Shivpreet Singh

I love Walt Whitman for his personal and evocative poetry. He has written several poems where he directly addresses the reader and shows affection from this. "To You" is one such poem. Through this poem he celebrates the beauty any reader of his poem. I find it beautiful that while it may seem he doesn't know the peculiarity of this reader, he connects with their soul. He still professes his love even though he has not "met" them. This is the kind of unconditional love of the creation and creator that Kabir talks about when he sings Tu Tu Karta Tu Hua (Saying you you I have become you).

The poem begins by making the reader walk out of their dream. Guru Tegh Bahadur says, Sagal Jagat hai jaise supna: What is this life but a dream; it can be over in an instant. What we think are the realities of life, the mundane routines and distractions that often occupy our thoughts, are really temporary. They only blur the lines between what is real and what is imagined.

The person that Walt Whitman wants to love is the real person underneath. As the reader reads through this poem he starts shedding his superficial trappings of everyday existence. Whitman notes that even the most defining aspects of our lives—the features we bear, the joys we experience, the houses we inhabit, the trades we pursue, the manners we adopt, the troubles we face, the follies we commit, and even the crimes we may be guilty of—dissipate when viewed through the lens of his poetic gaze. In doing so, Whitman uncovers the profound truth of Ekonkar — the true soul and body of the reader emerge not from the mundane affairs of life but from the core of their being, beyond the constructs of society.

I think Whitman's declaration that "now I place my hand upon you, that you be my poem" is a pivotal moment in the poem. Here, he bestows upon the reader the highest honor, asking them to be the living embodiment of his art. He whispers to the reader, expressing his affection in intimate terms. He acknowledges the vastness of his love, claiming to have loved many individuals in his lifetime, but none as deeply and profoundly as the reader.

As he realizes his love, his own past a bit. He feels that he has been "dilatory and dumb," wasting time and remaining silent when he should have been actively celebrating and championing the reader. He wishes that he had directed all his energy and creativity toward the reader sooner, forsaking all distractions and focusing solely on extolling their essence. This sense of urgency underscores the depth of Whitman's affection and his unwavering commitment to the reader.

In perhaps the most profound gesture of love, Whitman vows to "leave all and come and make the hymns of you." He promises to forsake everything else, leaving behind the mundane to craft hymns that capture the essence of the reader. What is this essence other than Satnam, Ekonkar? This act of dedication signifies the reader's uniqueness and the reverence with which Whitman holds them. In Whitman's eyes, the reader is not just a person; they are a source of inspiration and a reflection of the grandeur of the universe.

My favorite lines in this poem are the following:

Whoever you are, now I place my hand upon you, that you be my poem, I whisper with my lips close to your ear, I have loved many women and men, but I love none better than you. O I have been dilatory and dumb, I should have made my way straight to you long ago,  I should have blabb'd nothing but you, I should have chanted nothing but you.
I will leave all and come and make the hymns of you ...

By placing his hand upon the reader metaphorically, Whitman symbolically transfers his love and reverence onto them, urging them to be the living expression of his poetry. In this act, Whitman not only cherishes the reader's individuality but also envisions them as the ultimate muse, inspiring his poetic creations. This gesture represents a unique and intimate bond between poet and reader, where the reader becomes the vessel for Whitman's deepest emotions and the living testament to his poetic love. And from there on, he leaves everything else and makes "hymns of you."

This reminds me of Guru Arjan's immortal words: Rasna Japti Tuhi Tuhi - my tongue chants, "Only you!" "Only you!"

To You by Walt Whitman

To You
Walt Whitman

Whoever you are, I fear you are walking the walks of dreams,
I fear these supposed realities are to melt from under your feet and hands
Even now your features, joys, speech, house, trade, manners, troubles, follies, costume, crimes, dissipate away from you,
Your true soul and body appear before me,
They stand forth out of affairs, out of commerce, shops, work, farms, clothes, the house, buying, selling, eating, drinking, suffering, dying.

Whoever you are, now I place my hand upon you, that you be my poem,
I whisper with my lips close to your ear,
I have loved many women and men, but I love none better than you.
O I have been dilatory and dumb,
I should have made my way straight to you long ago,
I should have blabb'd nothing but you, I should have chanted nothing but you.

I will leave all and come and make the hymns of you,
None has understood you, but I understand you,
None has done justice to you, you have not done justice to yourself
None but has found you imperfect, I only find no imperfection in you,
None but would subordinate you, I only am he who will never consent to subordinate you,
I only am he who places over you no master, owner, better, God, beyond what waits intrinsically in yourself.

Painters have painted their swarming groups and the centre-figure of all,
From the head of the centre-figure spreading a nimbus of gold-color'd light,
But I paint myriads of heads, but paint no head without its nimbus of gold-color'd light,
From my hand from the brain of every man and woman it streams, effulgently flowing forever.

O I could sing such grandeurs and glories about you!
You have not known what you are, you have slumber'd upon yourself all your life,
Your eyelids have been the same as closed most of the time,
What you have done returns already in mockeries,
Your thrift, knowledge, prayers, if they do not return in mockeries, what is their return?)

The mockeries are not you,
Underneath them and within them I see you lurk,
I pursue you where none else has pursued you,
Silence, the desk, the flippant expression, the night, the accustom'd routine, if these conceal you from others or from yourself, they do not conceal you from me,
The shaved face, the unsteady eye, the impure complexion, if these balk others they do not balk me,
The pert apparel, the deform'd attitude, drunkenness, greed, premature death, all these I part aside

There is no endowment in man or woman that is not tallied in you,
There is no virtue, no beauty in man or woman, but as good is in you,
No pluck, no endurance in others, but as good is in you,
No pleasure waiting for others, but an equal pleasure waits for you.

As for me, I give nothing to any one except I give the like carefully to you,
I sing the songs of the glory of none, not God, sooner than I sing the songs of the glory of you.

Whoever you are! claim your own at any hazard!
These shows of the East and West are tame compared to you,
These immense meadows, these interminable rivers, you are immense and interminable as they,
These furies, elements, storms, motions of Nature, throes of apparent dissolution, you are he or she who is master or mistress over them,
Master or mistress in your own right over Nature, elements, pain, passion, dissolution.

The hopples fall from your ankles, you find an unfailing sufficiency,
Old or young, male or female, rude, low, rejected by the rest, whatever you are promulges itself,
Through birth, life, death, burial, the means are provided, nothing is scanted,
Through angers, losses, ambition, ignorance, ennui, what you are picks its way.

I am meditating on Guru Arjan's Shabad Rasna Japti Tuhi Tuhi. It is a shabad about complete surrender to oneness. First the shabad; Lyrics, translation and my thoughts are below.

Rasna Japti Tuhi Tuhi - Raag Sarang

Surrendering to My Source, Sustenance and Sanctuary

This shabad by Guru Arjan is about the undying theme of surrender to oneness. While the Guru doesn't specifically talk about merging into the divine, this is a beautiful submersion.

In this version of the poem, the speaker articulates, "My tongue chants 'You alone' 'You alone.'" This repetition of the phrase "tuhi" or "You alone" emphasizes a singular focus on the divine presence, making it the sole object of veneration. All other distractions and attachments fade away. Only you is left. Just oneness. Only divinity.

The divine as not just the creator, but also its constant sustainer and in the end its final sanctuary. At every moment, and in every place, the singer is replete with this oneness. This oneness is closer than all relationships, even the closest ones, like that of a father, a mother, a sibling and a friend. The singer longs for a sense of belonging to truth, Satnam, the true home.

This oneness is also the true wealth. The divine is presented as a repository of treasures, symbolizing spiritual wealth and fulfillment. This ultimately leads to a state of bliss and contentment - "You fulfill all my desires; I am in bliss."

A deep and intimate connection with a divine presence serves as the source, sustainer and sanctuary of life. Oneness becomes the ultimate desire, the consistent bliss.

Rasna Japti Lyrics

Rasnā japṯī ṯūhī ṯūhī.

Māṯ garabẖ ṯum hī priṯpālak mriṯ mandal ik ṯuhī. ||1|| rahāo.

Ŧumėh piṯā ṯum hī phun māṯā ṯumėh mīṯ hiṯ bẖrāṯā.

Ŧum parvār ṯumėh āḏẖārā ṯumėh jīa prānḏāṯā. ||1||

Ŧumėh kẖajīnā ṯumėh jarīnā ṯum hī māṇak lālā.

Ŧumėh pārjāṯ gur ṯe pāe ṯao Nānak bẖae nihālā. ||2||

Rasna Japti Translations

My First Translation

My tongue chants "You only" "You only"

You only are the birthing mother, the sustaining father, the mortal world.

You are my Father, my Mother, my Loving Friend and Sibling.

You are my Family, my Support, the source of my life's breath.

You are my Treasure, my Wealth, my Gems and Jewels.

You fulfill all my wishes, so I am enraptured.

Current Working Translation:

My tongue chants

"You alone" "You alone"

My initial source, my ultimate home

you alone, you alone

You're my Father, my Mother, close friend and brother,

My Family and support, life's breath you alone!

You're my Treasure, my rubies and jewels

my desires, my bliss, you alone, you alone!

Meditation

Shabad Vichaar

Rasna - Tongue

Tuhi - You only

Mrit Mandal - Mortal World

Maat Garabh, Pritpaalak, Mrit Mandal - Trinity of creator, sustainer, emancipator

Paarjaat - One of the 14 gifts extracted from the mythological churning of the ocean by the devas and asuras.

Related Gurbani and Poetry

Everything is you

Rasna Japti Tuhi Tuhi: My tongue remembers only you

Khudaaya - Guru Nanak

Guru Nanak says in this shabad in Farsi, "I just want this one life-giving thing, not the other poisons of the world." The remembrance of oneness is life giving. As long as the singer sings, he lives. As soon as he forgets he dies. This is the only ask of the singer.

Tu Sarvar Tu Hans - Guru Nanak

Guru Nanak says, "You are the lake and you are the swan." We are not separate from the universe or from God. We are interconnected with all of creation and the presence of God within this oneness. You are in so many colors.

Jalas Tuhi Thalas Tuhi ... Tuhi Tuhi Tuhi Tuhi - Guru Gobind Singh

In Akaal Ustat Guru Gobind Singh starts with elements, you are water, you are earth ... and ends with "Tuhi" 16 times in the end. It is said that, just like Guru Nanak couldn't stop saying Tera tera, Guru Gobind Singh couldn't stop saying Tuhi Tuhi.

Khud kuza o khud kuzagar

In his beautiful ghazal "Har lehza ba shakl aan" Shams Mashraqi says You are yourself the clay, the clay flask, potter, and also the wine tippler. You too are the buyer of the flask and the one who breaks it.

Gaahe Sufi Gaahe Zaahid - Bhai Nandlal

Somewhere as a mystic, somewhere you appear as a hermit, at other times you appear as an epicure. You have so many colors - mirroring Guru Nanak's sentiment.

Iota Subscript - Robert Frost

In "Iota Subscript," Robert Frost's speaker humbly acknowledges their own insignificance, choosing to downplay their ego represented by the letter "I." Instead, they embrace the role of a "subscript" to the omnipresent "you." This transformation signifies a shift from self-importance to a more selfless and humble stance. The poem suggests that by diminishing the emphasis on the self, one can connect more deeply with others and the world around them.

You are my support

Tu mera pita tuhai mera maata - Guru Arjan (Raag Maajh)

Deen Dayaal Bharose Tere - Bhagat Kabir

I completely trust oneness. And I am ferried accross with my family.

I am you - you are my wealth

I am also you!

Maati ek anek bhaant kar - Bhagat Kabir
We come from the same light. Divine Light. We all come from the same earth. The divine potter makes different vessels from the same clay.

Mera Ghar Baneya - Guru Arjan
Obtaining the attributes of oneness, we find our true home.

Sabh Main Jot Jot Hai Soi - Guru Nanak
Guru Nanak says in his Aarti: You are in every face, but none is like you. Within everyone's light is your glow.

Tu tu karta Tu Hua - Bhagat Kabir
We do a meditation on you, so we can become you!

To You - Walt Whitman
In this deeply personal Walt Whitman poem, the speaker addresses the reader directly, expressing a profound sense of love for the reader. The poem underscores the reader's intrinsic greatness, highlighting that they are a reflection of the grandeur of the universe. Through this poem Walt Whitman reaches out to every generations of humans who have a penchant for oneness.

Lyrics and Alternative Translation

ਸਾਰਗ ਮਹਲਾ ੫ ॥

सारग महला ५ ॥

Sārag mėhlā 5.

Saarang, Fifth Mehl:

ਰਸਨਾ ਜਪਤੀ ਤੂਹੀ ਤੂਹੀ ॥

रसना जपती तूही तूही ॥

Rasnā japṯī ṯūhī ṯūhī.

My tongue chants Your Name, Your Name.

ਮਾਤ ਗਰਭ ਤੁਮ ਹੀ ਪ੍ਰਤਿਪਾਲਕ ਮ੍ਰਿਤ ਮੰਡਲ ਇਕ ਤੁਹੀ ॥੧॥ ਰਹਾਉ ॥

मात गरभ तुम ही प्रतिपालक म्रित मंडल इक तुही ॥१॥ रहाउ ॥

Māṯ garabẖ ṯum hī parṯipālak miṯar mandal ik ṯuhī. ||1|| rahāo.

In the mother's womb, You sustained me, and in this mortal world, You alone help me. ||1||Pause||

ਤੁਮਹਿ ਪਿਤਾ ਤੁਮ ਹੀ ਫੁਨਿ ਮਾਤਾ ਤੁਮਹਿ ਮੀਤ ਹਿਤ ਭ੍ਰਾਤਾ ॥

तुमहि पिता तुम ही फुनि माता तुमहि मीत हित भ्राता ॥

Ŧumėh piṯā ṯum hī fun māṯā ṯumėh mīṯ hiṯ bẖarāṯā.

You are my Father, and You are my Mother; You are my Loving Friend and Sibling.

ਤੁਮ ਪਰਵਾਰ ਤੁਮਹਿ ਆਧਾਰਾ ਤੁਮਹਿ ਜੀਅ ਪ੍ਰਾਨਦਾਤਾ ॥੧॥

तुम परवार तुमहि आधारा तुमहि जीअ प्रानदाता ॥१॥

Ŧum parvār ṯumėh āḏẖārā ṯumėh jīa parānḏāṯā. ||1||

You are my Family, and You are my Support. You are the Giver of the Breath of Life. ||1||

ਤੁਮਹਿ ਖਜੀਨਾ ਤੁਮਹਿ ਜਰੀਨਾ ਤੁਮ ਹੀ ਮਾਣਿਕ ਲਾਲਾ ॥

तुमहि खजीना तुमहि जरीना तुम ही माणिक लाला ॥

Ŧumėh kẖajīnā ṯumėh jarīnā ṯum hī māṇik lālā.

You are my Treasure, and You are my Wealth. You are my Gems and Jewels.

ਤੁਮਹਿ ਪਾਰਜਾਤ ਗੁਰ ਤੇ ਪਾਏ ਤਉ ਨਾਨਕ ਭਏ ਨਿਹਾਲਾ ॥੨॥੩੩॥੫੬॥

तुमहि पारजात गुर ते पाए तउ नानक भए निहाला ॥२॥३३॥५६॥

Ŧumėh pārjāṯ gur ṯe pāe ṯao Nānak bẖae nihālā. ||2||33||56||

You are the wish-fulfilling Elysian Tree. Nanak has found You through the Guru, and now he is enraptured. ||2||33||56||

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

Har lehza ba shakl aan -

(written shaklay but sung shakl aan by most qawwals)

While this ghazal is often attributed to Rumi, this is actually the poetry of Shams Mashraqi who used pen name of Rumi. Maulana Rum never used rumi as takhallas.

Har lehza ba shakl aan but-e-ayyar baraamad

Dil burd-o-nihaan shud

Har dum ba libaas-e-digar aan yaar baraamad

Gah peer-o-jawaan shud

हर दम वो ख़ूबसूरत चेहरा एक नई शक्ल में ज़ाहिर होता

दिल चुराता और गायब हो जाता

हर वक़्त यार दूसरों के लिबास में ज़ाहिर होता

कभी बूढ़े के रूप में कभी जवान के

O' that trickster idol-beloved! Every time he made an appearance, he had a different face

He pulled the people's hearts, And hid from view.

Every time he came out in a different garb

He was sometimes young, And sometimes he was old.

Khud kuza o khud kuzagar-o-khud gil-e-kuzaa

Khud rind-e-sabu kash

Khud bar sar-e-aan kuza khareedaar baraamad

Bishkast o rawaan shud

वो ख़ुद ही कूज़ा है खुद कूज़ा बनाने वाला है और खुद ही कूज़े की मिटटी है

फ़िर ख़ुद ही उस कूज़े को पीने वाला

सरे-आम ख़ुद ही कूज़े का ख़रीदार बनकर ज़ाहिर होता

इस लिए उसके लिए कूज़े का तोड़ना भी जायज़ है

He was himself clay and flask, And potter, and also the wine tippler.

And then he himself came out As buyer for the flask,

And he broke it, and moved on.

Nai nai ke hameen bood ke mi aamad o mi raft

Har qarn ke deedaim

Taa aaqebat aan shakl-e-arab vaar baraamad

Dara-e-jahaan shud

वही था जो हर ज़माने में आता रहा और जाता रहा

हर ज़माने नेकि उसे देखा

बिल आख़िर वो एक अरब बनकर ज़ाहिर हुआ

और वही जहान का बादशाह है

Nay! It was he that came and went

In all the ages, as I saw,

Till finally, he showed himself In the Arabian's form

and took the world for his kingdom.

Nai nai ke hamoon bood ke mi guft anal haq

Dar soorat-e-Mansoor

Mansoor na boodaan ke baraandaar baraamad

Naadaan ba gumaan shud

वही था जिसने कहा कि मैं ही हक़ हूँ

ख़ुदा की आवाज़ में

वो मंसूर नहीं था जो सूली पर ज़ाहिर हुआ

नादान लोग उसे मंसूर समझते रहे

Nay! It was he who proclaimed "I am the Truth"

In Mansur's words;

It wasn't Mansur who was in public view, On the scaffold,

Fools fell into error.

Rumi sukhanay kufra na guftast na goyed

munkir na shabai dast

Kafir shavad aan kas kay ba inkaar baraamad

Mardood-e-jahaan shud

रूमी ने कभी कुफ़्र की बात न की है और न करता है

वह मुन्किर नहीं है

काफ़िर तो वो है जिसने इनक़ार किया था यानी शैतान ...

वही दोज़ख़ियों में से है

Rumi has spoken in denial,

And none in the wide world speaks or Spoke thus.

Those who come out in denial Are cast out,

And become rejects, world-wide.

(Translated by S. R. Faruqi)

Butte Ayyar - The Sly Beloved

Rumi uses "butt-e-ayyar" in the beginning of the ghazal:

Har lehza ba shaklay but-e-ayyar baraamad
Dil burd-o-nihaan shud

Ayyar was historically used for rogue fighters -- somewhat like guerilla fighters; ones who would hide and attack surprisingly. An 'ayyaar' in this case is a lover that has a surprise attack. Some say it is used as a "beloved sly" described in this idiom in Persian Sufi poetry. Whether it is beloved sly or a surprise attacker, it is a lover that fools us with so much ease into believing that He is not there when he actually is there!

Bhai Nandlal uses "butte ayyar" in one of his couplets in the ghazal Deen-o-Duniya. Because he was an Islamic scholar who often talks about Mansoor in his poetry, he was likely aware of this popular Rumi ghazal:

Gaahe Sufi Gaahe Zahid Geh kalandar mi shavad
rang-haye mukhtalif daarad butte ayaar-e-ma

I heard one of the qawwal's using what seems like a punjabi translation of Bhai Nandlal's poem. This was after my making the butte-ayyar connection. So its possible that one of the qawwals had also studied bhai nandlal's ghazals:

Sufi zaahid mast kalandar naam ose de saare
har jaan vasse yaar peyaara ves vataa ke nyaare

Persian Lyrics and Alternative Urdu/English Translation

Persian Lyrics

هر لحظه به شکل بت عیار بر آمد دل بُرد و نهان شد

هر دم به لباس دگر آن یار بر آمد گه پیر و جوان شد

گه نوحؑ شد و کرد جهانی بدعا غرق خود رفت به کشتی

گه گشت خلیلؑ بہ در نار بر آمد آتش گُل از آن شد

یوسفؑ شد و در مصر فرستاد قمیصی آن جلوہ عالم

در دیده یعقوبؑ چو انوار بر آمد نادیده عیان شد

خود کوزہ و خود کوزہ گر و خود گلِ کوزہ, خود رندِ سبو کش

خود بر سرِ آں کوزہ خریدار برآمد, بشکست و رواں شد

ایں جمله همیں بود که می آمد و می رفت هر قرن که دیدی

تا عاقبت آن شکل عربؐ دار بر آمد دارای جهان شد

رومیؔ سخن کفر نہ گفت است و نگوید منکر مشویدش

کافر شود آن کس که به انکار بر آمد مردود جہاں شد

Urdu Translation

ہر لمحہ وہ ایک دِلرُبا بُت کی صورت میں آتا ہے

دل چھینتا ہےاور غائب ہوجاتا ہے

ہر لمحہ، محبوب ایک نئے لباس میں ظاہر ہوتا ہے

کبھی جوان تو کبھی پیر

کبھی وہ نوحؑ ہُوا، دعا سے جہان غرق کیا

خود کشتی پہ چلا گیا

کبھی وہ ابراہیمؑ ہُوا، بیچ آگ کے جلوہ نما

آتش اُسی سے گلزار ہوئی

کبھی وہ یوسفؑ ہُوا، اور مصرسے اپنی قمیض بھیجی

جہان کو روشن کرنے والا

وہی یعقوبؑ کی آنکھوں میں منور ہوا

تبھی آنکھوں میں بینائی آئی

خود ہی کُوزہ، خود ہی کوزہ ساز، خود ہی کوزہ کی مٹی

خود ہی جام نوش کرنے والا رند

خود ہی اس کوزہ کا خریداربن آتا ہے

خود ہی توڑکے چلا جاتا ہے

یہ تمام ، وہی تو تھا کہ جو آتا تھا اور جاتا تھا

ہر زمانے میں جو تم نے دیکھا

بالاخر ایک عربی ﷺ کی صورت میں ظاہر

جہان کا تاجدار ہو گیا

رومی نے کفر کی بات نہیں کی، اور نہ ہی کرتا

وہ منکر نہیں ہوا

کافر تو وہ ہوا جس نے انکار کیا (شیطان)

مردود قرار پایا

English translation

Every Moment, He arrives in a beautiful sculpture;

conquers hearts & disappears.

Every Moment, that beloved appears in a new dress;

Sometimes young, sometimes old.

Once he became Noah & drowned the world with his prayer;

He himself went to the ship.

Once he became Abraham and went through the fire;

The fire was transformed to a garden because of him.

He became Joseph and sent his coat from Egypt;

Which illuminated the world.

Came out like light from Jacob’s eyes;

Then eyes got perfect vision.

He is the vessel, he is its maker, and he is the clay used to make it;

He is the reveler quaffing drinking from it.

He too is the one who buys it;

breaks it, and left away.

No! No! He was Himself! Coming and going;

Every century, what you have seen.

At end He arrives as an Arab (PBUP)

And Became the sovereign of universe.

Rumi has never denied the truth, nor he does;

He is not a disbeliever.

I was singing a farsi shabad of Guru Nanak (Chilmil Bisyaar) and did some research on what Bisyaar means (बिसयारبسیار abundant, in plenty. अधिक, प्रचुर, बहुल, बहुत।). I also looked up urdu, kashmiri and farsi poetry, and found the word in one of Amir Khusrau's farsi poem's that I have heard before and written about before (Man Tu Shudam). What in urdu/hindi we say "bahut khoob," Khusrau uses "bisyaar khubaan" (see second couplet below). According to a reader of the blog, khubaan is apparently the plural of khoob.

Below in this blog I discuss how sufi teachers stay within the bounds of the holy Qur'an. I also discuss the full naat/ghazal of Amir Khusraw.

The Face of the Beloved: How Sufi Teachers Reflect the Qur’an

At first glance, the poetry of Sufi masters like Amir Khusrau appears to hover dangerously close to heresy. They speak of beloveds with divine faces, of wine and intoxication, of oneness that blurs the boundary between self and God. Yet the more closely one listens—not with suspicion, but with the heart—the more clearly one hears the echoes of the Qur'an in every metaphor, sigh, and song.

This is not rebellion. It is return.

The Sufi tradition does not step outside of Islam. Rather, it steps inside—into its most intimate, trembling core. If the Qur'an is a vast ocean, then Sufism is the diver who descends beyond the surface, bringing up pearls shaped like longing, love, and disappearance.

Signs Upon Signs

In Surah Fussilat (41:53), God declares:

“We will show them Our signs upon the horizons and within themselves, until it becomes clear to them that He is the Truth.”

This verse becomes the cornerstone of Sufi perception. For Amir Khusrau, the face of the beloved is such a sign—a mirror reflecting not merely beauty, but the Source of all beauty. When he writes:

“O your beautiful face is the envy of Azar’s idols…”
“Even as I praise you, your beauty surpasses description…”

he is not worshipping the form. He is reading it—like a verse, a sign (āyah). Just as a reciter of the Qur'an chants the written revelation, the Sufi beholds the living revelation in creation: a flower, a gaze, a moment, a beloved.

Wherever You Turn

The Qur’an says:

“To God belong the East and the West—wherever you turn, there is the face of God.”
— Surah al-Baqarah (2:115)

Sufi poetry, with its obsession over the beloved’s eyes, lips, and form, is not idolatry but recognition—that the Divine face is everywhere. The Prophet Muhammad (peace be upon him) is reported to have said, “God is beautiful and loves beauty.” Sufis do not turn away from the world to find God. They turn through it.

The face of the beloved—whether human or symbolic—is not an object of attachment but a threshold. It shatters the illusion of separation. It becomes, in the words of Rumi, “a candle in whose light the moth burns itself.”

Oneness and Annihilation

Perhaps the most controversial aspect of Sufi thought is the idea of oneness—fanā, or annihilation of the self in God. In Khusrau’s couplet:

“I became you, you became me; I became the body, you the soul...”
“So none can say thereafter: I am one thing, and you another.”

We hear the echo of Surah Hadid (57:3):

“He is the First and the Last, the Manifest and the Hidden.”

The Sufi does not claim to be God in essence. Rather, the Sufi claims that nothing remains of their ego—no “I” separate from the Divine. This is consistent with the Qur’anic idea that God is the only enduring reality:

“Everything will perish except His Face.”
— Surah al-Qasas (28:88)

This is not arrogance; it is disappearance.

Love in the Qur’an

A common critique is that the Qur’an does not emphasize love. But this is a misreading.

“He loves them, and they love Him.”
— Surah al-Ma’idah (5:54)

Sufis take this verse not metaphorically but as the deepest truth. God is not a distant lawgiver alone; He is a Beloved, yearning for His lovers. The Qur’an, after all, repeatedly uses the word “Wadūd”—the Most Loving.

The language of the lover and the beloved, found throughout Sufi poetry, is thus Qur’anic in spirit. It makes audible what the heart already knows.

Wine, Beauty, Music: Language of the Heart

When Sufis speak of wine, they refer to intoxication with remembrance, not literal drink. When they dance or sing, it is not hedonism but zikr—the sacred act of remembering God. The Qur’an does not condemn poetry or music outright; it condemns that which distracts from truth. Sufi practice uses poetry and melody to draw the soul toward the Real.

As Rumi says:

“Listen to the reed flute’s song, lamenting the pain of separation…”

It is not music that is the danger—it is forgetting.

The Qur'an as Ocean, Sufism as Love’s Dive

Sufi teachers like Amir Khusrau are not speaking outside Islam. They are whispering from within it—from its deepest chambers, where love and longing mingle with silence and flame. Their metaphors may unsettle those who cling only to surface meanings. And sometimes Sufi teachers have had to pay the ultimate price for doing so. But for those willing to listen with the inner ear, the message is the same as the Qur’an’s:

That God is near.
That beauty is a sign.
That love is the path.
And that the seeker and the Sought are already bound
by something older than time.

As Khusrau ends his ghazal with a plea:

“Khusrau is a stranger, fallen in your city…
Perhaps, for God’s sake, you might glance upon the poor.”

This is no different from the prayer of every Prophet, every saint, every heart:

“Guide us to the straight path.”

Translation and Discussion

1.

ai chehra-e-zebā-e-tū rashk-e-butān-e-āzarī
har-chand vasfat mī-kunam dar husn zaañ bālā-tarī
O your beautiful face is the envy of Azar’s idols
Though I praise you, your beauty surpasses even my description

Meaning: Your beauty is so divine that it outshines even the famed idols crafted by Azar (the father of Prophet Abraham, known for idol-making). Even as I try to praise your beauty, I fall short—your radiance is beyond praise.

2.

tū az parī chābuk-tarī vaz barg-e-gul nāzuk-tarī
vaz har-che goyam behtarī haqqā ajā.ib dilbarī
You are swifter than fairies, more delicate than a rose petal
And whatever I say, you are still better—you are truly a wondrous beloved

Meaning: You defy all comparisons—faster than angels, more tender than flowers. No matter how extravagant the metaphors, they don’t capture the marvel that you are. You are a miracle of love and beauty.

3.

tā-naqsh mī-bandad falak hargiz nadāda iiñ namak
huure na-dānam yā malak farzand-e-ādam yā parī
Since the heavens first drew figures, they never granted such grace
I don’t know—are you a houri, an angel, a child of Adam, or a fairy?

Meaning: Since creation began, nothing like you has appeared. You transcend the boundaries of category: neither purely divine nor entirely mortal—you are something inexplicably in between.

4.

a.alam hama yaġhmā-e-tū ḳhalqe hama shaidā-e-tū
aañ nargis-e-shahlā-e-tū āvurda rasm-e-kāfirī
The whole world is your plunder, and people are madly in love with you
Your intoxicating eyes have introduced the custom of infidelity

Meaning: Your charm has conquered all hearts, turning even the faithful into lovers of the mortal. The "nargis" (narcissus-like eyes) have such allure that they make people forsake reason and tradition.

5.

āfāq-hā gardīda-am mehr-e-butāñ varzīda-am
bisyār ḳhūbāñ dīda-am lekin tu chīze dīgarī
I have wandered the world, worshipped many idols
Seen countless beauties—but you are something entirely other

Meaning: This couplet emphasizes the uniqueness of the beloved. The poet has seen much, sought love everywhere, and yet finds in this one figure something unparalleled—a "chīze dīgarī" (something else altogether).

6.

ai rāhat-o-ārām-e-jāñ bā qadd chuuñ sarv-e-ravāñ
zīnsāñ marau dāman-kashāñ kārām-e-jānam mī-parī
O comfort and peace of my soul, with your cypress-like flowing form
Do not leave like this pulling your hem—I am the task of your soul, O angel

Meaning: Here, the speaker pleads with the beloved not to abandon him. The beloved’s graceful form is compared to a flowing cypress tree, and the poet begs: don’t walk away, for I belong to you, like soul to body.

7.

man tū shudam tū man shudī man tan shudam tū jaañ shudī
tā kas na-goyad ba.ad aziiñ man dīgaram tū dīgarī
I became you, you became me; I turned into the body, you the soul
So no one can say after this: I am one thing, and you another

Meaning: This is the spiritual climax. The merging of the lover and beloved—of self and Divine—so completely that all duality vanishes. It echoes the mystical theme of fanā (dissolution of the self in the Beloved).

8.

'ḳhusrau' ġharībast-o-gadā uftāda dar shahr-e-shumā
bāshad ki az bahr-e-ḳhudā sū-e-ġharībāñ bañgarī
Khusrau is a poor, fallen stranger in your city
Perhaps, for God’s sake, you might glance upon this poor one

Meaning: A humble ending, where the poet (Khusrau) pleads for grace. Having spoken of love and union, he still bows in surrender. This last verse returns to the classic ghazal tradition of ending with the poet's name and a final cry for mercy or attention.

Poem by Khusro

Ay chehra-e zeba-e tu rashk-e-butaan-e aazari

Har chand wasfat mikunam dar husn zaan baalaatari.

Aafaq ra gar deedah am mehr-e butan warzeedah am;

Bisyaar khubaan deedah am lekin tu cheez-e deegari.

Man tu shudam, tu man shudi, man tan shudam, tu jan shudi;

Taakas nagoyad baad azeen man deegaram tu deegari.

Khusrau ghareeb ast-o gada uftadah dar shehr-e shuma;

Baashad ki az behr-e khuda, su-e ghareeban bangari.

(trans. Dr. Hadi Hasan)

O you whose beautiful face is the envy of the idols of Azar

(Abraham's father and famous idol maker);

You remain superior to my praise.

All over the world have I traveled; many a maiden’s love have I tasted;

Many a beauty-star have I seen; but you are something unique.

I have become you, and you me; I have become the body, you the soul;

So that none hereafter may say that “I am someone and you someone else.”

Khusro a beggar, a stranger has come wandering to your town;

For the sake of god, have pity on this beggar and do not turn him away from your door.

Another trans by Dukhiram

O Thou whose beautiful face is envy of the idols of Azar (Abraham's father and image engraver of antiquity);

Thou remainst every moment superior to any praise of mine.

The mask maker who makes visages, if he saw Thine visage

The dryness of his past choices would make him start all over

Thou Queen of Fairies, bouquets of flowers pale beside Thee

Neither Sun nor Moon can match Thee, Resplendent Thou, Jupiter Thou

All over the world have I traveled; many a maiden’s love have I tasted;

Many a beauteous star have I seen; but Thou art unique.

I am become Thou, Thou me; I am become the body, Thou the soul;

So that none hereafter may say “I am I and Thou are Thou. (i.e. someone else)”

Khusrau a beggar, a stranger has come wandering to your town;

For sake of God's Ocean, pity the poor, turn him not from the door.

A longer version of this poem:

ai chehra-e-zebā-e-tū rashk-e-butān-e-āzarī

har-chand vasfat mī-kunam dar husn zaañ bālā-tarī

tū az parī chābuk-tarī vaz barg-e-gul nāzuk-tarī

vaz har-che goyam behtarī haqqā ajā.ib dilbarī

tā-naqsh mī-bandad falak hargiz nadāda iiñ namak

huure na-dānam yā malak farzand-e-ādam yā parī

a.alam hama yaġhmā-e-tū ḳhalqe hama shaidā-e-tū

aañ nargis-e-shahlā-e-tū āvurda rasm-e-kāfirī

āfāq-hā gardīda-am mehr-e-butāñ varzīda-am

bisyār ḳhūbāñ dīda-am lekin tu chīze dīgarī

ai rāhat-o-ārām-e-jāñ bā qadd chuuñ sarv-e-ravāñ

zīnsāñ marau dāman-kashāñ kārām-e-jānam mī-parī

man tū shudam tū man shudī man tan shudam tū jaañ shudī

tā kas na-goyad ba.ad aziiñ man dīgaram tū dīgarī

'ḳhusrau' ġharībast-o-gadā uftāda dar shahr-e-shumā

bāshad ki az bahr-e-ḳhudā sū-e-ġharībāñ bañgarī

I was composing an Iqbal ghazal today and ran across this beautiful ghazal by Siraj Aurangabadi, a sufi poet form Aurangabad form the 18th century. Khabar-e-tahayyur-e-ishq sun is his most famous ghazal. The following note has three translations for this ghazal. I also came across a great rendition of a few verses of this ghazal as a qawwali by Ustad Farid Ayaz and Ustad Abu Muhammad:

Lyrics

ḳhabar-e-tahayyur-e-ishq sun na junūñ rahā na parī rahī

na to tū rahā na to maiñ rahā jo rahī so be-ḳhabarī rahī

shah-e-be-ḳhudī ne atā kiyā mujhe ab libās-e-barahnagī

na ḳhirad kī baḳhiya-garī rahī na junūñ kī parda-darī rahī

chalī samt-e-ġhaib siiñ kyā havā ki chaman zuhūr kā jal gayā

magar ek shāḳh-e-nihāl-e-ġham jise dil kaho so harī rahī

nazar-e-taġhāful-e-yār kā gila kis zabāñ siiñ bayāñ karūñ

ki sharāb-e-sad-qadah aarzū ḳhum-e-dil meñ thī so bharī rahī

vo ajab ghaḌī thī maiñ jis ghaḌī liyā dars nusḳha-e-ishq kā

ki kitāb aql kī taaq par juuñ dharī thī tyuuñ hī dharī rahī

tire josh-e-hairat-e-husn kā asar is qadar siiñ yahāñ huā

ki na ā.īne meñ rahī jilā na parī kuuñ jalvagarī rahī

kiyā ḳhaak ātish-e-ishq ne dil-e-be-navā-e-'sirāj' kuuñ

na ḳhatar rahā na hazar rahā magar ek be-ḳhatarī rahī

Translation and Discussion

By Kashikeya Vats

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

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.

This she'r reminds me of the lines from Rumi:

I always thought that

I was me — but no, I was you

and never knew it.

The consciousness of self is obstructive and it is only the removal of 'knowledge' and 'thought' (Rumi has used the words ‘thought’ and ‘knew’) that leads to the state of self-unconsciousness where the lover and the beloved become one.

Shah-e-bekhudi ne ataa kia, mujhay ab libas-e-barahanagi

Na khirad ki bakhiyagari rahi, na junoon ki pardadari rahi

The gift of the ‘Lord of Ecstasy’ to me was a garb of nakedness. All that the wisdom had stitched was gone; the veil of madness no longer remained.

At the spiritual level the couplet can be interpreted like this: My beloved, the shah-e-bekhudi has ripped naked my heart and soul, ridding them of the layers of stitching by the misguided intellect, which is nothing more than a veil of madness. The extreme of love endows the heart with divine purity. Reason and intellect have been viewed as hindrances, and the perceived sanity as madness.

Chali simt-e-ghaib se aik hava, ke chaman zahoor ka jal gaya

Magar aik shakh-e-nihal-e-gham, jise dil kahe so hari rahi

A sweeping wind, which came from beyond the visible world, consumed the visible garden with fire; just one branch on the tree of grief, which they call heart, despite the blaze retained its green.

The reference here is to the lost Paradise, and the perennial quest to re-unite with it. The Divine breeze would burn the worldly existence leaving behind the hope for reunion. The worldly existence (chaman) has been likened to a tree of sorrow and suffering, and the Divine breeze as the liberator. Nothing grows on that tree except sadness, caused by the separation from his beloved. Now that entire existence is gone, only the abode of the beloved (heart) has survived.

Nazar-e-taghaful-e-yaar ka, gila kis zuban se bayan karoon

Ke sharab-e-sad-qadaah aarzu, khum-e-dil mein thi so bhari rahi

I am speechless to complain about the indifferent and uncaring glances (nazar-e-taghaful-e-yaar) of my beloved; the wine of desire that filled the heart remained suppressed, concealed.

At the temporal level, these lines would simply suggest that there is a heart overflowing with desires which one is unable to express due to the indifferent looks of the beloved. At the metaphysical level it would suggest that the worldly desires are often out of sync with the Divine commandments.

Woh ajab ghari thi mein jis ghari, liya dars nuskha-e-ishq ka

Ke kitab aql ki taaq main, jyun dhari thi tyun hi dhari rahi

It was at a moment strange that I read a book of love; the book of reason, brushed aside, remained shelved

and sheathed.

Reason (aql-o-khirad), the product of mind is considered a detriment, hindering the spontaneity of heart. A person guided by logic and reason is too calculative to be able to devote to pure love; whereas selfless love is motivated by heart and not mind. For that reason love and brain are just incompatible. Mind is deceitful, untrustworthy, selfish and devious whereas heart is pure, untainted and selfless. As Iqbal said: bekhatar kuud para aatishe-namrood mein ishq/aql thi mehvi-tamasha-e-lab-baam abhi

Tere josh-e-hairat-e-husn ka, asar iss qadar so yahan hua

Ke na aayine main jila rahi, na pari kuun jalva gari rahi

Your bewitching beauty, love, such a spell did cast; the mirror stood bereft of gloss and beauty seemed to freeze.

Bewildered by your beauty (Josh-e-hairat-e-husn), I had such a mark on my heart (yahan is a pointer towards the heart) that the heart (aayina , the mirror of heart) has lost all its shine (the basic quality of a mirror) and angel (pari is used as simile to refer profound beauty) had no beauty left to reveal (‘kuun’means ko).

Kiya khak aatish-e-ishq ne dil-e-benava-e-Siraj ko

Na khatar raha na hazar raha, magar aik be-khatari rahi

The fire of love reduced to ashes Siraj’s voiceless heart; fears and cares got consumed, intrepid courage held the field.

The fire of love (aatish-e-ishq) has burnt the voiceless heart (dil-e-benava) of Siraj to ashes. The heart is so liberated from fears (be-khatari) that there is no feeling of vulnerability or threat left. (As Iqbal has used the word bekhatar: bekhatar kood para aatish-e-namrood mein ishq).

Second Translation

trans: Divana Nakujabadi [Saiyad Nizamuddin Ahmad]

The Tale of Love’s Perplexity (khabar-e tahayyur-e 'ishq)

[1] Hearken to the tale of Love’s [metaphysical] perplexity:

neither the ardour of madness remained,

nor the angelic beloved remained;

Neither did you remain, nor did I remain,

only unawareness remained.

[2] The Shah of no-self-ness has now bestowed upon me

the garment of nakedness;

Neither the stitching of reason remained,

neither the veiling of madness’ ardour remained.

[3] A wind blew from the threshold of the unseen,

and the garden of bliss was consumed.

Yet, but a branch of the tree of sorrow

―known as the heart― green remained.

[4] With which tongue am I to recount the indifference of the beloved?

Desire akin to the wine of a hundred goblets brimmed up

in the vessel of the heart yet, therein remained.

[5] What a marvelous instant it was that I learned of the elixir of Love!

The book of reason placed on the shelf,

on the shelf remained.

[6] The intensity of the perplexity of your beauty,

was so brilliantly revealed, that

neither the mirror’s shine remained,

neither the angelic beloved’s beauty remained.

[7] The fire of love has reduced the mute heart of Siraj to ashes,

neither fright remained,

nor caution remained,

only

fearlessness remained.

Third Translation

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

Learn oh absorbing love that neither the obsession (for the beloved) is left nor and the object (pari) of love survived. The only thing that is left is a state of self-unconsciousness: where neither you exist nor I exist.

Shah-e-bekhudi ne ataa kia, mujhay ab libas-e-barahanagi

Na khirad ki bakhiyagari rahi, na junoon ki pardadari rahi

My beloved (shah-e-bekhudi is a reference to the beloved. Knowing what little I know about Siraj I am leaning towards God as his object of love rather then a worldly being) has bestowed me with a dress of nakedness (libas-e-barahanagi). Neither the intellect (khirad) can repair it nor does the insanity (junoon) rip it. Meaning what a dress (nakedness) my beloved has conferred upon me! I am now free from the trouble of ripping it or mending it (depending on the mental state I am in). My focus is my beloved not my own appearance or even existence.

Chali simt-e-ghaib se aik hava, ke chaman zahoor ka jal gaya

Magar aik shakh-e-nihal-e-gham, jise dil kahe so hari rahi

A breeze came from the outer space (simt-e-ghaib) and burned the entire garden of existence (zahoor) but a branch of the tree of sorrow (nihal-e-gham) that is called heart remained green. Since in the first line poet is referring to a wind coming from the direction of God (ghaib) that has burned the whole existence (chaman) it can be assumed that tree of sorrow is a symbol of the poets own being. In the burned garden of existence he stood like a sad tree. Nothing grows on that tree except sadness, caused by the separation from his beloved. Now that entire existence is gone, only the abode of the beloved (heart) is survived.

Nazar-e-taghaful-e-yaar ka, gila kis zuban se bayan karoon

Ke sharab-e-sad-qadaah aarzu, khum-e-dil mein thi so bhari rahi

I am speechless (kis zuban). How can I complain the indifferent and uncaring glances (nazar-e-taghaful-e-yaar) of my beloved? After reading, the second line it is clear that he trying to say that I cannot complain about those cold looks or eyes that have granted me so much. I am indebted to those eyes. Why? My heart is brimming with his desire (aarzu) as if a vessel (khum) is filled with hundred goblets of wine (sharaab-e-sad-qadaah).

Woh ajab ghari thi mein jis ghari, liya dars nuskha-e-ishq ka

Ke kitab aql ki taaq main, jyun dhari thi tyun hi dhari rahi

In Urdu poetry, reason (aql-o-khirad) the product of mind is considered a source of selfishness and as it causes a person to make calculated move; as against altruistic emotions that come out of heart. A thoughtful person thinks about the consequences before taking any action. That is why it is assumed that a selfless love is motivated by heart and not mind. For that reason love and brain are just incompatible. Mind is deceitful, untrustworthy, selfish and devious whereas heart is pure, untainted and selfless. As Iqbal said:

bekhatar kuud para aatishe-namrood mein ishq aql thi mehvi-tamasha-e-lab-baam abhi

That is what Siraj is saying that at that strange moment when I started taking lesson in love (dars-e-nuskha-e-ishq) I left my intellect or brain (kitaab-e-aql- book is synonymous with intellect as one needs brain to read or write) in an alcove, where it is lying ever since.

Tere josh-e-hairat-e-husn ka, asar iss qadar so yahan hua

Ke na aayine main jila rahi, na pari kuun jalva gari rahi

Bewildered by your beauty (Josh-e-hairat-e-husn), I had such a mark on my heart (yahan is a pointer towards the heart) that the heart (aayina means heart) has lost all its shine (the basic quality of a mirror) and angel (pari is used as simile to refer profound beauty) had no beauty left to reveal. (â€œsoâ€ means se and â€œkuunâ€ means ko).

Kiya khak-e-aatish-e-ishq ne dil-e-benava-e-Siraj ko

Na khatar raha na hazar raha, magar aik be-khatari rahi

The fire of love (aatish-e-ishq) has burned the voiceless heart (dil-e-benava) of Siraj to the ashes. There is no feeling of vulnerability or threat left. Only freedom from fear (be-khatari) is left. (As Iqbal has used the word bekhatar: bekhatar kood para aatish-e-namrood mein ishq.)

"So God lives in the colors around us," said my 5 year old daughter when she heard this shabad by Guru Nanak. Lyrics and Translations are at the end.

An alternate read of this shabad:

My Lord and Master is filled with love. His love is everywhere and in everything.

He is the one who enjoys, and He is also the enjoyment itself. He captures everyone's heart.

He is like both the bride and the groom in a wedding. He is like the fisherman and the fish, the water, and the net. He loves in many different ways. He is my Beloved, and He brings joy to all.

Nanak prays, please listen to my prayer: You are like a peaceful pool, and You are the graceful swan.

You are like a beautiful lotus in the daytime and a lovely water-lily at night. You see and experience everything and bloom with happiness.

Discovering Divine Unity With Guru Nanak

The poem by Guru Nanak beautifully encapsulates the idea of oneness with all creation and the presence of God within this unity. Guru Nanak's verses emphasize the omnipresence of God, suggesting that God is not a distant entity but rather an intrinsic part of every aspect of existence. This concept aligns with the broader spiritual belief that we are interconnected with all living beings and the entire universe, and that the divine essence can be found within this interconnectedness.

God is the ultimate source of love and enjoyment, permeating and pervading all. This imagery signifies that every aspect of creation is infused with the divine presence. When Guru Nanak describes God as both the bride and bridegroom, the fisherman and the fish, or the water and the net, it symbolizes the idea that God is not separate from these elements but rather the essence that animates them. This mirrors the belief that God is not just present in grand moments or holy places but is inherent in the everyday, mundane aspects of life. It implies that recognizing God's presence requires a shift in perspective, a realization that divinity is not something to be sought externally but rather discovered within the interconnected fabric of existence.

The poem also touches upon the theme of love and devotion. Guru Nanak's depiction of God's love for all beings and the soul-brides' longing for God reinforces the idea that the divine connection is deeply personal and accessible to all. It suggests that by recognizing the oneness of all creation, individuals can experience a profound connection with God, much like a soul-bride's union with her Beloved. This spiritual union implies that when we see the divine within ourselves and others, we can cultivate a sense of unity, compassion, and love, reinforcing the belief that God resides within the oneness of creation itself.

In essence through this poem I am reminded that I am not separate from the universe or from God. I am interconnected with all of creation and the presence of God within this oneness.

Lyrics and Alternative Translation

ਸਿਰੀਰਾਗੁ ਮਹਲਾ ੧ ਘਰੁ ਦੂਜਾ ੨ ॥
सिरीरागु महला १ घरु दूजा २ ॥
Sirīrāg mėhlā 1 gẖar ḏūjā 2.
Siree Raag, First Mehl, Second House:

ਆਪੇ ਰਸੀਆ ਆਪਿ ਰਸੁ ਆਪੇ ਰਾਵਣਹਾਰੁ ॥
आपे रसीआ आपि रसु आपे रावणहारु ॥
Āpe rasī ā āp ras āpe ravaṇhār.
He Himself is the Enjoyer, and He Himself is the Enjoyment. He Himself is the Ravisher of all.

ਆਪੇ ਹੋਵੈ ਚੋਲੜਾ ਆਪੇ ਸੇਜ ਭਤਾਰੁ ॥੧॥
आपे होवै चोलड़ा आपे सेज भतारु ॥१॥
Āpe hovai cẖolṛā āpe sej bẖaṯār. ||1||
He Himself is the Bride in her dress, He Himself is the Bridegroom on the bed. ||1||

ਰੰਗਿ ਰਤਾ ਮੇਰਾ ਸਾਹਿਬੁ ਰਵਿ ਰਹਿਆ ਭਰਪੂਰਿ ॥੧॥ ਰਹਾਉ ॥
रंगि रता मेरा साहिबु रवि रहिआ भरपूरि ॥१॥ रहाउ ॥
Rang raṯā merā sāhib rav rahiā bẖarpūr. ||1|| rahā o.
My Lord and Master is imbued with love; He is totally permeating and pervading all. ||1||Pause||

ਆਪੇ ਮਾਛੀ ਮਛੁਲੀ ਆਪੇ ਪਾਣੀ ਜਾਲੁ ॥
आपे माछी मछुली आपे पाणी जालु ॥
Āpe mācẖẖī macẖẖulī āpe pāṇī jāl.
He Himself is the fisherman and the fish; He Himself is the water and the net.

ਆਪੇ ਜਾਲ ਮਣਕੜਾ ਆਪੇ ਅੰਦਰਿ ਲਾਲੁ ॥੨॥
आपे जाल मणकड़ा आपे अंदरि लालु ॥२॥
Āpe jāl maṇkaṛā āpe anḏar lāl. ||2||
He Himself is the sinker, and He Himself is the bait. ||2||

ਆਪੇ ਬਹੁ ਬਿਧਿ ਰੰਗੁਲਾ ਸਖੀਏ ਮੇਰਾ ਲਾਲੁ ॥
आपे बहु बिधि रंगुला सखीए मेरा लालु ॥
Āpe baho biḏẖ rangulā sakẖī e merā lāl.
He Himself loves in so many ways. O sister soul-brides, He is my Beloved.

ਨਿਤ ਰਵੈ ਸੋਹਾਗਣੀ ਦੇਖੁ ਹਮਾਰਾ ਹਾਲੁ ॥੩॥
नित रवै सोहागणी देखु हमारा हालु ॥३॥
Niṯ ravai sohāgaṇī ḏekẖ hamārā hāl. ||3||
He continually ravishes and enjoys the happy soul-brides; just look at the plight I am in without Him! ||3||

ਪ੍ਰਣਵੈ ਨਾਨਕੁ ਬੇਨਤੀ ਤੂ ਸਰਵਰੁ ਤੂ ਹੰਸੁ ॥
प्रणवै नानकु बेनती तू सरवरु तू हंसु ॥
Paraṇvai Nānak benṯī ṯū sarvar ṯū hans.
Prays Nanak, please hear my prayer: You are the pool, and You are the soul-swan.

ਕਉਲੁ ਤੂ ਹੈ ਕਵੀਆ ਤੂ ਹੈ ਆਪੇ ਵੇਖਿ ਵਿਗਸੁ ॥੪॥੨੫॥
कउलु तू है कवीआ तू है आपे वेखि विगसु ॥४॥२५॥
Ka ul ṯū hai kavī ā ṯū hai āpe vekẖ vigas. ||4||25||
You are the lotus flower of the day and You are the water-lily of the night. You Yourself behold them, and blossom forth in bliss. ||4||25||

IOTA SUBSCRIPT

Seek not in me the big I capital,

Nor yet the little dotted in me seek.

If I have in me any I at all,

‘Tis the iota subscript of the Greek.

So small am I as an attention beggar.

The letter you will find me subscript to

Is neither alpha, eta, nor omega,

But upsilon which is the Greek for you.

- Robert Frost

In the poem "Iota Subscript" by Robert Frost, the speaker adopts a stance of humility and self-effacement. Throughout the poem, the speaker strives to diminish the prominence of their own ego, symbolized by the letter "I," whether capitalized or lowercase. Instead, the speaker is content with assuming the role of a mere "subscript" to the ubiquitous you.

In a world where self-centeredness often takes precedence, where "me" comes before "you," and personal interests overshadow acts of service, the speaker of this poem dares to defy the norm by prioritizing the "you." This mindset of genuine other-focused consideration is a rarity in the contemporary world, a concept so foreign that Robert Frost employs the metaphor of the Greek language to underscore its exceptional nature. By using Greek in his poem, Frost suggests that this mode of thinking, characterized by its emphasis on others, is akin to something unfamiliar or exotic, almost as if it were a linguistic or philosophical outlier in a society largely preoccupied with self-interest.

This "you" can also be the reader. The notion of being a "subscript to you" encapsulates the speaker's willingness to subsume their identity for the sake of the reader's experience. It highlights the poet's belief that poetry is a shared endeavor, with the reader playing a pivotal role in extracting meaning and relevance from the verses. By embracing the role of a subscript, the speaker invites the reader to become an active participant in the poem's interpretation, underlining the collaborative and interactive nature of poetry. In doing so, Frost not only underscores the idea of humility but also emphasizes the importance of connection and engagement between the poet and the audience, where the reader's perspective is of equal significance.

Love

It takes setting aside I.

It takes getting subdued in You.

Be more interested than interesting.

Be smitten in the dark by morning due

Speak as sweet as strawberry cakes

Shiv, that is what love takes

-Shiv

Tu Tu Karta Tu Hua - This is a composition in raag deshkaar from 2009. It was published much later with Harjeet Mehndi singing it.

Lyrics - This is the 204th shlok of Bhagat Kabir in the Guru Granth Sahib (out of a total of 243). In addition, there are many shabads from Bhagat Kabir in the Granth Sahib.

ਕਬੀਰ ਤੂੰ ਤੂੰ ਕਰਤਾ ਤੂ ਹੂਆ ਮੁਝ ਮਹਿ ਰਹਾ ਨ ਹੂੰ ॥

कबीर तूं तूं करता तू हूआ मुझ महि रहा न हूं ॥

Kabīr ṯūŉ ṯūŉ karṯā ṯū hūā mujẖ mėh rahā na hūŉ.

Kabeer, repeating, "You, You", I have become like You. Nothing of me remains in myself.

ਜਬ ਆਪਾ ਪਰ ਕਾ ਮਿਟਿ ਗਇਆ ਜਤ ਦੇਖਉ ਤਤ ਤੂ ॥੨੦੪॥

जब आपा पर का मिटि गइआ जत देखउ तत तू ॥२०४॥

Jab āpā par kā mit gaiā jaṯ ḏekẖau ṯaṯ ṯū. ||204||

When the difference between myself and others is removed, then wherever I look, I see only You. ||204||

Notice, the first two "tu" have a nasal ending, not the third one.

My Translation:

Saying you you, I became you

Now everywhere I look, I see you

Reflection on March 16, 2021:

Saying "you, you!", I lost myself

Now everywhere I look, I see you

Shlok with prasangs (References)

tu tu karta tu hua, mujh main rahaa na hoo
jab apaa par ka mit gayaa, jit dekhoon tit too

ḳhabar-e-tahayyur-e-ishq sun na junūñ rahā na parī rahī

na to tū rahā na to maiñ rahā jo rahī so be-ḳhabarī rahī

Raam Kabira Ek Hue Hain Koi Na Sake Pechani - Kabir

Ishk-e-Maula Mar Tura Maula Kunad - Bhai Nandlal

1. madho, hum aisai tu aisaa
hum maile tum ujjal karte, jio pind de praana
nirgunare gun nahi koi, tum daan deo mehervana
hum murakh tum chatar siyane, tu sarab kalaa ka giaata?

2. tu mera pita tu hai mera maata
tu mera bandhap, praan sukh daata

also -

tu mera bandhap, tu mera bhraata

Bhai Darshan Singh
http://www.sikhnet.com/audio/too-too-karta-too-hooa-0

Kabir

Mera mujh meh kichh nahin, jo kichh hai so tera
tera tujh ko saumptai, kya laagai mera

jab hum hote, tab too naahi
ab too hee, main naahi

Guru Gobind Singh
Jimmi toohi, Jamaa tiigu

....
toohi toohi toohi toohi

Namdev

ਆਸਾ ॥

ਆਨੀਲੇ ਕੁੰਭ ਭਰਾਈਲੇ ਊਦਕ ਠਾਕੁਰ ਕਉ ਇਸਨਾਨੁ ਕਰਉ ॥
ਬਇਆਲੀਸ ਲਖ ਜੀ ਜਲ ਮਹਿ ਹੋਤੇ ਬੀਠਲੁ ਭੈਲਾ ਕਾਇ ਕਰਉ ॥1॥
ਜਤ੍ਰ ਜਾਉ ਤਤ ਬੀਠਲੁ ਭੈਲਾ ॥ ਮਹਾ ਅਨੰਦ ਕਰੇ ਸਦ ਕੇਲਾ ॥1॥ ਰਹਾਉ ॥

aasaa ||

aaneelae ku(n)bh bharaaeelae oodhak t(h)aakur ko eisanaan karo ||
baeiaalees lakh jee jal mehi hothae beet(h)al bhailaa kaae karo ||1||
jathr jaao thath beet(h)al bhailaa || mehaa ana(n)dh karae sadh kaelaa ||1|| rehaao ||

Aasaa:

Bringing the pitcher, I fill it with water, to bathe the Lord.
But 4.2 million species of beings are in the water - how can I use it for the Lord, O Siblings of Destiny? ||1||
Wherever I go, the Lord is there. He continually plays in supreme bliss. ||1||Pause||

Rumi

By day I praised you

and never knew it.

By night I stayed with you

and never knew it.

I always thought that

I was me--but no,

I was you

and never knew it.

Full poem: Seven Pearls

Tu Tu Karta - rumination.

Saying you you, I became you

Now everywhere I see, I see you

How do you become one with you?

By doing you you. Not by merely saying.

Saying is a metaphor for doing.

Doing you you, I became you

Now everywhere I see, I see you

Bulleh shah

Mitti da talboot banaake

Vich vad bainon aape

Aap leawey aap lejawey

Aape karan siyaape

Aape dhiyaan aape puttar

Appe banda maape

Bulleh shah jad murshadbmil jaye

Muk jaan sab siyaape

Aapna aap bachaa

Bande di rab zaat hai

Kapde di zaat rooh

kapde de which oh hai lukiya

kite which bande de tuu

aape bole aap bulaanve...

aape kare hu hu.....

Tu tu karta tu hua

Tu tu karta - Turde Ko turda mile - guru angad

Birds fly away

Main ik shikra yaar banaya- shiv kumar batalvi

Birds of a feather flock together

Only the one like Hari meets Hari

Tu tu karta - Kabir

Bulleh shah.

Ranjha Ranjha Kardi Ni,

Me'N Aapay Ranjha hoi,

Sado ni Me'N no Dhido- Ranjha,

Mano Heer Na Akho Koi,

Ranjha Me'N which Me'N Ranjhay Which,

Mayko'N Hor dhiyan na Koi,

Wakho Loko Heer Slati,

Kithay Aan Khaloi.

English Translation:

Repeating the name of Ranjha

I have become Ranjha myself.

O call me ye all "Dhido-Ranjha,"

let no one call me Heer .

Ranjha is in me, I am in Ranjha,

no other thought exists in my mind.

I am not, He alone is.

He alone is amusing himself.

Ranjha Ranjha Kardi Hun Mein Aape Ranjha Hoyi

Saddu Menu De Do Ranjha Heer Na Aakho Koi

Ranjha Mein Wich, Mein Ranjhe Wichh, Ghair Khayal Na Koi

Mein Nahi, Aoh Aap Hai, Apni Aap Kare Diljoi

Jo Kuch Sade Ander Wasse, Zaat Sadi Soyi

Jis Dey Naal Mein Nunh Lgaya, Aoho Jesi Hoyi

Chitti Chadar La Sut Kurye, Pehn Faqeeran Loyi

Chitti Chadar Dagh Lakesi, Loyi Dagh Na Koi

Takht Hazare La Chal Bullehya, Sailyen Mile Na Dhoyi

Ranjha Ranjha Kardi Hun Mein Aape Ranjha Hoyi

Another transliteration

ranjha ranjha kardi hun main aape ranjha hoyi

sakhiyo ni mainu dheedo ranjha heer na aakho koyi

ranjha main vich main ranjhe vich gair khayal na koi

main nahin oh aap hai apni aap kare dil joi

jo kujh saade andar wasse zaat asaan di soi

jisde naal main neho lagaaya ohde wargi hoi

chitti chaadar la sitt addiye pehan fakeeran di loyi

chitti chaadar daagh lagesi loyi nu daagh na koyi

takht hazaare lai chal 'Bulleya' syaali mile na dhoyi

ranjha ranjha kardi hun main aape ranjha hoyi

Translation and another transliteration

Repeating my beloved Ranjha, Ranjha.

I have become mysell Ranjha;

Call me now as ‘Dhido Ranjha ,

Not by the name of Heer but Ranjha.

Ranjha in me, I in his heart,

None else is there on lines! chart;

I am not T, he all in all,

And he himself would come, console.

Whatsoever is seen in me,

My caste and creed is not of me,

For I, with whom, knitted in love,

Transmuted me into his Love.

Now put aside the sheet in white.

Put on the beggar’s gown ablight;

Whitish garments would be stained,

No stain can stick to gown restrained.

Sado ni menoon dhedo ranjha, heer na aakho koii

Ranjha main wich, main ranjhe wich, hor khial na koii

Main nahin oh aap he, apni aap kare diljoii

Jo koii sade ander wasse, zaat asadi so ee

Hath khondi mere agge mango, modhe bhora loii

Bullah heer slati wekho, kitte ja khaloi

Jis de naal main nionh lagaya, oho jehi hoyi

Takhat hazare le chal bullah, sialin mile na dhoii

https://youtu.be/vPFSqlT1l58

https://youtu.be/4Cy7gaHpVcQ

https://youtu.be/h5LOb_Jg8JA

Long recordings of Tu Tu KARTA -

Bhai Devender pratap

https://youtu.be/yqFSBtwjPHs

Bhai Laal ji

https://youtu.be/hsAHf5HXQwE

DUI ka tazkira

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Translation and Discussion

1.

2.

3.

4.

5.

6.

7.

8.

Poem by Khusro

(trans. Dr. Hadi Hasan)

A longer version of this poem:

Lyrics

Translation and Discussion

Second Translation

Third Translation

An alternate read of this shabad:

Discovering Divine Unity With Guru Nanak

Lyrics and Alternative Translation

BROTHER, I’VE SEEN SOME

My Translation:

Shlok with prasangs (References)

Kabir

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Rumi

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