In Sikh philosophy, the term "Ekonkaar" holds profound significance, encapsulating the idea of the divine unity and oneness. The suffix "kaar" in "Ekonkaar" encompasses a multifaceted understanding of unity, action, and identity. Due to this, there are layers of meaning of this kaar. It embodies the spirit of creation, completeness, and integration, underscoring the inseparable relationship between the doer and the deed. Through its diverse interpretations, "kaar" enriches the profound concept of oneness encapsulated in the sacred chant of "Ekonkaar," inviting individuals to explore the depths of unity within themselves and the cosmos.

Let me expand on this:

The suffix "kaar" often denotes the agent or the doer of an action. For instance, "Kala-kaar" signifies an artist, one who engages in the creation of art. Similarly, "Nrit-kaar" refers to a dancer, the individual who performs the act of dancing. In this sense, "kaar" embodies the spirit of activity and creation, emphasizing the role of the practitioner in manifesting the associated attribute or action.

Another interpretation of "kaar" is the state or quality of being imbued with a particular attribute. For example, "Satkaar" represents goodness or truthness, signifying a state replete with truth or goodness. Similarly, "Dhundhkaar" denotes an environment filled with fog, evoking the imagery of dense mist enveloping its surroundings. Here, "kaar" conveys a sense of completeness or abundance, suggesting an overwhelming presence of the associated characteristic.

Furthermore, "kaar" can imply possession or identification with a particular quality or state. "Ahankaar," for instance, denotes ego or self-identity, suggesting possession by one's sense of self-importance. Likewise, "Omkaar" signifies the essence of the divine sound "Om," suggesting a profound identification with the cosmic vibration. In this interpretation, "kaar" highlights the intimate connection or ownership of the associated attribute.

Moreover, the suffix "kaar" underscores the idea of unity and integration. It suggests that the doer and the deed, the practitioner and the practice, are inseparable. Just as the artist becomes one with the art and the dancer merges with the dance, "kaar" implies a state of oneness where distinctions dissolve, and the practitioner embodies the essence of their action completely. In the context of "Ekonkaar," this interpretation resonates deeply, emphasizing the indivisible unity of the divine.

In Urdu and related languages, "kaar" signifies work or function. For instance, "Sarkaar" refers to the government, symbolizing the collective entity responsible for governance and administration. Here, "kaar" conveys the notion of organized activity or purposeful functioning, reflecting the dynamic nature of societal structures and systems.

Dhundh - Fog

Dhundh-kaar - Fogness, full of fog

Sat - Truth/Good
Satkaar - Truthness/Goodness, full of good, truth


Jai - Winning
Jai-kaar - Winningness, Full of winning
as in ...

Jhan or Jhanat - Sound
Jhankaar or Jhanatkaar - Full of sound, or reverberation of sound
as in ...

Aham - Me
Aham-kaar - "Me-ness", full of me, full of Ego
as in ...

Nana - No
Nana-kaar - "No-ness", denial, full of no
as in ...

Ik Om - One Om
Ik Omkaar - One "Omness", full of om

Another meaning of "kaar" suffix - "one who does"

Kala - Art
Kala-kaar - Artist (one who does art)

Ek Onkaar, Ik Onkaar, Ek Onkar, Ik Onkar, Ek Omkar, Ik Omkar,

Wherever I see your footsteps

Flowerbed after flowerbed 

I see the garden of paradise

Notes and explanations

Translation - Jahaan Tera Naqsh-e-Qadam Dekhte Hai (Ghalib)

Line by line explanation by Rahul Negi

Jahaan tera naqsh-e-qadam dekhte hain

khayaabaan khaayaaban iram dekhte hain

Wherever I see your footsteps

Flowerbed after flowerbed 

I see the garden of paradise

Khayaabaa.n

ख़याबाँ خیاباں

flower bed

कियारी, रविश, उद्यान, बाग़।

iram

Line 1/2 - The world, your footsteps do we see. flowerbed over flowerbed, we see paradise. The first word (jahaan) can be interpreted as both world or where. If we consider it as where, then the poet is saying where ever we see your footsteps, we see flowerbed over flowerbed, and one sees paradise. The obvious interpretation being your footsteps are like endless rows of flowerbeds and we see of paradise in them. If we consider the word as world, then we can interpret it as This world, we see as your footprint. And in your footprints, garden upon gardens have come up, and we see paradise. This earth is the paradise becuase You touched it.

dil aashuftagan khaal-e-kunj-e-dahan ke

savaidaa mein sair-e-adam dekhte hain

Line 3/4 - The heart is distressed/anxious, In the mole at the corner of the mouth. The blackish core, walking around in non-existence we see. This is a very very inaccessible verse. [Pritchett] interprets this as - Those who are distressed by the heart, those who have lost their heart. Those lovers in the mole at the corner of the mouth of the beloved, they see the brackish core of their heart that they lost. And in it, they see non-existence. Skipping this verse as I am unable to translate this into anything meaningful.

tere sarv-e-qaamat se ek qadd-e-aadam

qayamaat ke fitne ko kam dekhte hain

Line 5/6 - Your cypress of stature to one man sized height. We see the turmoil of the doomsday less (compared to this). Not a accessible verse either. The poet says seeing your stature (like a tall cypress tree) compared to the height of the normal man, We find the height of turmoil on the doomsday to be less. 'qadd-e-aadam' could also be said as height of Adam (first man) and this would interpret as your cypress of stature compared to Adam's height. When I see you both on the doomsday, and seeing the difference in height between you two, I think less of the height of the turmoil of the doomsday.

tamashaa ki ai mahw-e-aaiinah-daari

tujhe kis tamannaa se hum dekhte hain

Line 7/8 - The spectacle of you so engrossed in holding/looking into a mirror. With what yearning/longing we see you. The poet to his beloved, says the sight of you are so engrossed in the mirror admiring your glow. With what (kind of) longing we look at you. You look so occupied in the mirror and in your innocence of the moment, and my longing for the beloved is like a divine yearning that has no end, no beginning and is Total. 'aaiinah-daari' could also mean bearing the mirror, so maybe the beloved is holding the mirror to me.

suraag-e-taf-e-naalah le daagh-e-dil se

ki shab-rau ka naqsh-e-qadam dekhte hain

Line 9/10 - The evidence or trace of the steam of lamentation from the wounds of the heart. That we look for the footprints of the night traveler. The poet says we see the heat of lament and sorrowful moaning coming out from the wounds of the heart and if you want to find the evidence of such sorrowful release, look for the footprints of the night traveller. The second line could be interpreted in multiple ways. The night traveller could be a thief or robber that had robbed many houses in a single night leaving behind lot of anxious victims. I (for my heart is lost) am like those victims whose houses have been robbed. The other interpretation could be that the night traveller is lost (his confused footprints are all across the town) and he is anxious and agitated and in the same state of distress and unease as the lover.

banaa ke faqeeron ka hum bhes ghalib

tamashaa-e-ahl-e-karam dekhte hain

Line 11/12 - Having put on the disguise of a faqir, O ghalib!. We see the spectacle of the generosity of the people. The poet says I have put on the disguise of the faqir to carefully observe the spectacle of the people-of-generosity. It is impossible to tell who is really generous and who are just show-off generous ('people of generosity' who make loud claims about their deeds). To actually see for myself, I have donned the garb of a faqir so that we can see the spectacle. The use of word 'tamashaa' makes the scene sound as dubious or for show and hence the connotations are to point hypocrisy of those people.

Meaning of difficult words -

naqsh-e-qadam = footprints

khayaabaan = flowerbed

iram = paradise

aashuftagan = distressed

khaal = mole

kunj = corner, lonely spot

dahan = mouth

savaidaa = blackish, the black part of the heart, the heart's core

adam = non-existence, annihilation

sarv = cypress tree (tall in quality)

qaamat = stature, body

qadd-e-aadam = one man height (height of adam)

fitne = turmoil, anarchy

mahw = absorbed, engrossed

daari = looking into (holding/bearing)

taf = vapour, steam

naalah = lamentation, moan

shab-rau = one who walks/travels at night

bhes = disguise

ahl-e-karam = people of charity

ਧੰਧਾ ਕਰਤ ਬਿਹਾਨੀ ਅਉਧਹਿ ਗੁਣ ਨਿਧਿ ਨਾਮੁ ਨ ਗਾਇਓ ॥੧॥ ਰਹਾਉ ॥

धंधा करत बिहानी अउधहि गुण निधि नामु न गाइओ ॥१॥ रहाउ ॥

Ḏẖanḏẖā karaṯ bihānī auḏẖahi guṇ niḏẖ nām na gāio. ||1|| rahāo.

You have spent your life engaged in worldly pursuits; you have not sung the Glorious Praises of the treasure of the Naam. ||1||Pause||

ਕਉਡੀ ਕਉਡੀ ਜੋਰਤ ਕਪਟੇ ਅਨਿਕ ਜੁਗਤਿ ਕਰਿ ਧਾਇਓ ॥

कउडी कउडी जोरत कपटे अनिक जुगति करि धाइओ ॥

Kaudī kaudī joraṯ kapte anik jugaṯ kar ḏẖāio.

Shell by shell, you accumulate money; in various ways, you work for this.

ਬਿਸਰਤ ਪ੍ਰਭ ਕੇਤੇ ਦੁਖ ਗਨੀਅਹਿ ਮਹਾ ਮੋਹਨੀ ਖਾਇਓ ॥੧॥

बिसरत प्रभ केते दुख गनीअहि महा मोहनी खाइओ ॥१॥

Bisraṯ parabẖ keṯe ḏukẖ ganīah mahā mohnī kẖāio. ||1||

Forgetting God, you suffer awful pain beyond measure, and you are consumed by the Great Enticer, Maya. ||1||

ਕਰਹੁ ਅਨੁਗ੍ਰਹੁ ਸੁਆਮੀ ਮੇਰੇ ਗਨਹੁ ਨ ਮੋਹਿ ਕਮਾਇਓ ॥

करहु अनुग्रहु सुआमी मेरे गनहु न मोहि कमाइओ ॥

Karahu anūgrahu suāmī mere ganhu na mohi kamāio.

Show Mercy to me, O my Lord and Master, and do not hold me to account for my actions.

ਗੋਬਿੰਦ ਦਇਆਲ ਕ੍ਰਿਪਾਲ ਸੁਖ ਸਾਗਰ ਨਾਨਕ ਹਰਿ ਸਰਣਾਇਓ ॥੨॥੧੬॥੨੫॥

गोबिंद दइआल क्रिपाल सुख सागर नानक हरि सरणाइओ ॥२॥१६॥२५॥

Gobinḏ ḏaiāl kirpāl sukẖ sāgar Nānak har sarṇāio. ||2||16||25||

O merciful and compassionate Lord God, ocean of peace, Nanak has taken to Your Sanctuary, Lord. ||2||16||25||

kadeek sada yar hunda sa

aaj kol phire chup keeta

je yara tusa bol na chadya haye

asee sabar dile nu kita

kasam khuda di tu mainu pyara lagna ve, haye

te tu na kar jor taghaane 

nange pinde mere maar na chhamkha 

mere ronde ne nain nimane 

jiniya tan mere te lagiyan ve

tere ek lage te tu jane

gulam farid dil otthe deiye haye

jithe agla vi kadar pachane

jee ve soneya jee paven kise da hoke jee

ki hoya je ajj nahin saada kade te hunda si

sadke ona ravan de tu lang ja jinni rahi 

hasda khedta vekha tainu rehndi duniya tain

teri khushi nal khushi hai meri, haur kise nal ki

jee ve soneya jee...

teri khushi lei tere utton vaar deya jag sara

bal vinga na hove tera supne vich vi yara

tere ditte gam main javan sharbat vangu pee

jee ve soneya jee...

ken gaman da banya na koi jamun

ek yar dardi o vi nas gaya

keeti bandagi na ye kabool meri 

sajda kar diyai mattha kas gaya 

aeda vekhya beparva sona

sanu rondeyan vekh ke hans gaya 

gulam farida, paye hajar tarle (minnaten)

jani ek na dilan di dass gaya 

kasam khuda di teri aai, (for your sake)

sajna main mar javan

uthtee baindee har vele main

mangdi ravan duavaan

tainu tatti hva na lagge veri duniya di 

jee ve soneya jee...

ankhiyan de vich vasda rahve bol pave na bol

main teri tu mera sajna, kavan vajake dhol

ishq husan di marke nirdhan 

kayam rakhange leek 

jee ve soneya jee...

ਜੀ ਵੇ ਸੋਹਣਿਆ ਜੀ, ਭਾਵੇਂ ਕਿਸੇ ਦਾ ਹੋ ਕੇ ਜੀ

ਕੀ ਹੋਇਆ ਜੇ ਅੱਜ ਨਹੀਂ ਸਾਡਾ, ਕਦੇ ਤੇ ਹੁੰਦਾ ਸੀ ਵੇ 

ਜੀ ਵੇ ਸੋਹਣਿਆ ਜੀ...

ਸਦਕੇ ਉਨ੍ਹਾਂ ਰਾਵਾਂ ਦੇ, ਤੂੰ ਲੰਘ ਜੇਂ ਜਿਨੀਂ ਰਾਹੀਂ

ਹੱਸਦਾ ਖੇਡਦਾ ਵੇਖਾਂ ਤੈਨੂੰ, ਰਹਿੰਦੀ ਦੁਨੀਆਂ ਤਾਈਂ

ਤੇਰੀ ਖੁਸ਼ੀ ਨਾਲ ਖੁਸ਼ੀ ਹੈ ਮੇਰੀ, ਹੋਰ ਕਿਸੇ ਨਾਲ ਕੀ ਵੇ

ਜੀ ਵੇ ਸੋਹਣਿਆ ਜੀ...

ਨਾ ਕਰ ਮਾਣ ਰੁਪਈਐ ਵਾਲਾ, ਕਿਉਂ ਬਣ-ਬਣ ਬਹਿਨੈ ਬੱਗੇ

ਖਰਾ-ਖੋਟ ਤੂੰ ਪਰਖਿਆ ਜਾਵੇਂ, ਜਦੋਂ ਪਵੇਂ ਸਰਾਫ਼ ਦੇ ਅੱਗੇ

ਬੋਲੋਂ ਪੂਰਾ ਹੋ ਤੋਲੋਂ ਪੁਰਾ, ਨਾ ਸੱਟ ਸਿਰੇ 'ਤੇ ਲੱਗੇ

ਬੁੱਲ੍ਹੇ ਸ਼ਾਹ ਤੂੰ ਕੌਡੀ ਹੋ ਜਾ, ਤੈਨੂੰ ਵੱਟਾ ਮੂਲ ਨਾ ਲੱਗੇ

ਤੇਰੀ ਖੁਸ਼ੀ ਲਈ ਤੇਰੇ ਉੱਤੋਂ, ਵਾਰ ਦਿਆਂ ਜਗ ਸਾਰਾ

ਵਾਲ਼ ਵਿੰਗਾ ਨਾ ਹੋਵੇ ਤੇਰਾ, ਸੁਪਨੇ ਵਿਚ ਵੀ ਯਾਰਾ

ਤੇਰੇ ਦਿੱਤੇ ਗ਼ਮ ਮੈਂ ਜਾਵਾਂ, ਸ਼ਰਬਤ ਵਾਂਗੂੰ ਪੀ ਵੇ

ਜੀ ਵੇ ਸੋਹਣਿਆ ਜੀ...

ਕਸਮ ਖ਼ੁਦਾ ਦੀ ਤੇਰੀ ਆਈ, ਸੱਜਣਾ ਮੈਂ ਮਰ ਜਾਵਾਂ

ਉਠਦੀ ਬਹਿੰਦੀ ਹਰ ਵੇਲੇ ਮੈਂ, ਮੰਗਦੀ ਰਵਾਂ ਦੁਆਵਾਂ

ਤੈਨੂੂੰ ਤੱਤੀ ਵਾਅ ਨਾ ਲੱਗੇ, ਵੈਰੀ ਦੁਨੀਆ ਦੀ ਵੇ

ਜੀ ਵੇ ਸੋਹਣਿਆ ਜੀ, ਭਾਵੇਂ ਕਿਸੇ ਦਾ ਹੋ ਕੇ ਜੀ

ਕੀ ਹੋਇਆ ਜੇ ਅੱਜ ਨਹੀਂ ਸਾਡਾ, ਕਦੇ ਤੇ ਹੁੰਦਾ ਸੀ ਵੇ 

ਜੀ ਵੇ ਸੋਹਣਿਆ ਜੀ...      

I was thinking of this couplet from Mirza Ghalib when I read a quote about hell by Dostoervsky: 

Translation of the full ghazal is here. There are two other translations I found useful. One is by Professor Pritchett and another by urdustuff. Some of the couplets were sung by Jagjit Singh for the TV series on Mirza Ghalib:

The beauty of the full moon is good

but my moon with sun's beauty is better

If it is broken, why don't you get another one from the market

From the cup of Jamshed, my clay cup is better!

If one receives without asking, the pleasure is doubled

The beggar who is not in the habit of asking is better

On seeing my love my face brightens

And they think the sick man is well

An axe brought Farhaad and Sheeren together

However a masterstroke is brought about is good!

A drop goes into the river and becomes the river

Whatever brings about a good result is good

May the protector keep the prince (Khizr Sultan) flourishing

In the King's garden this new sapling is good

I know the reality of heaven 

but it is a good distraction for the heart

ਮਾਏਂ ਨੀਂ ਮੈਂ ਕੈਨੂੰ ਆਖਾਂ

ਮਾਏਂ ਨੀਂ ਮੈਂ ਕੈਨੂੰ ਆਖਾਂ,

ਦਰਦੁ ਵਿਛੋੜੇ ਦਾ ਹਾਲਿ ।1।ਰਹਾਉ।

ਧੂੰਆਂ ਧੁਖੇ ਮੇਰੇ ਮੁਰਸ਼ਦਿ ਵਾਲਾ,

ਜਾਂ ਫੋਲਾਂ ਤਾਂ ਲਾਲ ।1।

ਸੂਲਾਂ ਮਾਰ ਦਿਵਾਨੀ ਕੀਤੀ,

ਬਿਰਹੁੰ ਪਇਆ ਸਾਡੇ ਖ਼ਿਆਲ ।2।

ਦੁਖਾਂ ਦੀ ਰੋਟੀ ਸੂਲਾਂ ਦਾ ਸਾਲਣੁ,

ਆਹੀਂ ਦਾ ਬਾਲਣੁ ਬਾਲਿ ।3।

ਜੰਗਲਿ ਬੇਲੇ ਫਿਰਾਂ ਢੂੰਢੇਂਦੀ,

ਅਜੇ ਨ ਪਾਇਓ ਲਾਲ ।4।

ਕਹੈ ਹੁਸੈਨ ਫ਼ਕੀਰ ਨਿਮਾਣਾ,

ਸ਼ਹੁ ਮਿਲੇ ਤਾਂ ਥੀਵਾਂ ਨਿਹਾਲਿ ।5।

ae tan tandoor 

haddan da ballan 

asaan aahin naal tapaya

tan haandi 

hijar masaala

vich lun sabar da paaya

yaar fareed 

mai margai dhola

te tainu aje sawaad na aayaa

Lyrics in Punjabi

ਸੂਹੀ ਮਹਲਾ ੫ ॥

ਦਰਸਨ ਕਉ ਲੋਚੈ ਸਭੁ ਕੋਈ ॥

ਪੂਰੈ ਭਾਗਿ ਪਰਾਪਤਿ ਹੋਈ ॥ ਰਹਾਉ ॥

ਸਿਆਮ ਸੁੰਦਰ ਤਜਿ ਨੀਦ ਕਿਉ ਆਈ ॥

ਮਹਾ ਮੋਹਨੀ ਦੂਤਾ ਲਾਈ ॥੧॥

ਪ੍ਰੇਮ ਬਿਛੋਹਾ ਕਰਤ ਕਸਾਈ ॥

ਨਿਰਦੈ ਜੰਤੁ ਤਿਸੁ ਦਇਆ ਨ ਪਾਈ ॥੨॥

ਅਨਿਕ ਜਨਮ ਬੀਤੀਅਨ ਭਰਮਾਈ ॥

ਘਰਿ ਵਾਸੁ ਨ ਦੇਵੈ ਦੁਤਰ ਮਾਈ ॥੩॥

ਦਿਨੁ ਰੈਨਿ ਅਪਨਾ ਕੀਆ ਪਾਈ ॥

ਕਿਸੁ ਦੋਸੁ ਨ ਦੀਜੈ ਕਿਰਤੁ ਭਵਾਈ ॥੪॥

ਸੁਣਿ ਸਾਜਨ ਸੰਤ ਜਨ ਭਾਈ ॥

ਚਰਣ ਸਰਣ ਨਾਨਕ ਗਤਿ ਪਾਈ ॥੫॥੩੪॥੪੦॥