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


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

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

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

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

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

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

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

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

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

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

ਘਰ ਹੀ ਕੀ ਵਥੁ ਘਰੇ ਰਹਾਵੈ ॥੪੭॥
ghar hee kee vath ghare rahaavai ||47||
The thing of the House should remain in the House.

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

l(a

le
af
fa

ll

s)
one
l

iness

—ee cummings

More on "l(a"


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

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

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

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

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

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

From Isolation to Unity - Tuhi Tuhi



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

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

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




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

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



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






I am launching a new shabad today, just a simple traditional raag Todi composition sung live with the piano: Satgur Aayo Sharan Tuhari.  Here are some introductory thoughts on the shabad, followed by lyrics, transliteration and translation. 

Embracing Oneness: A Humble Plea to the Cosmic Consciousness 


In the vast expanse of cosmic consciousness, I offer a humble plea to the True Guru for divine guidance. Seeking harmony and tranquility, I immerse myself in the cosmic vibration of the Lord's Name, beseeching the release from worries and anxieties that burden my soul. 

Like a weary wanderer, I surrender to the feet of the Guru, yearning for salvation and forgiveness. Feeling helpless in the grand cosmos, I seek refuge in the boundless embrace of the Divine. 

The ever-forgiving and merciful essence of the Cosmic Consciousness supports all beings on their spiritual journey. As a humble servant of the Guru and a follower of the Saints, I invoke the cosmic consciousness, praying for deliverance and seeking the protective grace of the Divine. 


ਟੋਡੀ ਮਹਲਾ ੫ ॥
टोडी महला ५ ॥
Todī mėhlā 5.
Todee, Fifth Mehl:

ਸਤਿਗੁਰ ਆਇਓ ਸਰਣਿ ਤੁਹਾਰੀ ॥
सतिगुर आइओ सरणि तुहारी ॥
Saṯgur āio saraṇ ṯuhārī.
O True Guru, I have come to Your Sanctuary.

ਮਿਲੈ ਸੂਖੁ ਨਾਮੁ ਹਰਿ ਸੋਭਾ ਚਿੰਤਾ ਲਾਹਿ ਹਮਾਰੀ ॥੧॥ ਰਹਾਉ ॥
मिलै सूखु नामु हरि सोभा चिंता लाहि हमारी ॥१॥ रहाउ ॥
Milai sūkẖ nām har sobẖā cẖinṯā lāhi hamārī. ||1|| rahāo.
Grant me the peace and glory of the Lord's Name, and remove my anxiety. ||1||Pause||

ਅਵਰ ਨ ਸੂਝੈ ਦੂਜੀ ਠਾਹਰ ਹਾਰਿ ਪਰਿਓ ਤਉ ਦੁਆਰੀ ॥
अवर न सूझै दूजी ठाहर हारि परिओ तउ दुआरी ॥
Avar na sūjẖai ḏūjī ṯẖāhar hār pario ṯao ḏuārī.
I cannot see any other place of shelter; I have grown weary, and collapsed at Your door.

ਲੇਖਾ ਛੋਡਿ ਅਲੇਖੈ ਛੂਟਹ ਹਮ ਨਿਰਗੁਨ ਲੇਹੁ ਉਬਾਰੀ ॥੧॥
लेखा छोडि अलेखै छूटह हम निरगुन लेहु उबारी ॥१॥
Lekẖā cẖẖod alekẖai cẖẖūtah ham nirgun leho ubārī. ||1||
Please ignore my account; only then may I be saved. I am worthless - please, save me! ||1||

ਸਦ ਬਖਸਿੰਦੁ ਸਦਾ ਮਿਹਰਵਾਨਾ ਸਭਨਾ ਦੇਇ ਅਧਾਰੀ ॥
सद बखसिंदु सदा मिहरवाना सभना देइ अधारी ॥
Saḏ bakẖsinḏ saḏā miharvānā sabẖnā ḏee aḏẖārī.
You are always forgiving, and always merciful; You give support to all.

ਨਾਨਕ ਦਾਸ ਸੰਤ ਪਾਛੈ ਪਰਿਓ ਰਾਖਿ ਲੇਹੁ ਇਹ ਬਾਰੀ ॥੨॥੪॥੯॥
नानक दास संत पाछै परिओ राखि लेहु इह बारी ॥२॥४॥९॥
Nānak ḏās sanṯ pācẖẖai pario rākẖ leho ih bārī. ||2||4||9||
Slave Nanak follows the Path of the Saints; save him, O Lord, this time. ||2||4||9||

#OnenessWithTheCosmos #CosmicConsciousness #DivineGuidance #SurrenderToTheCosmos #UniversalBlessings 

I remember something my cousin’s grandfather used to say. After a lifetime of reading the Guru Granth Sahib, he should have been reading faster; instead, each year, a single line took him longer. “The line keeps opening,” he’d smile, tracing a letter with his fingertip. “I arrive at one word, then I can't move.” He would close the book and let the room breathe in him. “A day well spent,” he’d add, “when one word refuses to be finished.”

I continue to grow into his pace. I like the slow reading now, the way a saying of the Guru settles, the way a small phrase can carry a whole afternoon. And where does this slowing end? Bulleh Shah answers with where this ends: “Ik alf paṛho chhuṭkārā e”—read one letter and be free. Not even one line, one word, but one letter! All joy gathers there, in a single stroke. I guess we can call it the master stroke. 

That master stroke letter is Bulleh Shah’s classroom. The alif is only a vertical line, yet he treats it like a whole syllabus: learn it inwardly and every other lesson finds its place. This reverence for the first letter—the axis on which all letters turn—reminds me of Guru Nanak’s love for ek oankar, the One that steadies the many.

Bulleh Shah also knows our ordinary drift: from one to two, three, four, and soon lakhs and crores until counting runs without end. The problem is not numbers; it is being numbered, split and scattered by ten thousand details. So he offers subtler arithmetic: “hik alif dā nukta niārā e,” the dot of the One-letter is unique. In the old calligraphers’ lore, every letter begins from the nuqta, the point. Miss the point and the forest of script tangles you; find the point and the forest becomes legible.

Are you getting Bulleh Shah’s point, O mind?

From here he turns and looks me in the face. Why haul cartloads of books if the heart stays unmoved? Why polish the tongue if the mind runs errands elsewhere? In his sharpest line he warns that piety without surrender can harden into the face of an executioner. He is not scolding study. He is reordering it: begin where all letters rise, and let every discipline serve that beginning. Otherwise knowledge inflates the self and the road grows heavy.

He closes with a parable tight as a seed. “Bullah planted a banyan.” It grew vast, as banyans do, then passed into dust. What remained was the letter, the seed-shape that started it all. Forms rise high, institutions spread shade; in time they fall. The seed endures. The lesson is not to despise the tree, but to keep faith with the seed.

Whitman’s Multitudes on a Single Spine

This is where Walt Whitman arrives like a neighbor at dusk. In Song of Myself (section 51) he writes, “Do I contradict myself? / Very well then I contradict myself, / (I am large, I contain multitudes.)” Notice how Walt is having this conversation with Bulleh Shah. The issue is not having many selves, voices, demands; the trouble is being had by them. Whitman’s largeness is not a swollen ego; it is a capacious self anchored enough to welcome contradictions without shattering. He even gives us a posture for practice: “I concentrate toward them that are nigh, I wait on the door-slab.” He listens before he speaks. The door-slab is a threshold image—precisely the place where Bulleh’s alif stands upright inside us.

Bulleh’s point, Whitman’s posture: stand the vertical line within, then let the multitudes arrive. Oneness does not erase the many; it steadies them. The “I” that contains multitudes is the same “I” aligned on the One—an alif running through the center so the crowd within becomes a choir rather than a quarrel.

The Seed and the Field: Krishna on Beeja


In the battlefield of Kurukshretra, Arjuna’s will trembled. He didn’t want to fight. In a chapter meant to steady Arjuna’s will, Krishna moves from metaphysics to sensation: “I am the taste of water, the light of sun and moon, the sound in space, the ability in humans.” Then he brings the alif kernel: bījaṁ māṁ sarva-bhūtānāṁ viddhi Pārtha sanātanam—“Know Me, O Arjun, as the eternal seed of all beings.” When Arjuna wants a map, Krishna gives him a seed. The seed is hidden and generative, tiny and total.

Later in the Bhagwad Gita, Krishna paints the cosmos as an upside-down aśvattha (banyan), root above and branches below. Know it, he says, and cut entanglement with a sharp insight; then seek the Root. Bulleh’s banyan echoes here: vastness can stun us; fidelity to origin frees us. The seed is not less than the tree—it is the cause held in living smallness. This upside down tree reminds me of the ultabhashi Kabir poems where the Arabian Sea is flowing into the Ganges, instead of the other way round. The ocean is flowing into the river. The multitudes feed the seed, and the seed feeds the multitudes.

A Single Twig, Saas-Saas: Sukhmani Sahib


One of my favorite line from Guru Arjan’s Sukhmani carries the same teaching into the house and garden:

ਕਿਨਕਾ ਏਕ ਜਿਸੁ ਜੀਅ ਬਸਾਵੈ / ਤਾ ਕੀ ਮਹਿਮਾ ਗਨੀ ਨ ਆਵੈ।
The one who settles even a single twig (kinkā ek) in the heart—his praise cannot be counted.

The Ashtapadi begins with a triple call—“Simrau, simar, simar”—remember, remember, remember, and find peace; it names the One Word behind scriptures (“Ram Naam ik ākhṛ”), then gives the smallest, kindest task: plant one living twig of remembrance and keep it. Bulleh would smile: the alif stood upright inside, the seed set in soil, the twig drinking breath by breath. Later in the last ashtapadi of Sukhmani, he repeats the message in saas-saas, remember through each breath. Plant one twig and, paradoxically, you move beyond counting—“ਗਨੀ ਨ ਆਵੈ.” The arithmetic flips: the tiny becomes inexhaustible.

Two Other Echoes: Laozi and T. S. Eliot


Long before and far away, Laozi says: “The nameless is the origin of heaven and earth; the named is the mother of the ten thousand things.” The nameless origin is Bulleh’s alif; the ten thousand things are our crores of details. We need both, but we need the origin first. Another Laozi image clarifies the practice: we shape clay into a pot, but it is the empty space that holds what we need. The emptied center is not nothing—it is hospitality. Bulleh’s alif is that interior space where the Name rests, the quiet capacity to receive multitudes without cracking.

T. S. Eliot calls it “the still point of the turning world.” There, he says, is the dance, though there is no movement; the axis that allows every motion to be meaningful. The world turns; the still point gives it shape. That is Bulleh’s method in one image: stand up the vertical line and you can travel without being torn.

Returning to Bulleh—and Ending with Freedom

When Bulleh asks us to read one letter, he is not shrinking the world; he is teaching us how to carry it. He has seen how piety can make an executioner and how scholarship can become a hall of mirrors. He offers a discipline that refuses both vanity and drift: learn the One first. Then learn all you like.

The banyan will grow again—families, institutions, work, poems. It will be beautiful and hard. It may even outlast us. But the pledge we make is to the seed. When forms thin and projects fail, when applause fades and plans change, the seed is what remains. If we have tended it in secret, it will meet us like a friend.

At that point the arithmetic is reversed. We do not fear the countless anymore. We receive them. In Guru Arjan’s words, the 86 million lifeforms are here to serve us. We can say with Whitman that multitudes arrive; with Laozi that the ten thousand things are mothered; with Eliot that the dance is real at the still point; with Krishna that the Seed is present in everything; with Guru Arjan that a single twig in the heart moves us beyond counting. And with Bulleh Shah that one letter, honestly read, is enough.

In the end we come to freedom — like we end the Japji with “keti chhutti naal — many are freed if one is freed, Bulleh Shah says chhutkara - freedom! Freedom is not escape from the world’s many; it is the capacity to move among them without losing the One. It is not flight from duty but a way to do it with a light step and a soft face. It is what happens when the vertical line stands up inside you and the breath learns its quiet Name. Then millions of details begin to harmonize, and the heart—no longer numbered—answers to a single call.

May I continue to grow into his pace. May I continue to harmonize. May I continue to be veparvaah, the word Guru Nanak uses in Japji. I thought it was for God. But no. It is for me. Carefree!

Bulleh Shah Kafi


Ik alaf parho chutkara ae
Read one alif and there is freedom.


Ik alfon do tin char hoye
From one alif came two, three, four;
Phir lakh karorr hazar hoye
then hundreds of thousands and millions;
Phir othon baajh shumar hoye
from there the counting goes beyond count;
Hik alaf da nukta niyara aye
the point (nuqta) of that single alif is unique.

Ik alaf parho chutkara ae
Read one alif and there is freedom.


Kyon parhna ein gadd kitaban di
Why read this cartload of books?
Sir chana ein pandd azaban di
Why batter your head with pundits’ punishments?
Hun hoyan shakal jaladan di
Our faces have now taken on the look of executioners;
Agge paindda mushkil bhara ae
the road ahead grows difficult and heavy.

Ik alaf parho chutkara ae
Read one alif and there is freedom.


Ban hafiz hifz quran karein
They become ḥāfiẓ, memorizing the Qur’an;
Parh parh ke saaf zuban karein
reading and reading, they polish their speech;
Par naimat wich dheyan karein
yet they fix their attention on the favors/benefits;
Mann phirda jiyonහලਕਾਰਾ ae
the mind keeps wandering like an errand-runner.

Ik alaf parho chutkara ae
Read one alif and there is freedom.


Bullah bi borh da hoya si
Bullah had sown a banyan;
Oh birch wadda ja hoya si
that tree grew vast;
Jad birch oh fani hoya si
when that tree proved mortal and passed;
Phir reh gya hi akara ae
then only the letter—the seed-form—remained.

Ik alaf parho chutkara ae
Read one alif and there is freedom.


Where the mind is without fear 

and the head is held high; 

- Rabindranath Tagore


Original Bengali version:

চিত্ত যেথা ভয়শূন্য উচ্চ যেথা শির,
জ্ঞান যেথা মুক্ত, যেথা গৃহের প্রাচীর
আপন প্রাংগণতলে দিবস-শর্বরী 
বসুধারে রাখে নাই খণড ক্ষুদ্র করি,

যেথা বাক্য হৃদযের উতসমুখ হতে 
উচ্ছসিয়যা উঠে, যেথা নির্বারিত স্রোতে,
দেশে দেশে দিশে দিশে কর্মধারা ধায়
অজস্র সহস্রবিধ চরিতার্থতায়,

যেথা তুচ্ছ আচারের মরু-বালু-রাশি
বিচারের স্রোতঃপথ ফেলে নাই গ্রাসি -
পৌরুষেরে করেনি শতধা, নিত্য যেথা 
তুমি সর্ব কর্ম-চিংতা-আনংদের নেতা,

নিজ হস্তে নির্দয় আঘাত করি পিতঃ, 
ভারতেরে সেই স্বর্গে করো জাগরিত ||

Devanaagari transliteration

चित्त जेथा भयशून्य ,उच्च जेथा शिर ,
ज्ञान जेथा मुक्त जेथा गृहेर प्राचीर
आपन प्रांगणतले दिवसशर्वरी
बसुधारे राखे नाइ खण्ड खण्ड क्षुद्रकरि,

जेथा वाकय हृदयेर उत् समुखहते
उच्छ्वसिया उठे , जेथा निर्वारित स्रोते
दशे देशे दिशे दिशे कर्मधारा धाय
अजस्र सहसबिध चरितार्थताय-

जेथा तुच्छ आचारेर मरुबालुराशि 
बिचारेर स्रोतःपथे फेले नाइ ग्रासि,
पौरुषेरे करे नि शतधा-नित्य जेथा
तुमि सर्व कर्म चिन्ता आनंदेर नेता-

निज हस्ते निर्दय आधात करि पितः,
भारतेर सेइ स्वर्गे करो जागरित।


Hindi Translation - कवी शिवमंगल सिंह "सुमन" द्वारा

जहां चित्‍त भय से शून्‍य हो 
जहां हम गर्व से माथा ऊंचा करके चल सकें
जहां ज्ञान मुक्‍त हो 
जहां दिन रात विशाल वसुधा को खंडों में विभाजित कर 
छोटे और छोटे आंगन न बनाए जाते हों 

जहां हर वाक्‍य ह्रदय की गहराई से निकलता हो
जहां हर दिशा में कर्म के अजस्‍त्र नदी के स्रोत फूटते हों
और निरंतर अबाधित बहते हों 
जहां विचारों की सरिता 
तुच्‍छ आचारों की मरू भूमि में न खोती हो
जहां पुरूषार्थ सौ सौ टुकड़ों में बंटा हुआ न हो 
जहां पर सभी कर्म, भावनाएं, आनंदानुभुतियाँ तुम्‍हारे अनुगत हों

हे पिता, अपने हाथों से निर्दयता पूर्ण प्रहार कर
उसी स्‍वातंत्र्य स्‍वर्ग में इस सोते हुए भारत को जगाओ


English Translation

Where the mind is without fear 
and the head is held high; 
Where knowledge is free; 
Where the world has not been 
broken up into fragments by the tireless efforts of men; 

Where words come out from 
the depth of truth; 
Where the currents of tireless striving originate 
and flow without hindrance all over;

Where the clear stream of reason and thoughts has not lost its way into the dreary 
desert sand of lowly habits and deeds; 
Where the valour is not divided in 100 different streams;
Where all the deeds, emotions are blissfully given by you

My father, strike the sleeping India without mercy,
so that she may awaken into such a heaven.

e.e. cummings was revolutionary as a poet. Here is an ecstatic. You leap from one sentence to another like water going from pebble to pebble in a stream. 

ee Cummings turned to literature after being prisoned in France on false grounds. His first book, the enourmous room came from that experience. https://en.m.wikipedia.org/wiki/The_Enormous_Room

This poem is about oneness. And how nature’s songs are better than our discussions: Birds sing sweeter than books can tell. Conventional wisdom imparted from books falls short of truth, love and beauty. Language likewise has a limited scope in describing such things. Bad teachers don’t understand this and keep focusing on conventional teachings; good teachers stress experiential learning and exploring beyond convention. 

The poet breaks so many rules; he goes beyond the conventional rules of the language. He finds that truth love and beauty are in oneness. There is an incredible ness of oneness, truth, love and beauty.  

if everything happens that can't be done
e.e. cummings


if everything happens that can't be done
(and anything's righter
than books
could plan)
the stupidest teacher will almost guess
(with a run
skip
around we go yes)
there's nothing as something as one

one hasn't a why or because or although
(and buds know better
than books
don't grow)
one's anything old being everything new
(with a what
which
around we come who)
one's everyanything so

so world is a leaf so a tree is a bough
(and birds sing sweeter
than books
tell how)
so here is away and so your is a my
(with a down
up
around again fly)
forever was never till now

now i love you and you love me
(and books are shuter
than books
can be)
and deep in the high that does nothing but fall
(with a shout
each
around we go all)
there's somebody calling who's we

we're anything brighter than even the sun
(we're everything greater
than books
might mean)
we're everyanything more than believe
(with a spin
leap
alive we're alive)
we're wonderful one times one


Reminds me of 

Dhai Akhar Prem Ke


Chief Seattle (c. 1786 – June 7, 1866) was a Suquamish and Duwamish chief. A leading figure among his people, he pursued a path of accommodation to white settlers, forming a personal relationship with "Doc" Maynard. The city of Seattle, in the U.S. state of Washington, was named after him. 

The following widely publicized speech arguing in favor of ecological responsibility and respect of Native Americans' land rights had been attributed to him.  The speech was believed to have been given in December, 1854. There are several versions of this letter.  Presumably, the generally accepted version of the above speech was published in the The Irish Times on June 4th, 1976. However, many people now believe that the speech was actually written by a Hollywood screen writer in the 1970's for the movie Home - Four Wagons West. It is thought that the script was based on the original statement by Chief Seattle in 1854. 

Chief Seattle's Letter


"The President in Washington sends word that he wishes to buy our land. But how can you buy or sell the sky? the land? The idea is strange to us. If we do not own the freshness of the air and the sparkle of the water, how can you buy them?

Every part of the earth is sacred to my people. Every shining pine needle, every sandy shore, every mist in the dark woods, every meadow, every humming insect. All are holy in the memory and experience of my people.

We know the sap which courses through the trees as we know the blood that courses through our veins. We are part of the earth and it is part of us. The perfumed flowers are our sisters. The bear, the deer, the great eagle, these are our brothers. The rocky crests, the dew in the meadow, the body heat of the pony, and man all belong to the same family.

The shining water that moves in the streams and rivers is not just water, but the blood of our ancestors. If we sell you our land, you must remember that it is sacred. Each glossy reflection in the clear waters of the lakes tells of events and memories in the life of my people. The water's murmur is the voice of my father's father.

The rivers are our brothers. They quench our thirst. They carry our canoes and feed our children. So you must give the rivers the kindness that you would give any brother.

If we sell you our land, remember that the air is precious to us, that the air shares its spirit with all the life that it supports. The wind that gave our grandfather his first breath also received his last sigh. The wind also gives our children the spirit of life. So if we sell our land, you must keep it apart and sacred, as a place where man can go to taste the wind that is sweetened by the meadow flowers.

Will you teach your children what we have taught our children? That the earth is our mother? What befalls the earth befalls all the sons of the earth.

This we know: the earth does not belong to man, man belongs to the earth. All things are connected like the blood that unites us all. Man did not weave the web of life, he is merely a strand in it. Whatever he does to the web, he does to himself.

One thing we know: our God is also your God. The earth is precious to him and to harm the earth is to heap contempt on its creator.

Your destiny is a mystery to us. What will happen when the buffalo are all slaughtered? The wild horses tamed? What will happen when the secret corners of the forest are heavy with the scent of many men and the view of the ripe hills is blotted with talking wires? Where will the thicket be? Gone! Where will the eagle be? Gone! And what is to say goodbye to the swift pony and then hunt? The end of living and the beginning of survival.

When the last red man has vanished with this wilderness, and his memory is only the shadow of a cloud moving across the prairie, will these shores and forests still be here? Will there be any of the spirit of my people left?

We love this earth as a newborn loves its mother's heartbeat. So, if we sell you our land, love it as we have loved it. Care for it, as we have cared for it. Hold in your mind the memory of the land as it is when you receive it. Preserve the land for all children, and love it, as God loves us.

As we are part of the land, you too are part of the land. This earth is precious to us. It is also precious to you.

One thing we know - there is only one God. No man, be he Red man or White man, can be apart. We ARE all brothers after all."



dui ka tazkira tauhid mein paya nahin jata
jahan meri rasai hai mera saya nahin jata

mere tute hue pa-e-talab ka mujh pe ehsan hai
tumhaare dar se ab uth kar kahin jaya nahin jata

mohabbat ho to jati hai mohabbat ki nahin jati
ye shoala khud bhadak uthta hai bhadkaya nahin jata

faqiri mein bhi mujh ko mangne se sharm aati hai
sawali ho ke mujh se hath phailaya nahin jata

chaman tum se ibarat hai bahaaren tum se zinda hain
tumhaare samne phulon se murjhaya nahin jata

mohabbat ke liye kuchh khas dil makhsus hote hain
ye wo naghma hai jo har saz par gaya nahin jata

mohabbat asl mein 'makhmur' wo raaz-e-haqiqat hai
samajh mein aa gaya hai phir bhi samjhaya nahin jata

- Makhmoor Dehlvi

तौहीद की राह में है वीराना-ए-सख़्त 
आज़ादी-ओ-बे-तअल्लुक़ी है यक-लख़्त 
दुनिया है न दीन है न दोज़ख़ न बहिश्त 
तकिया न सराए है न चश्मा न दरख़्त 
- Ismail Merathi

Tu Tu Karta Tu Hua Mujh mein rahaa na hoon  
Jab Aapa Par ka Mit Gaya Jit Dekhoon Tit toon
- Kabir



दुई का तज़्किरा तौहीद में पाया नहीं जाता 
जहाँ मेरी रसाई है मिरा साया नहीं जाता 

Tazkira - to have a dialogue/ a biographical memoir
Rasaai - access, reach, approach, skill

मिरे टूटे हुए पा-ए-तलब का मुझ पे एहसाँ है 
तुम्हारे दर से अब उठ कर कहीं जाया नहीं जाता 

(Changed from तुम्हारे दर से उठ कर अब कहीं जाया नहीं जाता)

ਏਕ ਦਿਵਸ ਮਨ ਭਈ ਉਮੰਗ ॥
One day, a desire welled up in my mind.
ਘਸਿ ਚੰਦਨ ਚੋਆ ਬਹੁ ਸੁਗੰਧ ॥
I ground up sandalwood, along with several fragrant oils.

ਕਤ ਜਾਈਐ ਰੇ ਘਰ ਲਾਗੋ ਰੰਗੁ ॥
Where should I go? My home is filled with bliss.

ਮੇਰਾ ਚਿਤੁ ਨ ਚਲੈ ਮਨੁ ਭਇਓ ਪੰਗੁ ॥੧॥ ਰਹਾਉ ॥
My consciousness does not go out wandering. My mind has become crippled. ||1||Pause||

- Ramanand


Khabar-e-tahayyur-e-ishq sunn, na junoon raha na pari rahi
Na toh tu raha na toh mein raha, jo rahi so be-khabari rahi

Siraj Aurangabadi says in the beginning of his famous ghazal, on learning the amazing saga of love, neither the frenzy (junoon) was left, nor did the sweetheart (pari) remain. I was ‘me’ no more, you were ‘thee’ no more; only a state of oblivion remained.


Lines from Rumi's poem Seven Pearls:

I always thought that
I was me — but no, I was you
and never knew it.

मिरे टूटे हुए पा-ए-तलब का मुझ पे एहसाँ है 
तुम्हारे दर से अब उठ कर कहीं जाया नहीं जाता 

दुई का तज़्किरा तौहीद में पाया नहीं जाता 
जहाँ मेरी रसाई है मिरा साया नहीं जाता 

The Flint by Christina Rossetti

An emerald is as green as grass,
A ruby red as blood;
A sapphire shines as blue as heaven;
A flint lies in the mud.

A diamond is a brillant stone,
To catch the world's desire;
An opal holds a fiery spark;
But a flint holds fire.

मोहब्बत की नहीं जाती मोहब्बत हो ही जाती है 
ये शो'ला ख़ुद भड़क उठता है भड़काया नहीं जाता 

(Changed from मोहब्बत हो तो जाती है मोहब्बत की नहीं जाती)


दुई का तज़्किरा तौहीद में पाया नहीं जाता 
जहाँ मेरी रसाई है मिरा साया नहीं जाता 

फ़क़ीरी में भी मुझ को माँगने से शर्म आती है 
सवाली हो के मुझ से हाथ फैलाया नहीं जाता 


Listening tonight ... The sun shines on everyone 
- Snatam Kaur



The sun shines on everyone, it doesn't make choices.
When it rains it rains on everyone, it doesn't make choices.
The One Spirit, lives in everyone, it doesn't make choices.
We pray, we pray for everyone, we don't make choices.

"All paths lead to me" says Krishna in Bhagwad Gita. Here is a aphorism that says the same:

आकाशात् पतितं तोयं यथा गच्छति सागरम् ।
सर्वदेवनमस्कारं केशवं प्रतिगच्छति ॥

आकाश से गिरा हुआ पानी जैसे समुद्र में जाता है, उसी प्रकार किसी भी देवता को किया गया नमस्कार keshav को जाता है॥

Just as all the water falling from the sky goes into sea, similarly salutations offered to all Gods goes to "Keshavam."

Presented above is a Sanskrit aphorism, also known as a subhāṣita, which is at the very least, a literary piece of art. This page provides critical research material such as an anlaysis on the poetic meter used, an English translation, a glossary explaining technical terms, and a list of resources including print editions and digital links.
This is the 31st of 52 sections in Walt Whitman's Song of Myself.  This is one of the places Whitman clarifies what he means by Leaves of Grass, the name of his compilation of poetry,  On May 15, 1855, Whitman registered the title Leaves of Grass with the clerk of the United States District Court, Southern District of New Jersey, and received its copyright. The title was a pun, as grass was a term given by publishers to works of minor value, and leaves is another name for the pages on which they were printed.  The poem sings of oneness, like the rest of the poem. It starts with comparing the common grass leaf with the extraordinary shiny stars of the night. 


I believe a leaf of grass is no less than the journey-work of the stars,
And the pismire is equally perfect, and a grain of sand, and the
egg of the wren,

And the tree-toad is a chef-d'oeuvre for the highest,
And the running blackberry would adorn the parlors of heaven,
And the narrowest hinge in my hand puts to scorn all machinery,
And the cow crunching with depress'd head surpasses any statue,
And a mouse is miracle enough to stagger sextillions of infidels.

I find I incorporate gneiss, coal, long-threaded moss, fruits, grains,
esculent roots,
And am stucco'd with quadrupeds and birds all over,
And have distanced what is behind me for good reasons,
But call any thing back again when I desire it.

In vain the speeding or shyness,
In vain the plutonic rocks send their old heat against my approach,
In vain the mastodon retreats beneath its own powder'd bones,
In vain objects stand leagues off and assume manifold shapes,
In vain the ocean settling in hollows and the great monsters lying
low,
In vain the buzzard houses herself with the sky,
In vain the snake slides through the creepers and logs,
In vain the elk takes to the inner passes of the woods,
In vain the razor-bill'd auk sails far north to Labrador,
I follow quickly, I ascend to the nest in the fissure of the cliff.

- Walt Whitman, Leaves of Grass, Song of Myself (32)
Awake ye muses nine, sing me a strain divine,
Unwind the solemn twine, and tie my Valentine!

Oh the Earth was made for lovers, for damsel, and hopeless swain,
For sighing, and gentle whispering, and unity made of twain.
All things do go a courting, in earth, or sea, or air,
God hath made nothing single but thee in His world so fair!
The bride, and then the bridegroom, the two, and then the one,
Adam, and Eve, his consort, the moon, and then the sun;
The life doth prove the precept, who obey shall happy be,
Who will not serve the sovereign, be hanged on fatal tree.
The high do seek the lowly, the great do seek the small,
None cannot find who seeketh, on this terrestrial ball;
The bee doth court the flower, the flower his suit receives,
And they make merry wedding, whose guests are hundred leaves;
The wind doth woo the branches, the branches they are won,
And the father fond demandeth the maiden for his son.
The storm doth walk the seashore humming a mournful tune,
The wave with eye so pensive, looketh to see the moon,
Their spirits meet together, they make their solemn vows,
No more he singeth mournful, her sadness she doth lose.
The worm doth woo the mortal, death claims a living bride,
Night unto day is married, morn unto eventide;
Earth is a merry damsel, and heaven a knight so true,
And Earth is quite coquettish, and beseemeth in vain to sue.
Now to the application, to the reading of the roll,
To bringing thee to justice, and marshalling thy soul:
Thou art a human solo, a being cold, and lone,
Wilt have no kind companion, thou reap'st what thou hast sown.
Hast never silent hours, and minutes all too long,
And a deal of sad reflection, and wailing instead of song?
There's Sarah, and Eliza, and Emeline so fair,
And Harriet, and Susan, and she with curling hair!
Thine eyes are sadly blinded, but yet thou mayest see
Six true, and comely maidens sitting upon the tree;
Approach that tree with caution, then up it boldly climb,
And seize the one thou lovest, nor care for space, or time!
Then bear her to the greenwood, and build for her a bower,
And give her what she asketh, jewel, or bird, or flower —
And bring the fife, and trumpet, and beat upon the drum —
And bid the world Goodmorrow, and go to glory home!



Background: An Unusual Emily Dickinson Poem Urging a Young Man to Marry 

This is definitely an unusual poem by Emily, perhaps her early ones. It has a very different meter. It is much longer than her characteristic poems. More importantly, it lacks the convolutions and mystery of her later work which makes her later work so wondrous. But it is still joyful for me. 

The poem opens with an invocation to the muses, but then instead of splitting into quatrains, which most of Dickinson's poems do, it sits in one lump chunk on the page. Gone is her Germanic style capitalization of nouns and her liberal sprinkling of dashes; although she does manage to insert a couple of dashes into the final three lines!

Emily's speaker is addressing a young man, exhorting him to select a sweetheart and marry her. The main theme of this poem, then, plays out similar to the Shakespearean "Marriage Sonnets," in which the speaker also is urging a young man to marry. However, instead of the urgent seriousness of the Shakespearean sonnets, Dickinson's poem is a playful Valentine.

According to Richard B. Sewall's The Life of Emily Dickinson, that young man is Elbridge Bowdoin, who served as a partner in Emily's father's law office. Emily's Valentine poem, sent in 1850 with the return of a book to Bowdoin, may be seen as flirtatious; however, Bowdoin did not seem to notice or anyway spurned the advice of the poem, remaining a bachelor for life.

My Favorite Themes: 1. Oneness 


Awake ye muses nine, sing me a strain divine,
Unwind the solemn twine, and tie my Valentine!

Oh the Earth was made for lovers, for damsel, and hopeless swain,
For sighing, and gentle whispering, and unity made of twain.

Longer poems whether they are Indian classics like Ramayana and Mahabharata, or Bhagwad Gita, or Guru Granth Sahib, start with an invocation. Here Emily Dickinson playfully adds an invocation to all nine muses to help her the most important activity that she is going to be talking about in this poem.

She claims that the purpose for anyone to be on earth is to fall in love, for all those plays of love like sighing and whispering and for two to become one.  I love the rhymes here. The lines reminds me of Guru Arjan's Gobind Milan Ki Eh Teri Bariya. You have attained this human birth so you can be one with Gobind. 

My Favorite Themes: 2. Wedding Guests 


The bee doth court the flower, the flower his suit receives,
And they make merry wedding, whose guests are hundred leaves;

The reference of the wedding guests reminds me of Kabir's Gao Gao Ri Dulhai: Sing O Soul bride, Sing songs of bliss for King Raam has come home to wed me.

My Favorite Themes: 3. Mortality 


The worm doth woo the mortal, death claims a living bride,
Night unto day is married, morn unto eventide;

Mostly this is a light-hearted poem. So its interesting to also have death included. She is trying to say love is unavoidable like death.  


Comments from Readers


Jodde: "Frankly I think it’s absolutely brilliant how Dickinson is able to weave together the Old and New Testament. The references to Adam and Eve are obvious, and it is obvious that these people are written of in the Old Testament. After explaining how Adam and Eve were the original lovers and that the Earth was made for them, she rewords Jesus’ “seek and ye shall find” and does so beautifully. The poem seems to be about seeking love, and Dickinson is confident that she will find it. Though she may have never found it in a marital sense, she certainly found it in the adoration of her work. Anyway, the whole poem illustrates her brilliant use of Scripture."


More:
Mark Twain on Marriage


Several years ago I heard this and I keep going back to this haunting melody by Shubha Mudgal. The lyrics are strikingly similar to Kabir's shabad in the Guru Granth Sahib Gao Gao Ri Dulhani on which I have written in a different note. The essence of the words is the same, and each is very beautiful. 



Raag Asa or Gauri - depending on the listener


Raag In Gurbani this is sung in Asa, while in Kabir's Granthavali this is in Raag Gauri.  It is Shubha Mudgal doesn't sing it in either raags.  I believe the responsibility of the deciding the raag is sometimes upon the singer, and sometime on the editor.  But they are both acting as listeners. They can hear different colors of oneness in the same song and therefore the decision on different raags.  Bhai Gurdas or Guru Arjan may have found the hope of bliss in this Kabir shabad and added it to Guru Nanak's new raag Asa.  The editor of the Kabir Granthavali instead focused on coloring of the mind, body and soul to the color of oneness (tan rati kari ...), therefore the choice of Raag Gauri. 

Lyrics in English and Hindi


Dulhani gavahu mangalchaar
Hum ghar aaye raaja raam bhartaar

Tan rati kari mein man rati kari hoon, panch tatt baraati
ramdev morai paahun aaye, main joban main maati

Sareer sarvar bedi karihoon brahma ved uchaar
Ramdev sang bhaavari lehoon dhan dhan bhaag hamaar

Sur tainteesu kautig aaye munivar sahas athaasi
keh kabir hum byaahi chale hain purush ek avinashi


दुलहनी गावहु मंगलचार,
हम घरि आए हो राजा राम भरतार॥टेक॥

तन रत करि मैं मन रत करिहूँ, पंचतत्त बराती।
राम देव मोरैं पाँहुनैं आये मैं जोबन मैं माती॥

सरीर सरोवर बेदी करिहूँ, ब्रह्मा वेद उचार।
रामदेव सँगि भाँवरी लैहूँ, धनि धनि भाग हमार॥

सुर तेतीसूँ कौतिग आये, मुनिवर सहस अठ्यासी।
कहै कबीर हँम ब्याहि चले हैं, पुरिष एक अबिनासी॥1॥


Translation - Wedding of Kabir


The bride sings songs of joy
Raja Raam has come to her house to be her husbad

I have colored my body and mind, five elements are the wedding guests
Raam has come to wed me, I am young and crazy

My body recites the ocean of brahma's veds
With Raam I circumambulate, what good fortune!

33 angels have come. 88,000 sages too
Kabir says the one indestructible man takes me away

On Shubha Mudgal


She has been awarded the 1996 National Film Award for Best Non-Feature Film Music Direction for 'Amrit Beej' [2], the 1998 Gold Plaque Award for Special Achievement in Music, at the 34th Chicago International Film Festival[2], for her music in the film Dance of the Wind (1997), and the Padma Shri in 2000.

More on Wikipedia: https://en.wikipedia.org/wiki/Shubha_Mudgal
http://shubhamudgal.com/

More on Kabir: https://en.wikipedia.org/wiki/Kabir

More Kabir Pads here: https://www.hindisamay.com/kabir-granthawali/pada.htm

Also see 
Shubha Mudgal - Gawat Dulhan Gawat Mangal Chaar, 
Old Composition - Dulhin Gawahu Mangala Char, 
Raag Maand Composition - Dulhin Gaavahu Mangalchaar. 
Hindi Bhaavarth - https://youtu.be/8oAazczoaGE

John Lennon sings, "All you need is love/Love is all you need" and Allen Ginsberg agrees in his own way: "The weight of the world is love."  Why we are alone sometimes, and why we are dissatisfied at other times is because love is weighing.  It burdens us in dreams, and in thoughts when we are awake.  If we do not have love, we are restless.  We can rest and sleep only once we have love.  In that, it is indeed the final wish.  It is the ultimate desire -- the penultimate weight.  "I wanted/I always wanted/I always wanted" repeats Allen Ginsberg in the end of the poem to emphasize this ultimate desire. The soul comes back into the body and is fulfilled with love; until then it keeps wandering. Only once it comes back home, it is satisfied. 



It reminds me of Kabir's Wedding Song: 

Sing O Soul, O soul you sing!
Sing freely sing, O fondly sing!
Sing sated sweet savory song
Sing I hear my wedding bells ring!
More: Dulhani

Song

- Allen Ginsberg

The weight of the world
       is love.
Under the burden
       of solitude,
under the burden
       of dissatisfaction

       the weight,
the weight we carry
       is love.

Who can deny?
       In dreams
it touches
       the body,
in thought
       constructs
a miracle,
       in imagination
anguishes
       till born
in human—
looks out of the heart
       burning with purity—
for the burden of life
       is love,

but we carry the weight
       wearily,
and so must rest
in the arms of love
       at last,
must rest in the arms
       of love.

No rest
       without love,
no sleep
       without dreams
of love—
       be mad or chill
obsessed with angels
       or machines,
the final wish
       is love
—cannot be bitter,
       cannot deny,
cannot withhold
       if denied:

the weight is too heavy

       —must give
for no return
       as thought
is given
       in solitude
in all the excellence
       of its excess.

The warm bodies
       shine together
in the darkness,
       the hand moves
to the center
       of the flesh,
the skin trembles
       in happiness
and the soul comes
       joyful to the eye—

yes, yes,
       that’s what
I wanted,
       I always wanted,
I always wanted,
       to return
to the body
       where I was born.

The practice of Sikhism can be summarized thus: "Singing oneness." There is only one; and the purpose of a sentient being is to sing this one. Understanding what singing and oneness are, and how to sing is the subject of a Sikh lifetime. All other practices are unessential adornments. 







Pavan, the Guru

I sit 

in the middle of the Golden Gate of all poetry 
squinting backwards into the past.
To me its somewhat unclear 
how I ever got here.

Then I stare into an obscure future 
through the smoky 
California 
sky

into two hills 
on the horizon looking 
directly into the subdued sun
appearing relatively victorious today.

A few days ago here
the he forgot
to rise.

Where were you?
And where are 
we going?

Look ...
in this smoke is lost 
any sign of any passage 
to anything even remotely soulful.

As I sit here today
You will sit one day
reflecting upon your fires

You ...
singer of all
modern connections, Walt!
Have you heard of the survival rule of 3's 
which says that one can live without 
food  for 3 weeks, without water 
for 3 days, but sans air 
just 3 minutes.

I heard some have returned
to mother earth
waiting for 
a gasp.

And you have not yet clarified
which is more victorious:
death or dismay?

Am I in 
your midst.
Where are you?

O tranquil song 
of the air,
where?

Pavan
O Wind!
Carrier of all
working night and day
Where are you to eclaricise,
O Guru of all gurus, to clear the way?


Questions. 
EM Foresters book by the same name may have been based on this poem. It came a few decades after Whitman’s poem. It was confirmed in a YouTube video that it was. Hmm. Will be interesting to hear the story. It brought a lot of acclaim to the writer. 




 

https://youtu.be/KNnbyfDHo1k

Walt Whitman's Passage to India

1
Singing my days,  
Singing the great achievements of the present,  
Singing the strong light works of engineers,  
Our modern wonders, (the antique ponderous Seven outvied,)  
In the Old World the east the Suez canal,
The New by its mighty railroad spann’d,  
The seas inlaid with eloquent gentle wires;  
Yet first to sound, and ever sound, the cry with thee O soul,   
The Past! the Past! the Past!  
  
The Past— the dark unfathom’d retrospect!
The teeming gulf—the sleepers and the shadows!  
The past—the infinite greatness of the past!  
For what is the present after all but a growth out of the past?  
(As a projectile, form’d, impell’d, passing a certain line, still keeps on,   
So the present, utterly form’d, impell’d by the past.)
 
2
Passage O soul to India!  
Eclaircise the myths Asiatic, the primitive fables.  
  
Not you alone proud truths of the world!  
Nor you alone ye facts of modern science,  
But myths and fables of eld, Asia’s, Africa’s fables,
The far-darting beams of the spirit, the unloos’d dreams!  
The deep diving bibles and legends,  
The daring plots of the poets, the elder religions;  
O you temples fairer than lilies pour’d over by the rising sun!  
O you fables spurning the known, eluding the hold of the known, mounting to heaven!
You lofty and dazzling towers, pinnacled, red as roses, burnish’d with gold!   
Towers of fables immortal fashion’d from mortal dreams!  
You too I welcome and fully the same as the rest!  
You too with joy I sing.  
Passage to India!
Lo, soul, seest thou not God’s purpose from the first?  
The earth to be spann’d, connected by network,    
The races, neighbors, to marry and be given in marriage,  
The oceans to be cross’d, the distant brought near, 
The lands to be welded together.  
  
A worship new I sing, 
You captains, voyagers, explorers, yours,  
You engineers, you architects, machinists, yours,   
You, not for trade or transportation only, 
But in God’s name, and for thy sake O soul.  

3
Passage to India!  
Lo soul for thee of tableaus twain,  
I see in one the Suez canal initiated, open’d,  
I see the procession of steamships, the Empress Eugenie’s leading the van,  
I mark, from on deck the strange landscape, the pure sky, the level sand in the distance,   
I pass swiftly the picturesque groups, the workmen gather’d,  
The gigantic dredging machines.  
  
In one again, different, (yet thine, all thine, O soul, the same,)  
I see over my own continent the Pacific Railroad, surmounting every barrier,
I see continual trains of cars winding along the Platte, carrying freight and passengers,    
I hear the locomotives rushing and roaring, and the shrill steam-whistle,   
I hear the echoes reverberate through the grandest scenery in the world,  
I cross the Laramie plains, I note the rocks in grotesque shapes, the buttes,   
I see the plentiful larkspur and wild onions, the barren, colorless, sage-deserts,
I see in glimpses afar or towering immediately above me the great mountains, I see the Wind River and the Wahsatch mountains,   
I see the Monument mountain and the Eagle’s Nest, I pass the Promontory, I ascend the Nevadas,  
I scan the noble Elk mountain and wind around its base,    
I see the Humboldt range, I thread the valley and cross the river,  
I see the clear waters of Lake Tahoe, I see forests of majestic pines,
Or crossing the great desert, the alkaline plains, I behold enchanting mirages of waters and meadows,    
Marking through these and after all, in duplicate slender lines,  
Bridging the three or four thousand miles of land travel,  
Tying the Eastern to the Western sea,  
The road between Europe and Asia.
  
(Ah Genoese thy dream! thy dream!  
Centuries after thou art laid in thy grave,  
The shore thou foundest verifies thy dream.)  

4
Passage to India!  
Struggles of many a captain, tales of many a sailor dead,
Over my mood stealing and spreading they come,  
Like clouds and cloudlets in the unreach’d sky.  
  
Along all history, down the slopes,  
As a rivulet running, sinking now, and now again to the surface rising,  
A ceaseless thought, a varied train—lo, soul, to thee, thy sight, they rise,
The plans, the voyages again, the expeditions;  
Again Vasco de Gama sails forth,  
Again the knowledge gain’d, the mariner’s compass,  
Lands found and nations born, thou born America,  
For purpose vast, man’s long probation fill’d,
Thou, rondure of the world at last accomplish’d.  

5
O vast Rondure, swimming in space,   
Cover’d all over with visible power and beauty,  
Alternate light and day, and the teeming spiritual darkness,  
Unspeakable high processions of sun and moon and countless stars above,
Below, the manifold grass and waters, animals, mountains, trees,  
With inscrutable purpose, some hidden prophetic intention,  
Now first it seems my thought begins to span thee.  
  
Down from the gardens of Asia descending radiating,  
Adam and Eve appear, then their myriad progeny after them,
Wandering, yearning, curious, with restless explorations,  
With questionings, baffled, formless, feverish, with never-happy hearts,   
With that sad, incessant refrain, Wherefore, unsatisfied soul? and Whither O mocking life?  
  
Ah who shall soothe these feverish children?  
Who justify these restless explorations?
Who speak the secret of impassive earth?  
Who bind it to us? What is this separate Nature, so unnatural?  
What is this earth, to our affections? (unloving earth, without a throb to answer ours,    
Cold earth, the place of graves.)  
  
Yet soul be sure the first intent remains, and shall be carried out,
Perhaps even now the time has arrived.  
  
After the seas are all cross’d, (as they seem already cross’d,)  
After the great captains and engineers have accomplish’d their work,  
After the noble inventors, after the scientists, the chemist, the geologist, ethnologist,  
Finally shall come the poet worthy that name,
The true Son of God shall come singing his songs.  
  
Then not your deeds only O voyagers, O scientists and inventors, shall be justified,   
All these hearts as of fretted children shall be sooth’d,  
All affection shall be fully responded to, the secret shall be told,   
All these separations and gaps shall be taken up and hook’d and link’d together, 
The whole earth, this cold, impassive, voiceless earth, shall be completely justified,   
Trinitas divine shall be gloriously accomplish’d and compacted by the true son of God, the poet,  
(He shall indeed pass the straits and conquer the mountains,  
He shall double the Cape of Good Hope to some purpose,)  
Nature and Man shall be disjoin’d and diffused no more,
The true son of God shall absolutely fuse them.  
  
6
Year at whose wide-flung door I sing!  
Year of the purpose accomplish’d!  
Year of the marriage of continents, climates and oceans!  
(No mere doge of Venice now wedding the Adriatic,)
I see, O year in you the vast terraqueous globe given and giving all,  
Europe to Asia, Africa join’d, and they to the New World,   
The lands, geographies, dancing before you, holding a festival garland,  
As brides and bridegrooms hand in hand.  
  
Passage to India!
Cooling airs from Caucasus far, soothing cradle of man,  
The river Euphrates flowing, the past lit up again.  
  
Lo soul, the retrospect brought forward,   
The old, most populous, wealthiest of earth’s lands,  
The streams of the Indus and the Ganges, and their many affluents,
(I my shores of America walking to-day behold, resuming all,)   
The tale of Alexander, on his warlike marches suddenly dying,  
On one side China and on the other side Persia and Arabia,  
To the south the great seas and the Bay of Bengal,  
The flowing literatures, tremendous epics, religions, castes,
Old occult Brahma interminably far back, the tender and junior Buddha,  
Central and southern empires and all their belongings, possessors,  
The wars of Tamerlane, the reign of Aurungzebe,  
The traders, rulers, explorers, Moslems, Venetians, Byzantium, the Arabs, Portuguese,   
The first travelers famous yet, Marco Polo, Batouta the Moor,
Doubts to be solv’d, the map incognita, blanks to be fill’d,  
The foot of man unstay’d, the hands never at rest,  
Thyself O soul that will not brook a challenge.  
The medieval navigators rise before me,  
The world of 1492, with its awaken’d enterprise,
Something swelling in humanity now like the sap of the earth in spring,  
The sunset splendor of chivalry declining.  
  
And who art thou, sad shade?  
Gigantic, visionary, thyself a visionary,  
With majestic limbs, and pious beaming eyes,
Spreading around, with every look of thine, a golden world,  
Enhuing it with gorgeous hues.  
  
As the chief histrion,  
Down to the footlights walks in some great scena,  
Dominating the rest I see the Admiral himself,
(History’s type of courage, action, faith,)  
Behold him sail from Palos leading his little fleet,  
His voyage behold, his return, his great fame,  
His misfortunes, calumniators, behold him a prisoner, chain’d,   
Behold his dejection, poverty, death.
  
(Curious in time, I stand, noting the efforts of heroes,   
Is the deferment long? bitter the slander, poverty, death?  
Lies the seed unreck’d for centuries in the ground? lo, to God’s due occasion,   
Uprising in the night, it sprouts, blooms,  
And fills the earth with use and beauty.) 
  
7
Passage indeed O soul to primal thought,  
Not lands and seas alone, thy own clear freshness,  
The young maturity of brood and bloom,   
To realms of budding bibles.  
  
O soul, repressless, I with thee and thou with me,
Thy circumnavigation of the world begin,   
Of man, the voyage of his mind’s return,  
To reason’s early paradise,  
Back, back to wisdom’s birth, to innocent intuitions,  
Again with fair creation. 
  
8
O we can wait no longer,   
We too take ship O soul,  
Joyous we too launch out on trackless seas,  
Fearless for unknown shores on waves of ecstasy to sail,  
Amid the wafting winds, (thou pressing me to thee, I thee to me, O soul,)
Caroling free, singing our song of God,  
Chanting our chant of pleasant exploration.  
  
With laugh, and many a kiss,  
(Let others deprecate, let others weep for sin, remorse, humiliation,)   
O soul, thou pleasest me, I thee.
  
Ah more than any priest O soul we too believe in God,  
But with the mystery of God we dare not dally.  
  
O soul thou pleasest me, I thee,   
Sailing these seas or on the hills, or waking in the night,  
Thoughts, silent thoughts, of Time and Space and Death, like waters flowing,
Bear me indeed as through the regions infinite,  
Whose air I breathe, whose ripples hear, lave me all over,   
Bathe me O God in thee, mounting to thee,  
I and my soul to range in range of thee.  
  
O Thou transcendant,
Nameless, the fibre and the breath,   
Light of the light, shedding forth universes, thou centre of them,   
Thou mightier centre of the true, the good, the loving,   
Thou moral, spiritual fountain— affection’s source— thou reservoir,   
(O pensive soul of me— O thirst unsatisfied— waitest not there?
Waitest not haply for us somewhere there the Comrade perfect?)  
Thou pulse— thou motive of the stars, suns, systems,  
That, circling, move in order, safe, harmonious,  
Athwart the shapeless vastnesses of space,  
How should I think, how breathe a single breath, how speak, if, out of myself,
I could not launch, to those, superior universes?  
  
Swiftly I shrivel at the thought of God,  
At Nature and its wonders, Time and Space and Death,  
But that I, turning, call to thee O soul, thou actual Me,  
And lo, thou gently masterest the orbs,
Thou matest Time, smilest content at Death,  
And fillest, swellest full the vastnesses of Space.  
  
Greater than stars or suns,  
Bounding O soul thou journeyest forth;  
What love than thine and ours could wider amplify?
What aspirations, wishes, outvie thine and ours, O soul?  
What dreams of the ideal? what plans of purity, perfection, strength?   
What cheerful willingness for others’ sake, to give up all?  
For others’ sake to suffer all?  
  
Reckoning ahead O soul, when thou, the time achiev’d,
The seas all cross’d, weather’d the capes, the voyage done,  
Surrounded, copest, frontest God, yieldest, the aim attain’d,  
As fill’d with friendship, love complete, the Elder Brother found,   
The Younger melts in fondness in his arms.  
  
9
Passage to more than India!
Are thy wings plumed indeed for such far flights?  
O Soul, voyagest thou indeed on voyages like these?  
Disportest thou on waters such as those?  
Soundest below the Sanscrit and the Vedas?  
Then have thy bent unleash’d.
  
Passage to you, your shores, ye aged fierce enigmas!  
Passage to you, to mastership of you, ye strangling problems!  
You, strew’d with the wrecks of skeletons, that, living, never reach’d you.  
Passage to more than India!  
O secret of the earth and sky!
Of you O waters of the sea! O winding creeks and rivers!  
Of you O woods and fields! Of you strong mountains of my land!   
Of you O prairies! of you, gray rocks!  
O morning red! O clouds! O rain and snows!  
O day and night, passage to you!
  
O sun and moon, and all you stars! Sirius and Jupiter!  
Passage to you!  
  
Passage, immediate passage! the blood burns in my veins!  
Away O soul! hoist instantly the anchor!  
Cut the hawsers—haul out—shake out every sail!
Have we not stood here like trees in the ground long enough?  
Have we not grovell’d here long enough, eating and drinking like mere brutes?   
Have we not darken’d and dazed ourselves with books long enough?   
  
Sail forth— steer for the deep waters only,   
Reckless O soul, exploring, I with thee, and thou with me,
For we are bound where mariner has not yet dared to go,  
And we will risk the ship, ourselves and all.  
  
O my brave soul!  
O farther farther sail!  
O daring joy, but safe! are they not all the seas of God?
O farther, farther, farther sail!


Passage To India References

https://poets.org/poem/passage-india

https://poemanalysis.com/walt-whitman/passage-to-india/

https://www.poetryfoundation.org/articles/69413/walt-whitman-a-passage-to-india

https://ir.uiowa.edu/cgi/viewcontent.cgi?article=1002&context=wwqr

https://www.jstor.org/stable/461642?read-now=1&seq=1#page_scan_tab_contents

https://www.cliffsnotes.com/literature/l/leaves-of-grass/summary-and-analysis-calamus/passage-to-india#:~:text=The%20poet%20and%20his%20soul%2C%20like%20two%20lovers%2C%20are%20united,God%20as%20a%20transcendental%20deity.&text=In%20section%209%2C%20the%20journey,is%20a%20challenging%20spiritual%20journey.

Niralamb Upanishad 


Introduction

The Niralamba Upanishad is a Sanskrit text and is one of the 22 Samanya (general) Upanishads of Hinduism. The text, along with the Sarvasara Upanishad, is one of two dedicated glossaries embedded inside the collection of ancient and medieval era 108 Upanishads, on 29 basic concepts of Hindu philosophy.

Niralamba Upanishad begins with around 40 questions on definitions, for instance the definition of Brahman, Sanyaas etc.  Then all these are defined.  The upanishad states that men, women, all living beings, Hindu gods such as Vishnu and Rudra (Shiva), are in their essence just the same ultimate reality that is Brahman. The text presents answers resonant with the Advaita Vedanta school of Hinduism. 

Following is the Sanskrit Text followed by an English translation. For folks who are interested in other Upanishads I do have some other articles on those, but a better place to start is K. N. Aiyar's translation of 30 Upanishads. It was one of the first English translations of the Upanishads and it seems to be really well done. For example, here is the definition of Brahman according to the Niralamb Upanishad as translated by K. N. Aiyar: 


The message is strikingly similar to Guru Nanak's message on Oneness through Ekonkaar. So I believe it is apt to hear the following meditation on Ekonkaar while reading this: 

Sanskrit Text

निरालम्बोपनिषत्

यत्रालम्बालम्बिभावो विद्यते न कदाचन ।
ज्ञविज्ञसम्यग्ज्ञालम्बं निरालम्बं हरिं भजे ॥

ॐ पूर्णमदः पूर्णमिदं पूर्णात्पूर्णमुदच्यते ।
पूर्णस्य पूर्णमादाय पूर्णमेवावशिष्यते ॥

ॐ शान्तिः शान्तिः शान्तिः ॥

ॐ नमः शिवाय गुरवे सच्चिदानन्दमूर्तये ।
निष्प्रपञ्चाय शान्ताय निरालम्बाय तेजसे ॥

निरालम्बं समाश्रित्य सालम्बं विजहाति यः ।
स संन्यासी च योगी च कैवल्यं पदमश्नुते ॥१॥

एषमज्ञानजन्तूनां समस्तारिष्टशान्तये ।
यद्यद्बोद्धव्यमखिलं तदाशङ्क्य ब्रवीम्यम् ॥२॥

किं ब्रह्म । क ईश्वरः । को जीवः । का प्रकृतिः । कः परमात्मा । को ब्रह्मा । को विष्णुः । को रुद्रः । क इन्द्रः । कः शमनः । सः शमनः । कः सूर्य । कश्चन्द्र । के सुराः । के असुराः । के पिशाचाः । के मनुष्याः । काः स्त्रियः । के पश्वादयः । किं स्थावरम् । के ब्राह्मणादयः । का जातिः । किं कर्म । किमकर्म । किं ज्ञानम् । किमज्ञानम् । किं सुखम् । किं दुखम् । कः स्वर्गः । को नरकः । को बन्धः । को मोक्षः । क उपास्यः । कः शिष्यः । को विद्वान् । को मूढः । किमासुरम् । किं तपः । किं पदमं पदम् । किं ग्राह्यम् । किमग्राह्यम् । कः संन्यासीत्याशङ्क्याह ब्रह्मेति । ॥३॥

स होवाच महदहङ्कारपृथिव्यप्तॆजोवाय्वाकाशत्वेन बृहद्रूपेणाण्डकोशेन कर्मज्ञानार्थरूपतया भासमानमद्वितीयमखिलोपाद्विनिर्मुक्तं तत्सकलशक्त्युपबृंहितमनाद्यनन्तं शुद्धं शिवं शान्तं निर्गुणमित्यादिवाच्यमनिर्वाच्यं चैतन्यं ब्रह्म ईश्वर इति च । ब्रह्मैव स्वशक्तिं प्रकृत्यभिधेयामाश्रित्य लोकान्सृष्ट्वा प्रविश्यान्तर्यामित्वेन ब्रह्मादीनां बुद्धीन्द्रियनियन्तृत्वादीश्वरः ॥ ४ ॥

जीव इति च ब्रह्मविष्णवीशानेन्द्रादीनां नामरूपद्वारा स्थूलोऽहमिति मिथ्याध्यासवशाज्जीवः । सोऽहमेकोऽपि देहारम्भकभेदवशाद्बहुजीवः ॥ ५ ॥

प्रकृतिरिति च ब्रह्मणः सकाशान्नानाविचित्रजगन्निर्माणसामार्थ्यबुद्धिरूपा ब्रह्मशक्तिरेव प्रकृतिः ॥ ६ ॥
परमात्मेति च देहादेः परतरत्वाद्ब्रह्मैव परमात्मा ॥ ७ ॥
स ब्रह्मा स विष्णुः स इन्द्रः स शमनः स सूर्यः स चन्द्रस्ते असुरास्ते पिशाचास्ते मनुष्यास्ताः स्त्रियते पश्वादयस्तत्स्थावरं ते ब्राह्मणादयः ॥ ८ ॥
सर्वं खल्विदं ब्रह्म नेह नानास्ति किञ्चन ॥ ९ ॥
जातिरिति च । न चर्मणो न रक्तस्य न मांसस्य न चास्थिनः ।
न जातिरात्मनो जातिर्व्यवहारप्रकल्पिता ॥ १० ॥
कर्मेति च क्रियमाणेन्द्रियैः कर्माण्यहं करोमीत्यध्यात्मनिष्ठतया कृतं कर्मैव कर्म । अकर्मेति च कर्तुव्यभोक्तृत्वाद्यहङ्कारतया बन्धरूपं जन्मादिकारणं नित्यनैमित्तिकयागव्रततपोदानादिषु फलाभिसन्धानं यत्तदकर्म॥ ११-१२॥
ज्ञानमिति च देहेन्द्रियनिग्रहसद्गुरूपासनश्रवणमनननिदिध्यासनैर्यद्यदृग्दृश्यस्वरूपं सर्वान्तरस्थं सर्वसमं घटपचादिपदार्थमिवाविकारं विकारेषु चैतन्यं विना किञ्चिन्नास्तीति साक्षात्कारानुभवो ज्ञानम् ॥ १३ ॥
अज्ञानमिति च रज्जौ सर्पभ्रान्तिरिवाद्वितीये सर्वानुस्यूते सर्वमये ब्रह्मणि देवतिर्यङ्नरस्थावरस्त्रीपुरुषवर्णाश्रम -बन्धमोक्षोपाधिनानात्मभेदकल्पितं ज्ञानमज्ञानम् ॥ १४ ॥
सुखमिति च सच्चिदानन्दस्वरूपं ज्ञात्वानन्दरूपा या स्थितिः सैव सुखम् ॥ १५ ॥
दुःखमिति अनात्मरूपो विषयसङ्कल्प एव दुःखम् ॥ १६ ॥
स्वर्ग इति च सत्संसर्गः स्वर्गः ।
नरक इति च असत्संसारविषयजनसंसर्ग एव नरकः ॥ १७ ॥
बन्ध इति च अनाद्यविद्यावासनया जातोऽहमित्यादिसङ्कल्पो बन्धः ॥ १८ ॥
पितृमातृसहोदरदारापत्यगृहारामक्षेत्रममतासंसारावरणसङ्कल्पो बन्धः ॥ १९ ॥
कर्तृत्वाद्यहङ्कारसङ्कल्पो बन्धः ॥ २० ॥
अणिमाद्यष्टैश्वर्याशासिद्धसङ्कल्पो बन्धः ॥ २१ ॥
देवमनुष्याद्युपासनाकामसङ्कल्पो बन्धः ॥ २२ ॥
यमाद्यष्टाङ्गयोगसङ्कल्पो बन्धः ॥ २३ ॥
वर्णाश्रमधर्मकर्मसङ्कल्पो बन्धः ॥ २४ ॥
आज्ञाभयसंशयात्मगुणसङ्कल्पो बन्धः ॥ २५ ॥
यागव्रततपोदानविधिविधानज्ञानसङ्कल्पो बन्ध ॥ २६ ॥
केवलमोक्षापेक्षा सङ्कल्पो बन्धः ॥ २७ ॥
सङ्कल्पमात्रसंभवो बन्धः ॥ २८ ॥
मोक्ष इति च नित्यानित्यवस्तुविचारादनित्यसंसारसुखदुःखविषयसमस्तक्षेत्र ममताबन्धक्षयो मोक्षः ॥ २९ ॥
उपास्य इति च सर्वशरीरस्थचैतन्यब्रह्मप्रापको गुरुरुपास्यः ॥ ३० ॥
शिष्य इति च विद्याध्वस्तप्रपञ्चावगाहितज्ञानावशिष्टं ब्रह्मैव शिष्यः ॥ ३१ ॥
विद्वानिति च सर्वान्तरस्थस्वसंविद्रूपविद्विद्वान् ॥ ३२ ॥
मूढ इति च कर्तृत्वाद्यहङ्कारभावारूढो मूढः ॥ ३३ ॥
आसुरमिति च ब्रह्मविष्ण्वीशानेन्द्रादीनामैश्वर्यकामनया निरशनजपाग्निहोत्रादिष्वन्तरात्मानं संतापयति चात्युग्ररागद्वेष-विहिंसादम्भाद्यपेक्षितं तप आसुरम् ॥ ३४ ॥
तप इति च ब्रह्म सत्यं जगन्मिथ्येत्यपरोक्षज्ञानाग्निना । ब्रह्माद्यैश्वर्याशासिद्धसङ्कल्पबीजसन्तापं तपः ॥ ३५ ॥
परमं पदमिति च प्राणेन्द्रियाद्यन्तः करणगुणादेः। परतरं सच्चिदानन्दमयं नित्यमुक्तब्रह्मस्थानं परमं पदम् ॥ ३६ ॥
ग्राह्यमिति च देशकालवस्तुपरिच्छेदराहित्यचिन्मात्रस्वरूपं ग्राह्यम् ॥ ३७ ॥
अग्राह्यमिति च स्वस्वरूपव्यतिरिक्तमायामयबुद्धीन्द्रियगोचरजगत्सत्यत्वचिन्तनमग्राह्यम् ॥ ३८ ॥
संन्यासीति च सर्वधर्मान्परित्यज्य निर्ममो निरहङ्कारो भूत्वा ब्रह्मेष्टं शरणमुपगम्य तत्त्वमसि अहं ब्रह्मास्मि सर्वं खल्विदं ब्रह्म नेह नानास्ति किञ्चनेत्यादिमहावाक्यार्थानुभवज्ञानाद् ब्रह्मैवाहमस्मीति निश्चित्य निर्विकल्पसमाधिना स्वतन्त्रो यतिश्चरति स संन्यासी स मुक्तः स पूज्यः स योगी स परमहंसः सोऽवधूतः स ब्राह्मण इति ॥ ३९ ॥
इदं निरालम्बोपनिषदं योऽधीते गुर्वनुग्रहतः सोऽग्निपूतो भवति स वायुपूतो भवति न स पुनरावर्तते न स पुनरावर्तते पुनर्नाभिजायते पुनर्नाभिजायत इत्युपनिषत् ॥ ४० ॥
ॐ पूर्णमदः पूर्णमिदं पूर्णात्पूर्णमुदच्यते ।
पूर्णस्य पूर्णमादाय पूर्णमेवावशिष्यते ॥
ॐ शान्तिः शान्तिः शान्तिः ॥
|| इति निरालम्बोपनिषत्समाप्ता ॥

Translation 


Om ! That (Brahman) is infinite, and this (universe) is infinite.
The infinite proceeds from the infinite.
(Then) taking the infinitude of the infinite (universe),
It remains as the infinite (Brahman) alone. 
Om ! Let there be Peace in me !
Let there be Peace in my environment !
Let there be Peace in the forces that act on me !

1. I shall raise and answer (questions covering) all that must be known for liquidating the misfortunes of living beings plunged in ignorance.

2. (1) What is Brahman ? 
(2) Who is God ? 
(3) Who is living being ? 
(4) What is Prakriti ? 
(5) Who is the Supreme Self ? 
(6) Who is Brahma ?
(7) Who is Vishnu ?
(8) Who is Rudra ?
(9) Who is Indra ?
(10) Who is (the god of) Death ?
(11) Who is the Sun ?
(12) Who is the Moon ?
(13) Who are the Gods ?
(14) Who are the demons ?
(15) Who are the evil spirits ?
(16) Who are men ?
(17) Who are women ?
(18) Who are animals and so forth ?
(19) What is the immobile ?
(20) Who are the Brahmanas, etc., ?
(21) What is a caste ?
(22) What is deed ?
(23) What is a non-deed ?
(24) What is knowledge ?
(25) What is ignorance ?
(26) What is pleasure ?
(27) What is pain ?
(28) What is heaven ?
(29) What is hell ?
(30) What is bondage ?
(31) What is liberation ?
(32) What is to be adored ?
(33) Who is the disciple ?
(34) Who is the sage ?
(35) Who is the deluded ?
(36) What is the demoniac ?
(37) What is austerity ?
(38) Which is the supreme abode ?
(39) What is to be sought after ?
(40) What is to be rejected ?
(41) Who is the renouncer (Sannyasin) ?

3. (1) Brahman is the ineffable Spirit. It appears as the Mahat (the Sankhyan Great), the ego, (the elements) earth, water, fire, air and ether – the macrocosm and as actions, knowledge and ends. It is non-dual and free from all adjuncts. It is big with all powers and is without beginning and end. It may be spoken of as pure, good, quiescent, unqualified.

4. (2) God is the veritable Brahman that, depending on Its power called Prakriti creates the worlds and enters (into them) as the inner Controller of Brahma, etc., (He) is Ishvara, as He controls the intellect and the sense-organs.

5. (3) The living being (Jiva) is he who, through false superimposition, affirms ‘I am gross’ due to ‘the name and form’ of Brahma, Vishnu, Isana, Indra, etc. (Jiva thinks): Though I am one, due to the differences of the causes that originate the body, the Jivas are many.

6. (4) Prakriti is but the power of Brahman; it is intellectual in nature and competent to create the variegated and marvellous world from (the matrix) of Brahman.

7. (5) The supreme Self is Brahman alone being altogether different from body, etc.

8-9. (6-20) Brahma, Vishnu, Indra, (the god of) Death, the Sun, the Moon, the gods, the demons, men, women, animals, etc.; the immobile the Brahmanas, etc.; are that very Spirit.

10. (21) Neither skin nor blood nor flesh nor bone has caste; To self is caste ascribed through mere usage.

11. (22) ‘I do the deeds that are done through sense-organs’ – the deed thus done as centred in the Self alone is the deed (in question).

12. (23) The deed done with conceit as agent and enjoyer, causing birth, etc., binds; The non-deed is the obligatory and occasional action – sacrifice, holy vow, austerity, gifts, etc., done without desire for their fruit.

13. (24) Knowledge is the immediate realization, due to the disciplining of body and sense-organs, service rendered to the Teacher, hearing, thinking and meditation, that there is nothing but Spirit, the essence of both subjects and objects, which is immutable among the mutables like pots and clothes, the same in all, their innermost (essence).

14. (25) Ignorance is the illusory knowledge – like that of the snake in the rope – of Brahman that is All in all, all-pervasive and non-dual. (This illusory knowledge) is associated with a plurality of selves based on the plurality of the adjuncts of bondage and liberation, viz.; stations in life, castes, men, women, the immobiles, mankind, (lower) animals and gods.

15. (26) Pleasure is the blissful state that succeeds the knowledge of the essence of Being, Intelligence and Bliss. (27) It (Dukha - pain) is the mere Sankalpa (or the thinking) of the objects of mundane existence (or of not-Self). 

16. (28) Heaven is the association with the holy.

17. (29) Association with the worldly folk who are unholy alone is hell.

18. (30) Bondage consists in imagining due to the beginningless latent impressions of nescience, ‘I am born, etc.’

19. Bondage consists in imagining a plunge into the flux of existence with its possessive claims on fields, gardens, houses, children, wives, brothers, mothers and fathers.

20. Bondage is the conceit of egoistic agency in regard to actions, etc.

21. Bondage is the imagination prompted by the desire for the eight powers, anima, etc.

22. Bondage is the imagination prompted by the yearning for adoring gods, men, etc.

23. Bondage is the imagination (leading to) the practice of Yoga with its eight limbs, Yama, etc.

24. Bondage is the planning of action and duties bound up with castes and stations of life.

25. Bondage is to imagine that Atman has qualities like doubts, fear, etc.

26. Bondage is to plan (to acquire) knowledge, to perform sacrifices, vows, austerity and (make) gifts.

27. Bondage is to plan to devote oneself exclusively to moksha.

28. Bondage is what springs exclusively from imagination.

29. (31) Liberation is the attenuation, through discrimination between the eternal and the ephemeral, of the sense of ownership in regard to objects that generate fleeting pleasures and pains in the transmigratory life.

30. (32) Adorable is the teacher who leads one to Brahman, the Spirit dwelling in all bodies.

31. (33) The disciple is Brahman indeed that remains altogether immersed in the knowledge of the world as obliterated by the awareness (of its ground, viz., Brahman).

32. (34) The sage is the knower of the essence of Self-awareness present in all as their innermost (part).

33. (35) The deluded is he who is sustained by the conceit of egoism as regards agency, etc.

34. (36) Demoniac is the austerity, rooted in entrenched attachment, aversion, destructive violence, hypocrisy, etc.; that torments oneself by performing ‘repetition of holy names’ and Agnihotra while fasting and that is prompted by the desire to secure the power of gods like Brahma, Vishnu, Indra and Isana.

35. (37) Austerity is the burning, in the fire of immediate realization of the world’s falsity, of the seed of imagination fashioned by the desire to secure the power of Brahma, etc.

36. (38) The supreme abode is Brahman’s status, one of eternal freedom, comprising Being, Intelligence, and Bliss, beyond the qualities of the inner organ and the sense-organs and the vital breaths.

37. (39) To be sought after is the essence of the pure Spirit undetermined by space, time and objects.

38. (40) To be rejected is the thought that true is the world other than one’s own Self that is perceived by the false sense organs and the intellect.

39. (41) The Sannyasin (mendicant monk) is the wandering independent ascetic who has known for certain, in the indeterminate concentration (Nirvikalpa-Samadhi), ‘I am Brahman’. He is led upto it through the experiential knowledge of the contents of Major texts like: ‘There is no plurality here’; ‘All this is Brahman’; 'That Thou Art', etc.; after renouncing all duties, sense of possession and the ego, and taking refuge in the beloved Brahman. That ascetic is liberated; he is adorable; he is the Yogin; he is the Immense; he is the Brahmana.

Om ! That (Brahman) is infinite, and this (universe) is infinite.
The infinite proceeds from the infinite.
(Then) taking the infinitude of the infinite (universe),
It remains as the infinite (Brahman) alone. 
Om ! Let there be Peace in me !
Let there be Peace in my environment !
Let there be Peace in the forces that act on me !
Om Shanti ! Shanti ! Shanti !
Here ends the Niralamba Upanishad, as contained in the Shukla Paksha Yajur-Veda.
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SHIVPREET SINGH

Singing oneness!
- Shivpreet Singh

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