I am reading Desire Path: Sequoia by Donika Kelly today in Poetry magazine (see below for the poem) and meditating upon the theme of the impermanence of faces.
We, as humans, are minuscule and transient. Faces that will disappear like clouds. We see them today everywhere, and tomorrow there are no where to be seen. Perhaps some will appear, like Ghalib says in his Ghazal Sab Kahaan, through beautiful flowers.
Sab kahaan kuchhh lalaa-o-gul mein numaaya ho gayeen
Khaak main kyaa suratein hongi ki pinhaa ho gayeen
Where are they all, a few manifest in beautiful flowers
What spectacular faces must have beem that the ground now hides
Our impermanence can swiftly transform our existence, making us vulnerable like something inflammable. Like Baba Farid says, don't touch the safflower, O love, it will burn. It is vulnerable and flammable.
Hath na laayi kasumbharai, jal jaasi dhola
Everything that currently possesses a distinct identity, even objects with faces, will eventually lose their individuality and merge with the vastness of the universe. Time will gradually deposit layers upon them, turning them into sediment, blending them into the fabric of eternity. This reminds me of Shams Mashraqi's Persian poem Har Lehza where he talks about find the trickster love in every face:
Har lehza ba shakl aan but-e-ayyar baraamad
Dil burd-o-nihaan shud
Har dum ba libaas-e-digar aan yaar baraamad
Gah peer-o-jawaan shud
O' that trickster idol-beloved! Every time he made an appearance, he had a different face
He pulled the people's hearts, And hid from view.
Every time he came out in a different garb
He was sometimes young, And sometimes he was old.
The future remains unknown, and perhaps we need to express gratitude for this lack of foresight. Or the gratitude for the foresight to see the one in all, and thereby not needing to know that everything is impermanent.
Desire Path: Sequoia
The poem is titled "Desire Path: Sequoia" to evoke the sense of longing and the connection between human desires and the majestic Sequoia tree. The term "Desire Path" suggests an unconventional route or an intuitive path created by human yearning. In this context, it represents the speaker's deep connection with nature and their vulnerability, symbolized by the Sequoia.
Desire Path: Sequoia
By Donika Kelly
Today I see the faces in everything:
the trees across the street, the clouds
in Ansel Adams’s The Golden Gate
Before the Bridge, San Francisco,
California. In the picture, I’m not hugging
the sequoia; I’m showing the woman
behind the camera I am small, young,
that I’ve always been vulnerable
to fire, and I am smiling to know this.
I am holding my arms perpendicular
to the plane of my body, which is parallel
to the plane of the tree, the tree
between my arms, outstretched,
and in so doing I am saying to the woman
behind the camera: You too are small, young,
you have always been vulnerable to fire.
In taking the picture, she says: I agree.
You are small. The picture is on a screen
in a hotel room. The woman behind the camera
a figment of memory, her face smudged,
imprecise. There is pleasure in planes
gone to silt, in time (as with water, as with wind)
doing its sedimentary work. Pleasure
in what’s past—the feeling of the tree’s
rough bark, its trunk as whole
between my arms as the Golden Gate,
through either peninsula, running
into ocean under only one horizon—
pleasure in not knowing (fire, steel,
grief) what’s yet to come.
Sab kahan kuchh lala-o-gul mein numayaan ho gayin Khaak mein kya suraten hongi ki pinhaan ho gayin
Where are they? Some have manifested in roses and tulips!
O what faces must be in dust that have disappeared?
In the realm of Mirza Ghalib's poetry, this couplet stands as an enigmatic masterpiece in my view. It is a window into the timeless questions that have haunted literature's most profound minds. It embodies the interplay of life and death, beauty and decay, and the ever-elusive quest to uncover the hidden facets of our existence.
As we read this, we embark on a journey with Mirza Ghalib through a beautiful garden with roses and tulips we encounter a profound question: "Sab Kahaan" or "Where are all?" The poet's inquiry echoes the echoes of literary giants who have pondered the same mysteries. This reminds me of Kabir's "Kahaan gaye" - "where have they gone?" Reminiscent of Whitman's poignant musings on the multitudes, Ghalib's verse beckons us to contemplate the invisible threads that connect humanity.
Within this poetic tapestry, Ghalib intertwines nature's vibrant hues with the fleeting presence of souls. He unravels the essence of existence, revealing how some unveil themselves amidst the blossoms of tulips and roses. In this interplay of life's transience and nature's fleeting beauty, echoes of Rumi's metaphysical exploration resonate, as he too sought to decipher the hidden truths embedded in the tangible world.
But the poet's introspection does not cease there. Ghalib delves into the profound enigma of the second line: "In the dust, what faces there will be that have become hidden?" Here, he poses an existential puzzle that evokes the poetic introspection of Emily Dickinson. Like Dickinson's fascination with the enigmatic depths of the human soul, Ghalib ponders the faces concealed within the dust, contemplating the myriad possibilities of hidden identities and untold stories.
Ghalib's verse transcends mere words, inviting us to embrace the beauty that surrounds us, even within the ephemeral nature of life's fragile tapestry.
yaad thi hamko bhi ranga rang bazm-aaraaiyan lekin ab naqsh-o-nigaar-e-taaq-e-nisiyaan ho gayin.
I too used to remember those colorful gathering adornings and arrangements. But now they have become a mark or portrait in the niche of oblivion.
The poet says that he once too reveled, in the corridors of his mind in the remembrance of those vivid gatherings, adorned with resplendent embellishments and meticulous arrangements. Mirza Ghalib was after all the Mughal poet laureate. However, like delicate brushstrokes upon a canvas, those memories have now evolved into ethereal portraits, nestled within the niche of oblivion. The effervescence that once animated those days has now dissipated, leaving behind a mere echo of their former glory. These memories, like distant paintings, now find their residence within the hallowed confines of oblivion.
The poet's bear resemblance to the fleeting imagery conjured by Proust's madeleine, each stroke of color a portal to a bygone era, where time held no sway. Some evocative recollections symbolize the bittersweet ebb and flow of life's tapestry, mirroring the poignant sentiments echoed in the works of Marcel Proust, who delved deep into the realm of memory and the impermanence of time. Mirza Ghalib fills his cup of melancholy, honors these faded treasures that grace the niche of oblivion and accepts that they are now gone.
thi banaat-un-naash-e-garduun din ko parde men nihaan shab ko un ke ji men kya aai ki uryaan ho gayin
The Ursa Minor constellation was hidden in a veil during the day. In the night, I don't know what came in its heart that it became bare.
qaid mein yaqub ne li go na yusuf ki khabar lekin ankhen rauzan-e-diivaar-e-zindaan ho gayin
In the prison, Jacob (yaqub) although has taken no information about Joseph (yusuf). But eyes have become windows in the wall of the prison.
In the annals of the Old Testament, two prominent figures emerge: Joseph and Jacob. Joseph, the son of Jacob, found himself unjustly confined within the Pharaoh's prison. Amidst this troubling chapter in his life, the poet reflects upon Jacob's plight, revealing a poignant truth. Though bereft of any news or knowledge regarding his incarcerated son, Jacob's eyes became a profound portal within the prison's walls. They stood as a steadfast window, vigilantly watching over Joseph, a symbol of a father's unwavering love.
Despite the absence of tangible information about his son, Jacob's tearful eyes remained fixated, casting their gaze upon his beloved son. Through this unyielding connection, his eyes became an intimate aperture, akin to a tender crack in the prison's unyielding facade. Night and day, they served as a conduit, allowing Jacob to keep an unrelenting watch over his son's well-being. Such is the boundless depth of a father's affection for his children, transcending physical barriers and imprisonment.
The poet captures the essence of paternal love, highlighting the indomitable power of love to traverse even the most formidable confines. Through Jacob's tearful vigilance, we witness the resolute strength that emanates from a parent's heart, one that creates a window in the prison walls.
sab raqibon se hon nakhush, par zanan-e-misr se hai zulaikha khush ke mahv-e-mah-e-kanan ho gain
Unhappy with all the rivals, but with the women of Egypt Zulaikha is happy because they have become transfixed in the moon of Canaan.
In the realms of ancient Egypt, a tale unfolds involving the captivating figure of Zulaikha, a queen enraptured by the love she held for Joseph. As word of her affection spread throughout the land, the women of Egypt began to taunt her, provoking a response unexpected. For typically, lovers harbor discontent toward rivals who vie for the affections of their beloved. Yet, Zulaikha's heart remained unperturbed by the presence of these rivals, finding solace in a peculiar outcome.
Indeed, she discovered a sense of contentment, for as these women beheld the radiant figure of Joseph, often referred to as the "moon of Canaan," their attention became transfixed upon his resplendent charm. Enraptured by his beauty, they became absorbed, momentarily forgetting their spiteful mockery. Herein lies the crux of a story narrated in the Qur'an, which sheds further light upon the matter.
In this ancient tale, Zulaikha distributed apples to each of these women, urging them to cut the fruit upon Joseph's arrival. As destiny would have it, their gazes fell upon him, and in their distraction, they accidentally wounded their own fingers while slicing the fruit. Seizing the moment, Zulaikha reminded them that Joseph graced their presence daily, thus reminding them of the pain they had inadvertently inflicted upon themselves. In this realization, fueled by both physical and emotional discomfort, the women ceased their mockery.
Through this story, the poet unravels a profound truth. Zulaikha's benevolent intent, manifested through the distribution of apples, revealed a wisdom that surpassed the petty taunts and jeers. Instead of harboring resentment, she employed a gentle tactic, one that allowed the natural allure of Joseph to captivate and transform those who had once mocked her. In their mesmerized state, the women found a new perspective, fostering an end to their mockery.
This tale stands as a testament to the power of empathy and understanding, illuminating Zulaikha's remarkable ability to rise above adversity and transform the hearts of her rivals. It portrays a profound lesson on the potential for love to conquer animosity, demonstrating the capacity for personal growth and enlightenment through compassion and self-reflection.
ju-e-khun ankhon se bahane do ki hai shaam-e-firaq main ye samajhunga ke shamaen do farozan ho gayin
In this eve of parting, let the river of blood flow from my eyes. I shall perceive them as two radiant candles.
The poet, immersed in the depths of longing and separation, utters a poignant plea, beckoning the river of blood to flow from their eyes. This moment, veiled by the twilight of their parting, becomes a canvas for profound emotion. Amidst this profound anguish, a flicker of solace emerges, taking form in the metaphorical illumination of two candles.
In the darkness that envelops the night of separation, the poet envisions these tears, crimson and sorrowful, as radiant flames that dispel the gloom. The bloodied tears, akin to burning candles, cast their luminous glow upon the surrounding darkness, granting a glimmer of comfort amidst the desolation.
In this striking imagery, reminiscent of a scene crafted by the great poet Rumi, the rivers of blood become symbols of fervent devotion. The illumination they cast pierces through the abyss of longing, evoking the transformative power of love amidst the heart's deepest yearnings.
Thus, through the poet's metaphorical invocation, we witness the beauty that can arise from the depths of despair. Like candles ablaze, the tears of the poet create a semblance of light, illuminating the path forward amidst the profound darkness of separation.
in parizadon se lenge khuld men ham intiqam qudarat-e-haq se yahi huren agar vaan ho gayin
In the realm of paradise, we shall enact vengeance upon these alluring fairies, if, by the power of Truth, they too reside within. The poet laments that this earthly existence falls short in granting retribution from their beloveds, yearning for their presence in heaven to fulfill his desire for revenge. In this sentiment, echoes of Dante's longing for divine justice resonate, as he journeyed through the realms of the afterlife seeking resolution.
neend usaki hai, dimag usaka hai, raten usaki hain teri zulfen jisake bazu par pareshan ho gayin
Sleep is his, Mind is his, The Nights are his. Your curls of hair, on whose shoulder have become disordered and disheveled.
In this poignant verse, the poet paints a vivid picture of the disarrayed locks of his beloved's hair, cascading upon the shoulder of the lover. In this juxtaposition, the poet reflects upon the contrasting states of their minds and souls. As the locks of hair find solace upon the lover's shoulder, tranquility befalls the rival, their sleep undisturbed, their thoughts lucid, and their nights devoid of despair. In stark contrast, the poet laments his own tumultuous state, plagued by restless nights, a mind in disarray, and thoughts entangled with confusion. Through this evocative imagery, the poet conveys the profound imbalance and longing that consumes the depths of their being, as the beloved's scattered locks symbolize the disorder within their own thoughts and emotions.
main chaman mein kya gaya, goya dabistan khul gaya bul-bulen sun kar mere nale, gazalkhwan ho gayin
I had hardly entered the garden, as if a school had opened. The nightingale having heard my lamentations, become ghazal singers.
The poet says that has he ventured into the garden, consumed by contemplation, it seemed akin to entering a school. Like a chorus of children reciting verses in unison, the nightingales, upon hearing his plaintive cries, transformed into maestros of ghazals. His lamentations, so poignant and melodious, resonated within their very souls, weaving together a refined ghazal that transcended the realms of beauty and sorrow.
In this enchanting scene, echoes of Hafez's nightingales come to mind, their songs imbued with the essence of longing and poetic mastery. The convergence of my heartfelt expressions with the nightingales' melodic imitation birthed a sublime ghazal, epitomizing the profound beauty that lies within the interplay of human emotion and the natural world.
vo nigahen kyun hui jati hain yarab dil ke par jo meri kotaahii-e-qismat se mizshgan ho gain
Why do those glances, oh Lord! keep going through the heart? Which through my failure of fate, became eye-lashes.
In this verse, the poet explores the profound impact of the beloved's glances, specifically focusing on the significance of receiving only a glimpse or eyelash. The poet distinguishes between the usual glances bestowed by the beloved and the rarity of receiving just the attention of their eyelashes. This unusual occurrence suggests a lack of fortune or limited luck, as the poet yearns for the complete gaze of the beloved.
However, despite this misfortune, the poet is astounded by the profound effect that even the smallest glance of the beloved has on their heart. It transcends the limitations of mere physical sight, resonating deeply within their being. The poet marvels at the immense power contained within these seemingly insignificant eyelash glances, acknowledging the all-encompassing impact they have on their heart.
Through this reflection, the poet poignantly captures the intensity of their longing and the ability of even the tiniest gestures from the beloved to evoke a profound emotional response. The disparity between the limited fortune and the immense impact of these small glances highlights the extraordinary power of love to transcend physical boundaries and touch the depths of the heart.
bas ki roka main ne aur seene mein ubharen pai-ba-pai meri aahein bakhiya-e-chak-e-garibaan ho gayin
Although I stopped them, more emerged or swelled up with in the chest again and again. My sighs became the stitching on the torn hem of the shirt.
The poet portrays the relentless surges of sighs within their heart, drawing a striking parallel to the act of mending a torn shirt's hem. It is an act of futility, for these sighs persistently rise, analogous to the relentless tearing and mending of the fabric. Initially, madness compelled the poet to rip the shirt, while moments of calmness allowed for the stifling of never-ending sighs, akin to stitching the torn garment. However, the mounting pressure of suppressed sighs eventually becomes suffocating, necessitating the tearing of the shirt once again to allow the heart to breathe. This cycle of sighs, tearing, and sewing offers no meaningful solace, perpetuating an endless chain of emotional turbulence. As Pritchett astutely observes, the poet skillfully employs wordplay, wherein "seene" (chest) can also be interpreted as "seena" (to sew up), while strategically juxtaposing the words "tearing" and "sewing" for heightened dramatic effect.
vaan gaya bhi main to unki gaaliyon ka kya jawab yaad thi jitini duayen, sarf-e-darbaan ho gayin
Even if I were to go there, what answer would I have for her insults? As many prayers I could remember, all were used on the doorkeeper.
The poet contemplates the consequences of approaching the beloved's door, fearing not receiving any favors or glances, but instead enduring taunts and insults. In this quandary, the poet ponders the dilemma of how to respond. All the prayers and blessings they could recall were exhausted on the doorman, leaving no resources for a suitable retort. This predicament, lacking the freshest and newest blessings to counter the beloved's crude and humiliating words, becomes a source of worry. It is indeed an amusing situation, reminiscent of the comedic complexities found in the works of Molière, where irony and wit collide, presenting the poet with a humorous yet challenging conundrum.
jaan-fiza hai baada, jis ke hath mein jaam aa gaya sab lakiren haath ki goya rag-e-jaan ho gayin
Lively is wine, in whomsoever's hand the glass comes. All the lines of the palm as if became the jugular vein.
There can be two main interpretations of this:
The first interpretation highlights the lively and exhilarating nature of wine. The poet suggests that consuming wine leads to a sense of expansiveness and euphoria, symbolized by the engorged lines on one's hand, resembling blood-filled veins. By connecting the visuals of wine, hand lines, and the heart's main artery, the poet emphasizes the life-affirming qualities of wine and its ability to animate and invigorate.
The second interpretation focuses on the visual imagery created by a glass of red wine in hand. As the glass is held, the lines on the hand appear red when seen through the glass, resembling arteries filled with living blood. This interpretation suggests that wine possesses the power to imbue life and vitality. The dry lines on the hand, usually devoid of color, now appear to be brimming with flowing blood, signifying the life-giving properties attributed to wine.
Both interpretations emphasize the transformative nature of wine, whether through its ability to elicit a sense of liveliness and euphoria or its metaphorical representation of life-giving qualities. The imagery of wine and its connection to the hand's lines and the flow of blood serve to underscore the profound impact that wine can have on one's experience and perception of life.
hum muwahhid hain, hamara kesh hai tark-e-rusum millatein jab mit gain, ajza-e-iman ho gayin
We are the believers in one God, our nature is the abandonment of rituals and customs. When nations or communities have been erased, they become part of the faith.
The poet expresses a belief in the unity of God and emphasizes that true spiritual fulfillment can only be attained by relinquishing external customs, rituals, and religious practices. According to the poet, the elimination of sectarian divisions and the abandonment of religious distinctions would enable individuals to become united in their faith. It is through transcending the confines of organized religion that one can truly embrace a genuine spiritual path.
In the poet's perspective, the essence of a genuine religion lies in the absence of any specific religious affiliation. By discarding the trappings of organized religion, individuals can reach a state where the oneness of God and the oneness of humanity are realized. This notion challenges the notion of religion as a set of dogmas and rituals, instead emphasizing a deeper, more profound connection to the divine that transcends traditional boundaries.
Ultimately, the poet suggests that the pursuit of true faith necessitates a departure from religious structures and the unification of people under the banner of a universal belief in the oneness of God. By embracing this notion, individuals can transcend the limitations of external religious practices and foster a deeper understanding of the spiritual realm.
ranj se khugar hua insaan to mit jata hai ranj mushkilen mujh par padi itani ke asaan ho gayin
When a person become accustomed to grief, then the grief gets erased. So many difficulties have fallen upon me, that they became easy.
This couplet is widely recognized as one of the most renowned verses from this ghazal. The poet asserts that by aligning oneself with grief, the grief itself loses its hold. Despite the multitude of hardships that have befallen the poet, they have become bearable, as the poet has attuned themselves to such challenges. These difficulties no longer evoke despair, as the poet has adapted to them. This sentiment also evokes the teachings of Guru Nanak, specifically the concept of "Dukh Daaru Bhaya," where sorrow transforms into a healing remedy. There are also two similar couplets by Ghalib: - 'ranj uthanay say bhi khushi ho gi, pahlay dil dard aashna keejay' and "dard minnat-kash-e-davā na huā".
yunn hi gar rota raha 'ghalib', to ae ahl-e-jahan dekhana in bastiyon ko tum ki viraan ho gayin
If Ghalib keeps on crying like this, then oh! people of this world. You take a look at these towns, that they have become abandoned and deserted.
The couplet suggests that the poet believes their emotional state is so intense and overwhelming that it has the power to affect the environment and the people around them. The poet implies that their constant weeping and expression of sorrow will have a profound impact on the towns or communities they inhabit. The idea conveyed is that the poet's emotional distress is so pervasive that it can cause a sense of desolation and emptiness, symbolically driving people away from the towns. It reflects the poet's belief in the profound influence of their emotions on the world around them.
Ja Tu Mere Val Hai
Surrender of the Singer of Oneness
The shabad "Ja Tu Mere Val Hai" conveys a powerful message centered around the concept of surrendering oneself to oneness and the transformation that ensues. While it is impossible to explain this transformation, I will try to write my feelings from the point of view of a singer of oneness.
It is somewhat miraculous that the singer of oneness finds complete reliance and trust in the divine power. Surrendering to oneness in essence is realizing the interconnection with the universe and aligning our faith with this elusive highest authority that has no parallel or end. This surrender becomes the foundation for the subsequent experiences of peace and contentment.
With oneness on their side, the singer of oneness transcends worries and concerns. The sense of security and assurance derived from their connection with the divine shields them from the anxieties that often plague ordinary life. By entrusting their cares to oneness, they find solace in the knowledge that their well-being is safeguarded.
The act of serving all constituents of oneness brings forth abundant blessings and benefits for the singer. The wealth they receive is boundless, surpassing material possessions and encompassing the richness of spiritual enlightenment. By dedicating themselves to the cause of oneness, the singer taps into the limitless grace that flows from the divine source.
The singer of oneness experiences a profound transformation in their relationships. Enemies are no longer adversaries but become friends as harmony and goodwill permeate their interactions. This shift signifies the all-encompassing love and compassion inherent in oneness, fostering unity and understanding among all beings.
The connection between the singer of oneness and their Guru Govinda represents a deep spiritual bond. Through this relationship, the singer finds peace, bliss, and profound fulfillment. The union with the divine guru becomes a source of guidance, enlightenment, and ultimately, the realization of the self's true purpose.
Surrendering oneself to oneness leads to a profound sense of contentment and resolution. The singer's affairs find resolution, and inner conflicts dissolve in the light of divine acceptance. By aligning their will with the divine plan, the singer of oneness experiences a harmonious flow of life, unburdened by the complexities that hinder personal growth and fulfillment.
For me this shabad encapsulates the transformative power of surrendering oneself to oneness. Through the act of singing and embracing oneness, I have felt profound reliance and trust in the highest power. By singing and embracing oneness, I have experienced a profound sense of reliance, trust, and interconnectedness with the divine. Singing this surrender to oneness with love, and I know it can lead to freedom from worries and concerns, a feeling of abundant blessings, and a harmonious existence. I believe surrender has transformative effects on anyone that sings and meditates upon this shabad.
Ja Tu Mere Val Hai - The Form of Pauris
The form of this shabad is a "Pauri", a Punjabi term used to describe a ladder, step, staircase. Pauris are a poetic form characterized by their concise structure, typically comprising 6 to 8 lines. Within a Pauri, two or more lines are skillfully crafted to end with rhyming words, adding a harmonious and melodic quality to the composition. Guru Nanak's Japji Sahib has 38 Pauris or step, each progressing the singer of the hymns to the highest ideal. Metaphors of stairways are also found in Hindu, Buddhist and American works.
Ja Tu Mere Val Hai - Meaning/Translation
If you are on my side
what worry do I have?
You give me everything
If I serve you
My wealth is endless
however much I spend and consume
8.4 million species
are all helping me
All enemies have become friends,
no one wishes me ill.
No one calls me to account,
if Hari absolves me
I have found peace and bliss
meeting Guru Govinda
All my affairs have been resolved,
since you are pleased with me.
If you are on my side
what worry do I have?
You have given me everything
If I am Your slave.
Chords for Shabad
These are the instructions I gave to fellow musicians for the music of this shabad:
Chords
D2 Bm Dmaj7 A x4
D2 Bm G2 Asus
D2 G2 Asus D2 x2
D2 Bm Dmaj7 Asus x2
D2 Bm G2 Asus
D2 G2 Asus D2 x2
D2 Bm Dmaj7 Asus x5
Ja Tu Mere Val Hai - Lyrics
Ja Tu Mere Val Hai
Ta Kya Mohchhanda
Tudh Sab Kichh Mainu Saunpeya
Jaa Teraa Bandaa
Lakhmi thot na aavai
khae kharach rehanda
Lakh chauraasi medni
sab sev karanda
Eh Vairi Mitra Sab keeteya
neh mangai manda
Lekha Koi Na Puchhayi
Ja har bakshandaa
Anand bhaya sukh paya
mil gur govinda
Sabai kaaj savaariey
jaa tudh bhaavandaa
Ja Tu Mere Val Hai
Ta Kya Mohchhanda
Tudh Sab Kichh Mainu Saunpeya
Jaa Teraa Bandaa
If you are on my side
what worry do I have?
You give me everything
If I serve you
My wealth is endless
however much I spend and consume
8.4 million species
are all helping me
All enemies have become friends,
no one wishes me ill.
No one calls me to account,
if Hari absolves me
I have found peace and bliss
meeting Guru Govinda
All my affairs have been resolved,
since you are pleased with me.
If you are on my side
what worry do I have?
You have given me everything
If I am Your slave.
Gurbani Lyrics and Alternative Translations
ਪਉੜੀ ॥
पउड़ी ॥
Paoṛī.
Pauree:
ਜਾ ਤੂ ਮੇਰੈ ਵਲਿ ਹੈ ਤਾ ਕਿਆ ਮੁਹਛੰਦਾ ॥
जा तू मेरै वलि है ता किआ मुहछंदा ॥
Jā ṯū merai val hai ṯā kiā muhcẖẖanḏā.
When You are on my side, Lord, what do I need to worry about?
ਤੁਧੁ ਸਭੁ ਕਿਛੁ ਮੈਨੋ ਸਉਪਿਆ ਜਾ ਤੇਰਾ ਬੰਦਾ ॥
तुधु सभु किछु मैनो सउपिआ जा तेरा बंदा ॥
Ŧuḏẖ sabẖ kicẖẖ maino saupiā jā ṯerā banḏā.
You entrusted everything to me, when I became Your slave.
ਲਖਮੀ ਤੋਟਿ ਨ ਆਵਈ ਖਾਇ ਖਰਚਿ ਰਹੰਦਾ ॥
लखमी तोटि न आवई खाइ खरचि रहंदा ॥
Lakẖmī ṯot na āvī kẖāe kẖaracẖ rahanḏā.
My wealth is inexhaustible, no matter how much I spend and consume.
ਲਖ ਚਉਰਾਸੀਹ ਮੇਦਨੀ ਸਭ ਸੇਵ ਕਰੰਦਾ ॥
लख चउरासीह मेदनी सभ सेव करंदा ॥
Lakẖ cẖaorāsīh meḏnī sabẖ sev karanḏā.
The 8.4 million species of beings all work to serve me.
ਏਹ ਵੈਰੀ ਮਿਤ੍ਰ ਸਭਿ ਕੀਤਿਆ ਨਹ ਮੰਗਹਿ ਮੰਦਾ ॥
एह वैरी मित्र सभि कीतिआ नह मंगहि मंदा ॥
Ėh vairī miṯar sabẖ kīṯiā nah mangėh manḏā.
All these enemies have become my friends, and no one wishes me ill.
ਲੇਖਾ ਕੋਇ ਨ ਪੁਛਈ ਜਾ ਹਰਿ ਬਖਸੰਦਾ ॥
लेखा कोइ न पुछई जा हरि बखसंदा ॥
Lekẖā koe na pucẖẖī jā har bẖakẖsanḏā.
No one calls me to account, since God is my forgiver.
ਅਨੰਦੁ ਭਇਆ ਸੁਖੁ ਪਾਇਆ ਮਿਲਿ ਗੁਰ ਗੋਵਿੰਦਾ ॥
अनंदु भइआ सुखु पाइआ मिलि गुर गोविंदा ॥
Anand bẖaiā sukẖ pāiā mil gur govinḏā.
I have become blissful, and I have found peace, meeting with the Guru, the Lord of the Universe.
ਸਭੇ ਕਾਜ ਸਵਾਰਿਐ ਜਾ ਤੁਧੁ ਭਾਵੰਦਾ ॥੭॥
सभे काज सवारिऐ जा तुधु भावंदा ॥७॥
Sabẖe kāj savāriai jā ṯuḏẖ bẖāvanḏā. ||7||
All my affairs have been resolved, since You are pleased with me. ||7||
Today I am commemorating Memorial Day to honor and remember the brave men and women who made the ultimate sacrifice while serving in the military. It is a day of remembrance and gratitude for their selfless dedication and unwavering commitment to protecting our freedoms and ensuring our safety.
Memorial day has been celebrated in the United States since the Civil War. The U.S. Civil War left an indelible mark on the families affected by the conflict, regardless of which side they supported. With nearly 500,000 men losing their lives, representing approximately 2 percent of the country's population at the time, the scale of the devastation was immense. One particularly poignant moment in this bloody chapter occurred during the battle of Gettysburg, where the Union and Confederacy together mourned the loss of over 7,000 individuals.
As the war drew to a close in April 1865, the process of healing and reconciliation began. Remarkably, women, particularly in the South, took on the task of tending to the graves of fallen soldiers, displaying a compassionate spirit that transcended the divisions that had torn the nation apart. Their selfless acts of remembrance and care were widely celebrated in Northern newspapers, as they symbolized a willingness to move forward and embrace unity. One individual touched by these gestures was Francis Miles Finch, a northerner who penned the renowned poem "The Blue and The Gray" in 1867. In his heartfelt verses, Finch praised the efforts of these women and recognized their acts of kindness as an olive branch extended across the divide.
"The Blue and The Grey" is not just a poem, but a beautiful ode to oneness that resonates deeply within all of us. In transcending the divide that once existed before the Civil War, it stands as a beacon of hope. It serves as a powerful reminder of the potential to bring people together, rallying around a common cause that unites us all. In a world faced with significant challenges, it reminds us of the urgent need for collective collaboration and harmony. We must strive to embrace this spirit of togetherness, for it holds the key to solving the most pressing problems that humanity confronts today.
The Blue and The Gray
- Francis Miles Finch
By the flow of the inland river, Whence the fleets of iron have fled, Where the blades of the grave-grass quiver, Asleep are the ranks of the dead; — Under the sod and the dew, Waiting the judgment day; — Under the one, the Blue; Under the other, the Gray.
Those in the robings of glory, Those in the gloom of defeat, All with the battle-blood gory, In the dusk of eternity meet; — Under the sod and the dew, Waiting the judgment day; — Under the laurel, the Blue; Under the willow, the Gray.
I stumbled upon this beautiful poem by Emily Dickinson. In this poem she writes about the desire of the heart and how it evolves as we go through life:
The Heart asks Pleasure – first –
And then – Excuse from Pain –
And then – those little Anodynes
That deaden suffering –
And then – to go to sleep –
And then – if it should be
The will of its Inquisitor
The liberty to die –
The first and foremost desire of the heart is pleasure, which is the ultimate goal of every human being. However, when pleasure is unattainable, the heart seeks to avoid pain and live a life free from suffering.
But what happens when pain is unavoidable? The heart then longs for "Anodynes," or painkillers, to ease its discomfort. The word "Anodyne" stems from the Greek for "without pain," and it represents the heart's desperate plea for relief. Yet, even when anodynes fail, the heart does not give up hope. It seeks the escape of sleep or unconsciousness to find some solace.
But what if sleep fails to soothe one's ills? What if the pain is too great to bear, and there seems to be no end in sight? At this point, the heart's only remaining desire is for death to bring it the ultimate release. It is a desperate plea for liberty, a way to end the suffering once and for all.
In the end, the heart turns to the Inquisitor, a religious figure who represents the ultimate Inquisitor, God (or Death), for help. The Inquisitor is the only one who can bring an end to the heart's pain and grant it the peace it seeks.
So the desires of the heart eventually find solace in death. Death is the ultimate cure for all desires.
In somewhat contrasting light, Mirza Ghalib relates desires to death:
Hazaron Khwahishen Aisi Ke Har, Ke Har Khwahish Pe Dam Nikle
I have thousands of desires, and each desire to die for
I have lost so many wishes, but I have still a lot more
Death is the ultimate cure for all desires
The idea that death is the ultimate cure for all desires is a common theme in literature and philosophy. It suggests that death is the final and ultimate end to all of our earthly struggles and desires. This is a belief that has been held by many cultures and religions throughout history.
One interpretation of this idea is that death is the ultimate release from suffering. All of our desires, whether they are for pleasure, love, success, or something else entirely, are ultimately driven by a desire to avoid suffering. We seek pleasure to avoid pain, we seek love to avoid loneliness, and we seek success to avoid failure. However, no matter how much we try to satisfy our desires, there will always be some degree of suffering in our lives. Death, therefore, is seen as the ultimate release from this suffering. It is the final cure for all our earthly desires and a way to achieve the ultimate peace.
Another interpretation of this idea is that death is the ultimate equalizer. No matter how rich, powerful, or successful we are in life, we all face the same fate in death. In this sense, death is seen as the ultimate leveler, the great equalizer that puts everyone on an even playing field. It is the one thing that we all have in common, regardless of our differences in life.
While the idea that death is the ultimate cure for all desires may seem bleak or pessimistic, it can also be seen as a reminder to appreciate the time we have on this earth and to make the most of it. Rather than chasing after unattainable desires, we can focus on living our lives in a way that brings us joy and fulfillment, knowing that in the end, death will come for us all. By accepting this reality, we can find peace and meaning in the present moment, rather than constantly striving for something more.
The United States Congress designates the first Thursday of May as the National Day of Prayer, an annual day of observance when individuals are encouraged "to turn to God in prayer and meditation." The President is legally obligated to issue a proclamation each year, urging all Americans to participate in this day of prayer. Living in a nation where the highest leader promotes such spiritual contemplation fills me with gratitude.
I did some reflection on the meaning of prayer using some poems as my guides. Whenever I think of prayer, I first think of Ardaas, literally meaning prayer, one of my earliest compositions and the title of my first album. Its beautiful how Gurbani reminds us that a prayer is actually the acknowledgement of oneness. I'm sharing in this blog some poems from Mary Oliver, Pope Francis and Alfred Noyes that are congruent with this definition and expand on the true meaning of prayer.
Ardaas
God, this is my humble petition:
that you are the true master
that you always protect me
and I meditate on You.
that all life and creatures are yours
and you permeate all
that one who slanders your servant
is vanquished completely
that renouncing my worries, I am carefree
at your feet
Reading Poetry by Mary Oliver, Alfred Noyes and Pope Francis
Prayer is a powerful force that can provide comfort, hope, strength in the midst of adversity, and a reason to be jubilantly in awe.
As Mary Oliver writes in her poem "The Summer Day," "I don't know exactly what a prayer is. I do know how to pay attention, how to fall down into the grass, how to be idle and blessed, how to stroll through the fields, which is what I have been doing all day." Mary suggests that prayer can be about paying attention to nature, immersing oneself in the beauty of the natural world, and finding a sense of connection and peace through that experience.
Alfred Noyes' poem "A Prayer in Time of War" further emphasizes the importance of prayer as a means of finding strength and hope in times of adversity. Alfred writes, "Give us courage, give us faith, give us hope; strengthen us, oh God, that we may be strong in our faith and may resist the evil that surrounds us." The poem suggests that prayer can provide a sense of courage and resilience in the face of fear and uncertainty.
Pope Francis' poem "A Prayer for Our Earth" highlights the importance of gratitude and reverence for the natural world in our prayers. Pope Francis writes, "Teach us to discover the worth of each thing, to be filled with awe and contemplation, to recognize that we are profoundly united with every creature." The poem emphasizes the interconnectedness of all living beings and the importance of recognizing our responsibility as stewards of the earth.
Just like Gurbani, these poems suggest that while prayer can take many different forms, but its power lies in its ability to provide a sense of connection, strength, and compassion. Through prayer, we can find solace in nature, cultivate a sense of resilience in the face of adversity, and recognize our responsibility to protect and care for the natural world.
The Summer Day
Mary Oliver
Who made the world?
Who made the swan, and the black bear?
Who made the grasshopper?
This grasshopper, I mean-
the one who has flung herself out of the grass,
the one who is eating sugar out of my hand,
who is moving her jaws back and forth instead of up and down-
who is gazing around with her enormous and complicated eyes.
Now she lifts her pale forearms and thoroughly washes her face.
Now she snaps her wings open, and floats away.
I don’t know exactly what a prayer is.
I do know how to pay attention, how to fall down
into the grass, how to kneel down in the grass,
how to be idle and blessed, how to stroll through the fields,
which is what I have been doing all day.
Tell me, what else should I have done?
Doesn’t everything die at last, and too soon?
Tell me, what is it you plan to do
with your one wild and precious life?
I love Mary Oliver's poetry. This poem is a beautiful example of how a prayer can be about paying attention to nature. In the poem, she contemplates the natural world around her, observing the grasshopper, the swan, and the black bear. She marvels at the intricate details of the grasshopper's movements, the bear's strength and majesty, and the swan's grace and beauty.
As she watches the grasshopper, she reflects on the mystery of creation, wondering who made these creatures and the world they inhabit. She recognizes that there is much in the natural world that she doesn't understand, and she humbly accepts this mystery.
But despite her lack of understanding, she knows how to pay attention to the world around her. She knows how to fall down into the grass, how to kneel down and be idle and blessed, how to stroll through the fields. In other words, she knows how to be fully present in the natural world, to immerse herself in its beauty and wonder.
This, to her, is a form of prayer. It is a way of expressing gratitude for the gift of life and for the beauty of the natural world. It is a way of acknowledging the mystery of creation and our place in it. And it is a way of connecting with something greater than ourselves.
Indeed, paying attention to nature can be a powerful form of prayer. When we take the time to observe the natural world around us, we can find a deep sense of peace and wonder. We can connect with something greater than ourselves, and we can feel a sense of gratitude for the gift of life.
In a world that is often chaotic and busy, paying attention to nature can be a way of finding stillness and calm. It can help us to slow down and appreciate the simple things in life, like the grasshopper, the swan, and the black bear. And it can remind us of our place in the natural world and our responsibility to care for it.
A prayer can be about paying attention to nature. By immersing ourselves in the beauty and wonder of the natural world, we can connect with something greater than ourselves and find a deep sense of peace and gratitude. And in a world that is often busy and chaotic, this kind of prayer can be a powerful way of finding stillness and calm.
A Prayer for our Earth
- Pope Francis
All-powerful God, you are present in the whole universe
and in the smallest of your creatures.
You embrace with your tenderness all that exists.
Pour out upon us the power of your love,
that we may protect life and beauty.
Fill us with peace, that we may live
as brothers and sisters, harming no one.
O God of the poor,
help us to rescue the abandoned and forgotten of this earth,
so precious in your eyes.
Bring healing to our lives,
that we may protect the world and not prey on it,
that we may sow beauty, not pollution and destruction.
Touch the hearts
of those who look only for gain
at the expense of the poor and the earth.
Teach us to discover the worth of each thing,
to be filled with awe and contemplation,
to recognize that we are profoundly united
with every creature
as we journey towards your infinite light.
We thank you for being with us each day.
Encourage us, we pray, in our struggle
for justice, love and peace.
* This prayer is included in Pope Francis’s 2015 encyclical Laudato si’
Pope Francis' poem "A Prayer for Our Earth" teaches us several important things about prayer. First and foremost, the poem emphasizes the importance of gratitude and reverence for the natural world. The poem implores us to recognize the beauty and complexity of the earth and to treat it with the respect and care it deserves.
The poem also teaches us that prayer can be a powerful tool for awakening our compassion and sense of interconnectedness with all living beings. Through prayer, we can cultivate a deep sense of empathy and concern for the well-being of all creatures, both human and non-human.
Additionally, the poem suggests that prayer is not just an individual act, but can be a collective effort that brings people together across borders and boundaries. The prayer acknowledges the impact of human actions on the earth and calls on people from all corners of the world to come together to address the environmental challenges we face.
The poem also highlights the importance of action as well as prayer. It encourages us to recognize our responsibility as stewards of the earth and to take concrete steps to protect and preserve the environment.
Prayer can be a powerful force for fostering gratitude, compassion, and action in relation to the natural world. It reminds us of the interconnection between all living beings and the importance of treating the earth with the respect and care it deserves.
A Prayer in Time of War
- Alfred Noyes
The war will change many things in art and life, and among them, it is to be hoped, many of our own ideas as to what is, and what is not, "intellectual."
Thou, whose deep ways are in the sea,
Whose footsteps are not known,
To-night a world that turned from Thee
Is waiting — at Thy Throne.
The towering Babels that we raised
Where scoffing sophists brawl,
The little Antichrists we praised —
The night is on them all.
The fool hath said . . . The fool hath said . ..
And we, who deemed him wise,
We who believed that Thou wast dead,
How should we seek Thine eyes?
How should we seek to Thee for power
Who scorned Thee yesterday?
How should we kneel, in this dread hour?
Lord, teach us how to pray!
Grant us the single heart, once more,
That mocks no sacred thing,
The Sword of Truth our fathers wore
When Thou wast Lord and King.
Let darkness unto darkness tell
Our deep unspoken prayer,
For, while our souls in darkness dwell,
We know that Thou art there.
"A Prayer in Time of War" by Alfred Noyes is a poignant poem that speaks to the power of prayer in times of great adversity. The poem begins with the speaker asking for a prayer that is strong enough to rise above the chaos and destruction of war. The speaker acknowledges the difficulty of praying in such a time, where fear and uncertainty reign.
The poem tells us that a prayer is a powerful force that can transcend even the most dire of circumstances. It can provide a sense of hope and comfort in the midst of chaos and despair. The speaker implores the reader to pray not only for their own safety but for the safety of all those affected by the war.
The poem also tells us that prayer is a deeply personal act. The speaker emphasizes that each person's prayer will be different, tailored to their own unique experiences and circumstances. He acknowledges that some may pray for victory, while others may pray for peace. But regardless of the specific content of the prayer, the act of praying itself is what is important.
Furthermore, the poem suggests that prayer is a way of connecting with something greater than ourselves. The speaker urges the reader to look beyond their own individual needs and desires and to pray for the greater good. He suggests that prayer is a way of aligning ourselves with a higher power and tapping into a source of strength and courage that goes beyond our own limited capabilities.
In terms of how to pray, the poem suggests that there is no one right way. The speaker acknowledges that each person will have their own approach, and that is perfectly valid. What is important is the act of praying itself, the intention behind it, and the sense of connection it provides.
Overall, prayer is a powerful force that can provide comfort, hope, and strength in the midst of adversity. It is a deeply personal act that can take many different forms, but the intention behind it is what is important. The poem suggests that prayer is a way of connecting with something greater than ourselves, and it is a way of tapping into a source of strength and courage that goes beyond our own limited capabilities.
April is a time of renewal and new beginnings, as it marks the arrival of spring in the Northern Hemisphere. The longer days and warmer weather are a reminder of the cycle of life and the promise of new growth. This is why many religious holidays that fall in April have themes of liberation, renewal, and rebirth.
For Christians, April is the time of Easter, the most important holiday in the Christian calendar. It celebrates the resurrection of Jesus Christ and the promise of eternal life. The Easter story is a powerful reminder of the transformative power of new life, and the idea of liberation from sin and death.
For Jews, April is the month of Nisan, which is when Passover is celebrated. Passover commemorates the liberation of the Israelites from slavery in Egypt, and the journey towards freedom and a new life. It is a time for reflection on the themes of redemption and liberation, and the power of hope and faith to overcome adversity.
For Sikhs, April marks the holiday of Vaisakhi, which celebrates the founding of the Khalsa, the community of baptized Sikhs. This holiday is also a harvest festival, a time of joy and abundance, and a celebration of the renewal of nature.
For Jains, April marks the holiday of Mahavir Jayanti, which celebrates the birth of Lord Mahavir, the 24th and last Tirthankara of the Jain religion. Lord Mahavir's teachings emphasize the importance of non-violence, compassion, and the liberation of the soul from the cycle of birth and death.
In all these religions, the month of April represents a time of new beginnings, hope, and the promise of liberation and new life. It is a time to reflect on the power of faith and renewal, and to celebrate the abundance and beauty of the world around us.
The good news is that you are here to serve The one who’s name is Exalted. The one.
That among the comings And goings of the world You are here to play as a reflection of Krishna playing In Dwarka
That you have found perfect balance Like Krishna. Your name and your deeds Are both exalted. You have found a high Stature but the tone of your voice hasn’t soured or become harsh It remains sweet.
As a reflection of Krishna Your turban is amazing Still your words Are sweet
You come from the same one That a thousand worlds Came from.
You have also attained the dark Complexion of Krishna The ruler of the world
That the one who owns All the horses and elephants Your master is the king Through whom you Attain salvation
Christian Perspective
Luke 4:16-19 quotes an abbreviated version of Isaiah 61:1-2
The spirit of the Lord GOD is upon me, because the Lord has anointed me; he has sent me to bring good news to the oppressed, to bind up the brokenhearted, to proclaim liberty to the captives, and release to the prisoners; to proclaim the year of the Lord’s favor.
A Buddhist Perspective
The Good News
by Thich Nhat Hanh
They don’t publish
the good news. The good news is published by us. We have a special edition every moment, and we need you to read it. The good news is that you are alive, and the linden tree is still there, standing firm in the harsh winter. The good news is that you have wonderful eyes to touch the blue sky. The good news is that your child is there before you, and your arms are available: hugging is possible. They only print what is wrong. Look at each of our special editions. We always offer the things that are not wrong. We want you to benefit from them and help protect them. The dandelion is there by the sidewalk, smiling its wondrous smile, singing the song of eternity. Listen! You have ears that can hear it. Bow your head. Listen to it. Leave behind the world of sorrow and preoccupation and get free. The latest good news is that you can do it.
The form of this shabad is a "Pauri", a Punjabi term used to describe a ladder, step, staircase. Pauris are a poetic form characterized by their concise structure, typically comprising 6 to 8 lines. Within a Pauri, two or more lines are skillfully crafted to end with rhyming words, adding a harmonious and melodic quality to the composition. Guru Nanak's Japji Sahib has 38 Pauris or step, each progressing the singer of the hymns to the highest ideal. I started my Gurbani recordings with a Guru Amar Das pauri, Prabh Paas Jan Ki Ardaas. Here is an example of a Pauri by Guru Arjan, Ja Tu Mere Val Hai:
Ja Tu Mere Val Hai
The metaphor of stairs or ladders as a means of ascending to Heaven is prevalent in various religions worldwide. In Sikhism, the Sikh Gurus and the Sri Guru Granth Sahib are considered the guide or path for Sikhs to attain Moksha or liberation by following Gurbani and living a life of service to others. Similar concepts of ascending to the divine are found in the religious traditions of Hindus, Jews, Christians, and Muslims, each with their own symbolic references and religious texts.
As an example of popular culture, the song "Stairway to Heaven" by the band Led Zeppelin became a hit during a period in the West. Although the song's musical style may not directly reflect Indian music, the metaphor of the stairway in the song resonates with the idea of taking a different path towards spiritual enlightenment or transcendence. The lyrics beckon listeners to embark on a different road, much like the metaphorical journey portrayed in religious texts and traditions. The song ends in the heaven of oneness:
And if you listen very hard The tune will come to you at last When all are one and one is all To be a rock and not to roll
While we humans cannot do many things, there are certain things we can do. We cannot fly in the sky. WE don't have wings. But we can ascend stairs. Its a human thing to do. As Henry Wadsworth Longfellow says in his poem The Ladder of St. Augustine:
We have not wings, we cannot soar; But we have feet to scale and climb By slow degrees, by more and more, The cloudy summits of our time.
The ladders of the world versus the spiritual ladders
The ladder of the world has long enticed individuals to climb in pursuit of social and material standing. However, the poet Jane Hirshfield explores the illusory nature of such ladders in her poem, highlighting their inability to lead to lasting peace. In her ladder, the bottom rungs are rendered nonexistent upon closer examination, and even the top rings, representing pinnacle achievements, lack substantiality. This analogy likens the ladder to a fleeting bubble in water, mirroring the transience of life itself. It further draws a parallel to sand dunes in a desert, appearing and vanishing within moments.
While the poem sheds light on the impermanence and emptiness of worldly ladders, it contrasts this notion with the assertion that the ladder of spirituality is real. Unlike the illusory pursuits of social and material stature, the ladder of spirituality carries a sense of authenticity and profound significance.
The ladder of spirituality, in contrast to its worldly counterpart, offers a pathway to enduring peace and fulfillment. It signifies a journey of inner exploration, seeking connection with something greater than oneself. By ascending this ladder, individuals strive to transcend the ephemeral nature of the world and find solace in a deeper understanding of existence.
Hirshfield's poem prompts contemplation on the dichotomy between temporary pursuits and the lasting significance of spirituality. It encourages individuals to look beyond the fleeting ambitions of the material world and turn their gaze towards the ladder of spirituality, which offers the possibility of enduring peace and a deeper connection to the profound aspects of life.
In essence, the ladder of spirituality stands apart from the illusory ladders of the world, inviting individuals to embark on a transformative journey of self-discovery, purpose, and connection to a higher realm. It serves as a reminder that true fulfillment lies not in the transitory achievements of the world, but in the pursuit of spiritual growth and enlightenment.
It Was As If a Ladder by Jane Hirshfield
It was as if a ladder,
and each rung, real to itself, round or slat, narrow or wide, rope or metal –
and as you ascended, real to yourself, the rungs directly above you solid, directly beneath you, solid.
Scent of peeled orange mixed with gasoline, sound of hammers.
Farther below, the rungs one by one vanished.
Farther above, the rungs one by one vanished.
And the side-rails’ lines vanished, as into a drawing by Brunelleschi.
Scent of peeled orange and gasoline, sound of hammers.
Grip now, night-dog, your barking:
this ladder in air, invented by others, received by others.
Singing oneness!
