steadily, so that the essence, the butter, may not be lost. ||1||Pause||
ਤਨੁ ਕਰਿ ਮਟੁਕੀ ਮਨ ਮਾਹਿ ਬਿਲੋਈ ॥
tan kar maTukee man maeh biloiee ||
Make your body the churning jar, and use the stick of your mind to churn it.
ਇਸੁ ਮਟੁਕੀ ਮਹਿ ਸਬਦੁ ਸੰਜੋਈ ॥੨॥
eis maTukee meh sabadh sa(n)joiee ||2||
Gather the curds of the Word of the Shabad. ||2||
ਹਰਿ ਕਾ ਬਿਲੋਵਨਾ ਮਨ ਕਾ ਬੀਚਾਰਾ ॥
har kaa bilovanaa man kaa beechaaraa ||
The churning of the Lord is to reflect upon Him within your mind.
ਗੁਰ ਪ੍ਰਸਾਦਿ ਪਾਵੈ ਅੰਮ੍ਰਿਤ ਧਾਰਾ ॥੩॥
gur prasaadh paavai a(n)mirat dhaaraa ||3||
By Guru's Grace, the Ambrosial Nectar flows into us. ||3||
ਕਹੁ ਕਬੀਰ ਨਦਰਿ ਕਰੇ ਜੇ ਮਂੀਰਾ ॥
kahu kabeer nadhar kare je ma(n)eeraa ||
Says Kabeer, if the Lord, our King casts His Glance of Grace,
ਰਾਮ ਨਾਮ ਲਗਿ ਉਤਰੇ ਤੀਰਾ ॥੪॥੧॥੧੦॥
raam naam lag utare teeraa ||4||1||10||
one is carried across to the other side, holding fast to the Lord's Name. ||4||
In August/September 2024 I plan to do an introductory contemplation on a few verses from Sukhmani Sahib every Saturday. I will add notes and links to this document as I go along doing this meditation.
To delve deeper into the spiritual essence and practical wisdom of Sukhmani Sahib, I have found the following webpages useful.
Shlok Katha by Bhai Pinderpal Singh: This series is a good collection of videos that goes through each of the Shloks of Sukhmani Sahib. It is inspiring that instead of doing a katha of each line of each Ashtapadi, Bhai Pinderpal Singh ji focuses on the shloks which are summarizing the ashtapadis.
Wikipedia page on Sukhmani Sahib offers a well-rounded introduction, including historical context, linguistic insights, and the theological significance of the composition.
Sikh Philosophy Network provides in-depth discussions and commentaries on individual Ashtapadis (sections) of Sukhmani Sahib. This resource is perfect for those who wish to engage in a more detailed study, offering interpretations and reflections from various scholars and practitioners.
BASICS of Sikhi article elaborates on the greatness of Sukhmani Sahib, focusing on its spiritual potency and the transformative power it holds for those who recite it with devotion
Aad Gureh Nameh
First week: Aad Gureh Nameh - the first shlok of Sukhmani Sahib.
ੴ ਸਤਿਗੁਰ ਪ੍ਰਸਾਦਿ ॥ ikOankaar satigur prasaadh || One Universal Creator God. By The Grace Of The True Guru:
ਆਦਿ ਗੁਰਏ ਨਮਹ ॥ aadh gure nameh || I bow to the Primal Guru.
ਜੁਗਾਦਿ ਗੁਰਏ ਨਮਹ ॥ jugaadh gure nameh || I bow to the Guru of the ages.
ਸਤਿਗੁਰਏ ਨਮਹ ॥ satigure nameh || I bow to the True Guru.
ਸ੍ਰੀ ਗੁਰਦੇਵਏ ਨਮਹ ॥੧॥ sree gurdheve nameh ||1|| I bow to the Great, Divine Guru. ||1||
Oneness From Guru Nanak to Guru Arjan to Us
While traditional translations often describe the Aad Guru as the timeless one, I believe that Guru Arjan subtly points us toward Guru Nanak in these verses. To me, there is no distinction, no duality—Guru Nanak and the timeless one are the same. Through deep meditation on the first and last Ashtapadis, and the Rahao of Sukhmani Sahib, this is the message Guru Arjan conveys to me.
The name of Guru Nanak's Bani is Jap, and the subject of Guru Arjan’s Sukhmani Sahib is Simran. In this way, Sukhmani Sahib becomes a reflection of Japji Sahib, much like the way the Harimandar Sahib is reflected in the pool surrounding it. The subjects, meanings, and rhymes echo each other, as if standing in a grand hall of mirrors where one can glimpse the true self, the Sach, through the Guru to whom we bow (Nameh).
The first word of the first Ashtapadi is "Simro," which appears in various forms in the opening lines. The word "one" is then repeated in each of the next eight lines, reminding us of the focus of our remembrance: the One. This is a beautiful reminder of the fundamental mantra—the Mool Mantra—the singular sound that is the Guru’s gift.
Guru Nanak begins his first Shlok with the word "Aad" (Primal), and Guru Arjan does the same in his Shlok: Aad Gureh Nameh. While Guru Nanak delves into the truth—Aad Sach—Guru Arjan focuses on those who lead us to this radiant truth: the Gurus. Sukhmani Sahib, in essence, is a celebration of the Bhagats, the singers of Oneness. At crucial points, both Japji Sahib and Sukhmani Sahib use rhymes to emphasize their subjects (Jap and Simran). For instance, "Aad Sach" rhymes with "Sach," just as "Dharat Mahat" in the last line of Japji Sahib resonates with "Sach." Similarly, "Nameh" in the first Shlok of Sukhmani Sahib rhymes with "Simreh," which is repeated throughout the first Ashtapadi. These rhymes reinforce the themes of the Banis and hint at the cyclical nature of their recitation.
If we were to sing Sukhmani Sahib like a Shabad, we would begin with the Rahao lines. In that case, the first word we would sing would be "Sukhmani," a term with multifaceted meanings that Guru Arjan coined. The last word of the final Ashtapadi is also "Sukhmani." This word encompasses peace of mind, the channels of our mind and soul, and the concept of a treasure. With such a circular connection, we are enveloped in Sukhmani from beginning to end, along with its profound meanings. I feel that Guru Arjan sought to bring the high philosophy of Japji Sahib down to earth. That is why the language and ideas are simple yet profound, making Sukhmani Sahib a scripture that connects with other seekers.
There is a fourth meaning of the word "Sukhmani" that I am discovering, which becomes clear toward the end of Sukhmani Sahib. Sukhmani is the virtue, the Gun, that seekers possess. We become complete when we embody it—the final Shlok speaks of becoming complete, of becoming Pura. Sukhmani is the most precious jewel with which we adorn ourselves, the pearl of bliss, the jewel of joy that connects us with Oneness.
Interestingly, the last Pauri of Japji Sahib (Jat Pahara Dheeraj Suniyaar) also speaks of chiseling the diamond of the mind. How beautifully these reflections catch our eye! How beautifully Guru Nanak is reflected in Guru Arjan! And how fortunate we are to carry the reflections of these North Stars with us, ultimately merging with the North Star to become complete—Pura, Sukhmani. We embody the Sukh that we were seeking. The last word of Japji Sahib in the Pauris is "Nihaal"—Joyous, Anand, Sukh.
This is the first shabad a seeker sings when he finds his place.
The Birth of a Sacred City
Guru Ram Dass, the fourth Sikh Guru, envisioned a city that would become a haven for seekers—those who yearn for spiritual growth and the joy of communal singing. His dream was of a place where people from diverse backgrounds could come together, united by their quest for truth and self-discovery.
In 1574, he made a significant step towards realizing this vision by purchasing land in the village of Tung for 700 rupees. On this land, he planned the construction of a gurdwara, which he named Harmandir Sahib, meaning "The Abode of God."
Guru Ram Dass's design was unique and inspiring, a vision of a sacred space open to all, symbolizing inclusiveness and humility. However, it was his son, Guru Arjan, the fifth Sikh Guru, who would bring this vision to life. He oversaw the completion of the gurdwara, ensuring that it embodied the ideals and principles laid out by his father.
The Gurdwara was completed in 1604. Guru Arjan, installed the Guru Granth Sahib in it and appointed Baba Buddha as the first Granthi (reader) of it on August 1604. When Guru Arjan first laid eyes on the completed Harmandir Sahib, he was filled with awe. The gurdwara was magnificent, surrounded by a serene lake, known as the Amrit Sarovar. The waters of this lake, believed to be infused with spiritual nectar, reflected the golden glow of the temple, creating an ethereal atmosphere.
The amrit voice of seekers, their harmonious hymns and prayers, echoed from the heart of the temple. This melody of devotion was a testament to the spiritual energy that pervaded the place, drawing in seekers from far and wide.
In the 19th century, Maharaja Ranjit Singh, a powerful ruler, undertook the task of adorning the walls of Harmandir Sahib with gold. This act transformed the gurdwara into what is now famously known as the Golden Temple. The shimmering gold reminded devotees of the last pauri of Guru Nanak's Japji Sahib, which urges seekers to mint the true coin of self—satnam, the essence of truth.
The first shabad (hymn) sung in Harmandir Sahib was "Santan Kai Kaaraj," a hymn that embodies the humility and grace that are central to any seeker's aspiration. This is the first shabad that a seeker sings when he finds his place. It reflects the understanding that all actions, including the acts of seeking and singing, are expressions of the divine grace within—the true self, the eternal teacher, Hari. The hymn resonates deeply with the ethos of the Golden Temple, a place where the divine affairs of seekers unfold:
The Affairs of the Seekers
You come to complete
the affairs of the seekers.
You stand up yourself
To complete every task.
You designed the lands
And the pools around it
In which resides
The nectar of life
Salutations are resounding
In every direction.
The scriptures are singing
Your praises, oh One!
You have kept
Your promise,
You have confirmed
Your nature.
This shabad, with its profound message, continues to echo within the walls of Harmandir Sahib, reminding every visitor of the divine presence that orchestrates all actions. The temple, with its golden splendor and serene surroundings, stands as a beacon of humility, devotion, and unity—a true embodiment of Guru Ram Dass's vision.
Through the centuries, Harmandir Sahib has remained a sanctuary for the soul, where seekers come to immerse themselves in the divine melody, to grow, to reflect, and to find the true self within. It is a place where the affairs of the seekers are eternally completed by the grace of the One.
Architectural Features of the Harmandir Sahib
Some of the architectural features of the Harmandir Sahib were intended to be symbolic of the Sikh worldview. Instead of the normal custom of building a Gurdwara on high land, it was built at a lower level than the surrounding land so that Sikhs would have to go down steps to enter it.
In addition, instead of one entrance, Sri Harmandir Sahib has four entrances. Hindu temples are sometimes closed on three sides and opened only towards the east or the rising sun. Muslims would pray towards the west or to the Kaaba. The great Gurdwara at Amritsar was to be open on all sides. This meant that Sikh worship was open to all, and was not concerned with sun-worship or the Kaaba.
The Lord Himself has stood up to resolve the affairs of the Saints; He has come to complete their tasks. The land is beautiful, and the pool is beautiful; within it is contained the Ambrosial Water. The Ambrosial Water is filling it, and my job is perfectly complete; all my desires are fulfilled. Congratulations are pouring in from all over the world; all my sorrows are eliminated. The Vedas and the Puraanas sing the Praises of the Perfect, Unchanging, Imperishable Primal Lord. The Transcendent Lord has kept His promise, and confirmed His nature; Nanak meditates on the Naam, the Name of the Lord. ||1||
The Creator has given me the nine treasures, wealth and spiritual powers, and I do not lack anything. Eating, spending and enjoying, I have found peace; the gifts of the Creator Lord continually increase. His gifts increase and shall never be exhausted; I have found the Inner-knower, the Searcher of hearts. Millions of obstacles have all been removed, and pain does not even approach me. Tranquility, peace, poise and bliss in abundance prevail, and all my hunger is satisfied. Nanak sings the Glorious Praises of his Lord and Master, whose Glorious Greatness is wonderful and amazing. ||2||
It was His job, and He has done it; what can the mere mortal being do? The devotees are adorned, singing the Glorious Praises of the Lord; they proclaim His eternal victory. Singing the Glorious Praises of the Lord of the Universe, bliss wells up, and we are friends with the Saadh Sangat, the Company of the Holy. He who made the effort to construct this sacred pool - how can his praises be recounted? The merits of the sixty-eight sacred shrines of pilgrimage, charity, good deeds and immaculate lifestyle, are found in this sacred pool. It is the natural way of the Lord and Master to purify sinners; Nanak takes the Support of the Word of the Shabad. ||3||
The treasure of virtue is my God, the Creator Lord; what Praises of Yours should I sing, O Lord? The prayer of the Saints is, "O Lord and Master, please bless us with the supreme, sublime essence of Your Name". Please, grant us Your Name, grant us this blessing, and do not forget us, even for an instant. Chant the Glorious Praises of the World-Lord, O my tongue; sing them forever, night and day. One who enshrines love for the Naam, the Name of the Lord, his mind and body are drenched with Ambrosial Nectar. Prays Nanak, my desires have been fulfilled; gazing upon the Blessed Vision of the Lord, I live. ||4||7||10||
~ Sri Guru Granth Sahib Ji, Guru Arjan, Ang 783-784
The following also was composed on the same occasion;
vicẖ karṯā purakẖ kẖalo▫ā. vāl na vingā ho▫ā. Majan gur āʼnḏā rāse. Jap har har kilvikẖ nāse. ||1||
Sanṯahu Rāmḏās sarovar nīkā. Jo nāvai so kul ṯarāvai uḏẖār ho▫ā hai jī kā. ||1|| rahā▫o.
Jai jai kār jag gāvai. Man cẖinḏi▫aṛe fal pāvai. Sahī salāmaṯ nā▫e ā▫e. Apṇā parabẖū ḏẖi▫ā▫e. ||2||
Sanṯ sarovar nāvai. So jan param gaṯ pāvai. Marai na āvai jā▫ī. Har har nām ḏẖi▫ā▫ī. ||3||
Ih barahm bicẖār so jānai. Jis ḏa▫i▫āl ho▫e bẖagvānai. Bābā Nānak parabẖ sarṇā▫ī. Sabẖ cẖinṯā gaṇaṯ mitā▫ī. ||4||7||57||
Sorat'h, Fifth Mehl:
The Creator Lord Himself stood between us, and not a hair upon my head was touched. The Guru made my cleansing bath successful; meditating on the Lord, Har, Har, my sins were erased. ||1||
O Saints, the purifying pool of Ram Das is sublime. Whoever bathes in it, their family lineage and their soul is saved. ||1||Pause||
The world sings cheers of victory, and the fruits of ones mind's desires are obtained. One is safe and sound who comes and bathes here, and meditates on God. ||2||
One who bathes in the healing pool of the Saints, that humble being obtains the supreme status. One does not die, or come and go in reincarnation; one meditates on the Name of the Lord, Har, Har. ||3||
One alone knows this about God, whom God blesses with kindness. Baba Nanak seeks the Sanctuary of God; all worries and anxieties are dispelled. ||4||7||57||
~ Sri Guru Granth Sahib Ji, Guru Arjan, Ang 623
Guru Arjan described the advantages of the sarovar;
Ik▫oaʼnkār saṯgur parsāḏ. Rāmḏās sarovar nāṯe. Sabẖ uṯre pāp kamāṯe. Nirmal ho▫e kar isnānā. Gur pūrai kīne ḏānā. ||1||
Sabẖ kusal kẖem parabẖ ḏẖāre. Sahī salāmaṯ sabẖ thok ubāre gur kā sabaḏ vīcẖāre. Rahā▫o. Sāḏẖsang mal lāthī. Pārbarahm bẖa▫i▫o sāthī. Nānak nām ḏẖi▫ā▫i▫ā. Āḏ purakẖ parabẖ pā▫i▫ā. ||2||1||65||
Sorat'h, Fifth Mehl, Third House, Du-Padas:
One Universal Creator God. By The Grace Of The True Guru: Bathing in the nectar tank of Ram Das, all sins are erased. One becomes immaculately pure, taking this cleansing bath. The Perfect Guru has bestowed this gift. ||1||
God has blessed all with peace and pleasure. Everything is safe and sound, as we contemplate the Word of the Guru's Shabad. ||Pause|| In the Saadh Sangat, the Company of the Holy, filth is washed off. The Supreme Lord God has become our friend and helper. Nanak meditates on the Naam, the Name of the Lord. He has found God, the Primal Being. ||2||1||65||
~ Sri Guru Granth Sahib Ji, Guru Arjan, Ang 625
When the sarovar and Sri Harmandir Sahib were completed there were great rejoicings. The enormous exertions and personal sacrifices made by Bhai Budha, Bhai Bhagtu, Bhai Behlo and Bhai Shalo are specially mentioned. One day as they were all bathing, Guru Arjan shed tears on seeing the state of their bodies as the result of their labours.
The Guru said with mournful voice, that, as the sarovar had been constructed by such devout and sincere Sikhs, all sins should be removed and all desires fulfilled by bathing in it and duly worshipping God. The following also was composed on the occasion;
Saḏā saḏā har ḏẖi▫ā▫ī▫ai kicẖẖ bigẖan na lāgai. Nānak nām salāhī▫ai bẖa▫e ḏusman bẖāgai. ||2||3||67||
Bilaaval, Fifth Mehl:
God Himself has given me the Support of His Lotus Feet. God's humble servants seek His Sanctuary; they are respected and famous forever. ||1||
God is the unparalleled Savior and Protector; service to Him is immaculate and pure. The Divine Guru has built the City of Ramdaspur, the royal domain of the Lord. ||1||Pause||
Forever and ever, meditate on the Lord, and no obstacles will obstruct you. O Nanak, praising the Naam, the Name of the Lord, the fear of enemies runs away. ||2||3||67||
~ Sri Guru Granth Sahib Ji, Guru Arjan, Ang 817
Guru Arjan wrote the following on the completion of Sri Harmandir Sahib;
Ānanḏā vajėh niṯ vāje pārbarahm man vūṯẖā rām. Gurmukẖe sacẖ karṇī sārī binse bẖaram bẖai jẖūṯẖā rām. Anhaḏ baṇī gurmukẖ vakẖāṇī jas suṇ suṇ man ṯan hari▫ā. Sarab sukẖā ṯis hī baṇ ā▫e jo parabẖ apnā kari▫ā. Gẖar mėh nav niḏẖ bẖare bẖandārā rām nām rang lāgā. Nānak jan parabẖ kaḏe na visrai pūran jā ke bẖāgā. ||2||
Cẖẖā▫i▫ā parabẖ cẖẖaṯarpaṯ kīnĥī saglī ṯapaṯ bināsī rām. Ḏūkẖ pāp kā derā dẖāṯẖā kāraj ā▫i▫ā rāsī rām. Har parabẖ furmā▫i▫ā mitī balā▫i▫ā sācẖ ḏẖaram punn fali▫ā. So parabẖ apunā saḏā ḏẖi▫ā▫ī▫ai sovaṯ baisaṯ kẖali▫ā. Guṇ niḏẖān sukẖ sāgar su▫āmī jal thal mahī▫al so▫ī. Jan Nānak parabẖ kī sarṇā▫ī ṯis bin avar na ko▫ī. ||3||
Merā gẖar bani▫ā ban ṯāl bani▫ā parabẖ parse har rā▫i▫ā rām. Merā man sohi▫ā mīṯ sājan sarse guṇ mangal har gā▫i▫ā rām. Guṇ gā▫e parabẖū ḏẖi▫ā▫e sācẖā sagal icẖẖā pā▫ī▫ā. Gur cẖaraṇ lāge saḏā jāge man vajī▫ā vāḏẖā▫ī▫ā. Karī naḏar su▫āmī sukẖah gāmī halaṯ palaṯ savāri▫ā. Binvanṯ Nānak niṯ nām japī▫ai jī▫o pind jin ḏẖāri▫ā. ||4||4||7||
Suhi, Fifth Mehl:
By repeating God's name, the house of God has been built; the Saints and worshippers sing God's Glorious Praises. Remember, remember the Lord your God, and you shall be released from all your sins. By singing the glorious praises of the Lord, the supreme status is obtained. The word of God's Gurbani is sublime and exalted. God's Sermon is so very sweet. It brings celestial peace. It is to speak the unspoken speech. The time and the moment were auspicious, blessed and true, when the eternal foundation of this Temple was placed. O servant Nanak, God has been kind and compassionate; with all God's powers, God has blessed me. ||1||
The instruments of joy play through me continually; I have enshrined the Supreme Lord within my heart. As Gurmukh, my lifestyle is excellent and true; my false hopes and doubts are dispelled. The Gurmukh chants the Gurbani of the unstruck melody; hearing it, listening to it, my mind and body are refreshed. All pleasures are obtained, by that one whom God makes its own. Within the home of the heart are the nine treasures, filled to overflowing. One has fallen in love with the Lord's Name. Servant Nanak shall never forget God; his destiny is perfectly fulfilled. ||2||
God, the King, has given me shade under its canopy, and the fire of desire has been totally extinguished. The home of sorrow and sin has been demolished, and all affairs have been resolved. When the Lord God so commands, misfortune is averted; true righteousness, Dharma and charity flourish. Meditate forever on your God, when you sleep and sit and stand. The Lord and Master is the treasure of virtue, the ocean of peace; God pervades the water, the land and the sky. Servant Nanak has entered God's Sanctuary; there is no other than God. ||3||
My home is made, the garden and pool are made, and my Sovereign Lord God has met me. My mind is adorned, and my friends rejoice; I sing the songs of joy, and the Glorious Praises of the Lord. Singing the Glorious Praises of the True Lord God, all desires are fulfilled. Those who are attached to the Guru's feet are always awake and aware; God's Praises resound and resonate through their minds. My Lord and Master, the bringer of peace, has blessed me with God's grace; God has arranged this world, and the world hereafter for me. Prays Nanak, chant the Naam, the Name of the Lord forever; God is the support of the body and soul. ||4||4||7||
~ Sri Guru Granth Sahib Ji, Guru Arjan, Ang 781-782
Singing oneness!
