Shivpreet Singh
Shivpreet Singh
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I have always thought the English word Service and the Indian word Seva have similar roots. I found one more clue to this mystery today as I was singing one of Guru Nanak's shabads - Andhe Jeevana Veechar: O blind one, think about life.  

Guru Nanak's usage of Sarevho

ਨਾਨਕੁ ਬਿਨਵੈ ਤਿਸੈ ਸਰੇਵਹੁ ਜਾ ਕੇ ਜੀਅ ਪਰਾਣਾ ॥੧॥
नानकु बिनवै तिसै सरेवहु जा के जीअ पराणा ॥१॥
Nānak binvai ṯisai sarevhu jā ke jīa parāṇā. ||1||
Prays Nanak, serve the One, to whom our soul and breath of life belong. ||1||

SGGS Gurmukhi-Gurmukhi Dictionary

Sarev-hu. ਸੇਵਾ ਕਰੋ; ਪੂਜੋ। serve; adore, contemplate. ਉਦਾਹਰਨ: ਤਿਸੈ ਸਰੇਵਹੁ ਪ੍ਰਾਣੀਹੋ ਜਿਸ ਦੈ ਨਾਉ ਪਲੈ ॥ Raga Gaurhee 5, Vaar 8:1 (P: 320).

Etymology for Service

From Middle English servise, from Old French servise (French service), from the verb servir, from Latin servitium (compare Portuguese serviço, Italian servizio, Norman sèrvice, Spanish servicio), from servus (“servant; serf; slave”). Displaced native Old English þeġnung. 

Sanskrit root of Seva 

From the root सेव् (sev).

Another similar word I found in an old dictionary with a similar meaning: 


Bate, J. D. (1875). A dictionary of the Hindee language. (n.p.): Lazarus.

Cousin Words

Similar words related to Service: Seva, Service, Sareho (to serve, Guru Nanak), Sarvar (pond of refuge), Sarev (shelter, see below). 




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 


It’s 3.00am on Saturday morning and I haven’t gone to bed yet because I was part of this panel discussing the need and modes of spiritual transformation.  And while I am trying to fall asleep I searched for a random poem by Emily Dickinson. And it turns to be a poem about how words can bring a transformation in a person. A transformation from finite to a lot more. 

He ate and drank the precious words,
His spirit grew robust;
He knew no more that he was poor,
Nor that his frame was dust.
He danced along the dingy days,
And this bequest of wings
Was but a book. What liberty
A loosened spirit brings!

The eating and drinking of the words reminds me of Guru Arjan’s words towards the end of the compilation of the Guru Granth Sahib: Thaal vich tin vastu.  In the platter of this book are words which have three ingredients: truth, contentment and contemplation. These are the virtues which when consumed bring about the freedom of the spirit that Emily Dickinson talks about in her poem. 


First the poem, and them some of my thoughts. 



In the Library
Charles Simic

There’s a book called
A Dictionary of Angels.
No one had opened it in fifty years,
I know, because when I did,
The covers creaked, the pages
Crumbled. There I discovered

The angels were once as plentiful
As species of flies.
The sky at dusk
Used to be thick with them.
You had to wave both arms
Just to keep them away.

Now the sun is shining
Through the tall windows.
The library is a quiet place.
Angels and gods huddled
In dark unopened books.
The great secret lies
On some shelf Miss Jones
Passes every day on her rounds.

She’s very tall, so she keeps
Her head tipped as if listening.
The books are whispering.
I hear nothing, but she does.

Ruminating about In the Library 


Angels. While they used to ubiquitous, just like flies are now. And nowadays angels and gods only live "huddled in dark unopened books." Dark, I guess because they are not opened. They hold the secrets. Not just any secret, great secrets.  Most people have to go out of their way, open these books, to discover these angels.  I wonder if words are the angels. Whoever they are, Miss Jones -- the librarian I assume -- can hear them. True lovers, the caretakers, the librarians, tall in stature with bent heads because of their humility, can hear the whispering angels. 

The books are whispering. Do you hear them? I guess you have to be making rounds, be tall, and keep your head tipped to hear them. I guess there is magic in books like there is in chanting.

Waheguru 30 minute Meditation - Shivpreet Singh

Analysis from the Carmellite Library


Once we have forgiven Charles Simic for his stereotyping of librarians we consider some of the better implications of his poem. We have all come across books that we gaze at with puzzled wonder. What kind of book is this? Who would have read this book? Why was it written? Who would take the time to write it? The very existence of the book in hand tells us that a whole range of real people worked carefully to prepare the text, set the type, produce the item, distribute and promote it. A librarian with sensitivities will occasionally have pangs of guilt or second thoughts about culling such books. Their rarity stops us in our tracks, the purpose of their very existence is not to be denied. “A Dictionary of Angels” would stay where it was parked because angelology is a genuine if under-attended subject of theology. Books on angels have a permanent shelf life in this Library. To have records of named angels is essential in getting to know the minds of other generations, whatever our own definition of an angel. Scripture and Talmud would be missing something were angels to be deleted. Students of angels would probably take exception to the second verse of the poem, where Simic wishes to relegate angels to the past: this is not something that makes sense if they are part of the heavenly realm. He also indulges in comic or far-fetched descriptions of angels that bear really no resemblance to their appearances in Scripture and elsewhere in Judaic, Christian and Muslim tradition.  More riskily, in fact it’s heretical methinks, the poet seems to imply that angels only exist today in books. The rabbis would have had something to say about this strange idea, not to mention the shepherds watching over their flocks by night. As it is, we should leave encounters with angels to those who have something to say. The poem’s purpose, however, is not to deny angels, rather to get us to listen to the ‘whispering’ in the books, and even if we cannot hear anything, to pay attention to those who can hear the ‘whispering’. The materiality of the book itself may fall apart yet there are presences everywhere. Their own existence in time is telling us of other existences and other experiences than our own. We must cull with a discerning eye, but also with extra senses of the kind possessed by Miss Jones.   

On Charles Simic


Charles was born on 1938 in Belgrade Yugolasvia but migrated to the United States when he was around fifteen years old and earned his Bachelor’s degree from New York University. He has published 60 books of poems and won a number of awards such as the Pulitzer Prize in 1990, the International Griffin Poetry Prize for Selected Poems in 2005 and the Wallace Stevens Award from the Academy of American Poets in 2008 (source here). He was also appointed the fifteenth Poet Laureate Consultant in Poetry in 2007, an award which he cherished greatly because according to Simic: “I am especially touched and honored to be selected because I am an immigrant boy who didn’t speak English until I was 15” (source here). I thought that was quite inspiring. Here is the poem that caught me, and I hope it will do the same to you. I am glad that our new theme has introduced me to this wonderful poet.

Today Mexicans are celebrating Día de Muertos ... the day of the dead. The multi-day holiday involves family and friends gathering to pray for and remember friends and family members who have died, and helping support their spiritual journey. In Mexican culture, as it is in many cultures, death is viewed as a natural part of the human cycle. Mexicans view it not as a day of sadness but as a day of celebration because their loved ones awake and celebrate with them.

Altardediademuertos.jpg
I like the fact that we can devote one day for the departed souls so we can get on with life the rest of the year, versus celebrating different days for every person you know. In our family, we started doing a thanksgiving kirtan a few years ago in remembrance of our departed elders. Its amazing how the love for ancestors appears in different cultures.

I am also especially fascinated by the similarities between words in languages.  Dia, day and divas/din in Spanish, English, Punjabi/Hindi/Sanskrit are similar. And meurtos and mrityu are again similar in Spanish and Punjabi/Hindi/Sanskrit. And of course, we have mortal in English potentially using the same root. To me it is obvious that some of the roots of these words come from an ancient language that was common between humans.

So many words are then made from these words. For example, in Punjabi/Hindi/Sanskrit, Amrit, or the nectar of life is A-mrit ... not dying! The city established by Guru Arjan is called Amritsar, A-mrit-sar ... the sarovar of A-mrit ... or the lake of perpetual life.

The common roots of words, the commonality of human experience and then using those building blocks and developing languages and related culture is truly amazing. The soul is compelled in amazement, to say, Wow! Waheguru!



Following is a playlist of shabads for Antim Sanskar/Death/Funeral Services:

Sant Singh Maskeen ji always talks about Puranas as "Mithihaas" which is the opposite of "Itihaas" ... something that was made up compared to something that truly happened.  I wanted to find out if it was just him saying this and whether this is commonly used by Vedic philosophers.  According to the shastraas it seems "Mith" is different from the english mythology.  I found this interesting essay on "Mithya" ... which delves into this word into more depth.  Shankara's kArikA defines Mythia in the following way:
saprayojanataA teShAM svapne vipratipadyate |
tasmAdAdyantavattvena mithyaiva khalu te smRRitAH ||

The utility (of the objects seen in the waking state) is contradicted by the dream state. (Objects) have to be regarded as mithyA since they have a beginning and an end.

So the search goes on ... 

Here is the article: 

https://www.advaita-vision.org/origin-and-meaning-of-the-word-mithya/

Seekers often ask questions about the meaning of the word mithyA. It is, after all, one of the most important concepts in Advaita. Someone has just asked about the usage of the word itself: Did Shankara use it? Does it occur in the Upanishads? I had to do a bit of research on this one and thought others might be interested in what I discovered.

The dictionary definition of the word gives: 1) contrarily, incorrectly, wrongly, improperly; 2) falsely, deceitfully, untruly; 3) not in reality, only apparently; 4) to no purpose, fruitlessly, in vain. According to John Grimes, it derives from the verb-root mith, meaning ‘to dispute angrily, altercate’.

It seems that it only occurs in one Upanishad – the muktikopaniShad. This is the Upanishad which tells you which Upanishads you need to study in order to obtain mokSha or mukti. It says that you can, in theory, get away with studying only one – the Mandukya, with its bare 12 sutras. If this alone does not enlighten you, then you need to study the 10 major Upanishads (Isha, Kena, Katha, Prashna, Mundaka, Mandukya, Taittiriya, Aitareya, Chandogya and Brihadaranyaka). If you still haven’t got it, there are a further 22 making up the main ones. Failing that, you are doomed to have to study the 108 commonly recognized ones. (After that, you start again!)

Obviously, the muktika itself has to be a relatively recent Upanishad since it is able to name these 108. (The muktika awards itself 108th position.) It seems certain that it was written after Gaudapada’s kArikA-s on the Mandukya Upanishad. (The best guess seems to be that it was written prior to 1656CE.) If this is the case, then it also seems probable that the reason this Upanishad mentions the word mithyA is because Gaudapada himself uses it.

It occurs in kArikA-s 2.7 and 4.32. Since these verses are identical, the word is effectively only used in one place prior to Shankara. The kArikA reads:

saprayojanataA teShAM svapne vipratipadyate |
tasmAdAdyantavattvena mithyaiva khalu te smRRitAH ||

The utility (of the objects seen in the waking state) is contradicted by the dream state. (Objects) have to be regarded as mithyA since they have a beginning and an end.

In the section where this occurs, Gaudapada is refuting the various suggestions about what makes an object ‘real’. One of these is that, if an object has utility, then it must be real. Thus, for example, I see a glass of water on the table; I pick it up and drink it and my thirst is quenched. Therefore that glass of water must have been real. But the glass of water seen in a dream quenches the thirst of the dreamer. On waking, however, it is realized not to have been real. In fact, the waking glass of water is totally useless to the dreamer. Accordingly, utility cannot be a relevant factor in determining what is real. (Otherwise, we would have to conclude that reality was relative.) What we have to say is that the dream world is useful to the dreamer and the waking world to the waker. Both worlds are ‘relatively real’ but neither is absolutely real.  Hence there is the need for a new word to describe them – mithyA.

A good metaphor for this is ‘fatherhood’. If X is the father of Y who in turn is the father of Z, then we can say that the ‘fatherhood’ of Y is real from the standpoint of Z but not from the standpoint of X. It is a relative term only and has no absolute reality.

Objects are not real because they can be sublated (in the way that the rope-snake can be realized to be a rope). Chairs can be realized to be only wood; waves to be water; water to be H2O etc. But they are not unreal because we can perceive them; they have utility and so on.

(As an aside, the word is also used in the Bhagavad Gita 18.59 but here it is used in the sense of ‘vain, untrue, hopeless’: “Your resolve will be in vain”. This is the fourth of the definitions given above.)

The Muktika quote is from 2.14:

janmAntashatAbhyastA mithyA sa.nsAravAsanA |
sA chirAbhyAsayogena vinA na kshIyate kvachit ||

Krishna Warrier translates this: “The false impression of worldly life is got in a hundred lives and cannot be destroyed without long practice.”

 Certainly the concept, if not the word, occurs in the Vedas (Upanishads). The tadananyatvAdhikaraNam topic (Brahmasutras chapter 2.1.14-20 or 15-21 depending upon which version you have) is all about this. ‘The world (effect) is non-different from Brahman (the cause)’ etc. The idea is that ‘everything’ which might be considered to be a modification of this cause is mithyA and therefore does not exist separate from Brahman. Shankara quotes Br. U. 4.5.6 and 2.4.6 and Ch. U. 6.1.1 as examples where this is taught. The latter is the famous vAchArambhaNa section which I have written about elsewhere, the idea that we effectively bring something into existence by giving it a name.

I think that basically, it is a word hit upon later by commentators as a good word for the idea conveyed by Shankara et all when talking about the nature of the universe. There are five definitions encountered in Advaita. The best book I have come across for discussing these is ‘The Fundamentals of Advaita’ by K. Narain, Indological Research Centre, 2003; ISBN 81-88260-00-2 (but beware – although it is called ‘fundamental’, it is actually quite difficult reading!).

The first definition equates mithyA with anirvachanIya – indefinable or inexplicable. Narain spells it out as “that which is not the substratum of either being or non-being”. This is often encountered as sad-asad-vilakShaNa, other than real or non-real. If analyzed, it is found that this could mean several things. What is meant by Advaitins is that a mithyA object has two properties: ‘the absolute negation of being’ and ‘the absolute negation of non-being’. Other philosophies regard this as contradictory! The advaita siddhi by madhusUdana discusses all the intricacies of logic here and refutes the objectors. But, if Narain is ‘difficult’, the advaita siddhi is incomprehensible!

The second definition uses the concept of ‘counterpositive’ (pratiyogin) and many people (including myself) have great difficulty getting their heads around it! It is discussed in detail in Madhavananda’s vedAnta paribhAshA, probably the most difficult text on Advaita (epistemology) that I have ever encountered. Acharya Sadananda wrote an extensive commentary on the first part of this work for the Advaitin group and I edited this extensively for the site (the ‘Knowledge’ series, parts 1 and 2, with around 70 separate essays). There is an interpolated essay on the concept of ‘counterpositive’ by S. N. Sastri at http://www.advaita.org.uk/discourses/knowledge/counterpositive.htm. There, he gives an example which comes closest for me to explaining the meaning:

If one makes a statement such as: “There is no pot on this floor” or “A pot does not exist on this floor”, the pot is the counter-positive of its own non-existence and the floor is the substratum. A person sees a rope and thinks it is a snake. Afterwards he finds out that it is only a rope. Then he says, “There never was a snake here”. Another way of saying this is, “There is absolute non-existence of a snake here”. In this sentence the snake, whose non-existence is stated, is the counter-positive. The rope in front is the substratum. So we can say that the snake is the counter- positive of its own absolute non-existence in the rope which was the substratum on which it was seen, i.e. which was supposed to be its substratum. The expression “non-existence that abides in the substratum” means only “the non-existence in the substratum”. Thus what the sentence quoted above means is: That which appeared to exist at a particular place, but was found later to be non-existent there is mithyA. The snake appeared to exist where the rope was, but later on it was found that it did not exist. So the snake is mithyA.

So the second definition, utilizing this concept is: (mithyAtva is) the counter-positive of absolute negation with reference to the substratum in which it is cognized. As Narain puts it, which is just about understandable, “when Advaitins affirm that a jar is ‘unreal’ (i.e. mithyA) they mean: ‘it is capable of being absolutely denied (with reference to past, present and future) in regard to the point of space and time in relation to which it is cognized’, like ‘silver’ in ‘conchshell’ (or nacre).” Again, there is lots of to and fro argumentation in respect of this definition if you have the intellect able to tackle it!

The third definition was given by Citsukha, an Advaitin who lived around the 13th century CE. He suggested the (much simpler!) one that mithyAtva is that which possesses the specific character that it is sublated by knowledge. The obvious example would be the snake that we see in the dark which, when light (knowledge) is brought to the subject, is realized to be a rope. If it had been real, then knowledge could only reinforce the belief. Only those things that are mistakenly perceived can be altered as a result of knowledge. But misperceived snakes etc cannot be regarded as totally unreal either, since they have their effects on our metabolism. So, being neither real nor unreal, we use the word mithyA.

It was noted above that other philosophies, such as dvaitins, argue against all of these definitions. As an aside, an interesting one relating to this definition is as follows. As it stands, the idea is that it is knowledge that, in a moment of realization, reveals an object previously thought to be real as false. One of the key Dvaitins (Vyasatirtha) asked whether a jar that has been destroyed by a stick in the past is false. Here, the jar is ‘terminated’ by the stick and not by knowledge! Therefore, the jar must have been real before its destruction! This resulted in further arguments and refining of definitions – but I am not going to attempt to go into this here. (It involves more ‘counterpositives’.)

The fourth definition is again from Citsukha and is a slight modification of the second. mithyAtva is the character of being the counterpositive of absolute negation located in its own substratum. The example that is used a cloth, consisting of woven threads. The cloth only exists in conjunction with the threads – it is never seen anywhere else. And we cannot attribute separate reality to it where it is seen either, since we know it is only an arrangement of the threads. So we say that it is the counterpositive of absolute negation located in the threads, and we say that the cloth is mithyA.

The final definition is that mithyAtva is something distinct and different from ‘real’. This proved to be a bit too indefinite and the advaita siddhi amplifies this to explain that the word ‘real’ means “established by pramANa, unrelated to any of the defects that have their final causality in avidyA and uncontradicted at all times (past, present and future)”.

Nowadays, the word mithyA is very commonly used. We use it to describe everything in ‘creation’. The world appears to be real but, when Self-ignorance is removed, we realize that it is the substratum – brahman – that is the only reality. Thus the world (which we still see, and which is therefore not unreal) is known not to be real. Accordingly, we require the word mithyA to talk about it. It is not a synonym for vyavahAra. Everything in vyavahAra is mithyA, but dreams are mithyA too and they are prAtibhAsika.

The standard text for all of this is the Advaita-Siddhi itself and, strictly for the most intrepid souls, this is available in the Indian Philosophical Classics series: advaita-siddhiH, madhusUdana sarasvatI, translated and explained by Karuna Bhattacharya, Motilal Banarsidass, 1992. ISBN 84-85636-00-1. The five definitions of falsity and an additional chapter on the ‘Justification of Falsity in General’ occupy some 200+ pages. There is also the original text, together with four commentaries edited by Pt. N. S. Ananta Krishna Sastri, Parimal Publications, 2005. ISBN 81-7110-010-4. This has 904 pages plus a supplementary section! Oh yes, it is also in Sanskrit…
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