Shivpreet Singh
Shivpreet Singh
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Waheguru!

Why do we try to understand Gurbani knowing that it is an ocean beyond intellect? Yet we still dive—as if it were a task we must complete, as if the sun will refuse to rise if we fail, as if some ilaichi-flavored chai will appear from the microwave when we finish.

But Gurbani is not a roti-maker. It is not even a puzzle. It asks for no logic and offers no solution. You cannot diagram the breath of God by tracing Omkar. You cannot clean its surface enough to see your own reflection.

It is storm. It is cave. It is an ocean hidden beneath the earth. On its surface, only mist.

We call it understanding, but this kind doesn't sit in chairs or take notes. It abandons its instruments and forgets how to breathe. It wanders into darkness guided only by the shimmer of a passing fish. Somewhere a jellyfish pulses—translucent, drifting, lost. Somewhere a blue whale turns, shifting the weight of the entire sea.

We are deep now, past the edge of thought. Here words grow strange limbs, meanings glow briefly, then vanish. Maybe we'll find pearls. Maybe not. Maybe there's nothing to find. Still, we dive deeper—not to explain, not to tame, not to name.

Then something lets go. Something ends. This is why we dive. We dive to die.

The process of understanding Gurbani is suicide. It is truly putting your body and mind in a slow cooker. The temperature rises so high, all that remains is steam. Pavan Guru. If we are successful, all that remains is the shabad. You can taste it with your tongue but cannot speak it. Soon, there is no tongue, no language left. And we are no longer on a planet or in time.
The awakening of the soul bride

In the embrace of night, adorned with dewdrops,
and in the tender arms of day's delight,
her love shines through the soul window  
and stirs the slumbering soul-bride.

The young bride awakens from love's light
she finds herself imbued with the essence truth.
She is fortunate to have her lovers' love. 
She foresakes the veils of falsehood and deceit,
she casts away the allure of dualistic love,
and relinquishes slavery of others. 

She wears the necklace of truth
around her neck.  With palms pressed together, 
she asks for the precious gift of the True Name:

"I am blessed with what you please. 
Now my day is beautiful and my night is auspicious" 




#singingwithnanak
Shabad: Taati Vao Na Lagai


Many Sikhs would even get annoyed and even angry if you called these songs or bhajans  If we call them a song and Geet it sounds too trivial. It seems it’s primarily for entertainment or exhibition which these shabads are clearly not. Even a term like bhajan is not completely correct, because this is not merely mantras it’s simplistic lines that are just to be repeated.

Shabad and Gurbani are more appropriate names. Gurbani because these are the words of the Guru. But bear in mind, it’s not just the words of Guru Nanak or the other Guru’s, the words of all the Bhagats (Kabir, Namdev etc.) are also called Gurbani. This is because here we talk about the Guru of all Gurus. The preferred name for this is shabad. Most Sikhs are sensitive about what the poems are called. 

Shabad makes sense because it implies the unstruck sound and a meditation upon the meaning of what is being said while repeating the words.  These poems are a reservoir of The qualities of the Guru of all Gurus.  These poems reconnect the singer and listener to the oneness within and around. They need to be sung with love, explored with zest.  

However, the names are not as important to me. I generally don’t object people calling them by any name especially if they understand the context. There are three verses that I am guided by:

1. Log Jaane eh Geet Hai Eh to bhram vichaar. - Kabir 

People know these are songs, but these are the discussions of infinity. - Kabir 

2.  Balhaari jaoon jete terai nao hai

I love you in all your names. - Guru Nanak

3. Jo Prabh Ko Milbo Chahai, Khoj Shabad Meh Leh

Whoever wants to have union with oneness, discover it within the Shabda

The name is not important. Even within Gurbani many of these names are used including Geet (song) and bhajan.  Like Shakespeare says a rose would still be a rose if you called it with another name. The fragrance of the rose is important.  The love, exploration and meditation of these poems is more important to connect anyone to oneness. Not as much what you call then. 

Shabda is the audible kind of brahman, also known as naad bhram, which Guru Nanak calls Ek Onkaar. The quintessential Mandukya Upanishad's first verse, "Om-ity-etad-aksharam-idam sarvam" claims the same, "Om is the word that is everything." The first time the word shabda is used in the Upanishads is in the Matri Upanishad which describes two kinds of brahman: shabda and ashabda brahman. This Shabda is also the path to the unstruck sound ... anhat shabda. The path to the unstruck sound is through shabad kirtan or the kirtan of this shabad. 

Shabad is the penultimate noun. The question is what can one do with Shabad? Do you sing it, read it, understand it or something else? Traditionally we do not "gao" or "sing" shabads, we "padho" or "read" shabads, but even more correctly we do "kirtan" of shabad. It is incorrect to say "sing shabad kirtan" because kirtan includes singing.  Doing shabad kirtan includes all of those: reading, understanding, singing, pouring the shabad inside yourself and eventually becoming the shabad. 

Shabad kirtan can be done through the kirtan of any of the attributes of the shabda.  These attributes can be found in many poems. The Guru Granth Sahib is one of those rare collections where all the poems are about the shabad, this ekomkaar.  Guru Arjan says, the granth is the resting place for the supreme (Pothi Parmesar Ka Thaan). Therefore this kind of singing is correctly called Shabad Kirtan. 

From shabad to Anhad

From shabad to anhad

Shabad is a word of oneness. It can be spoken and heard. And anhad is the word of oneness that can be spoken by no one, and can be heard by a few. 


Shabads are words that take you beyond words. The songs, sung with a love deliciously drenched in maple syrup and heard with an affection of the mothers ear, get you close to what could not be said in words.  It remains a mystery as to how seemingly ordinary words, ones used by the commoner on the street, take you towards a airy destination that is far beyond words. 


But there is more. They are more than conveyance devices. They make you float in this space far from the gravity of earthly aspirations to experience what is beyond words. And strangely, the experience is replicable like a scientific experiment. Everytime you sing you are subject to this transportation and experience. So shabads are words that take you beyond worlds too. 


A love deliciously drenched in maple syrup. 


From Walt Whitman (see https://shivpreetsingh.blogspot.com/2020/09/so-long-by-walt-whitman-immortality.html)

It is night time. And I am reading Walt Whitman in bed before I sleep. And I am awakened by these lines. 
Camerado, this is no book,
Who touches this touches a man,
(Is it night? are we here together alone?)
It is I you hold and who holds you,
I spring from the pages into your arms— decease calls me forth.

I learn that these are lines that are the most famous of this poem about death. How beautifully the poet comes alive through his poetry.  A poem about death and goodbyes suddenly becomes a poem of immortality. Isn't that amazing? These are not merely words; these are Walt Whitman himself loving you back like you love him. I am reminded of Guru Nanak.  "These are not merely my words," says Nanak. "These are the words of my love."  I am reminded of Kabir. "These are not merely songs," he explains. "These are the loftiest principles that live forever." It seemed weird when he first said, "I announce what comes after me." Such confidence.  It makes a lot of sense when you get to these lines. 

Introduction to Poetry
This is not just poetry. And Billy Collins explains what we are doing to this living thing that is poetry. We try to beat out a confession out a poetry. Like it should have a meaning that we might understand. Poetry goes beyond intellect. 

https://www.shivpreetsingh.com/2011/03/billy-collins-introduction-to-poetry.html

Happy Spring! I have composed this shabad in Raag Basant as part of the Bhagat Namdev 750 project. There is a live recording and a studio recording; I just released two versions of the live recording: YouTube and Instagram. Below the recordings you will find the lyrics, meanings, translations as well as some related shabads and poems. 



Here is Bhai Harjinder Singh's popular composition of the shabad:





Essence of the Shabad  - Teri Bhagat Na Chhodon

The shabad is a lesson in giving up.  It is about loving like the lotus: against all odds. Bhagat Namdev sings in Raag Basant, "I will not stop loving you even if people laugh at me. The one who leave their master in need, leave their honor. People love wealth and would even die for it. But the lovers of truth,  love your name and give up their own existence.  Bathing in the Ganges and Godavari is for the people of the world. For me, the service of hari is above all.  I will not stop loving you even if people laugh at me." Teri Bhagat Na Chhodon Bhave Log Hasai. 

Reminds me of "Tyaagna Tyaagan Neeka, Kaam Krodh Lobh Moh Tyaagna"

Related Hindi Abhang and Guru Amar Das Shabad

Nov 2020: Today I was reading a Hindi abhang of Sant Namdev (Yaahi Govinda Charan - see below) and I found it similar to a shabad I have composed earlier: Teri Bhagat Na Chhodon (see below for lyrics, meaning and essence).  When I compared the two, they were very similar. One was in Raag Sorath, the other in Raag Basant.  I also found today a shabad by the Guru Amar Das (also in Raag basant - see end of this note) which uses very similar language. 

Bhagat Namdev lived between 1270 and 1350 AD while Guru Amardas lived lived two hundred years later between 1479 and 1574 AD.  Guru Arjan Dev compiled the first Adi Granth in 1604 AD and Guru Gobind completed the final Guru Granth Sahib in 1708 AD.  There are other writings that I have discovered where Guru Nanak converses with Bhagat Namdev's through poetry.  Thanks to Guru Nanak bhagat Namdev's bani was saved in pristine form for generations to come.   It is amazing to find conversations happening between spiritual poets over centuries. Discovering these while encountering new poetry is one of my favorite pastimes. So many riddles to solve; so much joy to be had! 

Bhagat Namdev in Gurbani -  Teri Bhagat Na Chhodoon Bhaven Log Hasai


ੴ ਸਤਿਗੁਰ ਪ੍ਰਸਾਦਿ ॥
ੴ सतिगुर प्रसादि ॥
Ikoaʼnkār saṯgur parsāḏ.
One Universal Creator God. By The Grace Of The True Guru:

ਸਾਹਿਬੁ ਸੰਕਟਵੈ ਸੇਵਕੁ ਭਜੈ ॥
साहिबु संकटवै सेवकु भजै ॥
Sāhib sanktavai sevak bẖajai.
If the servant runs away when his master puts him in trouble,

ਚਿਰੰਕਾਲ ਨ ਜੀਵੈ ਦੋਊ ਕੁਲ ਲਜੈ ॥੧॥
चिरंकाल न जीवै दोऊ कुल लजै ॥१॥
Cẖirankāl na jīvai ḏoū kul lajai. ||1||
he will not have a long life, and he brings shame to all his family. ||1||

ਤੇਰੀ ਭਗਤਿ ਨ ਛੋਡਉ ਭਾਵੈ ਲੋਗੁ ਹਸੈ ॥
तेरी भगति न छोडउ भावै लोगु हसै ॥
Ŧerī bẖagaṯ na cẖẖodao bẖāvai log hasai.
I shall not abandon devotional worship of You, O Lord, even if the people laugh at me.

ਚਰਨ ਕਮਲ ਮੇਰੇ ਹੀਅਰੇ ਬਸੈਂ ॥੧॥ ਰਹਾਉ ॥
चरन कमल मेरे हीअरे बसैं ॥१॥ रहाउ ॥
Cẖaran kamal mere hīare basaiʼn. ||1|| rahāo.
The Lord's Lotus Feet abide within my heart. ||1||Pause||

ਜੈਸੇ ਅਪਨੇ ਧਨਹਿ ਪ੍ਰਾਨੀ ਮਰਨੁ ਮਾਂਡੈ ॥
जैसे अपने धनहि प्रानी मरनु मांडै ॥
Jaise apne dẖanėh parānī maran māʼndai.
The mortal will even die for the sake of his wealth;

ਤੈਸੇ ਸੰਤ ਜਨਾਂ ਰਾਮ ਨਾਮੁ ਨ ਛਾਡੈਂ ॥੨॥
तैसे संत जनां राम नामु न छाडैं ॥२॥
Ŧaise sanṯ janāʼn rām nām na cẖẖādaiʼn. ||2||
in the same way, the Saints do not forsake the Lord's Name. ||2||

ਗੰਗਾ ਗਇਆ ਗੋਦਾਵਰੀ ਸੰਸਾਰ ਕੇ ਕਾਮਾ ॥
गंगा गइआ गोदावरी संसार के कामा ॥
Gangā gaiā goḏāvrī sansār ke kāmā.
Pilgrimages to the Ganges, the Gaya and the Godawari are merely worldly affairs.

ਨਾਰਾਇਣੁ ਸੁਪ੍ਰਸੰਨ ਹੋਇ ਤ ਸੇਵਕੁ ਨਾਮਾ ॥੩॥੧॥
नाराइणु सुप्रसंन होइ त सेवकु नामा ॥३॥१॥
Nārāiṇ suparsan hoe ṯa sevak nāmā. ||3||1||
If the Lord were totally pleased, then He would let Naam Dayv be His servant. ||3||1||


Another one of my translations -

If the servant runs away when his master puts him in trouble,
He will not have a long life, and he brings shame to all his family. ||1||

I won't stop serving you even if people laugh at me.
The lotus feet abide within my heart. ||1||Pause||

Like the greedy man doesn't risk wealth for his own life
Saints do not forsake the Lord's Name for any reason. ||2||

Pilgrimages to the Ganges, the Gaya and the Godawari are merely worldly affairs.
If the Lord were totally pleased, then He would let Naam Dayv be His servant. ||3||1||


Bhagat Namdev in Hindi - Yaahi Govinda Charan Mero Jeevaro Basai Re


राग सोरठि

याही गोविंदा चरन मेरो जीवरौ बसै रे ।
भगति न छांडौं हरिकीं लोग हंसैरे ॥टेक॥

गोबिंदा कै नाइं लीयें भवजल तिरिए रे ।
झूठी माया लागि लागि काहे कूं मरीए रे ॥1॥

साइं कूं सांकडै दीये सेवग भाजै रे ।
चिरकाल न कोई जीवै दोऊ पष लाजै रे ॥2॥

आपनां धन कारणि प्राणी मरणौं मांडै रे ।
भगति भगता जन काहे कूं छांडै रे ॥3॥

गंगा गया गोदावरी संसारी जांमा रे ।
सुपरसन नाराइन सेवग नांमा रे ॥4॥


Teri Bhagat Na Chhodon - Guru Amar Das


ਬਸੰਤੁ ਮਹਲਾ ੩ ਇਕ ਤੁਕਾ ॥
बसंतु महला ३ इक तुका ॥
Basanṯ mėhlā 3 ik ṯukā.
Basant, Third Mehl, Ik-Tukas:

ਸਾਹਿਬ ਭਾਵੈ ਸੇਵਕੁ ਸੇਵਾ ਕਰੈ ॥
साहिब भावै सेवकु सेवा करै ॥
Sāhib bẖāvai sevak sevā karai.
When it pleases our Lord and Master, His servant serves Him.

ਜੀਵਤੁ ਮਰੈ ਸਭਿ ਕੁਲ ਉਧਰੈ ॥੧॥
जीवतु मरै सभि कुल उधरै ॥१॥
Jīvaṯ marai sabẖ kul uḏẖrai. ||1||
He remains dead while yet alive, and redeems all his ancestors. ||1||

ਤੇਰੀ ਭਗਤਿ ਨ ਛੋਡਉ ਕਿਆ ਕੋ ਹਸੈ ॥
तेरी भगति न छोडउ किआ को हसै ॥
Ŧerī bẖagaṯ na cẖẖodao kiā ko hasai.
I shall not renounce Your devotional worship, O Lord; what does it matter if people laugh at me?

ਸਾਚੁ ਨਾਮੁ ਮੇਰੈ ਹਿਰਦੈ ਵਸੈ ॥੧॥ ਰਹਾਉ ॥
साचु नामु मेरै हिरदै वसै ॥१॥ रहाउ ॥
Sācẖ nām merai hirḏai vasai. ||1|| rahā▫o.
The True Name abides within my heart. ||1||Pause||

ਜੈਸੇ ਮਾਇਆ ਮੋਹਿ ਪ੍ਰਾਣੀ ਗਲਤੁ ਰਹੈ ॥
जैसे माइआ मोहि प्राणी गलतु रहै ॥
Jaise māiā mohi parāṇī galaṯ rahai.
Just as the mortal remains engrossed in attachment to Maya,

ਤੈਸੇ ਸੰਤ ਜਨ ਰਾਮ ਨਾਮ ਰਵਤ ਰਹੈ ॥੨॥
तैसे संत जन राम नाम रवत रहै ॥२॥
Ŧaise sanṯ jan rām nām ravaṯ rahai. ||2||
so does the Lord's humble Saint remain absorbed in the Lord's Name. ||2||

ਮੈ ਮੂਰਖ ਮੁਗਧ ਊਪਰਿ ਕਰਹੁ ਦਇਆ ॥
मै मूरख मुगध ऊपरि करहु दइआ ॥
Mai mūrakẖ mugaḏẖ ūpar karahu ḏaiā.
I am foolish and ignorant, O Lord; please be merciful to me.

ਤਉ ਸਰਣਾਗਤਿ ਰਹਉ ਪਇਆ ॥੩॥
तउ सरणागति रहउ पइआ ॥३॥
Ŧao sarṇāgaṯ rahao paiā. ||3||
May I remain in Your Sanctuary. ||3||

ਕਹਤੁ ਨਾਨਕੁ ਸੰਸਾਰ ਕੇ ਨਿਹਫਲ ਕਾਮਾ ॥
कहतु नानकु संसार के निहफल कामा ॥
Kahaṯ Nānak sansār ke nihfal kāmā.
Says Nanak, worldly affairs are fruitless.

ਗੁਰ ਪ੍ਰਸਾਦਿ ਕੋ ਪਾਵੈ ਅੰਮ੍ਰਿਤ ਨਾਮਾ ॥੪॥੮॥
गुर प्रसादि को पावै अम्रित नामा ॥४॥८॥
Gur parsāḏ ko pāvai amriṯ nāmā. ||4||8||
Only by Guru's Grace does one receive the Nectar of the Naam, the Name of the Lord. ||4||8||


Haj Hamari Gomti Teer - Kabir



ਆਸਾ ॥
आसा ॥
Āsā.
Aasaa:

ਹਜ ਹਮਾਰੀ ਗੋਮਤੀ ਤੀਰ ॥
हज हमारी गोमती तीर ॥
Haj hamārī gomṯī ṯīr.
My pilgrimage to Mecca is on the banks of the Gomati River;

ਜਹਾ ਬਸਹਿ ਪੀਤੰਬਰ ਪੀਰ ॥੧॥
जहा बसहि पीत्मबर पीर ॥१॥
Jahā basėh pīṯambar pīr. ||1||
the spiritual teacher in his yellow robes dwells there. ||1||

ਵਾਹੁ ਵਾਹੁ ਕਿਆ ਖੂਬੁ ਗਾਵਤਾ ਹੈ ॥
वाहु वाहु किआ खूबु गावता है ॥
vāhu vāhu kiā kẖūb gāvṯā hai.
Waaho! Waaho! Hail! Hail! How wondrously he sings.


Additional Links


Namdev 750 - Project celebrating 750th birth centenary of Bhagat Sant Namdev
Bhagat Sant Namdev - All posts related to Bhagat Sant Namdev in this blog
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.

Millions of acres of wildfires are burning currently in California, and the air is full of smoke; it is difficult to breathe outside.  It reminds me of how important clean air is for living.  When Guru Nanak says Pavan Guru he relates such a necessity. Just like no one can live without air, an effervescent life is not possible without the Guru.  In essence, to me Guru is the pristine breath needed for a joyful life. Those who are close to this Guru, those who one inhales this pavan through the remembrance of oneness ... they are the ones whose faces are resplendent with radiance. And they spread their joy to so many others around them. 

And I am reminded of Guru Nanak's poem "Pavan Guru:" 

Air is our guru, the earth is our mother and water is our father.  Under the watchful eyes of caretakers, the night and day, we play.  Some live to love, while others stray far.  Those who stay near end with shining faces and spread their radiance to so many others.

This is one of many interpretations I have for this poem. I am sure if I do this tomorrow, or in a year from now, it will be different. Words are inadequate to describe the joy of Gurbani.  To truly experience the joy of these words, sing them with love.  

Posts related to Pavan Guru

Good and Evil coexist; who are we to judge?
Pavan Guru Pani Pita - Lyrics & Translation
Breath Ripens The Unripe Grapes Within
Pavan Guru - Song of the Wind
Pavan Guru - An opportunity to sing supremely sweet


The Guru is in all the elements: air, water, earth, space.  But Guru Nanak chose his medium of singing.  And how can with sing? Through words.  But were do these words come from: "praan" or "breath" ... or "pavan."  That is why pavan is the Guru, Pavan Guru. For that reason Guru Arjan says, Saas Saas Simro Gobind. Each breath sings Gobind. 

When someone dies, the body remains. It cannot speak anymore. So what has departed? It is this "pavan" that does not stay combined with the body. The "surat" departs. 

ਗਉੜੀ ਮਹਲਾ ੧ ॥
गउड़ी महला १ ॥
Gaoṛī mėhlā 1.
Gauree, First Mehl:

ਪਉਣੈ ਪਾਣੀ ਅਗਨੀ ਕਾ ਮੇਲੁ ॥
पउणै पाणी अगनी का मेलु ॥
Pa▫uṇai pāṇī agnī kā mel.
The union of air, water and fire -

ਚੰਚਲ ਚਪਲ ਬੁਧਿ ਕਾ ਖੇਲੁ ॥
चंचल चपल बुधि का खेलु ॥
Cẖancẖal cẖapal buḏẖ kā kẖel.
the body is the play-thing of the fickle and unsteady intellect.

ਨਉ ਦਰਵਾਜੇ ਦਸਵਾ ਦੁਆਰੁ ॥
नउ दरवाजे दसवा दुआरु ॥
Na▫o ḏarvāje ḏasvā ḏu▫ār.
It has nine doors, and then there is the Tenth Gate.

ਬੁਝੁ ਰੇ ਗਿਆਨੀ ਏਹੁ ਬੀਚਾਰੁ ॥੧॥
बुझु रे गिआनी एहु बीचारु ॥१॥
Bujẖ re gi▫ānī ehu bīcẖār. ||1||
Reflect upon this and understand it, O wise one. ||1||

ਕਥਤਾ ਬਕਤਾ ਸੁਨਤਾ ਸੋਈ ॥
कथता बकता सुनता सोई ॥
Kathṯā bakṯā sunṯā soī.
The Lord is the One who speaks, teaches and listens.

ਆਪੁ ਬੀਚਾਰੇ ਸੁ ਗਿਆਨੀ ਹੋਈ ॥੧॥ ਰਹਾਉ ॥
आपु बीचारे सु गिआनी होई ॥१॥ रहाउ ॥
Āp bīcẖāre so giānī hoī. ||1|| rahāo.
One who contemplates his own self is truly wise. ||1||Pause||

ਦੇਹੀ ਮਾਟੀ ਬੋਲੈ ਪਉਣੁ ॥
देही माटी बोलै पउणु ॥
Ḏehī mātī bolai pauṇ.
The body is dust; the wind speaks through it.

ਬੁਝੁ ਰੇ ਗਿਆਨੀ ਮੂਆ ਹੈ ਕਉਣੁ ॥
बुझु रे गिआनी मूआ है कउणु ॥
Bujẖ re giānī mūā hai kauṇ.
Understand, O wise one, who has died.

ਮੂਈ ਸੁਰਤਿ ਬਾਦੁ ਅਹੰਕਾਰੁ ॥
मूई सुरति बादु अहंकारु ॥
Mūī suraṯ bāḏ ahaʼnkār.
Awareness, conflict and ego have died,

ਓਹੁ ਨ ਮੂਆ ਜੋ ਦੇਖਣਹਾਰੁ ॥੨॥
ओहु न मूआ जो देखणहारु ॥२॥
Oh na mū▫ā jo ḏekẖaṇhār. ||2||
but the One who sees does not die. ||2||

ਜੈ ਕਾਰਣਿ ਤਟਿ ਤੀਰਥ ਜਾਹੀ ॥
जै कारणि तटि तीरथ जाही ॥
Jai kāraṇ ṯat ṯirath jāhī.
For the sake of it, you journey to sacred shrines and holy rivers;

ਰਤਨ ਪਦਾਰਥ ਘਟ ਹੀ ਮਾਹੀ ॥
रतन पदारथ घट ही माही ॥
Raṯan paḏārath gẖat hī māhī.
but this priceless jewel is within your own heart.

ਪੜਿ ਪੜਿ ਪੰਡਿਤੁ ਬਾਦੁ ਵਖਾਣੈ ॥
पड़ि पड़ि पंडितु बादु वखाणै ॥
Paṛ paṛ pandiṯ bāḏ vakẖāṇai.
The Pandits, the religious scholars, read and read endlessly; they stir up arguments and controversies,

ਭੀਤਰਿ ਹੋਦੀ ਵਸਤੁ ਨ ਜਾਣੈ ॥੩॥
भीतरि होदी वसतु न जाणै ॥३॥
Bẖīṯar hoḏī vasaṯ na jāṇai. ||3||
but they do not know the secret deep within. ||3||

ਹਉ ਨ ਮੂਆ ਮੇਰੀ ਮੁਈ ਬਲਾਇ ॥
हउ न मूआ मेरी मुई बलाइ ॥
Hao na mūā merī muī balāe.
I have not died - that evil nature within me has died.

ਓਹੁ ਨ ਮੂਆ ਜੋ ਰਹਿਆ ਸਮਾਇ ॥
ओहु न मूआ जो रहिआ समाइ ॥
Oh na mūā jo rahiā samāe.
The One who is pervading everywhere does not die.

ਕਹੁ ਨਾਨਕ ਗੁਰਿ ਬ੍ਰਹਮੁ ਦਿਖਾਇਆ ॥
कहु नानक गुरि ब्रहमु दिखाइआ ॥
Kaho Nānak gur barahm ḏikẖāiā.
Says Nanak, the Guru has revealed God to me,

ਮਰਤਾ ਜਾਤਾ ਨਦਰਿ ਨ ਆਇਆ ॥੪॥੪॥
मरता जाता नदरि न आइआ ॥४॥४॥
Marṯā jāṯā naḏar na āiā. ||4||4||
and now I see that there is no such thing as birth or death. ||4||4||



While I was reading about Bhagat Namdev I found the following beautiful abhang by Tukaram in a newspaper article (Little Maharashtra in Punjab village). Here is the quote from the article:

In the vibrant rangoli colours — red, purple, yellow and green — the words embossed in Marathi read “ghasava shabd, tasava shabd, talava shabd, bolya purvi” (polish the word, chisel it, weigh it, before you speak). The locals may not read Marathi, but they know the meaning of the words well — the relevance of shabad, the spoken word, the bani, is sacred to them.

Wonderful way of reminding ourselves how important words are. This reminds me of how Guru Nanak beautifully describes getting chiseled like a coin at the end of Japji Sahib:

Make restraint of the senses thy forge, steadfastness thy goldsmith, the mind thy anvil, and knowledge thy hammer; fear of God thy bellows, austerity thy fire, love thy vessel, and the elixir of the Name thy molten metal. In this true mint cast awareness of God, those blessed with divine grace find fulfillment. Says Nanak, happy are those who obtain God's grace!


Here is Sant Tukaram's poetry. It would be interesting to know the meaning of the entire poem.


शब्द

घासावा शब्द | तासावा शब्द |
तोलावा शब्द | बोलण्या पूर्वी ||


शब्द हेचि कातर | शब्द सुई दोरा |
बेतावेत शब्द | शास्त्राधारे ||


बोलावे मोजके | नेमके, खमंग, खमके |
ठेवावे भान | देश, काळ, पात्राचे ||


बोलावे बरे | बोलावे खरे |
कोणाच्याही मनावर | पाडू नये चरे ||


कोणाचेही वर्म | व्यंग आणि बिंग |
जातपात धर्म | काढूच नये ||


थोडक्यात समजणे | थोडक्यात समजावणे |
मुद्देसुद बोलणे | हि संवाद कला ||


शब्दांमध्ये झळकावी | ज्ञान, कर्म, भक्ती |
स्वानुभवातून जन्मावा | प्रत्येक शब्द ||


शब्दांमुळे दंगल | शब्दांमुळे मंगल |
शब्दांचे हे जंगल | जागृत राहाव ||


जीभेवरी ताबा | सर्वा सुखदाता |
पाणी, वाणी, नाणी | नासू नये ||


अभंग -
बोद्धिसत्व संत तुकाराम महाराज

Listening to this beautiful bandish by Pandit Kumar Gandharva today. And beautiful thoughts. Kabir says, "I have always been a yogi.  A yogi is the one who is consuming the unstruck melody." This listening reminds me of the rare form of the old Raag Bilawal where dha is vaadi.  Although I read somewhere this was Raag Nirguni Maand. To me it seems like a raag that Pt. Gandharva created. The lyrics remind me of Guru Gobind Singh's Sanyasa and Ray man eh bidh jog kamaa-o, Guru Nanak's Aad Sach (infinity), Gali Jog Na Hoyee and Baba Jugta Jio Jugai Jug Jogi.   

Lyrics and Translation

Avadhuta Yugan Yugan Hum Yogi
Avay na Jaye Mitaina Kabahun, Sabad Anahat Bhogi

O enlightened one, I have been a yogi
In age after age,
I neither come nor go,
I cannot be obliterated,
I revel in the primordial sound.

Subhi Thor Jamaat Humri Jamaat, Sub Hi Thor Pur Mela
Hum Sub May, Sub Hai Hum May, Hum Hai Bahuri Akela

Everywhere around me,
I see only community,
Everywhere, only carnival,
I am in all, all are in me,
I am utterly alone.

Hum Hi Sidh, Samadhi Hum Hi, Hum Mauni Hum Bole
Rup Swarup Arup Dikhake, Hum Hi Mein Hum Toh Khelen

I am the mystic, I the illumination
I am the wordless, I the speaker
I don human form, divine form,
Sometimes I sport the formless,
There is none but I
Frolicking within myself.

Kahe Kabira Jo, Suno Bhai Sadho, Naahi Na Koi Icha
Apni Madhi Mein Aap Mein Dolu, Kheloon Sahaj Swa-Icha

Kabir says, O wanderer,
All desire gone,
I dance within my own hut
Spontaneous reveler
Stirred only by the winds
Of my own freedom.

Another Translation

Oh unattached being I am a yogi from many a eons
I don't come or go nor do I get erased
I relish and enjoy the un-struck Anahat Shabad
In every direction I see only a collection and carnival of me
I am in everybody and everybody is in me. I am utterly alone
I am the Siddha, I am the Samadhi
I am the one who remains silent, I am the one who speaks
The form is my own form manifesting the formless
I am the one who plays with himself
Kabir says, listen oh Sadhu, there is no desire anymore
I am floating in myself in my own little hut playing effortlessly by own desire
New Composition 
20134 - Amrita Priya Bachan Tuhare
Devgandhari - 120 4/4 G
Inspiration - Just seeing "Raaj na chahon" as a shabad listed on youtube (I didn't hear it).  I had been listening to my new composition for "Raaj Leela" this morning and those lines were very similar.  All the pleasures of kingdom and sanyasa are attained in kirtan says Raaj Leela. I don't want wealth or nirvana says Raaj na chahon.  I also don't have a recorded composition in Devgandhari; so this would be a good addition.  I'm loving the words of Guru Arjan and this composition; but then I think that about all compositions I think. Haha! Oh well!

ਦੇਵਗੰਧਾਰੀ ੫ ॥

ਅੰਮ੍ਰਿਤਾ ਪ੍ਰਿਅ ਬਚਨ ਤੁਹਾਰੇ ॥
ਅਤਿ ਸੁੰਦਰ ਮਨਮੋਹਨ ਪਿਆਰੇ ਸਭਹੂ ਮਧਿ ਨਿਰਾਰੇ ॥੧॥ ਰਹਾਉ ॥

ਰਾਜੁ ਨ ਚਾਹਉ ਮੁਕਤਿ ਨ ਚਾਹਉ ਮਨਿ ਪ੍ਰੀਤਿ ਚਰਨ ਕਮਲਾਰੇ ॥
ਬ੍ਰਹਮ ਮਹੇਸ ਸਿਧ ਮੁਨਿ ਇੰਦ੍ਰਾ ਮੋਹਿ ਠਾਕੁਰ ਹੀ ਦਰਸਾਰੇ ॥੧॥

ਦੀਨੁ ਦੁਆਰੈ ਆਇਓ ਠਾਕੁਰ ਸਰਨਿ ਪਰਿਓ ਸੰਤ ਹਾਰੇ ॥
ਕਹੁ ਨਾਨਕ ਪ੍ਰਭ ਮਿਲੇ ਮਨੋਹਰ ਮਨੁ ਸੀਤਲ ਬਿਗਸਾਰੇ ॥੨॥੩॥੨੯॥


Amriṯā pria bacẖan ṯuhāre.
Aṯ sunḏar manmohan piāre sabẖhū maḏẖ nirāre. ||1|| rahā▫o.

Rāj na cẖāhao mukaṯ na cẖāhao man parīṯ cẖaran kamlāre.
Barahm mahes siḏẖ mun inḏrā mohi ṯẖākur hī ḏarsāre. ||1||

Ḏīn ḏu▫ārai āio ṯẖākur saran pario sanṯ hāre.
Kaho Nānak parabẖ mile manohar man sīṯal bigsāre. ||2||3||29||



Translation (Bhai Manmohan Singh)


My Beloved, ambrosial are Thine words.
Very beauteous Enticer Thou art, O Beloved. Thou art midst all and yet distinct. Pause.

I desire not empire and I desire not salvation, my soul longs for the love of Thine lotus feet.
There are Brahma, Shiv, adepts, sages and Indar, but I desire the Lord's vision alone.

O Lord, I have come helpless to Thy door, and having grown weary, have entered the asylum of Thine saints.
Says Nanak, I have met the beauteous Lord and my soul is cooled and happy.


Related Shabads:

Tera Kiya Meetha Lagai - Meetha Meetha
Amrit Bani Har Har Teri
Sabhai Ghat Ram Bolai
Hamari Pyaari Amritdhari
Mithbolra Ji


ਸਿਰੀਰਾਗੁ ॥
सिरीरागु ॥
Sirīrāg.
Sree Raag:

ਤੋਹੀ ਮੋਹੀ ਮੋਹੀ ਤੋਹੀ ਅੰਤਰੁ ਕੈਸਾ ॥
तोही मोही मोही तोही अंतरु कैसा ॥
Ŧohī mohī mohī ṯohī anṯar kaisā.
You are me, and I am You-what is the difference between us?

ਕਨਕ ਕਟਿਕ ਜਲ ਤਰੰਗ ਜੈਸਾ ॥੧॥
कनक कटिक जल तरंग जैसा ॥१॥
Kanak katik jal ṯarang jaisā. ||1||
We are like gold and the bracelet, or water and the waves. ||1||


ਜਉ ਪੈ ਹਮ ਨ ਪਾਪ ਕਰੰਤਾ ਅਹੇ ਅਨੰਤਾ ॥
जउ पै हम न पाप करंता अहे अनंता ॥
Ja▫o pai ham na pāp karanṯā ahe ananṯā.
If I did not commit any sins, O Infinite Lord,


ਪਤਿਤ ਪਾਵਨ ਨਾਮੁ ਕੈਸੇ ਹੁੰਤਾ ॥੧॥ ਰਹਾਉ ॥
पतित पावन नामु कैसे हुंता ॥१॥ रहाउ ॥
Paṯiṯ pāvan nām kaise hunṯā. ||1|| rahā▫o.
how would You have acquired the name, 'Redeemer of sinners'? ||1||Pause||


ਤੁਮ੍ਹ੍ਹ ਜੁ ਨਾਇਕ ਆਛਹੁ ਅੰਤਰਜਾਮੀ ॥
तुम्ह जु नाइक आछहु अंतरजामी ॥
Ŧumĥ jo nā▫ik ācẖẖahu anṯarjāmī.
You are my Master, the Inner-knower, Searcher of hearts.


ਪ੍ਰਭ ਤੇ ਜਨੁ ਜਾਨੀਜੈ ਜਨ ਤੇ ਸੁਆਮੀ ॥੨॥
प्रभ ते जनु जानीजै जन ते सुआमी ॥२॥
Parabẖ ṯe jan jānījai jan ṯe su▫āmī. ||2||
The servant is known by his God, and the Lord and Master is known by His servant. ||2||

ਸਰੀਰੁ ਆਰਾਧੈ ਮੋ ਕਉ ਬੀਚਾਰੁ ਦੇਹੂ ॥
सरीरु आराधै मो कउ बीचारु देहू ॥
Sarīr ārāḏẖai mo ka▫o bīcẖār ḏehū.
Grant me the wisdom to worship and adore You with my body.

ਰਵਿਦਾਸ ਸਮ ਦਲ ਸਮਝਾਵੈ ਕੋਊ ॥੩॥
रविदास सम दल समझावै कोऊ ॥३॥
Raviḏās sam ḏal samjẖāvai ko▫ū. ||3||
O Ravi Daas, one who understands that the Lord is equally in all, is very rare. ||3||
Log jaanai eho geet hai, eho to brahm beechar
People thing these are songs, but these are discussions of the infinite

Lake, Mountains, Water, Reflection, Landscape, Scenic

From the following Bhagat Kabir Shabad:






The difference between a poetry book and other books are that you are never done reading a poetry book. #OnPoetry

When I pick up a book to read

You are introduced to a character
you become his friend, alibi or his hater,
or you become

And then one day you are done
Shiv, the difference with poetry
is that the reading is circularly infinite.

Book, Heart, Love, Grains, Sand, Sea, Reading
Raag Malaar, Guru Arjan Dev:


Gun Gopal Gao Neet - Translation

Dear Gopal ... 
You are in my consciousness
I sing your songs
Forever

Forsaking my pride, abandoning my ego, 
I have joined the enlightened ones
In your remembrance 
and my sorrows have ended

With your kindness
useless entanglements have broken
In the feet of the enlightened ones
I sing your songs forever
I am listening to this unusual shabad by Kabir today:

The words if you read the direct translation below are somewhat confusing, but a deeper read tells you Kabir is talking about transformation here.  The perverse animalistic instincts have left Kabir and he is transformed. The one who was an elephant is now an adriot guitar player; the rhythmless ox is a drummer, and the harsh voiced crow is now playing sweet cymbals.

Kabir has been transformed.  Kabir's own body was like the dried kakri tree.  But the lord has ripened mangoes on this tree.  And Kabir is consuming these sweet mangoes.  We all have the potential to transform our inner kakri tree, to ripen the mangoes within us, and to partake of them.

Enjoy listening and reading:



ਆਸਾ ॥
Aasaa:

ਫੀਲੁ ਰਬਾਬੀ ਬਲਦੁ ਪਖਾਵਜ ਕਊਆ ਤਾਲ ਬਜਾਵੈ ॥
The elephant is the guitar player, the ox is the drummer, and the crow plays the cymbals.
ਪਹਿਰਿ ਚੋਲਨਾ ਗਦਹਾ ਨਾਚੈ ਭੈਸਾ ਭਗਤਿ ਕਰਾਵੈ ॥੧॥
Putting on the skirt, the donkey dances around, and the water buffalo performs devotional worship. ||1||

ਰਾਜਾ ਰਾਮ ਕਕਰੀ ਆਬਰੇ ਪਕਾਏ ॥ *
The king has ripened mangoes on the dry Kakri tree
ਕਿਨੈ ਬੂਝਨਹਾਰੈ ਖਾਏ ॥੧॥ ਰਹਾਉ ॥
but only the rare man of understanding eats them. ||1||Pause||
* Note that some texts say "ਕਕਰੀਆ ਬਰੇ" but it should be "ਕਕਰੀ ਆਬਰੇ"
ਬੈਠਿ ਸਿੰਘੁ ਘਰਿ ਪਾਨ ਲਗਾਵੈ ਘੀਸ ਗਲਉਰੇ ਲਿਆਵੈ ॥
Sitting in his den, the lion prepares the betel leaves, and the muskrat brings the betel nuts.
ਘਰਿ ਘਰਿ ਮੁਸਰੀ ਮੰਗਲੁ ਗਾਵਹਿ ਕਛੂਆ ਸੰਖੁ ਬਜਾਵੈ ॥੨॥
Going from house to house, the mouse sings the songs of joy, and the turtle blows on the conch-shell. ||2||

ਬੰਸ ਕੋ ਪੂਤੁ ਬੀਆਹਨ ਚਲਿਆ ਸੁਇਨੇ ਮੰਡਪ ਛਾਏ ॥
The son of the sterile woman goes to get married, and the golden canopy is spread out for him.
ਰੂਪ ਕੰਨਿਆ ਸੁੰਦਰਿ ਬੇਧੀ ਸਸੈ ਸਿੰਘ ਗੁਨ ਗਾਏ ॥੩॥
He marries a beautiful and enticing young woman; the rabbit and the lion sing their praises. ||3||

ਕਹਤ ਕਬੀਰ ਸੁਨਹੁ ਰੇ ਸੰਤਹੁ ਕੀਟੀ ਪਰਬਤੁ ਖਾਇਆ ॥
Says Kabeer, listen, O Saints - the ant has eaten the mountain.
ਕਛੂਆ ਕਹੈ ਅੰਗਾਰ ਭਿ ਲੋਰਉ ਲੂਕੀ ਸਬਦੁ ਸੁਨਾਇਆ ॥੪॥੬॥
The turtle says, "I need a burning coal, also". Listen to this mystery of the Shabad. ||4||6||

Links on similar topics/shabads about transformation:

https://www.youtube.com/watch?v=Z-4TgO-q7Us
https://www.youtube.com/watch?v=dkunCziCQVg
http://www.srigranth.org/servlet/gurbani.gurbani?Action=Page&Param=477&g=1&h=1&r=1&t=1&p=0&fb=0&k=1
http://www.srigranth.org/servlet/gurbani.gurbani?Action=Page&Param=1359&punjabi=t&id=58055
http://www.srigranth.org/servlet/gurbani.gurbani?Action=Page&Param=1411&punjabi=t&id=59898
http://www.srigranth.org/servlet/gurbani.gurbani?Action=Page&Param=326&punjabi=t&id=14916
http://www.srigranth.org/servlet/gurbani.gurbani?Action=Page&Param=239&punjabi=t&id=10469

Music: iTunes Google Play

This is taken from Guru Arjan Dev's "Sukhmani Sahib" or the "Pearl of Bliss" - Sung in Raag Bilawal. Written in Raag Gauri. Translation below:

Lyrics - Jio Jal Meh Jal


Jio jal mėh jal āe kẖatānā. 
Ŧio joṯī sang joṯ samānā. 

Kabhū sāḏẖsangaṯ ih pāvai. 
Us asthān ṯe bahur na āvai. 

Anṯar hoe giān pargās. 
Us asthān kā nahī binās. 

Man ṯan nām raṯe ik rang. 
Saḏā basėh pārbarahm kai sang. 

Jio jal mėh jal āe kẖatānā. 
Ŧio joṯī sang joṯ samānā. 

Mit gae gavan pāe bisrām. 
Nānak parabẖ kai saḏ kurbān. ||8||11|| 


English Translation - Jio Jal Meh Jal

 
As water comes to blend with water, 
his light blends into the Light. 

Sometimes, this being attains the Company of the Holy. 
From that place, he does not have to come back again. 

The light of spiritual wisdom dawns within. 
That place does not perish. 

The mind and body are imbued with the Love of the Naam, the Name of the One Lord. 
He dwells forever with the Supreme Lord God. 

As water comes to blend with water, 
his light blends into the Light. 

Reincarnation is ended, and eternal peace is found. 
Nanak is forever a sacrifice to God. ||8||11|| 


Translation - May 2024

The Most Sacred Place

After meeting the wise,
there is no coming back for me.

Where the inner light dawns,
my state endures forever.

The mind and body colored with Naam
dwell eternally with Paarbrahm.

Just as water merges with water,
light has seamlessly blended with Light.

My running around has ended, peace reigns.
I am forever grateful for this,

the most sacred place:
the state of being oneself.






On Adrienne Rich's birthday today I am reading her poem, "What kind of times are these."  I like how she connects nature to poetry.  Poetry lulls people in -- whether they agree with you or not, they have to listen to you.  It prevents the listener from shutting down and not listening and then thinking.

I have actually used this at work a lot to inspire people when they are making sub-optimal progress.  Because I know that they can sing, but am not willing to point out they are not singing their best.  To blatantly tell someone they are wrong, to criticize without the hidden reprimand of the poem is dangerous.  Therein lies the importance of trees and metaphors.  Therein lies the importance of poetry.





What kind of times are these
- Adrienne Rich

There's a place between two stands of trees where the grass grows uphill
and the old revolutionary road breaks off into shadows
near a meeting-house abandoned by the persecuted
who disappeared into those shadows.

I've walked there picking mushrooms at the edge of dread, but don't be fooled
this isn't a Russian poem, this is not somewhere else but here,
our country moving closer to its own truth and dread,
its own ways of making people disappear.

I won't tell you where the place is, the dark mesh of the woods
meeting the unmarked strip of light—
ghost-ridden crossroads, leafmold paradise:
I know already who wants to buy it, sell it, make it disappear.

And I won't tell you where it is, so why do I tell you
anything? Because you still listen, because in times like these
to have you listen at all, it's necessary
to talk about trees.



An interesting take on this poem: http://andrewjshields.blogspot.com/2012/06/what-kind-of-times-are-these.html

Adrienne Rich borrowed the title of this poem from the following poem by German poet Brecht (some interpretations say that Brecht prefers socio-political poetry over nature poetry, and that Rich sees nature poetry as a means to making socio-political changes.

To the Descendants

I

Truly, I live in dark times!
The frank is the foolish. A smooth brow
Indicates insensitivity. The laughing man
Has simply not yet heard
The terrible news.

What kind of times are these when
A conversation about trees is almost a crime
Because it includes a silence about so many misdeeds!
That man quietly crossing the street
Is probably no longer approachable by his friends
Who are in need?

It is true: I still earn my keep
But believe me: that’s only by accident. Nothing
I do entitles me to eat my fill.
I’ve been accidentally spared. (If my luck stops
I’ve had it.)

I’m told: eat and drink! Be happy you’ve got it!
But how can I eat and drink when
What I eat I rip off the hungry and
The thirsty lack my glass of water?
And yet I eat and drink.

I’d also like to be wise.
In the old books is written what is wise:
Stay out of the world’s argy-bargy and spend
Your short span without fear,
Also make do without violence,
Repay evil with good,
Don’t fulfil your wishes but forget them,
All that is seen as wise.
All that I cannot.
Really, I live in dark times!

II

Into the cities I came in the time of disorder
When hunger reigned.
Among men I came in the time of uprising
And I rebelled with them.
Thus passed the time
Given me on earth.

My meals I ate between the battles,
I lay down to sleep among the murderers,
practised love carelessly
And looked at nature impatiently.
Thus passed the time
Given me on earth.

The streets led to the swamp of my time.
Language betrayed me to the butcher.
I could do but little. But the rulers
Sat more securely without me, that I hoped.
Thus passed the time
Given me on earth.

The forces were few. The goal
Lay far distant.
It was clearly discernible, even if for me
Hardly attainable.
Thus passed the time
Given me on earth.

III

You who shall emerge from the flood
We went down in
Consider
When you speak of our weaknesses
Also the dark time
You have escaped.

For indeed we went, changing countries more often than our shoes,
Through the wars of classes, despairing
When there was but injustice and no rebellion.

Yet we know:
The hate of baseness
Too distorts the face.
Rage against injustice
Too hoarsens the voice. Oh, we
Who wanted to prepare the ground for friendliness
Could not ourselves be friendly.

You however, when it has come to pass
That man is a helper to man,
Remember us
With forbearing.

Here is the another translation of this:

Was sind das für Zeiten, wo
Ein Gespräch über Bäume fast ein Verbrechen ist
Weil es ein Schweigen über so viele Untaten einschließt!

(Bertolt Brecht, "An die Nachgeborenen"; Brecht reads it here)


What kind of times are these, when
A conversation about trees is almost a crime
Because it implies silence about so many atrocities!

(Bertolt Brecht, "To Those Born Later," my translation)



Another Translation:

Bertolt Brecht (1898–1956)

To those born later

I
Truly I live in dark times!
Frank speech is naïve. A smooth forehead
Suggests insensitivity. The man who laughs
Has simply not yet heard
The terrible news.

What kind of times are these, when
To talk about trees is almost a crime
Because it implies silence about so many horrors?
When the man over there calmly crossing the street
Is already perhaps beyond the reach of his friends
Who are in need?

It’s true that I still earn my daily bread
But, believe me, that’s only an accident. Nothing
I do gives me the right to eat my fill.
By chance I've been spared. (If my luck breaks, I'm lost.)

They say to me: Eat and drink! Be glad you have it!
But how can I eat and drink if I snatch what I eat
From the starving
And my glass of water belongs to someone dying of thirst?
And yet I eat and drink.

I would also like to be wise.
In the old books it says what wisdom is:
To shun the strife of the world and to live out
Your brief time without fear
Also to get along without violence
To return good for evil
Not to fulfill your desires but to forget them
Is accounted wise.
All this I cannot do.
Truly, I live in dark times.

II
I came to the cities in a time of disorder
When hunger reigned.
I came among men in a time of revolt
And I rebelled with them.
So passed my time
Given me to on earth.

I ate my food between battles
I lay down to sleep among murderersI practiced love carelessly
And I had little patience for nature’s beauty. 40
So passed my time
Given to me on earth.
All roads led into the mire in my time.
My tongue betrayed me to the butchers.
There was little I could do. But those is power
Sat safer without me: that was my hope.
So passed my time
Given to me on earth.
Our forces were slight. Our goal
Lay far in the distance 50
Clearly visible, though I myself
Was unlikely to reach it.
So passed my time
Given to me on earth.
III
You who will emerge from the flood
In which we have gone under
Bring to mind
When you speak of our failings
Bring to mind also the dark times
That you have escaped. 60
Changing countries more often than our shoes,
We went through the class wars, despairing
When there was only injustice, no outrage.
And yet we realized:
Hatred, even of meanness
Contorts the features.
Anger, even against injustice
Makes the voice hoarse. O,
We who wanted to prepare the ground for friendship
Could not ourselves be friendly. 70
But you, when the time comes at last
When man is helper to man
Think of us
With forbearance.
[1940]
There is no home for poetry
the one with familial fuzziness

When he comes to his resting place
in the establishment with high ceilings
where he will be among other members
judged by his world as astute.

He will not be welcomed 
by his daughter; no one will run
down the stairs in ecstasy
to stand on her toes for a kiss.
not even by his poodle
wagging his tail madly

But there is always his mother
who wishes him well from afar 
ever smiling at his success 
and his house

Walt Whitman's Poetry is great because it comes with purpose. He explains that while he accepts all the gifts give to him by rich givers, his poetry is his gift to them. For him poetry is the entrance to all the gifts of the universe. The doorway to heaven and God. Here is the poem:

To rich givers

WHAT you give me, I cheerfully accept,
A little sustenance, a hut and garden, a little money—these, as I rendezvous with my poems;
A traveler’s lodging and breakfast as I journey through The States—Why should I be ashamed to own such gifts? Why to advertise for them?
For I myself am not one who bestows nothing upon man and woman;
For I bestow upon any man or woman the entrance to all the gifts of the universe.



Here is a poem from Muriel Rukeseyer (The ballad of Orange and Grape) where the meanings of words has been changed.

Sometimes we say words we don't mean.  Not because we don't understand them, but because its a habit.  Or we don't think it is worth fighting for the cause of changing the name.

"Khalsa" means pure and for centuries while the Mughals were there in India and following Guru Gobind Singh creating a "Khalsa" force to fight the forceful conversion of Indians to Islam, it had a positive connotation; following violence in Punjab in the late 80s and early 90s -- at least in Delhi -- "Khalsa" and "Khalistan" got a negative connotation.

Before I came to America, I didn't realize that "negro" had a negative connotation.  I would have thought black has more a negative connotation.  My dad said there was a professor who used to call all his students "Taliban" in his university in India.  After all the word "Taliban" means student. But following 911, the word "Taliban" has been scarred for life.

In some ways, I think words can grow.  And many times they grow old and senile.  Sometimes they grow benign (I think that is happening to "Fuck" now).  And then we pass them to our kids.  But is that right?

This poem questions that, and actually takes a stance.  Some analysts would complain about this poem taking a stance about maintaining the meaning of words and pontificates that we should not do it.  I think it is ok for the poem to take a stance. But, it is equally OK for us to question the stance.  Isn't it OK for words to grow?

Here is the poem:

The ballad of Orange and Grape
- Muriel Rukeyser

After you finish your work
after you do your day
after you've read your reading
after you've written your say —
you go down the street to the hot dog stand,
one block down and across the way.
On a blistering afternoon in East Harlem in the twentieth century.

Most of the windows are boarded up,
the rats run out of a sack —
sticking out of the crummy garbage
one shiny long Cadillac;
at the glass door of the drug-addiction center,
a man who'd like to break your back.
But here's a brown woman with a little girl dressed in rose and pink, too.

Frankfurters, frankfurters sizzle on the steel
where the hot-dog-man leans —
nothing else on the counter
but the usual two machines,
the grape one, empty, and the orange one, empty,
I face him in between.
A black boy comes along, looks at the hot dogs, goes on walking.

I watch the man as he stands and pours
in the familiar shape
bright purple in the one marked ORANGE
orange in the one marked GRAPE,
the grape drink in the machine marked ORANGE
and orange drink in the GRAPE.
Just the one word large and clear, unmistakable, on each machine.

I ask him: How can we go on reading
and make sense out of what we read? —
How can they write and believe what they're writing,
the young ones across the street,
while you go on pouring grape into ORANGE
and orange into the one marked GRAPE —?
(How are we going to believe what we read and what we write and we hear and we say and we do?)

He looks at the two machines and he smiles
and he shrugs and smiles and pours again.
It could be violence and nonviolence
it could be black and white      women and men
it could be war and peace or any
binary system, love and hate, enemy, friend.
Yes and no, be and not-be, what we do and what we don't do.

On a corner in East Harlem
garbage, reading, a deep smile, rape,
forgetfulness, a hot street of murder,
misery, withered hope,
a man keeps pouring grape into ORANGE
and orange into the one marked GRAPE,
pouring orange into GRAPE and grape into ORANGE forever.


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SHIVPREET SINGH

Singing oneness!
- Shivpreet Singh

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