Guru Nanak's Navai Kai Rang
Now i lay (with everywhere around)
Now i lay (with everywhere around)
me (the great dim deep sound
of rain; and of always and of nowhere) and
what a gently welcoming darkestness -
now i lay me down (in a most steep
more than music) feeling that sunlight is
(life and day are) only loaned: whereas
night is given (night and death and the rain
are given; and given is how beautifully snow)
now i lay me down to dream of (nothing
i or any somebody or you
can begin to begin to imagine)
now i lay me down to dream of (nothing
i or any somebody or you
can begin to begin to imagine)
something which nobody may keep.
now i lay me down to dream of Spring
e. e. cummings
(Oct 14, 1894 - Sept 3, 1962)
now i lay me down to dream of Spring
e. e. cummings
(Oct 14, 1894 - Sept 3, 1962)
As I delve into e. e. cummings' poem, "now i lay (with everywhere around)," two lines have captured my attention, and they have prompted me to reflect deeply on the nature of life and death. These lines have struck a chord with me, and I find their connection to Kabir's philosophy, "phool shankar deo" – the flower is Shiva, to be particularly intriguing. Together, these two lines underscore the idea that death, like Shiva and the flower, is an essential part of the cosmic order.
In the poem, cummings writes, "sunlight is (life and day are) only loaned: whereas night is given." These words encapsulate a distinctive perspective on the ephemeral quality of life. It's as if life, symbolized by "sunlight" and the experiences of the day, is but a temporary loan, a gift with an expiration date. This viewpoint urges us to acknowledge the impermanence of our earthly existence and to treasure each fleeting moment. It serves as a reminder that the vibrant experiences of life, like sunlight, are transient and finite.
Conversely, cummings contrasts this with the idea that "night is given." Here, night symbolizes death. In this context, death is not something borrowed or temporary; it is an intrinsic part of our human journey, something "given" to us. This perspective challenges the conventional fear of death and suggests that it is a natural and inevitable component of life's cycle. It implies that death is not an end but a transition, a step in the ongoing journey of existence.
Now, I turn to Kabir's philosophy of "phool shankar deo" – the flower is Shiva. In this belief system, the fragile and ephemeral nature of a flower symbolizes life, while Shiva, traditionally seen as the god of destruction, is associated with it. Shiva's role as the destroyer is not merely about causing destruction; it's about making way for renewal and new beginnings. In this interpretation, death becomes an essential part of the cosmic cycle, much like the flower's role in the grand scheme of things.
When I connect these two philosophies, cummings' portrayal of death as a natural and necessary part of life aligns beautifully with Kabir's perspective on the flower and Shiva. Just as Shiva's destructive aspect paves the way for new growth and life, death, in cummings' view, becomes a process that rejuvenates, making space for the eventual emergence of spring – a season symbolizing renewal and the birth of new life.
This connection offers a holistic and harmonious perspective on the cycle of life and death. It transforms the concept of death from something ominous and fearful into a vital part of the ongoing cosmic dance. Death, much like the flower, plays a crucial role in the ever-turning wheel of existence, allowing for the continuous cycle of life, symbolized by the arrival of spring.
Overall, the poem encourages us to embrace the cyclical nature of life and death, finding solace in the belief that, like the flower, death is not an end but a transformative stage that leads to rebirth and the eternal renewal of life.
Singing oneness!
