Shivpreet Singh
Shivpreet Singh
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I have no miracles but the true name. - Guru Nanak. 
I know of nothing else but miracles - Walt Whitman

I am listening to Satnam meditation while reading this poem about Miracles by Walt Whitman and a similarly intoxicating poem, Vismaad by Guru Nanak today ...




Miracles
- Walt Whitman

REALISM is mine, my miracles,
Take all of the rest—take freely—I keep
but my own—I give only of them,
I offer them without end—I offer them to you
wherever your feet can carry you, or your
eyes reach.

Why! who makes much of a miracle?
As to me, I know of nothing else but miracles,
Whether I walk the streets of Manhattan,
Or dart my sight over the roofs of houses toward
the sky,
Or wade with naked feet along the beach, just in
the edge of the water,
Or stand under trees in the woods,
Or talk by day with any one I love—or sleep in
the bed at night with any one I love,
Or sit at the table at dinner with my mother,
Or look at strangers opposite me riding in the car,
Or watch honey-bees busy around the hive, of an
August forenoon,
Or animals feeding in the fields,
Or birds—or the wonderfulness of insects in the
air,
Or the wonderfulness of the sun-down—or of
stars shining so quiet and bright,
Or the exquisite, delicate, thin curve of the new-
moon in May,
Or whether I go among those I like best, and that
like me best—mechanics, boatmen, farmers,
Or among the savans—or to the soiree—or to
the opera,
Or stand a long while looking at the movements
of machinery,
Or behold children at their sports,
Or the admirable sight of the perfect old man, or
the perfect old woman,
Or the sick in hospitals, or the dead carried to
burial,
Or my own eyes and figure in the glass,
These, with the rest, one and all, are to me
miracles,
The whole referring—yet each distinct and in its
place.

To me, every hour of the light and dark is a
miracle,
Every inch of space is a miracle,
Every square yard of the surface of the earth is
spread with the same,
Every cubic foot of the interior swarms with the
same;
Every spear of grass—the frames, limbs, organs,
of men and women, and all that concerns
them,
All these to me are unspeakably perfect miracles.

To me the sea is a continual miracle,
The fishes that swim—the rocks—the motion
of the waves—the ships, with men in them
—what stranger miracles are there?



Vismaad - By Guru Nanak


Vismaad naad vismaad ved. Vismaad je-a vismaad bhed.
Vismaad roop vismaad rang. Vismaad nagnae phireh jant.
Vismaad pa-un vismaad paanee. Vismaad agneekhaydeh vidaanee.
Vismaad dhartee vismaad khaanee. Vismaad saad lageh paraanee.
Vismaad sanjog vismaad vijog. Vismaad bhukh vismaad bhog.
Vismaad sifat vismaad saalaah. Vismaad ujharh vismaad raah.
Vismaad nayrhai vismaad door(h). Vismaad daykhai haajraa hajoor.
Vaiykh vidaan rahi-aa vismaad. Nanak bujhan pooraibhaag. ||1||”
(SGGS, Pg. No. 463)


Translation of Guru Nanak's Vismaad


I am in awe as I observe the wind blowing and water flowing in different places. The fire's display of astonishing plays is truly amazing. Looking at how creatures are sustained by the earth through various means of birth such as eggs, wombs, and perspiration leaves me wonderfully astonished. It is amazing to see how mortals enjoy Your bounties, and the experience of people being united or separated is equally astonishing. It is difficult to believe that hunger grips some places while others voraciously enjoy plenty. There are places where the Creator is praised and eulogized. It is just as wonderful to stray away from divine commands as it is to walk on well-laid paths. Witnessing this wondrous play of Yours is astonishing. It is amazing that some believe You are near, others believe You are far away, while others see You right beside them, pervading everything. Beholding these wonders, I am wonderstruck. Oh Nanak, those who comprehend these astounding wonders of Yours are blessed with perfect destiny.


I am in awe 

-Shivpreet Singh

I am in awe as I watch the wind carve patterns into the hills of San Ramon and the rain slip through the cracks of parched California soil, reviving the roots of old oaks. The way fire has been leap and destroying houses and lives in Southern California is astonishing. And in that same week, I marvel at how life emerges—newborns wrapped in hospital blankets, tadpoles stirring in puddles in our backyard after a storm, spores drifting unseen through the air, waiting to root themselves in damp corners of forgotten places.

It stuns me how some fill their grocery carts to the brim, debating organic versus conventional, while others stand in food bank lines, stomachs already adjusting to emptiness. At bustling farmers’ markets, fruit is sampled and discarded with indifference, while in other places, a bruised apple is held like treasure. It is just as remarkable that some dedicate their lives to justice and kindness, while others, with equal conviction, hoard and deceive. It is no less astonishing to walk a well-lit road of principles than to wander aimlessly in the fog of uncertainty.

Some find meaning in distant stars and scientific equations, others in whispered mantras, and some in the silence between all things. Some are singing with me, some are singing by themselves; some don't know they are singing. There are those who feel the universe pressing close, its rhythm pulsing in their veins, while others drift through days untouched by wonder. I witness all of this and stand, wide-eyed, marveling at the strange, beautiful, inexplicable world we inhabit.

I am in awe of the seekers who pause to take it all in—who let themselves be shattered by its complexity and pieced back together by its beauty—are the ones who, perhaps, have understood something rare. I am especially in awe that in this lifetime I found such ancient bards in modern times. But most of all, I am awe that I get to steal your words, dear Guru Nanak, from page 463 of the Guru Granth Sahib, and call them my own. I love this Vismaad.

Another take on this:

I am awestruck by the wonder of it all,
The wind blows here and there, the water flows,
Fire dances in its own dazzling play,
And the earth sustains life from myriad sources.

From eggs, from wombs, from sweat and soil,
The creatures of this earth come forth to live,
And mortal beings revel in the bounty,
That You, O' God, have so generously given.

To see people united or torn apart,
Is a wonder beyond comprehension,
And in some lands, hunger grips the heart,
While others feast in reckless abandon.

Some sing Your praises with unbridled joy,
While others stray from Your divine command,
But in all these paths, You are the one,
Whose wondrous play we witness, ever at hand.

For some, You are near, for others far,
But all around us, You pervade and bless,
And those who grasp these wonders true,
Are blessed with destiny's perfect caress.

O' Nanak, I stand in wonder before You,
And Your astounding miracles of life and love,
For in Your infinite and wondrous grace,
I find the strength to journey on above.
On Nature: 
  • Those who know her, know her less - Emily Dickinson
  • "We live with mysteries too marvelous to be understood" - Mary Oliver
On Stars:
  • Emerson on Stars - Quote from Emerson on Stars
  • Whitman on Stars - When I heard the learn'd astronomer
  • Kaisi aarti - Guru Nanak Dhanasri
Vismad (Vismaad) from Gurbani
  • Kaisi aarti - Guru Nanak Dhanasri
  • Vismad from Asa ki vaar - Guru Nanak Asa
  • Rang rataa mera sahib
  • Dheeron dekh tumhare ranga
It will be tough to just gather a few poems on this. So many poems are about wonder; maybe even all!


Marveling at the astonishing mysteries with Mary Oliver, while reading this today ... 




Mysteries, Yes
Mary Oliver

Truly, we live with mysteries too marvelous
   to be understood.

How grass can be nourishing in the
   mouths of the lambs.
How rivers and stones are forever
   in allegiance with gravity
      while we ourselves dream of rising.
How two hands touch and the bonds will
   never be broken.
How people come, from delight or the
   scars of damage,
to the comfort of a poem.

Let me keep my distance, always, from those
   who think they have the answers.

Let me keep company always with those who say
   “Look!” and laugh in astonishment,
   and bow their heads.

Vismaad in Asa Ki Vaar

I was listening to Maskeen ji's katha on Vismaad and thought I would write my thoughts on it.  Vismaad, a word derived from the Punjabi language, embodies the concept of wonder and astonishment that transcends mere intellectual comprehension. It is a state of being that goes beyond the limitations of ego and encompasses a deep appreciation for the mysteries of life. While individuals such as children, poets, and saints often possess this capacity for vismaad, many others are consumed by ego, depriving themselves of the beauty and awe that can be found in the world around them.

Guru Nanak says: 

Vismaad naad vismaad ved. Vismaad je-a vismaad bhed.
Vismaad roop vismaad rang. Vismaad nagnae phireh jant.
Vismaad pa-un vismaad paanee. Vismaad agneekhaydeh vidaanee.
Vismaad dhartee vismaad khaanee. Vismaad saad lageh paraanee.
Vismaad sanjog vismaad vijog. Vismaad bhukh vismaad bhog.
Vismaad sifat vismaad saalaah. Vismaad ujharh vismaad raah.
Vismaad nayrhai vismaad door(h). Vismaad daykhai haajraa hajoor.
Vaiykh vidaan rahi-aa vismaad. Nanak bujhan pooraibhaag. ||1||
(SGGS, Pg. No. 463)

Paraphrasing Guru Nanak's Vismaad Pauri: 

I am filled with wonder as I observe the wind blowing in one place and water flowing in another. The mesmerizing dances of fire never fail to astonish me. It is truly remarkable how the Earth sustains the myriad creatures through various means of birth, be it from an egg, a womb, the earth itself, or even through perspiration. The enjoyment of your abundant blessings by mortals is a spectacle that fills me with awe.

The experience of people coming together or being separated is nothing short of astonishing. Oh God, it is difficult to comprehend that while some suffer from acute hunger, others are surrounded by abundance and indulgence. Somewhere, the Creator is being praised and glorified. It is wondrous to witness the divergent paths taken by individuals, some straying away from the divine commands while others walk along the well-laid paths. The play of this wondrous existence is simply astounding.

It is incredible how some claim that You are very near, while others believe You to be far away, and yet some perceive Your presence right beside them, permeating every corner of existence. Witnessing these marvels, I am left wonderstruck. Oh Nanak, those who comprehend the astonishing wonders you manifest are blessed with perfect destiny.

Vismaad in Children, Poets, and Saints:

Children, with their innocent and untainted perspectives, possess an innate sense of wonder. They marvel at the simplest things like butterflies, the sun, snow, flowers, and the moon. To them, the world is filled with endless mysteries waiting to be explored, and their vismaad allows them to revel in these wonders without the constraints of ego.

Similarly, poets are blessed with the gift of vismaad. Through their poetic expressions, they capture the ineffable essence of life and evoke emotions that transcend ordinary understanding. Poets possess a heightened sense of observation and tap into the deeper dimensions of existence, allowing them to perceive and convey the beauty and wonder that often eludes others.

Saints, particularly those who have attained spiritual enlightenment, embody the highest form of vismaad. They possess a profound connection with their souls and possess the ability to perceive the divine within all things. Guru Nanak, the founder of Sikhism, emphasized the significance of vismaad when he proclaimed, "Vekh vidaan rehaa vismaad" - witnessing your wonders, I am in wonder. This ability to experience vismaad is considered a rare blessing bestowed upon individuals through good fortune.

The Pitfall of Ego:

Ego, the antithesis of vismaad, acts as a hindrance to the experience of wonder. When one becomes consumed by the ego, they adopt a sense of omniscience, falsely believing that they possess complete knowledge. This inflated sense of understanding eliminates the mystery and curiosity that accompanies vismaad. Scientists, who often approach the world with a purely analytical mindset, may lack vismaad as they seek to unravel the mechanisms and intricacies of the natural world, focusing solely on objective knowledge rather than embracing the wonder it holds.

Vismaad in Everyday Life:

Namdev, a revered saint and poet from India, professed that vismaad can be found in every aspect of existence. He emphasized that everything in creation resonates with wisdom, even the smallest leaf or a droplet in the vast ocean. The sheer diversity and uniqueness of every living being, whether animal or plant, evoke a sense of wonder. Each organism, down to the minutest detail, exhibits distinct characteristics, captivating those with vismaad.

Moreover, vismaad extends beyond living beings to encompass the vast array of shapes and colors in the world. The intricacy and diversity found in nature's creations evoke awe and fascination. Even a single fish can exhibit a multitude of vibrant hues, each contributing to its individuality. Saints, with their heightened perception, may even find divinity in seemingly ordinary objects, recognizing the presence of God in an eggplant, for instance, while others remain oblivious to such revelations due to their lack of vismaad.

Fostering Vismaad

Vismaad, the state of wonder that surpasses intellectual understanding, holds immense value in our lives. It allows us to transcend the limitations of ego, opening our minds to the mysteries and beauty of the world. Children, poets, and saints serve as exemplars of vismaad, demonstrating how embracing wonder can lead to a deeper connection with ourselves and the world around us. By fostering vismaad, we can unlock the hidden wisdom and appreciate the awe-inspiring diversity that permeates every aspect of existence.



My notes from Maskeen ji's katha:



Asa DI vaar #5

Wonder is beyond intellect. 

When ego comes in, wonder goes away. There is no mystery if you know everything. If you understand that what we know is incomplete we are capable of vismaad. For that reason kids, poets and saints all have vismaad. Most other people have ego and don’t have vismaad. 

A kid loves butterflies. Sun. Snow. Flowers. Moon. Mystery abounds. Vismaad. 

Poets also have this vismaad. 

Saints also have the highest vismaad. They can see through their soul. Vekh vidaan rehaa vismaad says nanak. Nanak bujhe pure bhaag - only with good fortune does anyone get this. 

The normal person in his ego says I know clouds. I know earth. I know the sun. The scientist doesn’t have vismaad. 

Guru Nanak says I’m in wonder because of all this things  

He starts with sound  vismaad naad  

Clouds. Wind. Birds. Music. These make the saint wonder. But not for the layman. But do you really hear do you really listen  namdev says sabhai ghat Raam bole.

He says I’m in wonder because of knowledge. There is wisdom in everything  even the leaf has wisdom  even a droplet in the ocean has an ocean of wealth.

Then I am wonder because of all the living beings on earth. No animal is like any other animal.  Even every leaf of the same tree is different.  I am in wonder because of all the differences. 

Vismad roop ... rang

So many shapes and so many colors. Every organism is different.  Even one fish may have so many different colors.

A saint might fall in love with an eggplant because he sees God in it. But the layman might see an eggplant even if you showed him God. He wouldn’t recognize. 

Vismaad naange phire

I am surprised that animals are naked and they are not embarrassed. 

Vismaad pavan paani Agni ... 

I’m in vismaad looking at pavan. You give me life and refresh me.  You give me warmth. You quench my thirst. You fill me with wonder. 

Daava agan, badva agan, 


When I think of wonder, I think of Guru Nanak's Aarti:

Gagan mein thaal rav chand dipak bane, 
tarika mandal janak moti, 
dhoop malyanlo pavan chavro kare 
saal banray phulant joti.


(Notice the commas -- which are not found in the Guru Granth Sahib -- are in a different place than usual, but I believe are correct based on the meaning of these lines).

On my better evenings I hear Guru Nanak sing Arti in his melodious voice, describing how the entire sky is the platter on which the sun and moon are lamps for worship. The stars and the planets are the gems and pearls, the mythical Mount Meru, covered with sandalwood trees is the incense and the wind blowing from all directions is the grand fan for the beloved. See http://www.orissa.gov.in/e-magazine/orissareview/2012/Feb-March/engpdf/1-6.pdf for entire Aarti.

The other lines I think when I think of wonder come from Bhagat Kabir:

Sur Nar Mun Jan Kautak Aaye 
Kot Tentees Ujaana
Keh Kabir Mohe Byaah Chale Hain 
Purakh Ek Bhagwaana

Heavenly creatures have come
in thousands of chariots
As the one true Lord 
whisks me away following our wedding

Every time I read these lines, I think I understand them. But then every time I read these lines, I gain a new perspective on the wonder that is life.  I think I know but I don't.  But that temporary thought of knowing the unknown is beautiful. According to Emily Dickinson, that beautiful place, which enlivens, that is between the knowing and the unknown is wonder. She says, 

Wonder—is not precisely Knowing
And not precisely Knowing not—
A beautiful but bleak condition
He has not lived who has not felt—


"Those who know her, know her less." - Emily Dickinson on Nature.  

In "What mystery pervades a well," Emily talks about three strange and mysterious things: well, the sea and nature.  Their limits are unknown. Even to the ones who get near them.  In fact the ones who are nearer actually even more perplexed by its beauty.  

The ones who are truly near, are not afraid. Like the grass next to the well. Or the sedge next to the sea.  They are fearless.  Nirbhau says Guru Nanak in Mool Mantra.  Bold, not afraid, not timid in Emily's words.  

I found it interesting that the grass and the sedge are male.  They don't understand. Even when they get near, and they try to know, they don't.  They might be talking about her all the time, citing her the the most. But they have never really visited her house, the haunted house.  They have not understood her invisible ghost.  Not understood. Not known.  Perhaps knowing is impossible.  And they should be focusing on loving, and not knowing. 

This poem reminds me of Guru Nanak's Aarti: "You have thousands of eyes, but none is yours. you have thousands of shapes, yet not one is yours. Thousands of pure scented paths are yours. I am amazed at how many scents you have." It also reminds me that he says, "As big you are, as big are your gifts."

What mystery pervades a well!

- Emily Dickinson

What mystery pervades a well!
That water lives so far --
A neighbor from another world
Residing in a jar

Whose limit none have ever seen,
But just his lid of glass --
Like looking every time you please
In an abyss's face!

The grass does not appear afraid,
I often wonder he
Can stand so close and look so bold
At what is awe to me.

Related somehow they may be,
The sedge stands next the sea --
Where he is floorless
And does no timidity betray

But nature is a stranger yet;
The ones that cite her most
Have never passed her haunted house,
Nor simplified her ghost.

To pity those that know her not
Is helped by the regret
That those who know her, know her less
The nearer her they get.

- Emily Dickinson


Another Emily Dickinson poem about how innumerable nature is:

Bring me the sunset in a cup


Bring me the sunset in a cup,
Reckon the morning’s flagons up
And say how many Dew,
Tell me how far the morning leaps
Tell me what time the weaver sleeps
Who spun the breadth of blue!

Write me how many notes there be
In the new Robin’s ecstasy
Among astonished boughs
How many trips the Tortoise makes
How many cups the Bee partakes,
The Debauchee of Dews!

Also, who laid the Rainbow’s piers,
Also, who leads the docile spheres
By withes of supple blue?
Whose fingers string the stalactite
Who counts the wampum of the night
To see that none is due?

Who built this little Alban House
And shut the windows down so close
My spirit cannot see?
Who’ll let me out some gala day
With implements to fly away,
Passing Pomposity?

- Emily Dickinson


More on this: http://nebo-lit.com/poetry/dickinson/What-mystery-pervades-a-well.html



A Drop fell on the Apple Tree -
Another - on the Roof -
A Half a Dozen kissed the Eaves -
And made the Gables laugh -

A few went out to help the Brook
That went to help the Sea -
Myself Conjectured were they Pearls -
What Necklaces could be -

The Dust replaced, in Hoisted Roads -
The Birds jocoser sung -
The Sunshine threw his Hat away -
The Bushes - spangles flung -

The Breezes brought dejected Lutes -
And bathed them in the Glee -
The Orient showed a single Flag,
And signed the fête away -

Wonder as a Form of Prayer at Walden

This morning the path along Walden is the color of pewter. The cattails wear a dull sheen, and the pond holds its breath in a single, slate-blue syllable. It isn’t summer, not quite; the light has already begun its slow withdrawal, like a guest who lingers at the door with one hand on the knob. And still—perhaps because of that quiet—Emily Dickinson arrives. I hear her small procession of raindrops: “A Drop fell on the Apple Tree— / Another—on the Roof—,” and with them the house breaking into laughter, the eaves kissed awake, the world briefly decked in “spangles.”

Dickinson’s great gift is to show us that the ordinary is crowded with ceremony. In her poem, the weather throws a fête for itself. Each drop is a guest; the sunshine tosses his hat when the party ends; somewhere a rainbow (that “single Flag”) lifts and lowers to close the day. She teaches a discipline of seeing that is not separate from devotion. Wonder is not what follows prayer. Wonder is prayer: the mind kneeling without kneeling, the eyes bowing without closing.

As I walk, I find myself testing her vision against this shore. The birch leaves tremble like a quiet applause. A ring spirals from a trout’s quick kiss on the surface. The railroad hum stitches itself into the trees. Nothing spectacular, yet everything felt. Dickinson would ask for nothing more. She doesn’t climb the peaks; she watches from a window in Amherst and, by attending, turns a shower into a cosmos. “A few went out to help the Brook / That went to help the Sea—.” The smallest act belongs to the largest story. In our age of performance, this is a radical sentence: to help is to become part of a current already moving toward the whole.

Mary Oliver, another New England watcher of ponds and fields, once confessed, “I don’t know exactly what a prayer is. / I do know how to pay attention.” That is Dickinson’s catechism too. Attention is what threads the pearls into “Necklaces”—what takes the separate “drops” of a day and strings them until they shine. Here at Walden, Thoreau’s old plea to “live deliberately” becomes less an ethic than an act of seeing: let the world arrive, then answer with your gaze. When Oliver kneels in the grass to ask what she was made to do, she is not asking for a program. She is asking for sight.

Gerard Manley Hopkins called it “shining from shook foil,” that sudden flare in which the world reveals its charged interior. Dickinson names the same flare with smaller lanterns: laughter in the gables, jocose birds, sun tossing his hat. Walden is a good tutor for this. The pond doesn’t perform. It repeats itself—ripples, reeds, soft weather—and in that repetition gives you back your breath. Wonder is not the rare fireworks; it is the daily glimmer that keeps the soul watered.

If wonder is prayer, then practice looks like this: you walk and let the world come forward a half step. You don’t press your meanings on it. You let a cattail be a cattail. You let the wind write its passing in the sedges and accept that you will never learn the alphabet it uses. You watch the light and consent to its leaving. A rainbow raises and lowers its flag without waiting for your camera. The fête signs itself away. Prayer is the willingness to let the party end and to be grateful for the invitation you didn’t earn.

The moral horizon of Dickinson’s poem is modest yet clear: everything belongs to everything. The drop joins the brook, the brook the sea; dust settles; birds find a joke in their own throats; the bushes fling sequins so that nothing goes unadorned. If there is a wisdom for living here, it is a wisdom of participation. To wonder is to join. To notice is to help. The eye becomes a small brook running toward a larger water.

Which is why this walk can matter beyond mood. When wonder ripens into prayer, the self is less a fortress and more a window. Judgment loosens. Usefulness takes gentler forms. You start to suspect that the world has always been doing the work and your part is to keep your attention clear enough not to interrupt. Even grief, in that light, is a kind of rain—the cloud emptying so that the field can be seeded again.

Guru Nanak sings of just such weather for the inner life: a rain that soaks the mind until it is drenched through, the Name falling in sheets, the parched ground of the heart turned dark with blessing. Dickinson’s pearls, Oliver’s attention, Hopkins’s shining, Thoreau’s deliberation—all are ways of calling for that downpour. We walk the shore, we look, we let the world speak; and somewhere beyond the trees a single flag lifts, then lowers. The fête has ended, but the mind stands wet with it still—shimmering, rinsed, and quietly praying by seeing.

Sometimes I find myself in a song. 
But I love being lost in a song more. 
Raag Sri is about being found. Raag Dhanasri is about being lost. Each color has it's own charm. 

John Steinbeck was  probably thinking of Amazing Grace when he said this. 
1.	Amazing grace! How sweet the sound 
	that saved a wretch like me! 
	I once was lost, but now am found; 
	was blind, but now I see. 

2.	'Twas grace that taught my heart to fear, 
	and grace my fears relieved; 
	how precious did that grace appear 
	the hour I first believed. 

3.	Through many dangers, toils, and snares, 
	I have already come; 
	'tis grace hath brought me safe thus far, 
	and grace will lead me home. 

4.	The Lord has promised good to me, 
	his word my hope secures; 
	he will my shield and portion be, 
	as long as life endures. 

5.	Yea, when this flesh and heart shall fail, 
	and mortal life shall cease, 
	I shall possess, within the veil, 
	a life of joy and peace. 

6.	When we've been there ten thousand years, 
	bright shining as the sun, 
	we've no less days to sing God's praise 
	than when we first begun. 

I wonder if I wonder
about the presence
of God

or His immense hunger
His appetite for
love

His attention to detail
or whether there
was.
Surprising May

Surprises may come from windows
with hissing trees and singing crickets.

Who cares of the reigning promiscuity
or the approaching placid skies,

like a wedding album lying cold,
as good as dead, after a divorce.

When this novel winter that blows
in between seasons can be preserved,

shiv, through wisened cameras
that might capture all of such May nights,

we'll all see killer 5D thrills
filled with smells and chills.
[from 2013] Recently I recorded Guru Nanak's Aarti.  It was just me and the piano in my studio one evening. The essence of this beautiful poem is "How can I light candles for the one who has ignited all the stars in the platter of the sky, and lit all the flowers in the forest, and blows their perfume with the celestial wind? Nanak says that the true Aarti (lighting of candles) is the lighting of the heart's candle."


Raag Dhanasri


Guru Nanak used to sing Aarti in raag dhanasri. But the question remains how do I know we are truly singing Dhanasri? Several musicologists will agree with the musical notes and other perfunctory intricacies, which are necessary, but still inept in creating the atmosphere of Dhanasri. I have found big and small encyclopedias of Indian classical music and Gurmat Sangeet fall short in a meaningful way. The more you sing, Dhanasri, like all raags from the Guru Granth Sahib, it becomes harder to sing. The musical rules are the first step and maybe easy for an adept musician, but that is only the tip of the iceberg; the true Dhanasri, like any true raag, has to fortify the meaning of the words we are singing. And then it has to take you beyond, to the anhat shabad.  That is the purpose of any raag. 

More on How do I know I am singing Dhanasri.

Rabindranath Tagore on Guru Nanak's Aarti


Famous saint poet of India Rabindranath Tagore was once asked by Balraj Sahni, who used to teach at Santiniketan then, that the way he has written the National Anthem of India, why doesn't he write one for the world? He replied that it has already been written. It was written in 16th Century by Guru Nanak, and this was sung by Guru Nanak as Aarti at Jagannath puri to the lord (the omnipresent God). and that this anthem was not only for the world, but for the entire universe. He was so influenced by this aarti that he himself translated it into Bangla language. 

Someone shared the following story on my youtube page: 

Once thespian Balraj Sahni (who used to teach at Santiniketan then) asked the Nobel Laureate Rabindra Nath Tagore, "You have written the national anthem for India. Can you write an international anthem for the whole world?" Tagore replied, "It has already been written. Not just an international anthem, but an anthem for the entire universe. It is the aarti written by Guru Nanak in the 16th century." Tagore was referring to the Sikh Aarti (ceremony of light). Gurudev Tagore was so enamoured of this aarti that he personally translated it into Bengali. Here is the story behind it :

When Guru Nanak traveled to Puri at the Jagannath temple, the temple priests invited Guru Nanak to join them to join in the Aarti of the Lord. Guru Nanak agreed and went and sat inside the temple. The priests stood in front of the idol gods and started to wave platters with lights, incense and offerings placed on it. All the devotees who had gathered stood up and gazed at the Lord with great devotion. Guru Nanak filled with great pleasure, was transfixed and remained seated. So overwhelmed was he, that tears rolled down his eyes

At the end of the aarti, the priests complained to Guru Nanak, "You said you would join us to join us in the Aarti of God, but you remain seated on the floor with your eyes closed!" Guru Nanak then replied with this Shabad, saying “Dear brothers! Does our Jagannath exist only here and in this wooden image? Is he not dazzling in the aura of his own greatness, inside all creation? Cannot his Mahima be felt and experienced without the accompanying rituals?"

For more see Tagore and Sikhism by Amiya Dev, Sikhism Inspired Tagore

Rituals and Aarti 


A few Sikh Gurdwaras perform Aarti with a platter, or 'Thali', while singing the above Aarti Kirtan, including two of the Panj Takhts: Thakat Sachkhand Sri Hazur Sahib Abchal Nagar and Thakat Sachkhand Sri Patna Sahib Harimandir Sahib. Most Sikhs adhering to essence of Guru Nanak's aarti, resist performing Aarti perform, instead singing 'Aarti Kirtan', which are a few shabads from Guru Nanak, Ravidas and other Bhagats/Gurus. 

Gagan Mein Thal Rav - Lyrics of Guru Nanak's Aarti

There are two versions of Guru Nanak's aarti in the Granth Sahib (one on page 13 and another on page 663); they are the same in essence but a few words are changed for instance "tere naam vaasa" on page 663 versus "tere naye vaasa" on page 13; and "tis kai chaanan" versus "tis dai chaanan" on page 663.  

I assume Guru Nanak would change some of these words as he sung them (like the puratan raagis used to); this made gurbani alive. It became different from the religious texts in sanskrit, where the exact word and pronunciation mattered; here it didn't because the essence mattered most. The emotion and the essence is key in any gurbani recitation. 

[from page 13]

Rāg ḏẖanāsrī mėhlā 1. 
Gagan mai thāl rav cẖanḏ ḏīpak bane ṯārikā mandal janak moṯī. 
Ḏẖūp malānlo pavaṇ cẖavro kare sagal banrāe fūlanṯ joṯī. ||1|| 

Kaisī ārṯī ho▫e. 
Bẖav kẖandnā ṯerī ārṯī. 
Anhaṯā sabaḏ vājanṯ bẖerī. ||1|| rahāo. 

Sahas ṯav nain nan nain hėh ṯohi ka▫o sahas mūraṯ nanā ek ṯohī. 
Sahas paḏ bimal nan ek paḏ ganḏẖ bin sahas ṯav ganḏẖ iv cẖalaṯ mohī. ||2|| 

Sabẖ mėh joṯ joṯ hai soe. Ŧis ḏai cẖānaṇ sabẖ mėh cẖānaṇ hoe. 
Gur sākẖī joṯ pargat hoe. Jo ṯis bẖāvai so ārṯī hoe. ||3|| 

Har cẖaraṇ kaval makranḏ lobẖiṯ mano anḏino mohi āhī piāsā. 
Kirpā jal ḏėh Nānak sāring kao hoe jā ṯe ṯerai nāe vāsā. ||4||3|| 

[from Guru Granth Sahib page 663]

Gagan mein thaal rav chand deepak bane
Tarka mandal janak moti
Dhoop malaanlo pawan chavaro kare
Sagal banrai phoolant jyoti

Kaisi aarti hove
bhavkhandna teri aarti
Anahad shabd vajant bheri

Sahas tav nain nan
Nain hai tohe kau
Sahas murat nan na ek tohe
Sahas pad bimal nan ek pad gandh bin
Sahas tav gandh ev chalat mohi

Sab mein jot jot hai sohi
Tis ke chaanan sab mein chaanan hoi
Gur sakhi jot pargat hoe
Jo tis bhave so aarti hoe

Har charan kamal makrand lobit mano
Aneno mohe aaee piyasa
Kirpa jal de nanak sarang ko
Hoe jate tere naam vasa
Hoe jate tere naam vasa

Alternative Translation of Guru Nanak's Aarti

The Sky is your platter,
The sun and moon are the lamps
The Stars in the sky are the pearls,
The ‘Dhoop’ (Incense) is the fragrance,
That the wind propels, the whole forest is Your flowers.

O! What a wonderful Aarti, this is!
You, are a destroyer of Fear,
The sound of Your Name, which is so subtle, that It goes unheard,
Resounds endlessly.

You have a thousand eyes, but not one is yours
You have several forms, yet not one is yours
You have feet, noses…And you have none…
I am charmed by your

Your Light enlightens all!
It is by the Grace of the Guru that the real Light (Knowledge) Manifests.
What pleases the Almighty is this Aarti

Nanak is like the thirsty bird that asks,
For a drop of water, From You O Lord!
That drop (Grace) will make Nanak find comfort,
In the uttering of Your Name.

Traditional Translation

Raag Dhanaasree, First Mehl (Guru Nanak)

Upon that cosmic plate of the sky, the sun and the moon are the lamps. The stars and their orbs are the studded pearls. 
The fragrance of sandalwood in the air is the temple incense, and the wind is the fan. All the plants of the world are the altar flowers in offering to You, O Luminous Lord. ||1|| 

What a beautiful Aartee, lamp-lit worship service this is! 
O Destroyer of Fear, this is Your Ceremony of Light. 
The Unstruck Sound-current of the Shabad is the vibration of the temple drums. ||1||Pause|| 

You have thousands of eyes, and yet You have no eyes. You have thousands of forms, and yet You do not have even one. 
You have thousands of Lotus Feet, and yet You do not have even one foot. You have no nose, but you have thousands of noses. This Play of Yours entrances me. ||2|| 

Amongst all is the Light-You are that Light. By this Illumination, that Light is radiant within all. 
Through the Guru's Teachings, the Light shines forth. That which is pleasing to Him is the lamp-lit worship service. ||3|| 

My mind is enticed by the honey-sweet Lotus Feet of the Lord. Day and night, I thirst for them. 
Bestow the Water of Your Mercy upon Nanak, the thirsty song-bird, so that he may come to dwell in Your Name. ||4||3||

Lyrics in Gurmukhi and English 


ਰਾਗੁ ਧਨਾਸਰੀ ਮਹਲਾ ੧ ॥ Raag Dhhanaasaree Mehalaa 1 || Raag Dhanaasaree, First Guru:

ਗਗਨ ਮੈ ਥਾਲੁ ਰਵਿ ਚੰਦੁ ਦੀਪਕ ਬਨੇ ਤਾਰਿਕਾ ਮੰਡਲ ਜਨਕ ਮੋਤੀ ॥ Gagan Mai Thhaal Rav Chandh Dheepak Banae Thaarikaa Manddal Janak Mothee ||

ਧੂਪੁ ਮਲਆਨਲੋ ਪਵਣੁ ਚਵਰੋ ਕਰੇ ਸਗਲ ਬਨਰਾਇ ਫੂਲੰਤ ਜੋਤੀ ॥੧॥ Dhhoop Malaaanalo Pavan Chavaro Karae Sagal Banaraae Foolanth Jothee ||1||

ਕੈਸੀ ਆਰਤੀ ਹੋਇ ॥ Kaisee Aarathee Hoe ||

ਭਵ ਖੰਡਨਾ ਤੇਰੀ ਆਰਤੀ ॥ Bhav Khanddanaa Thaeree Aarathee ||

ਅਨਹਤਾ ਸਬਦ ਵਾਜੰਤ ਭੇਰੀ ॥੧॥ ਰਹਾਉ ॥ Anehathaa Sabadh Vaajanth Bhaeree ||1|| Rehaao ||

ਸਹਸ ਤਵ ਨੈਨ ਨਨ ਨੈਨ ਹਹਿ ਤੋਹਿ ਕਉ ਸਹਸ ਮੂਰਤਿ ਨਨਾ ਏਕ ਤਦ਼ਹੀ ॥ Sehas Thav Nain Nan Nain Hehi Thohi Ko Sehas Moorath Nanaa Eaek Thuohee ||

ਸਹਸ ਪਦ ਬਿਮਲ ਨਨ ਏਕ ਪਦ ਗੰਧ ਬਿਨੁ ਸਹਸ ਤਵ ਗੰਧ ਇਵ ਚਲਤ ਮੋਹੀ ॥੨॥ Sehas Padh Bimal Nan Eaek Padh Gandhh Bin Sehas Thav Gandhh Eiv Chalath Mohee ||2||

ਸਭ ਮਹਿ ਜੋਤਿ ਜੋਤਿ ਹੈ ਸੋਇ ॥ Sabh Mehi Joth Joth Hai Soe ||

ਤਿਸ ਦੈ ਚਾਨਣਿ ਸਭ ਮਹਿ ਚਾਨਣੁ ਹੋਇ ॥ This Dhai Chaanan Sabh Mehi Chaanan Hoe ||

ਗੁਰ ਸਾਖੀ ਜੋਤਿ ਪਰਗਟੁ ਹੋਇ ॥ Gur Saakhee Joth Paragatt Hoe ||

ਜੋ ਤਿਸੁ ਭਾਵੈ ਸੁ ਆਰਤੀ ਹੋਇ ॥੩॥ Jo This Bhaavai S Aarathee Hoe ||3||

ਹਰਿ ਚਰਣ ਕਵਲ ਮਕਰੰਦ ਲੋਭਿਤ ਮਨੋ ਅਨਦਿਨਦ਼ ਮੋਹਿ ਆਹੀ ਪਿਆਸਾ ॥ Har Charan Kaval Makarandh Lobhith Mano Anadhinuo Mohi Aahee Piaasaa ||

ਕ੍ਰਿਪਾ ਜਲੁ ਦੇਹਿ ਨਾਨਕ ਸਾਰਿੰਗ ਕਉ ਹੋਇ ਜਾ ਤੇ ਤੇਰੈ ਨਾਇ ਵਾਸਾ ॥੪॥੩॥ Kirapaa Jal Dhaehi Naanak Saaring Ko Hoe Jaa Thae Thaerai Naae Vaasaa ||4||3||
We cannot answer many questions. There is a mystery surrounding the answers. The mystery of the answers helps make the questions wonder-ful. Most answers to such unanswerable questions seem crazy. Why not then, have crazy questions to start with? This is what Billy does in this poem. Only to in the end reach the irrefutable conclusion that musicians sleep late.

Questions About Angels
BY BILLY COLLINS

Of all the questions you might want to ask
about angels, the only one you ever hear
is how many can dance on the head of a pin.

No curiosity about how they pass the eternal time
besides circling the Throne chanting in Latin
or delivering a crust of bread to a hermit on earth
or guiding a boy and girl across a rickety wooden bridge.

Do they fly through God's body and come out singing?
Do they swing like children from the hinges
of the spirit world saying their names backwards and forwards?
Do they sit alone in little gardens changing colors?

What about their sleeping habits, the fabric of their robes,
their diet of unfiltered divine light?
What goes on inside their luminous heads? Is there a wall
these tall presences can look over and see hell?

If an angel fell off a cloud, would he leave a hole
in a river and would the hole float along endlessly
filled with the silent letters of every angelic word?

If an angel delivered the mail, would he arrive
in a blinding rush of wings or would he just assume
the appearance of the regular mailman and
whistle up the driveway reading the postcards?

No, the medieval theologians control the court.
The only question you ever hear is about
the little dance floor on the head of a pin
where halos are meant to converge and drift invisibly.

It is designed to make us think in millions,
billions, to make us run out of numbers and collapse
into infinity, but perhaps the answer is simply one:
one female angel dancing alone in her stocking feet,
a small jazz combo working in the background.

She sways like a branch in the wind, her beautiful
eyes closed, and the tall thin bassist leans over
to glance at his watch because she has been dancing
forever, and now it is very late, even for musicians.



“If the stars should appear one night in a thousand years, how would men believe and adore; and preserve for many generations the remembrance of the city of God which had been shown! But every night come out these envoys of beauty, and light the universe with their admonishing smile.”

― Ralph Waldo Emerson, Nature and Selected Essays

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SHIVPREET SINGH

Singing oneness!
- Shivpreet Singh

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