Shivpreet Singh
Shivpreet Singh
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Lyrics and Translation 1: Mogara Phulala

Mogaraa phulalaa, mogaraa fulalaa
Fulen wechitaa baharu kaliyaansi alaa.
Iwalese rop laawiyele dwaari
Tayaachaa welu gelaa gaganaawari.
Manaachiye gunti gunfiyalaa shelaa
baap rakhumaadewiwaru withhthhale arpilaa.

In this illusion of our worldly existence my sapling of Jasmine (illusion) has blossomed with flowers (Experiences of happiness & sorrow)

We percieve this illusion of life as truth enduring through multiple cycles of death and life

The small Jasmine sapling that i had planted at doorstep has reached the skies in due course of time.

With the thread of my mind a have made a garland of these Jasmine flowers( my devotion) which offer to my supreme lord Vitthal.

Source: https://kiranmag.wordpress.com/2016/07/18/mogara-phulalaa-jasmine-flowers-have-blossomed/

Translation 2: Mogaraa phulalaa


Dnyaneshwar Mauli has written number of abhangs which look simple but have a deep underlying meaning. ‘Mogara phulalaa' is one such Abhang.

मोगरा फुलला, मोगरा फुलला
Mogaraa phulalaa, mogaraa phulalaa
Jasmine has blossomed, jasmine has blossomed

फुलें वेचिता बहरु कळियांसी आला
Phulen vechitaa baharu kaliyaansi alaa
While collecting the flowers remaining buds have fully bloomed.

इवलेसे रोप लावियेलें द्वारी, तयाचा वेलू गेला गगनावरी
Ivalese rop laaviyele dwaari Tayaachaa velu gelaa gaganaavari
The small Jasmine sapling that I had planted at doorstep has reached the skies in due course of time.

मनाचिये गुंती गुंफियला शेला
Manaachiye gunti gunphiyalaa shelaa
Now with the thread of my mind I have made a garland out of these Jasmine flowers.

बाप रखुमादेवीवरु विठ्ठलें अर्पिला
Baapa Rakhumaadevivaru Vitthale arpilaa.
I offer this garland of devotion to my Father, the husband of Rukmini Devi, Lord Vitthala!


The poet is talking about the Maya, or the deceptive world, which exists in our minds. Picking flowers represents our full immersion in experiencing happiness and sadness, which are also deceptive. The blooming buds symbolize the fully developed Maya. We become increasingly absorbed in this deceptive existence from life to life. We perceive this illusion as a truth that endures through countless cycles of death and rebirth. I have used this worldly Maya (Jasmine flowers) to cultivate unshakable devotion to Lord Vitthala. The act of making a garland from the flowers signifies bhakti, or devotion. The poet offers this garland to the Lord Vitthala.


rahiye ab aisi jagah chal kar jahaan koi na ho
hamsukhaan koi na ho aur hamzabaan koi na ho

Line 1/2 - It is time now to go and live in such a place where there is no one else around. Where there is no one that would speak with us or no one who knows our language. The poet says it time now to leave this place and go somewhere where no one is around. Where no one shares a conversation with him or shares the common language. All the ones I have ever been with.. my friends, my lovers, my neighbors, any ones who talks to us, anyone who even shares the same speech.. I want to leave all of them behind for all I have got from them is grief and uncomfortable questions. I want to go to a place where I have no one to talk to.

be dar-o-dewaar sa ek ghar banaayaa chahiye
koi hamsaayah na ho aur paasbaan koi na ho

Line 3/4 - Without doors and walls, such one house should be constructed. There be no neighbors and no gatekeeper as well. Lets go to a place where there is no one around, and in this place lets have a house without walls and doors and where there is no need for a gatekeeper and no neighbors around. Another interpretation of it being in such a house, there would be no need for a gatekeeper for there is no door and no neighbors for there are no walls.

pariye gar bemaar toh koi na ho timardaar
aur agar mar jaaiye to nauhakhawan koi na ho

Line 5/6 - If I were to fall sick, there should be no one to look after me (to nurse me back to health). And If I were to die, there would be no  lament-reciter there. Continuing with the same theme of isolation and alienation from friends, colleagues and neighbors around him. The poet says if he were to fall ill, he would not like to have someone to look after him and no lament-singers in his funeral if I were to die. All my life I had wanted to stay away from them. I have made my home far from away them. In sickness and death, I will be in peace in my isolation.

Meaning of difficult words
hamsukhaan - sharing a speech
hamzaban - sharing the same language
hamsaayah - neighbours
paasbaan - gatekeeper
timardar - caretaker
nauhakhawan - lament-reciter
I really love the poetry of Dr. Allama Iqbal for its beauty and creativity.

Today I am listening to Shikwa, meaning "Complaint," or Allama Iqbal's most famous poem in Urdu. It consists of two parts: Shikwa and Jawab-e-Shikwa, meaning "Complaint" and "Response to the Complaint," respectively. It is surmised that these poems draw inspiration from the renowned works of John Milton, namely "Paradise Lost" and "Paradise Regained." Shikwa showcases Iqbal's masterful use of Urdu vocabulary and highlights the achievements of Muslims.

In Shikwa, Iqbal assumes the role of an oppressed and frustrated Muslim who complains to Allah Almighty about the challenges faced by Muslims. The second part, Jawab-e-Shikwa, presents a hypothetical scenario where Allah Himself responds to the grievances of the complaining Muslim. 

A translation of Shiqwa is below. And I wrote a poem inspired by this: 

Why God Doesn’t Visit Anymore

Poetry, you see,
was invented so chairs could talk back,
so shadows could finally say
what they really think about lamps.

At first, it was small stuff—
a pigeon grieving the loss
of its mate to a glass window,
a spoon lamenting its demotion
after the arrival of chopsticks.

But then poets got involved.
And you know how they are—
always feeling too much,
like a raindrop is secretly
a metaphor for betrayal.

Soon, entire villages
were speaking through metaphors,
and even God, I hear,
scribbled a few lines
on the back of a thundercloud
before giving up.

Too much suffering, He said.
Everyone’s asking for justice
and free Wi-Fi.
No one wants to be misunderstood
in blank verse anymore.

That’s why He doesn’t visit.
Every time He does,
someone writes a poem about it—
and suddenly
He’s responsible
for everything.







Shikwa - Transliterated Poem and Translation


Shikwa
THE COMPLAINT

Stanza (1)

Kyun Ziyaan Kaar Banun, Sood Framosh Rahun
Fikr-e-Farda Na Karum, Mahw-e-Ghum-e-Dosh Rahun

 Why should I choose the loser’s role? Forbear to seek what gain I may?
Nor think of what the morrow holds, But brood o’er woes of yesterday?


Naale Bulbul Ke Sunoon, Aur Hama Tan Gosh Rahun
Humnawa Main Bhi Koi Gul Hun Ke Khamosh Rahun

Why should my ears enraptured hear the plaintive notes of Philomel?
Fellow‐bard! a rose am I to lose me in sweet music’s swell?


Jurrat Aamoz Miri Taab-e-Sakhun Hai Mujh Ko
Shikwa Allah Se Khakam Badahan Hai Mujh Ko

For I too have the gift of song which gives me courage to complain,
But ah! ‘tis none but God Himself whom I, in sorrow, must arraign!

Stanza (2)

Hai Baja Shewa-e-Tasleem Mein Mashoor Hain Hum
Qissa-e-Dard Sunate Hain Ke Majboor Hain Hum

I grant that we have earned repute as ever reconciled to Fate,
But to You still a tale of pain I can no longer help narrate.


Saaz-e-Khamosh Hain, Faryad Se Maamoor Hain Hum
Nala Ata Hai Agar Lab Pe To Maazoor Hain Hum

Though we may seem like voiceless lyres, within, imprisoned anguish cries;
Its urge compels, and I obey, Framing these plaintive melodies.


Ae Khuda Shikwa-e-Arbab-e-Wafa Bhi Sun Le
Khugar-e-Hamd Se Thora Sa Gila Bhi Sun Le

Hear You, O God! these sad complaints from those of proven fealty;
From lips accustomed but to praise hear You these words in blame of You!

Stanza (3)

Thi To Maujood Azal Se Hi Teri Zaat-e-Qadim
Phool Tha Zaib-e-Chaman, Par Na Preshan Thi Shamim

From when eternal Time began, Your Timeless Self had also been;
But then no breeze its sweetness spread though the Rose reigned the garden’s queen.


Shart Insaaf Hai, Ae Sahib-e-Altaf-e-Amim
Boo-e-Gul Phailti Kis Tarah Jo Hoti Na Nasim

Canst You, in justice, but confess, O Lord! from whom all favours flow,
Had not the south wind toiled in love the world Your fragrance would not know?


Hum Ko Jamiat-e-Khatir Ye Preshani Thi
Warna Ummat Tere Mehboob (S.A.W.) Ki Diwani Thi

The glad travail we sought for You Rejoiced our souls and was our pride—
Thinkst You the followers of Your Friend Insanely spread Your Truth so wide?

Stanza (4)

Hum Se Pehle Tha Ajab Tere Jahan Ka Manzar
Kahin Masjood The Pathar, Kahin Maabood Shajar

Before we came, how strange a sight was this most beauteous world of Thine (yours)!
For here to stones men bowed their heads, and there in trees did ‘gods’ enshrine!


Khugar-e-Paikar-e-Mahsoos Thi Insaan Ki Nazar
Manta Phir Koi Un-Dekhe Khuda Ko Kyunkar

Their unenlightened minds could seize nought else but what their eyes could see,
You know, Lord, Your writ ran not—Man neither knew nor worshipped Thee (You)!


Tujh Ko Maalum Hai Leta Tha Koi Naam Tera?
Quwwat-e-Baazoo-e-Muslim Ne Kiya Kaam Tera

And canst You say that even once one of these did Your name recite?
It was the might of Muslim arms fulfilled Your task and gave them Light.

Stanza (5)

Bas Rahe The Yahin Saljuq Bhi, Toorani Bhi
Ahl-e-Chin Cheen Mein, Iran Mein Sasaani Bhi

Yet once there lived the Seljuks here, Turanians too, and wise Chinese,
Sasanians drew their breath and thrived In rose‐perfumed Iranian breeze;


Issi Maamoore Mein Aabad The Yoonani Bhi
Issi Dunya Mein Yahudi Bhi The, Nusraani Bhi

And elsewhere in Your peopled world the Greeks of Yunan held their sway,
While sons of Israel side by side with Christian nations had their day.


Par Tere Naam Pe Talwar Uthai Kis Ne
Baat Jo Bigri Huwi Thi, Woh Banaai Kis Ne

But which among these nations raised the sacred sword in holy fight,
Self‐consecrated to Your cause, to set their crazy world aright?

Stanza (6)

The Hameen Ek Tire Maarka Aaraaon Mein!
Khushkion Mein Kabhi Larte, Kabhi Dariyaon Mein,

’Tis we and we alone who thronged as warriors on Your fields of fray,
And now upon the land we fought and now upon the salt sea spray.


Deen Azaanen Kabhi Europe Ke Kaleesaaon Mein
Kabhi Africa Ke Tapte Huwe Sehraaon Mein.

We made our Azan’s call resound beneath proud spires in Western lands,
And made that magic melody thrill over Afric’s burning sands.


Shan Ankhon Mein Na Jachti Thi Jahan Daron Ki
Kalima Parhte The Hum Chaon Mein Talwaron Ki

The pageantries of mighty kings to us were shows that mattered not,
Beneath the shade of blades unsheathed in Kalima we glory sought.

Stanza (7)

Hum Jo Jeete The To Jnagon Ki Musibat Ke Liye
Aur Merte The Tere Naam Ki Azmat Ke Liye

Our only life was then to face the perils of Your holy wars;
To glorify Your name we died, adorned with hallowed battle scars.


Thi Na Kuch Taeg-Zani Apni Hukumat Ke Liye
Sar-Bakaf Phirte The Kya Dehar Mein Doulat Ke Liye

Not lust for power for our own sakes our drawn‐sword’s playfulness inspired,
Nor roamed we hand‐in‐glove with death for worldly riches we desired.


Qaum Apni Jo Zar-o-Maal-e-Jahan Par Marti,
But Faroshi Ke Iwaz But Shikni Kyon Karti?

Our people, had they set their hearts on this world’s riches or its gold,
Not idol‐breaking would have gone but idols would have bought and sold.

Stanza (8)

Tal Na Sakte The Agar Jang Mein Arh Jate The
Paon Sheron Ke Bhi Maidan Se Ukhar Jate The

We stood our ground like rocks when once the foe had met our phalanx dread;
Before our might the bravest quailed and, vanquished, from the battle fled.


Tujh Se Sarkash Huwa Koi To Bighar Jate The
Taeg Kya Cheez Hai, Hum Toup Se Larh Jate The

And those who offered You affront our swift, relentless fury faced,
Their mightiest arms we set at nought, Their insolence and pride abased.


Naqsh Tauheed Ka Har Dil Pe Bithaya Hum Ne
Zer-e-Khanjar Bhi Yeh Paigham Sunaya Hum Ne

On all men’s minds we set Your seal, Your tawhid’s firm and sure impress—
The selfsame message preached our lips when swords danced high in battle’s stress.

Stanza (9)

Tu Hi Keh De Ke Ukhara Dar-e-Khyber Kis Ne
Sheher Qaiser Ka Jo Tha, Us Ko Kiya Sar Kis Ne

Declare You whose fierce valor once did Khyber’s barriers overthrow?
Or whose resistless might once laid Famed Caesar’s proudest cities low?



Tore Makhluq Khudawandon Ke Paikar Kis Ne
Kaat Kar Rakh Diye Kuffaar Ke Lashkar Kis Ne

Who smashed to dust man’s handwrought gods, those things of straw and earth and clay?
And who did unbelieving hosts to spread Your name and glory slay?


Kis Ne Thanda Kiya Atishkuda-e-Iran Ko?
Kis Ne Phir Zinda Kiya Tazkara-e-Yazdaan Ko?

And who was it that quenched and cooled the fiery urns of fair Iran?
And in that land did once again revive the worship of Yazdan?

Stanza (10)

Kon Si Qoum Faqat Teri Talabgar Huwi
Aur Tere Liye Zehmat Kash-e-Paikaar Huwi

Among those nations, was there one who craved You as we craved and sought?
Or risked the perils of fell war that Your Divinest will be wrought?


Kis Ki Shamsheer Jahangeer, Jahandar Huwi
Kis Ki Takbeer Se Dunya Teri Baidar Huwi

Whose was that conquest‐thirsty sword which won and held the world in fee?
And whose the Takbeer‐sounding call, which wakened all the world to You?


Kis Ki Haibat Se Sanam Sehme Huwe Rehte The
Munh Ke Bal Gir Ke 'HU WA-ALLAH HU AHAD' Kehte The

Whose was the fateful wrath which made all idols shrink in terror just?
“There is no god but God,” they cried, as crumbling down they kissed the dust.

Stanza (11)

Aa Gaya Ain Laraai Mein Agar Waqt-e-Namaz
Qibla Ru Ho Ke Zameen Bos Huwi Qoum-e-Hijaz

 When worship’s ordained hour was come, and furious raged the battle’s fray,
Those men of Hijaz, staunch in You, facing Your Ka‘ba, bowed to pray.


Ek Hi Saf Mein Khare Ho Gaye Mahmood-o-Ayaz,
No Koi Banda Raha Aur Na Koi Banda Nawaz.

Mahmood the king and slave Ayaz, in line, as equals, stood arrayed,
The lord was no more lord to slave: while both to the One Master prayed.


Banda-o-Sahib-o-Mauhtaaj-o-Ghani Aik Huwe
Teri Sarkar Mein Pohanche To Sabhi Aik Huwe

Slave or slave’s master, rich or poor, no sense of difference then felt,
For each a brother was to each when in Your Presence, Lord, they knelt.

Stanza (12)

Mehfil-e-Kon-o-Makan Mein Sehar-o-Sham Phire
Mai-e-Tauheed Ko Lekar Sifat-e-Jam Phire

And You do know we went about at sunrise or when stars did shine,
In banquet‐halls of Time and Space, like goblets, filled with tawhid’s wine


Koh Mein, Dasht Mein Le Kar Tera Pegham Phire
Aur Maaloom Hai Tujh Ko, Kabhi Nakaam Phire !

Both heights and lowlands we traversed to spread Your message; O glad pain!
Not even once, You know well, we strove against the world in vain.


Dasht To Dasht Hain, Darya Bhi Na Chhore Hum Ne
Bahr-e-Zulmaat Mein Daura Diye Ghore Hum Ne

Not only land we bore Your Word glorious across the heaving seas,
Upon our steed of zeal, we rode unto their darkest boundaries!

Stanza (13)

Safah-e-Dahar Se Baatil Ko Mitaya Hum Ne
Nau-e-Insaan Ko Ghulami Se Chhuraya Hum Ne

We who removed from this world’s book the leaves which were with falsehood stained,
We who, from tyrant ignorance, The prisoned human race unchained,


Tere Kaabe Ko Jabeenon Se Basaya Hum Ne
Tere Quran Ko Seenon Se Lagaya Hum Ne

We who with myriad sajdas filled Your Holy Kaʹba’s hallowed shrine,
Whose bosoms reverently held Your great and glorious Book Divine—


Phir Bhi Hum Se Yeh Gila Hai Ke Wafadar Nahin
Hum Wafadar Nahin, Tu Bhi To Dildar Nahin!

If our meed still the obloquy that we have shirked the Faithful’s part,
How then canst You make claim to be the kindly faith‐compelling heart?

Stanza (14)

Ummatain Aur Bhi Hain, In Mein Gunahgar Bhi Hain
Ejz Wale Bhi Hain, Mast-e-Mai-e-Pindar Bhi Hain

For there are those of other faiths Among whom many sinners ,
Some humble, others puffed with pride, Drunken in their effrontery;


In Mein Kahil Bhi Hain, Ghafil Bhi Hain, Hushyar Bhi Hain
Saikron Hain Ke Tere Naam Se Baizar Bhi Hain

If some have vision, thousands are of little worth, neglectful, worse;
And millions upon millions live from Your dear, glorious name averse.


Rehmatain Hain Teri Aghiyar Ke Kashaanon Par
Barq Girti Hai To Bechare Musalmanon Par

Yet see how still Your bounties rain on roofs 0f unbelieving clans,
While strikes Your thunder‐bolt the homes of all‐forbearing Mussalmans!

Stanza (15)

Boott Sanam Khanon Mein Kehte Hain, Musalman Gye
Hai Khushi In Ko Ke Kaabe Ke Nigehban Gye

In idol‐houses, hark! they say, “Behold, the Muslim star sinks low!
How glad they are that now at last Your Kaʹba’s brave protectors go!


Manzil-e-dehr Se Unthon Ke Hudi Khawan Gye
Apni Baghlon Mein Dabaye Huwe Quran Gye

They say, “The world is well rid now of hymn‐reciting camel‐men,
Their Quran folded in their arms, At last they hie them from our ken!


Khandah Zan Kufr Hai, Ehsas Tujhe Hai Ke Nahin
Apni Touheed Ka Kuch Paas Tujhe Hai Ke Nahin

Thus they rejoice who own You not; Yet still unmindful seemest You
Of Yours own One‐ness, Your Tawhid—Are You so unregarding now?

Stanza (16)

Ye Shikayatt Nahin, Hain Un Ke Khazane Maamur
Nahin Mehfil Mein Jinhain Baat Bhi Karne Ka Shaur

That ignorant men who lack the grace to ope their lips in conclave high
Should have their coffers treasure‐filled, is not the burden of our sigh;


Qehar To Ye Hai Ke Kafir Ko Milain Hoor-o-Qasoor
Aur Bechare Musalman Ko Faqat Wada-e-Hoor

But O, that this world’s best should fall to unbelievers from Your hand
While we on promises are fed of pleasures in a shadowy land!


Ab Woh Altaf Nahin, Hum Pe Anayat Nahin
Baat Ye Kya Hai Ke Pehli Si Madarat Nahin

Where are those favours which You once upon our grateful hearts didst pour ?
Why cherishest You not, O Lord, The Faithful as in days of yore?

Stanza (17)

Kyun Musalmanon Mein Hai Doulat-e-Dunya Nayaab
Teri Qudrat To Hai Woh Jis Ki Na Had Hai Na Hisab

Why from the bounties of this life The Faithful now no profit gain
Though still Almighty You remainest and limitless Your means remain?


Tu Jo Chahe To Uthe Seena-e-Sehra Se Habab
Rahroo-e-Dasht Ho Seeli Zada Mouj-e-Saraab

If You but will, fountains can flow from barren desert and parched sands,
And mirage‐bound a traveller be while walking through green forest lands:


Taan-e-Aghiyaar Hai, Ruswai Hai, Nadaari Hai,
Kya Tere Nam Pe Marne Ka Iwaz Khwari Hai?

Yet foe-men‐taunted, grace‐deprived, and poorest of the poor are we!
Is this Your recompense to those who sacrifice their lives for You?

Stanza (18)

Bani Aghyar Ki Ab Chahne Wali Dunya
Reh Gyi Apne Liye Aik Khiyali Dunya

Your  world, how eagerly, today on strangers, all its grace bestows:
For those who walk Your chosen way a world of dreams its glamour throws!


Hum To Rukhsat Huwe, Auron Ne Sanbhali Dunya
Phir Na Kehna Huwi Touheed Se Khali Dunya

So be it then, so let us pass, let other nations hold the sway—
When we are gone, reproach us not that tawhid too has passed away!


Hum Tau Jeete Hain Ke Duniya Mein Tira Naam Rahe,
Kahin Mumkin Hai Saqi Na Rahe, Jaam Rahe?

We live here only that Your Name may live here in men’s minds enshrined;
Can saki bid his last adieu and leave Love’s cup and wine behind?

Stanza (19)

Teri Mehfil Bhi Gai, Chahne Walw Bhi Gaye,
Shab Ki Aahen Bhi Gaien, Subah Ke Nale Bhi Gaye,

Your  court‐yard empties. They depart who came to worship and adore;
The midnight’s sighs, the dawn’s lament, now You wilt miss for evermore!


Dil Tujhe Debhi Gaye, Apna Sila Le Bhi Gaye,
Aa Ke Baithe Bhi Na The, Ke Nikaale Bhi Gaye.

They came, they gave their hearts to You, they had their recompense, and went.
But hardly they had seated been when from Your Presence they were sent!


Aae Ushaaq, Gaye Waada-e-Farda Lekar,
Ab Unhen Dhoond Charag-e-Rukh-e-Zeba Lekar!

They came glad lovers, begging love; with future promise turned away:
Go, shine Your Beauty’s lamp about and seek and win them if You may!

Stanza (20)

Dard-e-Laila Bhi Wohi, Qais Ka Pahlu Bhi Wohi,
Nejd Ke Dasht-o-Jabal Mein Ram-e-Aahoo Bhi Wohi,

The love of Layla burneth still, And Majnun passion’s yearning knows;
In hill and valley of the Nejd the fleet gazelle still leaping goes;


Ishq Ka Dil Bhi Wohi, Husn Ka Jaadoo Bhi Wohi,
Ummat-e-Ahmed-e-Mursil Bhi Wohi, Tu Bhi Wohi,

The soul of Love is still the same, still, Beauty’s magic charms enthral,
Your Ahmad’s feemen still abide; and You art there, the soul of all.


Phir Yeh Aazurdagi-e-Ghair-Sabab Kya Maani,
Apne Shaidaaon Pe Yeh Chashm-e-Ghazab Kya Maani?

Then Stranger! why estranged today the bond of love ‘twixt You and Yours?
Upon the Faithful, O Unkind, why frowns Your eye of wrath Divine?

Stanza (21)

Tujh Ko Chora Ke Rasool-e-Arabi (S.A.W.) Ko Chora?
Boutgari Paisha Kiya, Bout Shikani Ko Chora?

Did we forswear our faith to You? to Your Dear Prophet cease to cling?
Of idol‐breaking did we tire? or take to idol‐worshipping?


Ishq Ko, Ishq Ki Ashuftah-Sari Ko Chora?
Rasm-e-Salman (R.A.)-o-Awais-e-Qarani (R.A.) Ko Chora?

Or did we weary of Your Love, or Your Love’s rapture ever shun?
Or turned we from the path which trod Qaran’s Owais and Salman?


Aag Takbeer Ki Seenon Mein Dabi Rakhte Hain
Zindagi Misl-e-Bilal-e-Habshi (R.A.) Rakhte Hain

Your Takbeer’s unextinguished flame within our hearts we cherish yet:
Aethiop Belal’s life, the star by which our own lives’ course we set!

Stanza (22)

Ishq Ki Khair, Who Pehli Si Ada Bhi Na Sahi,
Jaada Paimaai Taslim-o-Raza Bhi Na Sahi,

But even if a change has been, and we in Love are less adept,
Or out of resignation’s path our erring wayward feet have stept;


Muztarib Dil Sifat-e-Qibla Nama Bhi Na Sahi
Aur Pabandi-e-Aaeen-e-Wafa Bhi Na Sahi

If, unlike trusted compasses, our souls respond not now to you,
And if to laws of faithfulness our roving hearts are now less true ;


Kabhi Hum Se, Kabhi Ghairon Se Shanasaai Hai
Baat Kehne Ki Nahin, Tu Bhi To Harjaai Hai

Must You too play the fickle flirt with us, with others, day by day,
We cannot help the sinful thought which shame forbids our lips to say.

Stanza (23)

Sar-e-Faran Pe Kiya Deen Ko Kamil Tu Ne
Ek Ishare Mein Hazaron Ke Liye Dil Tu Ne

Upon the peak of Mount Faran Your glorious Faith You didst perfect—
With one Divinest gesture drew a host of fervid first‐elect;


Atish Andoz Kiya Ishq Ka Hasil Tu Ne
Phoonk Di Garmi-e-Rukhsar Se Mehfil Tu Ne

Your flaming Beauty filled the world and set a myriad hearts on fire;
Then blew the quintessence of Love in Man to passion’s wild desire.


Aaj Kyun Seene Humare Sharar Abad Nahin
Hum Wohi Sokhta Saman Hain, Tuhe Yaad Nahin?

Ah, why within our deadened hearts that holy flame today leaps not?
Though still those burnt‐out victims we which once we were, have You forgot?

Stanza (24)

Wadi-e-Najd Mein Woh Shor-e-Silasil Na Raha
Qais Diwana-e-Nazara Mehmil Na Raha

Upon the dale of Nejd is stilled the clanging of the captive’s chains;
To glimpse the camel‐litter, Qais no longer with his madness strains


Hosle Woh Na Rahe, Hum Na Rahe, Dil Na Raha
Ghar Ye Ujhra Hai Ke Tu Ronaq-e-Mehfil Na Raha

The yearnings of the heart are dead, the heart itself is cold; so we;
And desolation fills our house for shines not there the Light of You.


Ae Khush Aan Roz Ke Ayi-o-Bsad Naz Ayi
Be-Hijabana Soo'ay Mehfil-e-Ma Baaz Ayi

O blessed day when You shall come, a thousand graces in Your train
When by unbashful glad feet turn towards our nesting‐place again.

Stanza (25)

Badahkash Gair Hain Gulshan Mein Lab-e-Joo Baithe
Sunte Hain Jaam Bakaf Naghma-e-Kuku Baithe

 Beside the garden fountain now, quaffing wine, strangers sit, alas!
The cuckoo’s note their ear regales and their hands hold the sparkling glass!


Door Hungama-e-Gulzar Se Yak Soo Baithe
Tere Diwane Bhi Hain Muntazir 'Hoo' Baithe

From all this garden’s riot far, Calm in a corner seated too,
Love‐longing lunatics await Your frenzy‐kindling breath of 'hu'!


Apne Parwanon Ko Phir Zauq-e-Khud Afrozi De
Barq-e-Dairina Ko Farman-e-Jigar Sozi De

The passion for the flame’s embrace—Your moths—ah, let them once more know;
And bid Your ancient lightning strike and set these ash‐cold hearts aglow!

Stanza (26)

Qoum-e-Awara Anaa Taab Hai Phir Soo'ay Hijaz
Le Ura Bulbul-e-Be Par Ko Mazak-e-Parwaz

Towards the Hijaz turn again the straying tribe their bridle‐strings!
Lo, wingless soars the nightingale aloft, upon its yearning’s wings!


Muztarib Bagh Ke Har Ghunche Mein Hai Boo'ay Niaz
Tu Zara Chair To De, Tashna-e-Mizrab Hai Saaz

The fragrance in each blossom hid within the garden palpitates,
But with Your plectrum wake its strings—The lute that livening touch awaits!


Naghme Betaab Hain Taron Se Niklne Ke Liye
Toor Muztar Hai Ussi Aag Mein Jalne Ke Liye

Yea, longs to break its prison’s bounds the string‐imprisoned melody;
And yearning Sinai waits again to burn itself to dust in You

Stanza (27)

Mushkalain Ummat-e-Marhoom Ki Asan Kar De
Moor-e-Bemaya Ko Humdosh-e-Suleman Kar De

Resolve, O Lord! the travail sore which this Your chosen people tries,
Make You the ant of little worth to Solomon’s proud stature rise!



Jins-e-Nayaab-e-Mohabbat Ko Phir Arzaan Kar De
Hind Ke Dair Nasheenon Ko Musalman Kar De

Bring You, O Lord, with our grasp that most rare love for which we pray;
To India’s temple‐squatters teach the truth of the Islamic way.


Joo'ay Khoon Mee Chakad Az Hasrat-e-Dairina-e-Maa
Mee Tapd Nala Ba Nashtar Kadah-e-Seena-e-Maa

Our hearts’ desires, long unfulfilled, unceasingly our life‐blood drain;
Our breasts, with thousand daggers pierced, still struggle with their cry of pain!

Stanza (28)

Boo-e-Gul Le Gyi Bairun-e-Chaman Raaz-e-Chaman
Kya Qayamat Hai Ke Khud Phool Hain Ghammaz-e-Chaman !

The fragrance of the rose has borne the garden’s secret far away—
How sad it is, the traitor’s role the garden’s sweetest buds should play!


Ahd-e-Gul Khatam Hua, Tut Gaya Saaz-e-Chaman,
Ur Gaye Dalion Se Zamzama Pardaaz-e-Chaman.

The bloom‐time of the rose is done; the garden‐harp now shattered lies;
And from its perch upon the twig, away each feathered songster flies—


Ek Bulbul Hai Ke Hai Mahw-e-Tarannum Ab Tak,
Us Ke Seene Mein Hai Naghmon Ka Talatam Ab Tak.

But yet there uncompanioned sits A lonely bulbul, all day long;
Its throat a‐throb with music still and pouring out its heart in song.

Stanza (29)

Qumrian Shaakh-e-Sanober Se Gurezaan Bhi Huin,
Pattian Phool Ki Jhar Jhar Ke Pareshan Bhi Huin;

The darkening cypress sways no more; from shadowy nests its doves have fled;
The withered blossoms droop and die, and all around their petals shed;


Who Purani Ravishen Bagh Ki Weeran Bhi Huin,
Daalian Parahan-e-Barg Se Uriaan Bhi Huin.

Those memoried, old garden walks of all their former pride lie shorn,
Despoiled of raiment green, each branch in nakedness now stands forlorn;


Qaid-e-Mausim Se Tabiat Rahi Aazad Uski,
Kaash Gulshan Mein Samjhta Koi Faryaad Uski.

Unmoved by passing seasons’ change, the songster sits and sings alone:
Would there were in this garden some could feel the burden of its moan!

Stanza (30)

Lutf Merne Main Hai Baqi, Na Maza Jeene Mein
Kuch Maza Hai To Yehi Khoon-e-Jigar Peene Mein

This life no more its joy retains, nor even death can bring relief;
‘Tis sweet to sit alone and sigh and eat a sad heart out in grief.


Kitne Betaab Hain Jouhar Mere Aaeene Mein
Kis Qadar Jalwe Tarapte Hain Mere Seene Mein

Out from the mirror of my soul ‘ what gems of thought now strive to shine;
What visions splendid, dreams sublime,


Iss Gulistan Mein Magar Dekhne Wale Hi Nahin
Dagh Jo Seene Mein Rakhte Hun, Woh Lale Hi Nahin

Arise within this breast of mine! but in this garden lives not one to see and hear, to feel and know:
No tulip with its streak of pain, to sense my heart‐blood’s smarting flow.

Stanza (31)

Chaak Iss Bulbul-e-Tanha Ki Nawa Se Dil Hon
Jaagne Wale Issi Bang-e-Dara Se Dil Hon

May this sad bulbuls lonely song to grief each listening soul awake;
The clangour of these rousing bells make drowsy hearts their sleep forsake!


Yani Phir Zinda Naye Ehd-e-Wafa Se Dil Hon
Phir Issi Bada-e-Deerina Ke Pyaase Dil Hon

Let Faithful hearts re‐plight their troth, and forge afresh their bond Divine;
Let in the long‐parched heart of each the old thirst wake for sweet old wine!


Ajami Khum Hai To Kya, Mai To Hijazi Hai Meri
Naghma Hindi Hai To Kya, Lai To Hijazi Hai Meri

The blood of sweet Arabian vine O’erflows this wine‐jar Ajamy,
Although the singer sings in Ind, ff Hijaz is his melody.


Shikva in Hindi

क्यूँ ज़याँ-कार बनूँ सूद-फ़रामोश रहूँ
फ़िक्र-ए-फ़र्दा न करूँ महव-ए-ग़म-ए-दोश रहूँ
नाले बुलबुल के सुनूँ और हमा-तन गोश रहूँ
हम-नवा मैं भी कोई गुल हूँ कि ख़ामोश रहूँ
जुरअत-आमोज़ मिरी ताब-ए-सुख़न है मुझ को
शिकवा अल्लाह से ख़ाकम-ब-दहन है मुझ को
है बजा शेवा-ए-तस्लीम में मशहूर हैं हम
क़िस्सा-ए-दर्द सुनाते हैं कि मजबूर हैं हम
साज़ ख़ामोश हैं फ़रियाद से मामूर हैं हम
नाला आता है अगर लब पे तो माज़ूर हैं हम
ऐ ख़ुदा शिकवा-ए-अर्बाब-ए-वफ़ा भी सुन ले
ख़ूगर-ए-हम्द से थोड़ा सा गिला भी सुन ले
थी तो मौजूद अज़ल से ही तिरी ज़ात-ए-क़दीम
फूल था ज़ेब-ए-चमन पर न परेशाँ थी शमीम
शर्त इंसाफ़ है ऐ साहिब-ए-अल्ताफ़-ए-अमीम
बू-ए-गुल फैलती किस तरह जो होती न नसीम
हम को जमईयत-ए-ख़ातिर ये परेशानी थी
वर्ना उम्मत तिरे महबूब की दीवानी थी
हम से पहले था अजब तेरे जहाँ का मंज़र
कहीं मस्जूद थे पत्थर कहीं माबूद शजर
ख़ूगर-ए-पैकर-ए-महसूस थी इंसाँ की नज़र
मानता फिर कोई अन-देखे ख़ुदा को क्यूँकर
तुझ को मालूम है लेता था कोई नाम तिरा
क़ुव्वत-ए-बाज़ू-ए-मुस्लिम ने किया काम तिरा
बस रहे थे यहीं सल्जूक़ भी तूरानी भी
अहल-ए-चीं चीन में ईरान में सासानी भी
इसी मामूरे में आबाद थे यूनानी भी
इसी दुनिया में यहूदी भी थे नसरानी भी
पर तिरे नाम पे तलवार उठाई किस ने
बात जो बिगड़ी हुई थी वो बनाई किस ने
थे हमीं एक तिरे मारका-आराओं में
ख़ुश्कियों में कभी लड़ते कभी दरियाओं में
दीं अज़ानें कभी यूरोप के कलीसाओं में
कभी अफ़्रीक़ा के तपते हुए सहराओं में
शान आँखों में न जचती थी जहाँ-दारों की
कलमा पढ़ते थे हमीं छाँव में तलवारों की
हम जो जीते थे तो जंगों की मुसीबत के लिए
और मरते थे तिरे नाम की अज़्मत के लिए
थी न कुछ तेग़ज़नी अपनी हुकूमत के लिए
सर-ब-कफ़ फिरते थे क्या दहर में दौलत के लिए
क़ौम अपनी जो ज़र-ओ-माल-ए-जहाँ पर मरती
बुत-फ़रोशीं के एवज़ बुत-शिकनी क्यूँ करती
टल न सकते थे अगर जंग में अड़ जाते थे
पाँव शेरों के भी मैदाँ से उखड़ जाते थे
तुझ से सरकश हुआ कोई तो बिगड़ जाते थे
तेग़ क्या चीज़ है हम तोप से लड़ जाते थे
नक़्श-ए-तौहीद का हर दिल पे बिठाया हम ने
ज़ेर-ए-ख़ंजर भी ये पैग़ाम सुनाया हम ने
तू ही कह दे कि उखाड़ा दर-ए-ख़ैबर किस ने
शहर क़ैसर का जो था उस को किया सर किस ने
तोड़े मख़्लूक़ ख़ुदावंदों के पैकर किस ने
काट कर रख दिए कुफ़्फ़ार के लश्कर किस ने
किस ने ठंडा किया आतिश-कदा-ए-ईराँ को
किस ने फिर ज़िंदा किया तज़्किरा-ए-यज़्दाँ को
कौन सी क़ौम फ़क़त तेरी तलबगार हुई
और तेरे लिए ज़हमत-कश-ए-पैकार हुई
किस की शमशीर जहाँगीर जहाँ-दार हुई
किस की तकबीर से दुनिया तिरी बेदार हुई
किस की हैबत से सनम सहमे हुए रहते थे
मुँह के बल गिर के हू-अल्लाहू-अहद कहते थे
आ गया ऐन लड़ाई में अगर वक़्त-ए-नमाज़
क़िबला-रू हो के ज़मीं-बोस हुई क़ौम-ए-हिजाज़
एक ही सफ़ में खड़े हो गए महमूद ओ अयाज़
न कोई बंदा रहा और न कोई बंदा-नवाज़
बंदा ओ साहब ओ मोहताज ओ ग़नी एक हुए
तेरी सरकार में पहुँचे तो सभी एक हुए
महफ़िल-ए-कौन-ओ-मकाँ में सहर ओ शाम फिरे
मय-ए-तौहीद को ले कर सिफ़त-ए-जाम फिरे
कोह में दश्त में ले कर तिरा पैग़ाम फिरे
और मालूम है तुझ को कभी नाकाम फिरे
दश्त तो दश्त हैं दरिया भी न छोड़े हम ने
बहर-ए-ज़ुल्मात में दौड़ा दिए घोड़े हम ने
सफ़्हा-ए-दहर से बातिल को मिटाया हम ने
नौ-ए-इंसाँ को ग़ुलामी से छुड़ाया हम ने
तेरे काबे को जबीनों से बसाया हम ने
तेरे क़ुरआन को सीनों से लगाया हम ने
फिर भी हम से ये गिला है कि वफ़ादार नहीं
हम वफ़ादार नहीं तू भी तो दिलदार नहीं
उम्मतें और भी हैं उन में गुनहगार भी हैं
इज्ज़ वाले भी हैं मस्त-ए-मय-ए-पिंदार भी हैं
उन में काहिल भी हैं ग़ाफ़िल भी हैं हुश्यार भी हैं
सैकड़ों हैं कि तिरे नाम से बे-ज़ार भी हैं
रहमतें हैं तिरी अग़्यार के काशानों पर
बर्क़ गिरती है तो बेचारे मुसलामानों पर
बुत सनम-ख़ानों में कहते हैं मुसलमान गए
है ख़ुशी उन को कि काबे के निगहबान गए
मंज़िल-ए-दहर से ऊँटों के हुदी-ख़्वान गए
अपनी बग़लों में दबाए हुए क़ुरआन गए
ख़ंदा-ज़न कुफ़्र है एहसास तुझे है कि नहीं
अपनी तौहीद का कुछ पास तुझे है कि नहीं
ये शिकायत नहीं हैं उन के ख़ज़ाने मामूर
नहीं महफ़िल में जिन्हें बात भी करने का शुऊर
क़हर तो ये है कि काफ़िर को मिलें हूर ओ क़ुसूर
और बेचारे मुसलमाँ को फ़क़त वादा-ए-हूर
अब वो अल्ताफ़ नहीं हम पे इनायात नहीं
बात ये क्या है कि पहली सी मुदारात नहीं
क्यूँ मुसलामानों में है दौलत-ए-दुनिया नायाब
तेरी क़ुदरत तो है वो जिस की न हद है न हिसाब
तू जो चाहे तो उठे सीना-ए-सहरा से हबाब
रह-रव-ए-दश्त हो सैली-ज़दा-ए-मौज-ए-सराब
तान-ए-अग़्यार है रुस्वाई है नादारी है
क्या तिरे नाम पे मरने का एवज़ ख़्वारी है
बनी अग़्यार की अब चाहने वाली दुनिया
रह गई अपने लिए एक ख़याली दुनिया
हम तो रुख़्सत हुए औरों ने सँभाली दुनिया
फिर न कहना हुई तौहीद से ख़ाली दुनिया
हम तो जीते हैं कि दुनिया में तिरा नाम रहे
कहीं मुमकिन है कि साक़ी न रहे जाम रहे
तेरी महफ़िल भी गई चाहने वाले भी गए
शब की आहें भी गईं सुब्ह के नाले भी गए
दिल तुझे दे भी गए अपना सिला ले भी गए
आ के बैठे भी न थे और निकाले भी गए
आए उश्शाक़ गए वादा-ए-फ़र्दा ले कर
अब उन्हें ढूँड चराग़-ए-रुख़-ए-ज़ेबा ले कर
दर्द-ए-लैला भी वही क़ैस का पहलू भी वही
नज्द के दश्त ओ जबल में रम-ए-आहू भी वही
इश्क़ का दिल भी वही हुस्न का जादू भी वही
उम्मत-ए-अहमद-ए-मुर्सिल भी वही तू भी वही
फिर ये आज़ुर्दगी-ए-ग़ैर सबब क्या मअ'नी
अपने शैदाओं पे ये चश्म-ए-ग़ज़ब क्या मअ'नी
तुझ को छोड़ा कि रसूल-ए-अरबी को छोड़ा
बुत-गरी पेशा किया बुत-शिकनी को छोड़ा
इश्क़ को इश्क़ की आशुफ़्ता-सरी को छोड़ा
रस्म-ए-सलमान ओ उवैस-ए-क़रनी को छोड़ा
आग तकबीर की सीनों में दबी रखते हैं
ज़िंदगी मिस्ल-ए-बिलाल-ए-हबशी रखते हैं
इश्क़ की ख़ैर वो पहली सी अदा भी न सही
जादा-पैमाई-ए-तस्लीम-ओ-रज़ा भी न सही
मुज़्तरिब दिल सिफ़त-ए-क़िबला-नुमा भी न सही
और पाबंदी-ए-आईन-ए-वफ़ा भी न सही
कभी हम से कभी ग़ैरों से शनासाई है
बात कहने की नहीं तू भी तो हरजाई है
सर-ए-फ़ाराँ पे किया दीन को कामिल तू ने
इक इशारे में हज़ारों के लिए दिल तू ने
आतिश-अंदोज़ किया इश्क़ का हासिल तू ने
फूँक दी गर्मी-ए-रुख़्सार से महफ़िल तू ने
आज क्यूँ सीने हमारे शरर-आबाद नहीं
हम वही सोख़्ता-सामाँ हैं तुझे याद नहीं
वादी-ए-नज्द में वो शोर-ए-सलासिल न रहा
क़ैस दीवाना-ए-नज़्ज़ारा-ए-महमिल न रहा
हौसले वो न रहे हम न रहे दिल न रहा
घर ये उजड़ा है कि तू रौनक़-ए-महफ़िल न रहा
ऐ ख़ुशा आँ रोज़ कि आई ओ ब-सद नाज़ आई
बे-हिजाबाना सू-ए-महफ़िल-ए-मा बाज़ आई
बादा-कश ग़ैर हैं गुलशन में लब-ए-जू बैठे
सुनते हैं जाम-ब-कफ़ नग़्मा-ए-कू-कू बैठे
दौर हंगामा-ए-गुलज़ार से यकसू बैठे
तेरे दीवाने भी हैं मुंतज़िर-ए-हू बैठे
अपने परवानों को फिर ज़ौक़-ए-ख़ुद-अफ़रोज़ी दे
बर्क़-ए-देरीना को फ़रमान-ए-जिगर-सोज़ी दे
क़ौम-ए-आवारा इनाँ-ताब है फिर सू-ए-हिजाज़
ले उड़ा बुलबुल-ए-बे-पर को मज़ाक़-ए-परवाज़
मुज़्तरिब-बाग़ के हर ग़ुंचे में है बू-ए-नियाज़
तू ज़रा छेड़ तो दे तिश्ना-ए-मिज़राब है साज़
नग़्मे बेताब हैं तारों से निकलने के लिए
तूर मुज़्तर है उसी आग में जलने के लिए
मुश्किलें उम्मत-ए-मरहूम की आसाँ कर दे
मोर-ए-बे-माया को हम-दोश-ए-सुलेमाँ कर दे
जींस-ए-ना-याब-ए-मोहब्बत को फिर अर्ज़ां कर दे
हिन्द के दैर-नशीनों को मुसलमाँ कर दे
जू-ए-ख़ूँ मी चकद अज़ हसरत-ए-दैरीना-ए-मा
मी तपद नाला ब-निश्तर कद-ए-सीना-ए-मा
बू-ए-गुल ले गई बैरून-ए-चमन राज़-ए-चमन
क्या क़यामत है कि ख़ुद फूल हैं ग़म्माज़-ए-चमन
अहद-ए-गुल ख़त्म हुआ टूट गया साज़-ए-चमन
उड़ गए डालियों से ज़मज़मा-पर्दाज़-ए-चमन
एक बुलबुल है कि महव-ए-तरन्नुम अब तक
उस के सीने में है नग़्मों का तलातुम अब तक
क़ुमरियाँ शाख़-ए-सनोबर से गुरेज़ाँ भी हुईं
पत्तियाँ फूल की झड़ झड़ के परेशाँ भी हुईं
वो पुरानी रविशें बाग़ की वीराँ भी हुईं
डालियाँ पैरहन-ए-बर्ग से उर्यां भी हुईं
क़ैद-ए-मौसम से तबीअत रही आज़ाद उस की
काश गुलशन में समझता कोई फ़रियाद उस की
लुत्फ़ मरने में है बाक़ी न मज़ा जीने में
कुछ मज़ा है तो यही ख़ून-ए-जिगर पीने में
कितने बेताब हैं जौहर मिरे आईने में
किस क़दर जल्वे तड़पते हैं मिरे सीने में
इस गुलिस्ताँ में मगर देखने वाले ही नहीं
दाग़ जो सीने में रखते हों वो लाले ही नहीं
चाक इस बुलबुल-ए-तन्हा की नवा से दिल हों
जागने वाले इसी बाँग-ए-दिरा से दिल हों
यानी फिर ज़िंदा नए अहद-ए-वफ़ा से दिल हों
फिर इसी बादा-ए-दैरीना के प्यासे दिल हों
अजमी ख़ुम है तो क्या मय तो हिजाज़ी है मिरी
नग़्मा हिन्दी है तो क्या लय तो हिजाज़ी है मिरी





 

He Won't Give Up

He walked through heat and through cries
while kings stayed hidden from the skies.

At seven years, calm among deathbeds,
he cupped the sick, stroked their heads.

No long sermons, no throne, no sword—
just water touched by love’s accord.

The little Guru served, soft and small,
his large presence stilling the city's calls.

And still that well, through time and flame,
pours sweet relief in Shri Harkrishan’s name.

And those who bow with emptied cup
are filled with what just won’t give up

-Shivpreet Singh
March, 2020


This shabad is about Guru Harkrishan, the eighth Guru. The lyrics were written by Guru Gobind Singh. I have added some lines from Bhai Nandlal (because Guru Gobind Singh talks about all the other gurus but himself; I added the lines from Bhai Nandlal who describes Guru Gobind Singh's relationship with him).

Pritham Bhagauti Simar Kai Gur Nanak Layi Dhiyaye
Phir Angad Gur Te Amardas Raamdaas-ai Hoyi Sahaye
Arjan Hargobind Nu Simro Shri Har Rai
Shri Harkrishan Dhiyayiyeh Jis Dithai Sab Dukh Jaye
Tegh Bahadur Simariyeh Ghar Nau Nidh Avai Dhaye
Sab Thaayi Hoye Sahaye

Shri Harkrishan Dhiyayiyeh Jis Dithai Sab Dukh Jaye

I remember Shri Harkrishan envisioning whom all pain vanishes

Interesting that Guru Gobind uses the “Shri” suffix, which is used to respect the elders, the gurus and the avatars of God, as in Shri Raam and Shri Krishna. It is clear how respected Guru Harkrishan was a short time after his departure.

When Guru Har Rai, the 7th Guru in the lineage of Guru Nanak, passed away on 20 October 1661, he chose Shri Harkrishan, the younger of his two sons to be the next Guru. At this time Shri Harkrishan was merely 5 years old. While he was young in years, he was mature in wisdom. Bhai Santokh Singh writes,
The early morning sun looks small in size, but its light is everywhere. So was Guru Harkrishan' s fame, without limit.
Shri Harkrishan was very popular in northwest India -- so much so that the Mughal Emperor Aurangzeb wanted to meet him.  Aurangzeb was notorious and would have not been able to access to Shri Harkrishan were it not for Mirza Raja Jai Singh, a Rajput king from Amer, Rajasthan who held the followers of Guru Nanak in very high esteem.  He convinced Shri Harkrishan to visit Aurangzeb in Delhi and he was invited to live as a guest in the bungalow in 1663.

During Shri Harkrishan's visit there was an ongoing epidemic of cholera and smallpox and seven year old Shri Harkrishan boldly decided to serve the community.  While the rulers of his time were hiding in palaces, Guru Harkrishan went from community to community, house to house, and connected with them. He used his resources to help the community with aid and highly sought clean water from the well at Raja Jai Singh's bungalow. 

The Hindus called him "Bal Guru" and the muslims called him "Bala Peer" ... the child guru. He served the community of Delhi no matter what their religion or social status was. It is said that anyone he met was overwhelmed with reverence, and a calming sense of peace. It became well known that whoever met Shri Harkrishan was relieved of suffering. He served the community until he himself succumbed to small pox infection.

Where he was cremated now stands Gurudwara Bala Sahib; I have a fond memory of walking to Bala Sahib with my grandfather when I was very young.  In place of Raja Jai Singh's bungalow where Shri Harkrishan lived now stands the Gurudwara Bangla Sahib, one of the most prominent Sikh house of worship. It was first built as a small shrine by Sikh General Sardar Baghel Singh in 1783 during the reign of Mughal Emperor, Shah Alam II.

Millions of people visit Bangla Sahib every year and thousands get free food every day. The water from the well of the well is considered holy. The bed where he used to sleep is found within the premises of the Gurdwara. When I recently visited Delhi, I drank some water from the well and had langar sitting next to a local laborer who told me that he often eats here. Even when most of Delhi was closed during the COVID-19 pandemic, the homeless are being fed outside Bangla Sahib.

Guru Harkrishan's boldness and his kindness at such a young age remains exemplary in the history of humankind. He lost his life early, but he won the hearts of people forever, gained the respect of generations to come, and continues to inspire us with his courage and generosity. It is no surprise that his legacy lives on.

- March 2020.

The Kirpa Dhaar Project 

Kirpa Dhaar is a prayer by Guru Amar Das in Raag Bilawal in which he prays for the saving of the burning world. This projected was started in 2020, which was a a tough year for a lot of people because of the pandemic. So this project is ongoing attempt to heal through music ... 

2020 Announcement 

Music and Oneness abounds despite the Covid-19 pandemic. I am spending some time recording some simple tracks while we are quarantined in California. This album will be my humble attempt to make love proximate, even as we are all physically distant due to the concerns of spreading of the virus. I believe this album will provide strength, peace and joy at a time when grief, fear and uncertainty has gripped the world. I might not make videos for each track for this album but you can find the audio here: https://soundcloud.com/shivshivshiv/sets/love-in-the-age-of-social

Shabads from this project include Shri Harkrishan, Taati Voa Na Lagai, Jo Mange Thakur Apne Te.  

Some of the Videos, in addition to older are on this YouTube Playlist

  

You Can Also Contribute

The making of the album will be public and I encourage musicians, singers, and novices to contribute if they want to this project ... or just listen, play and/or sing along for fun! 

The evidence for music therapy (Harvard Health Publication)

A growing body of research attests that that music therapy is more than a nice perk. It can improve medical outcomes and quality of life in a variety of ways. Here’s a sampling:

Improves invasive procedures. In controlled clinical trials of people having colonoscopies, cardiac angiography, and knee surgery, those who listened to music before their procedure had reduced anxiety and a reduced need for sedatives. Those who listened to music in the operating room reported less discomfort during their procedure. Hearing music in the recovery room lowered the use of opioid painkillers.

Restores lost speech. Music therapy can help people who are recovering from a stroke or traumatic brain injury that has damaged the left-brain region responsible for speech. Because singing ability originates in the right side of the brain, people can work around the injury to the left side of their brain by first singing their thoughts and then gradually dropping the melody. Former U.S. Representative Gabby Giffords used this technique to enable her to testify before a Congressional committee two years after a gunshot wound to her brain destroyed her ability to speak.

Reduces side effects of cancer therapy. Listening to music reduces anxiety associated with chemotherapy and radiotherapy. It can also quell nausea and vomiting for patients receiving chemotherapy.

Aids pain relief. Music therapy has been tested in patients ranging from those with intense acute pain to those with chronic pain from arthritis. Overall, music therapy decreases pain perception, reduces the amount of pain medication needed, helps relieve depression, and gives people a sense of better control over their pain.

Improves quality of life for dementia patients. Because the ability to engage with music remains intact late into the disease process, music therapy can help to recall memories, reduce agitation, assist communication, and improve physical coordination.

Guru Gobind Singh's Mittar Pyare Nu Video



Mittar Pyare Nu - Guru Gobind Singh
Recorded at SpacePepper Studios (http://www.spacepepper.com/​)
Bansuri - Pt. Ajay Prasanna: 
Video - Aman Kakkar: 

Correction to the video: The year given in inscription in the start of  the Shabad  that is 1699 is  incorrect. The correct date is Dec 1704. My apologies for the mistake. - Shivpreet (May, 2020)
 

Historical Backgroud for Mittar Pyare Nu

‘Mittar Pyare Nu’ is a shabad, by the tenth guru Guru Gobind Singh ji, who has said to have recited it in the Machivara Forest when separated from everyone after the Mughal's attacked Anandpur Sahib. The Guru had lost his mother, two elder sons in battle, two younger sons by execution and faced further hardships in battle facing an army of 100,000 against his fearless 40.  Despite all the losses, the Guru is only concerned about his separation from Waheguru, not from his family, friends or property. 


Lyrics - Punjabi/English/Alternative Translations

ਮਿੱਤਰ ਪਿਆਰੇ ਨੂੰ ਹਾਲ ਮੁਰੀਦਾ ਦਾ ਕਹਿਣਾ ॥
ਤੁਧੁ ਬਿਨੁ ਰੋਗੁ ਰਜਾਈਆ ਦਾ ਓਢਣ ਨਾਗ ਨਿਵਾਸਾ ਦੇ ਹਹਿਣਾ ॥
ਸੂਲ ਸੁਰਾਹੀ ਖੰਜਰ ਪਿਆਲਾ ਬਿੰਗ ਕਸਾਈਆਂ ਦਾ ਸਹਿਣਾ ॥
ਯਾਰੜੇ ਦਾ ਸਾਨੂੰ ਸੱਥਰੁ ਚੰਗਾ ਭਠ ਖੇੜਿਆ ਦਾ ਰਹਿਣਾ ॥

mithr piaarae noo(n) haal mureedhaa dhaa kehinaa ॥
thudhh bin rog rajaaeeaa dhaa oudtan naag nivaasaa dhae hehinaa ॥
sool suraahee kha(n)jar piaalaa bi(n)g kasaaeeaaa(n) dhaa sehinaa ॥
yaararrae dhaa saanoo(n) saathhar cha(n)gaa bhat(h) khaerriaa dhaa rehinaa ॥

Alternative Translation 1
Tell the beloved friend (the Lord) the plight of his disciples.
Without You, rich blankets are a disease and the comfort of the house is like living with snakes.
.... Our water pitchers are stakes, our cups have edges like daggers.
....Like the suffering of animals at the hands of butchers.
Our Beloved Lord's straw bed is more pleasing to us than living in costly furnace-like mansions.

Alternative Translation 2
Tell the condition of the believers to my Beloved friend.
[Tell Him that] Without You, using bed sheets is like a sickness and like living as being wrapped by snakes.
The pitcher is a thorn and the glass is a dagger which are like tolerating being butchered.
Death bed with my Beloved is better than body burning [living with vice] without Him.


Going through the words of Mittar Pyare Nu


PunjabiRoman representationEnglish
ਮਿੱਤਰMittarfriend
ਪਿਆਰੇpiayadear, loving
ਨੂੰnoohim, them
ਹਾਲhaalwell being of; condition
ਮੁਰੀਦਾmureedhaadisciple, student
ਦਾdhaaof
ਕਹਿਣਾkehinato tell, narrate
ਤੁਧੁthudhhyou, they
ਬਿਨੁbinwithout
ਰੋਗੁrogpain, disease;
ਰਜਾਈਆrajaaeeaquilt
ਓਢਣoudtanwearing
ਨਾਗnaagsnake, cobra
ਨਿਵਾਸਾnivaasaain the company; together
ਦੇdhaewith
ਹਹਿਣਾhehinaastay; reside; live
ਸੂਲsoolThorn, spike
ਸੁਰਾਹੀsuraaheelong-necked small pitcher, decanter, flagon, flask
ਖੰਜਰkha(n)jardagger
ਪਿਆਲਾpiaalaacup; saucer
ਬਿੰਗbi(n)gas same; is just like
ਕਸਾਈਆਂkasaaeeaaa(n)Butcher is Kasaee; at the butcher's hand
ਸਹਿਣਾsehinaaTo bear, to suffer, to endure, to sustain, to have patience.
ਯਾਰੜੇyaararraeyaar is friend; friend's
ਸਾਨੂੰsaanoo(n)me; us
ਸੱਥਰੁsaathharDeath bed usually on ground.
ਚੰਗਾcha(n)gaais good; preferred; better
ਭਠbhat(h)Furnace, distillery
ਖੇੜਿਆkhaerriaaVillage and second meaning Body
ਰਹਿਣਾrehinaalife; living
W.H.Auden And A Summary of Musee des Beaux Arts

Auden apparently wrote Musée des Beaux Arts in December 1938 after visiting the museum then called the Musée Royal des BeauxArts in Brussels.  This poem mentions specifically the following painting (Breughel’s Icarus) where everything goes on as normal despite the suffering of one man who’s falling from the sky because he flew too close to the sun with his wings made of wax. There also seem to be references to other paintings which I share below. 

Breughel’s Landscape with the Fall of Icarus


Musee des Beaux Arts

About suffering they were never wrong,
The Old Masters: how well they understood
Its human position: how it takes place
While someone else is eating or opening a window or just walking dully along;
How, when the aged are reverently, passionately waiting
For the miraculous birth, there always must be
Children who did not specially want it to happen, skating
On a pond at the edge of the wood:
They never forgot
That even the dreadful martyrdom must run its course
Anyhow in a corner, some untidy spot
Where the dogs go on with their doggy life and the torturer's horse
Scratches its innocent behind on a tree.

In Breughel's Icarus, for instance: how everything turns away
Quite leisurely from the disaster; the ploughman may
Have heard the splash, the forsaken cry,
But for him it was not an important failure; the sun shone
As it had to on the white legs disappearing into the green
Water, and the expensive delicate ship that must have seen
Something amazing, a boy falling out of the sky,
Had somewhere to get to and sailed calmly on.

Notes on this poem:

In his well-known textbook on the problem of evil, Mark Larrimore describes this painting showing "world’s indifference to and unwillingness to recognize suffering." The poem that focuses on human suffering, tragedy and pain by contrasting the lives of those who suffer and those who do not. The vehicle by which this is achieved is the world of painting, in particular the work of the old masters. 

This is what its trying to depict: whether it is something miraculous happening, like the birth of Jesus Christ, or something disastrous happening, like the fall of Icarus, most of the world is oblivious and keeps doing what it was doing. The children keep skating on a pond at the edge of the wood while Christ is born. Miraculous happenings or disasters happening in one part of the world are not the focal point of most people and animals - they keep doing what they normally do. 

This nonchalance is what Guru Nanak calls "beparvaahi" - an attribute of God, which is instilled equally in nature and therefore in humanity.

Other artwork that potentially influenced Auden in writing this poem:
  • Landscape with the Fall of Icarus 
  • The Census at Jerusalem
  • The Massacre of the Innocents 
  • Philippe de Champaigne’s Presentation in the Temple 
  • Peter Paul Rubens’s The Martyrdom of St Livinus

Landscape with the Fall of Icarus 

In Greek mythology, Icarus succeeded in flying, with wings made by his father Daedalus, using feathers secured with beeswax. Ignoring his father's warnings, Icarus chose to fly too close to the sun, melting the wax, and fell into the sea and drowned. His legs can be seen in the water just below the ship. The sun, already half-set on the horizon, is a long way away; the flight did not reach anywhere near it. Daedalus does not appear in this version of the painting, though he does, still flying, in the van Buuren one (see left).

The ploughman, shepherd and angler are mentioned in Ovid's account of the legend; they are: "astonished and think to see gods approaching them through the aether", which is not entirely the impression given in the painting. The shepherd gazing into the air, away from the ship, may be explained by another version of the composition (see below); in the original work there was probably also a figure of Daedalus in the sky to the left, at which he stares. There is also a Flemish proverb (of the sort imaged in other works by Bruegel): "And the farmer continued to plough..." (En de boer ... hij ploegde voort") pointing out the ignorance of people to fellow men's suffering. The painting may, as Auden's poem suggests, depict humankind's indifference to suffering by highlighting the ordinary events which continue to occur, despite the unobserved death of Icarus.

Though the world landscape, a type of work with the title subject represented by small figures in the distance, was an established type in Early Netherlandish painting, pioneered by Joachim Patinir, to have a much larger unrelated "genre" figure in the foreground is original and represents something of a blow against the emerging hierarchy of genres. Other landscapes by Bruegel, for example The Hunters in the Snow (1565) and others in that series of paintings showing the seasons, show genre figures in a raised foreground, but not so large relative to the size of the image, nor with a subject from a "higher" class of painting in the background.

However, paintings from the same period by the Antwerp artist Pieter Aertsen had large kitchen or market genre scenes, with large figures in the foreground, and in the distant background a glimpse of a scene from the Life of Christ. Giving more prominence to "low" subject-matter than "high" in the same work is a feature of some Northern Mannerist art, often called "Mannerist inversion". The traditional moral of the Icarus story, warning against excessive ambition, is reinforced by (literally) fore-grounding humbler figures who appear content to fill useful agricultural roles in life.

The Census at Jerusalem

The painting shows Bethlehem as a Flemish village in winter at sundown. A group of people is gathered at a building on the left, having their details taken down by a scribe. A sign bearing the Habsburg double-headed eagle is visible on the building. Other people are making their way to the same building, including the figures of Joseph and the pregnant Virgin Mary on a donkey. A pig is being slaughtered, though of course such an event would never have occurred in Jewish Bethlehem. People are going about their daily business in the cold, children are shown playing with toys on the ice and having snowball fights. At the very centre of the painting is a spoked wheel, sometimes interpreted as being a reference to the wheel of fortune. To the right, a man in a small hut is shown holding a clapper, a warning to keep away from leprosy. Leprosy was endemic in that part of Europe when the painting was created. There is a begging bowl in front of the hut. In the background, men drink at a makeshift bar, and in the distance are a well-kept church and a crumbling castle.

As he often did, Bruegel treats a biblical story, here the census of Quirinius, as a contemporary event. And once again, reference to particular political events has been adduced - in this case, the severity of the Spanish administration in the southern Netherlands.[2] However, Bruegel may well be making a more general criticism of bureaucratic methods.[3]

The events depicted are described in Luke 2, 1-5:

And it came to pass in those days that a decree went out from Caesar Augustus that all the world should be registered... So all went to be registered, everyone to his own city. Joseph also went up from Galilee, out of the city of Nazareth, into Judea, to the city of David, which is called Bethlehem, because he was of the house and lineage of David, to be registered with Mary, his betrothed wife, who was with child.
— Luke 2:1-5, NKJV[4]

This is a rare subject in previous Netherlandish art. The ruined castle in the background, at the painting's top right, is based on the towers and gates of Amsterdam.[5]

The Massacre of the Innocents

The Massacre of the Innocents is the incident described in the nativity narrative of the Gospel of Matthew (2:16–18) in which Herod the Great, king of Judea, orders the execution of all male children who are two years old and under in the vicinity of Bethlehem. The Catholic Church regards them as the first Christian martyrs, and their feast – Holy Innocents' Day (or the Feast of the Holy Innocents) – is celebrated on 28 December.[2] A majority of Herod biographers, and "probably a majority of biblical scholars," hold the event to be myth, or legend.

The Gospel of Matthew tells how the Magi visit Jerusalem to seek guidance as to where the king of the Jews has been born; King Herod directs them to Bethlehem and asks them to return to him and report, but they are warned in a dream that Herod wishes to find the child and kill him, and do not do so. Matthew continues:

When Herod realized that he had been outwitted by the Magi, he was furious, and he gave orders to kill all the boys in Bethlehem and its vicinity who were two years old and under, in accordance with the time he had learned from the Magi.
— Matthew 2:16

This is followed by a reference to and quotation from the Book of Jeremiah (Jeremiah 31:15): "Then what was said through the prophet Jeremiah was fulfilled: A voice is heard in Ramah, weeping and great mourning, Rachel weeping for her children and refusing to be comforted, because they are no more." (Matthew 2:17-18). The relevance of this to the massacre is not immediately apparent, as Jeremiah's next verses go on to speak of hope and restoration.


Presentation in the Temple 


The Presentation of Jesus at the Temple (or in the temple) is an early episode in the life of Jesus Christ, describing his presentation at the Temple in Jerusalem, that is celebrated by many churches 40 days after Christmas on Candlemas, or the "Feast of the Presentation of Jesus". The episode is described in chapter 2 of the Gospel of Luke in the New Testament.[1] Within the account, "Luke's narration of the Presentation in the Temple combines the purification rite with the Jewish ceremony of the redemption of the firstborn (Luke 2:23–24)."

In the Eastern Orthodox Church, the Presentation of Jesus at the temple is celebrated as one of the twelve Great Feasts, and is sometimes called Hypapante (Ὑπαπαντή, "meeting" in Greek).

The Orthodox Churches which use the Julian Calendar celebrate it on 15 February, and the Armenian Church on 14 February.

In Western Christianity, the Feast of the Presentation of the Lord is also known by its earlier name as the Feast of the Purification of the Virgin or the Meeting of the Lord. In some liturgical calendars, Vespers (or Compline) on the Feast of the Presentation marks the end of the Epiphany season, also (since the 2018 lectionary) in the Evangelische Kirche in Deutschland (EKD). In the Church of England, the mother church of the Anglican Communion, the Presentation of Christ in the Temple is a Principal Feast celebrated either on 2 February or on the Sunday between 28 January and 3 February. In the Roman Catholic Church, especially since the time of Pope Gelasius I (492-496) who in the fifth century contributed to its expansion, the Feast of the Presentation is celebrated on 2 February.

In the Roman Rite of the Catholic Church, the Anglican Communion, and the Lutheran Church, the episode was also reflected in the once-prevalent custom of churching of women forty days after the birth of a child. The Feast of the Presesentation of the Lord is in the Roman Rite also attached to the World Day of Consecrated Life.


The Martyrdom of St Livinus 

The legend goes that Livinus was born from Irish nobility. Upon studies in England, where he visited Saint Augustine of Canterbury, he returned to Ireland. He later went on a peregrinatio Domini and left Ireland for Ghent (Belgium) and Zeeland (Netherlands) where he preached. During one of his sermons, Livinus was attacked in the village of Esse, near Geraardsbergen by a group of pagans who cut off his tongue and head.[2]

The villages of Sint-Lievens-Esse, where he was murdered, and Sint-Lievens-Houtem, where he was buried, were named after him, as well as Merck-Saint-Liévin in northern France.

His remains were transferred to Ghent around the turn of the millennium, but went missing and are believed to have been destroyed in 1578 during the Second Iconoclasm.

This is an episode from the life of the Irish missionary St Livinus, who preached in Flanders and Zeeland in the first half of the seventh century. Whilst attempting to convert non believers, he was attacked by godless robbers who tore out his tongue and threw it to the dogs. God punished his assailants with a devastating thunderbolt. The painting is the 'modello' for an enormous canvas (414 x 347 cm) that Rubens painted for the St Livinus Church in Ghent. The painting currently hangs in the museum in Brussels.


More Info:

This reminds me of Jack Kerouac's poem In Vain which asks the question, "Of what use are the best things in the world?"

Good Analysis of this poem: https://sciendo.com/pdf/10.1515/perc-2016-0012
 
Taking notes on how to Sing like Guru Nanak

  • What is not Guru Nanak's song: work hard, naam japo, vand chhako. How about fight the right fight? How about revolution? What about telling the truth in face of danger?  What about having humility when you are thought to be amazing.  That is part of Guru Nanak's teaching. What is that part of? Working hard? I dont think so. Naam Japna ... not in the way it is defined here. Serving? A noble cause, perhaps this is what it is but I don't think so. 
  • The Baghdad analogy. Going elsewhere. Talking to someone who is not your kith and kin. And talking to convince. A whole different kind of love is needed.   
  • His philosophy is to sing. The learning how to sing is a lifetime objective. 
  • Why not just listen to exactly what he said. Naam Japo. But how. And even that he tells us. 
  • While I do get requests for me to teach singing. And before I hear thanks for this, let me remind you: Hold your praise or gratitude.  I am not doing this for you.  I am doing this for me. I am doing this so I can sing better. If you can sing better because of this, the gratitude goes to where the song originated, not to me.  

Remember Naam

Always. Guru Arjan's Saas Saas and Bhinni Rainariye. Perpetual Motion (Tony Hoagland). Incessant.  

Multiple ways. There is no one way - example composed something from upanishads. The freedom of music. The freedom of expression. It opens everything up. 

Truth.  Truth. The song reminds of the truths that cannot be questioned. Like John Keats says, "[poetry] should strike the reader as a wording of his own highest thoughts, and appear almost a remembrance."

Learning. You don't have to be different. You can learn from many people. Picking the true guru. The key difference between the. The true guru directs you to truth.

Sehaj. The music comes naturally. The song happens. Like John Keats says, " if poetry comes not as naturally as the leaves to a tree, it had better not come at all." With ease. 

Love. Guru Arjan Dev's Stranger. 

Good deeds. Deh Shiva. Miles to go before. Bhai Gurdas -mullahs. 

Sweet words. [included in good deeds]

Good listening. [included in good deeds]

Travel. Travel into the mind. Guru Gobind Singh's Sanyasa. Tony Hoagland's Perpetual motion. 

Swimming - Crossing with ocean with Bhagat Namdev. [same as travel?]

Focus. This person is sending me Rumi quotes everyday. one instrument. one companion. focused on traveling for so long. then focused on farming. meditative practice which was morning and evening. He was able to accomplish so much because of focus.

Humility. Guru Nanak was first and foremost a student. The sikhs call him Guru. example I asked someone the meaning of these lines by Bhai Gurdas. falling on the feet. He fell at the feet of people? All the stories we have show how people fell at his feet. But Guru Nanak was different. He actually fell at the feet of those who were enlightened. 

Sources: 

John Keats: "... if poetry comes not as naturally as the leaves to a tree, it had better not come at all."

Keats: http://www.john-keats.com/briefe/270218.htm

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SHIVPREET SINGH

Singing oneness!
- Shivpreet Singh

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