Shivpreet Singh
Shivpreet Singh
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Shakespeare the playwright thinks the world is a stage and everyone is playing a part in it. Likewise it would be apt for a poet to think that the world is poetry.  Whatever the world is then decides what we are to do in it.  In Shakespeare's world we are all actors and this is a stage.  And a drama is happening on each day. An interesting take from Mary Oliver is how she takes out the actors from the play, and makes the play a poem. Why not? She is a poet after all. The poet thinks that the world is a poem. 

Mary Oliver's emphasis is on taking it all in. The emphasis on looking and listening. And then not needing to do anything else. This is a poet that is well versed in vismaad, in wonder, it is her.  It only makes sense that wonder is no less service than writing poetry or acting on the world stage.  John Milton so aptly said that God doesn't need "man's work or his own gifts;" even the ones who are standing and waiting, the blind folk like him, are serving!  But while they are standing and waiting, they can be looking and listening; and Mary asserts that is the "real work." What other purpose of life is better?  You don't need to be at your desk writing poetry when it is spring. You just need to look at the woods and listen to the thrush. Looking, listening, smelling, breathing ... taking it all in. 

The Book of Time

I rose this morning early as usual, and went to my desk.
But it’s spring,
and the thrush is in the woods,
somewhere in the twirled branches, and he is singing.
And so, now, I am standing by the open door.
And now I am stepping down onto the grass.
I am touching a few leaves.
I am noticing the way the yellow butterflies
move together, in a twinkling cloud, over the field.
And I am thinking: maybe just looking and listening
is the real work.
Maybe the world, without us,
is the real poem.


- Mary Oliver
The Leaf and the Cloud.


More from the Book of Time

1.

I rose this morning early as usual, and went to my desk
But it’s spring,

and the thrush is in the woods,
somewhere in the twirled branches, and he is singing.

And so, now, I am standing by the open door.
And now I am stepping down onto the grass.

I am touching a few leaves.
I am noticing the way the yellow butterflies
move together, in a twinkling cloud, over the field.

And I am thinking: maybe just looking and listening
is the real work.

Maybe the world, without us,
is the real poem.


2.

For how many years have you gone through the house
    shutting the windows,
while the rain was still five miles away

and veering, o plum-colored clouds, to the north,
away from you

and you did not even know enough
to be sorry,

you were glad
those silver sheets, with the occasional golden staple,

were sweeping on, elsewhere,
violent and electric and uncontrollable–

and will you find yourself finally wanting to forget
all enclosures, including

the enclosure of yourself, o lonely leaf, and will you
dash finally, frantically,

to the windows and haul them open and lean out
to the dark, silvered sky, to everything

that is beyond capture, shouting
I’m here, I’m here! Now, now, now, now, now.

3.

I dreamed
I was traveling

from one country
to another

jogging
on the back
of a white horse
whose hooves

were the music
of dust and gravel
whose halter
was made of the leafy braids

of flowers,
whose name
was Earth.
And it never

grew tired
though the sun
went down
like a thousand roses

and the stars
put their white faces
in front of the black branches
above us

and then
there was nothing around us
but water
and the white horse

turned suddenly
like a bolt of white cloth

opening
under the cloth cutter’s deft hands

and became
a swan.
Its red tongue
flickered out

as it perceived
my great surprise
my huge and unruly pleasure
my almost unmanageable relief. . . .

4.

“‘Whoever shall be guided so far towards the mysteries of love, by
contemplating beautiful things rightly in due order, is approaching the last
grade. Suddenly he will behold a beauty marvellous in its nature, that very
Beauty, Socrates, for the sake of which all the earlier hardships had been
borne: in the first place, everlasting, and never being born nor perishing,
neither increasing nor diminishing; secondly, not beautiful here and ugly
there, not beautiful now and ugly then, not beautiful in one direction and
ugly in another direction, not beautiful in one place and ugly in another
place. Again, this beauty will not show itself like a face or hands or any
bodily thing at all, nor as a discourse or a science, nor indeed as residing in
anything, as in a living creature or in earth or heaven or anything else,
but being by itself with itself always in simplicity; while all the beautiful
things elsewhere partake of this beauty in such manner, that when they are
born and perish it becomes neither less nor more and nothing at all
happens to it. . . .'”

5.

What secrets fly out of the earth
when I push the shovel-edge,
when I heave the dirt open?

And if there are no secrets
what is that smell that sweetness rising?

What is my name,
o what is my name
that I may offer it back
to the beautiful world?

Have I walked
long enough
where the sea breaks raspingly
all day and all night upon the pale sand?

Have I admired sufficiently the little hurricane
of the hummingbird?

the heavy
thumb
of the blackberry?

the falling star?

6.

Count the roses, red and fluttering.
Count the roses, wrinkled and salt.
Each with its yellow lint at the center.
Each with its honey pooled and ready.
Do you have a question that can’t be answered?
Do the stars frighten you by their heaviness
    and their endless number?
Does it bother you, that mercy is so difficult to
    understand?
For some souls it’s easy; they lie down on the sand
    and are soon asleep.
For others, the mind shivers in its glacial palace,
    and won’t come.
Yes, the mind takes a long time, is otherwise occupied
than by happiness, and deep breathing.
Now, in the distance, some bird is singing.
And now I have gathered six or seven deep red,
    half-opened cups of petals between my hands,
and now I have put my face against them
and now I am moving my face back and forth, slowly,
    against them.
The body is not much more than two feet and a tongue.
Come to me, says the blue sky, and say the word.
And finally even the mind comes running, like a wild thing,
    and lies down in the sand.
Eternity is not later, or in any unfindable place.
Roses, roses, roses, roses.

7.

Even now
I remember something

the way a flower
in a jar of water

remembers its life
in the perfect garden

the way a flower
in a jar of water

remembers its life
as a closed seed

the way a flower
in a jar of water

steadies itself
remembering itself

long ago
the plunging roots

the gravel the rain
the glossy stem

the wings of the leaves
the swords of the leaves

rising and clashing
for the rose of the sun

the salt of the stars
the crown of the wind

the beds of the clouds
the blue dream

the unbreakable circle.
ਸਲੋਕੁ ॥
Shlok
Couplet

ਲੋਇਣ ਲੋਈ ਡਿਠ ਪਿਆਸ ਨ ਬੁਝੈ ਮੂ ਘਣੀ॥
लोइण लोई डिठ पिआस न बुझै मू घणी ॥
Loiṇ loī diṯẖ piās na bujẖai mū gẖaṇī.
I have seen, but my thirst is not quenched

ਨਾਨਕ ਸੇ ਅਖੜੀਆਂ ਬਿਅੰਨਿ ਜਿਨੀ ਡਿਸੰਦੋ ਮਾ ਪਿਰੀ ॥੧॥
नानक से अखड़ीआं बिअंनि जिनी डिसंदो मा पिरी ॥१॥
Nānak se akẖṛīāʼn biann jinī disanḏo mā pirī. ||1||
O Nanak, those eyes are different, that see my love.


Translation:

That thirst is deep that afflicts my eye
That eye is different that sees my Love


Nothing Is Far
- Robert Francis

Though I have never caught the word
Of God from any calling bird,
I hear all that the ancients heard.

Though I have seen no deity
Enter or leave a twilit tree,
I see all that the seers see.

A common stone can still reveal
Something not stone, not seen, yet real.
What may a common stone conceal?

Nothing is far that once was near.
Nothing is hid that once was clear.
Nothing was God that is not here.

Here is the bird, the tree, the stone.
Here in the sun I sit alone
Between the known and the unknown.

Lyrics to George Harrison's most popular song on youtube:

My sweet lord
Hm, my lord
Hm, my lord

I really want to see you
Really want to be with you
Really want to see you lord
But it takes so long, my lord



Aas - Composition by Shivpreet Singh; Sung by Kaushiki Chakraborty

Baba Farid and Gurbani

I love the poetry of Bhagat Farid. His poems, known as Shabads, are found in the Guru Granth Sahib, the holy book of Sikhs. Some experts believe these hymns were composed by a Sufi named Farid Shakarganj from Pak Pattan, who was a follower of Qutbuddin Bakhtiyar Kaki. Others think they were written by a different Sufi from Pak Pattan, also named Farid.

Baba Farid was a special and miraculous child. His mother used to pray all day and night during her pregnancy. He was born in the sacred month of Ramzan in the year 1173. On the night of his birth, the moon was hidden behind clouds, and people didn't know when to start their fasting. A holy man came and said that if the newborn baby refused to breastfeed, then it meant the fasting had begun. And indeed, Farid didn't suckle during the day, following the Muslim fasting tradition.

As a child, Farid was named Farid-ud-Din Masaud, but he became famous as Baba Farid of Pak Pattan. His mother used to reward him with sugar hidden under his prayer carpet when he finished his prayers. One day, when she was absent, he prayed a lot and found an even greater amount of sugar. Delighted, he shared it with his friends. When he told his mother about it, she realized it was a divine gift and gave him the surname Shakar Ganj, which means "treasury of sugar."

Farid ji has been honoured by the Gurus of Sikhism and his verses were collected and subsequently compiled into the Sikh holy book, Guru Granth Sahib (normally referred to as Gurbani) under three different sections as detailed below:

First section:

The first section comprising of two shabads is in Raag Asa at page 488 of the Guru Granth Sahib. The Bani starts " ਆਸਾ ਸੇਖ ਫਰੀਦ ਜੀਉ ਕੀ ਬਾਣੀ - Āsā Sekẖ Farīḏ jī▫o kī baṇī - Aasaa, The Word Of Shaykh Fareed Jee:"

Second section:

The second section comprising of two shabads is in Raag Suhi at page 794 of the Guru Granth Sahib. The Bani starts " ਰਾਗੁ ਸੂਹੀ ਬਾਣੀ ਸੇਖ ਫਰੀਦ ਜੀ ਕੀ ॥ - Rāg sūhī baṇī Sekẖ Farīḏ jī kī. -Raag Soohee, The Word Of Shaykh Fareed Jee:"

Third section:

The third section is by far the longest section comprising about 8 pages in Raag Jaijaiwanti starting at page 1377 of Guru Granth Sahib and ending at page 1384. The Bani starts with the line: " ਸਲੋਕ ਸੇਖ ਫਰੀਦ ਕੇ - Salok Sekẖ Farīḏ ke - Shaloks Of Shaykh Fareed Jee:" This section consists of couplets which have become very famous among the followers of Babaji.

The connection of Baba Farid with Amir Khusro

After Baba Farid ji, his successor was Hazrat Nizamuddin Auliya from Badayun, Uttar Pradesh, India (1238 - 1325). Sadly, he lost his father when he was just five years old. Together with his mother, he moved to Delhi. At the age of 20, he became a devoted disciple of Baba Farid, deeply inspired by his teachings.

Nizamuddin Auliya had a strong connection with the holy shrine in Pakpattan and would visit especially during the month of Ramadan. Just before Baba Farid ji passed away, he chose Nizamuddin Auliya as his successor. However, Auliya Sahib decided to return to Delhi instead of staying in Pakpattan. He dedicated his life to serving the poor people of the region, carrying forward the message of God.

Nizamuddin Auliya gained immense popularity and had millions of followers and students. One of his most notable students was Amir Khusrow, a renowned poet and musician. Amir Khusrow is credited with introducing Qawali to Indian music for the first time. Additionally, he innovated the Tabla by modifying the South Indian drum called mridang or pakhawaj. His contributions to music are truly remarkable and have left a lasting impact on Indian musical traditions.

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SHIVPREET SINGH

Singing oneness!
- Shivpreet Singh

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