I shared my poem in Russian with my friend, Vladimir Korobov. And he sent this beautiful couplet back, from a Russian poet, Osip Mandelstam. I loved it. Here is a reflection on it.
Unveiling the Unseen Within: From Poetry to Wisdom, the potent resonance of invoking the divine name sparks inner transformation, leading to personal liberation and inspiring freedom in others.
Freedom by Osip MandelStam:
Your image, painful and fragile,
I could not feel in a fog.
"Lord!" - I said by mistake,
Without thinking of saying it
God's name like a big bird
flew out of my chest in a rage
Leaving a foggy swirl ahead
And an empty cage in the back
Uttering the name of a divine entity signifies more than a mere vocalization; it serves as a catalyst for introspection and an aspiration to embody the loftiest virtues within oneself. This transformative act propels individuals towards their fullest potential, enabling them to transcend their personal obstacles and attain a state of liberation. Osip Mendelsohn's poignant poem, "Freedom," encapsulates this notion. It encapsulates the profound journey of shedding burdens and constraints to embrace true emancipation.
This sentiment is reminiscent of Guru Nanak's wisdom as conveyed in the concluding verses of the Japji Sahib, where he imparts the significance of "pavan guru," the wind that carries enlightenment.
Through dedicated remembrance and diligent effort, one liberates not only themselves but also inspires liberation within others. Guru Nanak's wisdom echoes the belief that resonates through Mendelsohn's poem – the idea that invoking the divine essence fosters a transformative process leading to personal growth and a ripple effect of freedom for those in proximity.
In essence, these interconnected reflections underscore the profound impact of invoking a higher power's name. It serves as a beacon guiding individuals towards self-realization and empowerment, propelling them to transcend limitations and become beacons of freedom for the world around them.
Образ твой, мучительный и зыбкий,
Я не мог в тумане осязать.
"Господи!" - сказал я по ошибке,
Сам того не думая сказать.
Rough English Translation:
Your image, painful and fragile,
I could not feel in a fog.
"Lord!" - I said by mistake,
He did not think to say.
My version
Your image, painful and fragile,
I could not feel in a fog.
"Lord!" - I said by mistake,
And a loving embrace I got
Update Nov 19/2010
I obtained the rest of the poem today:
Образ твой, мучительный и зыбкий,
Я не мог в тумане осязать.
"Господи!" - сказал я по ошибке,
Сам того не думая сказать.
Божье имя, как большая птица,
Вылетало из моей груди.
Впереди густой туман клубится,
И пустая клетка позади.
So, will make a change to the previous version (Changed Sep 2020)
Your image, painful and fragile,
I could not feel in a fog.
"Lord!" - I said by mistake,
Without thinking of saying it
God's name like a big bird
flew out of my chest in a rage
Leaving a foggy swirl ahead
And an empty cage in the back
Changed using Google Translate (Sep 2020)
Your image, painful and unsteady,
I could not touch in the fog.
"Lord!" - I said by mistake,
Without thinking to say it.
God's name is like a big bird
Flew out of my chest.
Ahead a thick fog swirls
And an empty cage behind.
Reflection -
Saying the Lord's name is like flinging open the cage and freeing your soul.
The previous recordings represent the more prevalent Devgandhari sung by Sikh raagis. Some say there is a difference between the Devgandhari and Devgandhar citing that except for one shabad, all shabads in the Granth Sahib; thus recognizing the difference (See above recording of Jagat Main Jhooti by Bhai Gurdev Singh). However, one of the blog readers, Manbir Singh ji, pointed out to me that there are no shabads in Devgandhar in the Granth Sahib. Bhai Avtar Singh calls what some call "Devgandhar," raag "Devgandhari, Asavari ang". The prevalent Devgandhar in Indian classical music does not use Shudha Ni and Dha, but uses both Gandhars. Here are a couple of recordings of the other form: Ab Hum Chali Thakur Peh (Video) Tera Jan Raam Rasayan - Bhai Avtar Singh
They called in the automobile ... the key to my freedom! Blues in country!
The oldest holocaust survivor in the world, at the age of 107 Alice Herz-Sommer still plays the piano every day. "When we laugh what happens in our body, physically, it's beautiful!" Herz-Sommer attributes her longevity to her optimism.
"Worst thing in lives is boredom. The best thing in life is a laugh"
Sean Berry in the UK for reminding me of one of my favorite songs ... that some of the most popular songs of the last few decades, reminds us of our commonalities, and therefore our common father. Thanks Sean,
Aas - Composition by Shivpreet Singh; Sung by Kaushiki Chakraborty
Baba Farid and Gurbani
I love the poetry of Bhagat Farid. His poems, known as Shabads, are found in the Guru Granth Sahib, the holy book of Sikhs. Some experts believe these hymns were composed by a Sufi named Farid Shakarganj from Pak Pattan, who was a follower of Qutbuddin Bakhtiyar Kaki. Others think they were written by a different Sufi from Pak Pattan, also named Farid.
Baba Farid was a special and miraculous child. His mother used to pray all day and night during her pregnancy. He was born in the sacred month of Ramzan in the year 1173. On the night of his birth, the moon was hidden behind clouds, and people didn't know when to start their fasting. A holy man came and said that if the newborn baby refused to breastfeed, then it meant the fasting had begun. And indeed, Farid didn't suckle during the day, following the Muslim fasting tradition.
As a child, Farid was named Farid-ud-Din Masaud, but he became famous as Baba Farid of Pak Pattan. His mother used to reward him with sugar hidden under his prayer carpet when he finished his prayers. One day, when she was absent, he prayed a lot and found an even greater amount of sugar. Delighted, he shared it with his friends. When he told his mother about it, she realized it was a divine gift and gave him the surname Shakar Ganj, which means "treasury of sugar."
Farid ji has been honoured by the Gurus of Sikhism and his verses were collected and subsequently compiled into the Sikh holy book, Guru Granth Sahib (normally referred to as Gurbani) under three different sections as detailed below:
First section:
The first section comprising of two shabads is in Raag Asa at page 488 of the Guru Granth Sahib. The Bani starts " ਆਸਾ ਸੇਖ ਫਰੀਦ ਜੀਉ ਕੀ ਬਾਣੀ - Āsā Sekẖ Farīḏ jī▫o kī baṇī - Aasaa, The Word Of Shaykh Fareed Jee:"
Second section:
The second section comprising of two shabads is in Raag Suhi at page 794 of the Guru Granth Sahib. The Bani starts " ਰਾਗੁ ਸੂਹੀ ਬਾਣੀ ਸੇਖ ਫਰੀਦ ਜੀ ਕੀ ॥ - Rāg sūhī baṇī Sekẖ Farīḏ jī kī. -Raag Soohee, The Word Of Shaykh Fareed Jee:"
Third section:
The third section is by far the longest section comprising about 8 pages in Raag Jaijaiwanti starting at page 1377 of Guru Granth Sahib and ending at page 1384. The Bani starts with the line: " ਸਲੋਕ ਸੇਖ ਫਰੀਦ ਕੇ - Salok Sekẖ Farīḏ ke - Shaloks Of Shaykh Fareed Jee:" This section consists of couplets which have become very famous among the followers of Babaji.
The connection of Baba Farid with Amir Khusro
After Baba Farid ji, his successor was Hazrat Nizamuddin Auliya from Badayun, Uttar Pradesh, India (1238 - 1325). Sadly, he lost his father when he was just five years old. Together with his mother, he moved to Delhi. At the age of 20, he became a devoted disciple of Baba Farid, deeply inspired by his teachings.
Nizamuddin Auliya had a strong connection with the holy shrine in Pakpattan and would visit especially during the month of Ramadan. Just before Baba Farid ji passed away, he chose Nizamuddin Auliya as his successor. However, Auliya Sahib decided to return to Delhi instead of staying in Pakpattan. He dedicated his life to serving the poor people of the region, carrying forward the message of God.
Nizamuddin Auliya gained immense popularity and had millions of followers and students. One of his most notable students was Amir Khusrow, a renowned poet and musician. Amir Khusrow is credited with introducing Qawali to Indian music for the first time. Additionally, he innovated the Tabla by modifying the South Indian drum called mridang or pakhawaj. His contributions to music are truly remarkable and have left a lasting impact on Indian musical traditions.
Someone reminded me today that it was Gurpurab (Guru Ramdas), so I was reminded of the shabad I have heard so many times, Dhan Dhan Ramdas Gur.
I checked, like I do now for every shabad when I hear it, it was written by Guru Sahib in Raag Ramkali. I made a simple Ramkali composition and recorded it so I would not forget it. Then I looked for other Ramkali compositions for this shabad, and I could not find it on youtube. If you know of a Ramkali version, I would love to here it.
I was looking for some Ramkali inspiration and I found the following acapella rendition which I found very interesting:
Whoever composed this, I would say its a very fantastic attempt. To make it more beautiful, please sit with someone who has learned and perfected the Tabla for years in the traditional Indian way (Guru Shishya Parampara). And second I would take the major mode elements out (and there aren't many, but there are some striking ones, like the descending passage on 3:05 which includes A and E, which are present in the major mode, but have no place in Ramkali). Further, if I were to do this, since this is a love song, I would soften some of the charged elements in the rendition that make it rough and tough. In that respect, there is another rendition of the same piece on the web which sounds a lot soothing.
I'll go back to singing Dhan Dhan Ramdas Gur ... but I also learned some interesting things about the composers of this Shabad and here it goes:
On Satta and Balwand
(from sikhiwiki) Rai Balvand, a rababi (rebeck player) in the time of Guru Arjan and co-composer with Satta, said to be his brother, of a Var included in the Guru Granth Sahib in the Ramkali musical measure. He was by birth a mirasi, Muslim minstrel and genealogist, and sang the sacred hymns to the accompaniment of a rebeck like Bhai Mardana played during the time of Guru Nanak. Not much authentic biographical information is available about him except that he and his brother, Bhai Satta, were contemporaries with Guru Arjan (1563 - 1606) for whom they recited sabdakirtan. According to another tradition, they started their career under Guru Angad sometime after he succeeded Guru Nanak on the latter's demise in 1539 and continued to serve the Gurus until the time of Guru Arjan.
A story is recorded that Balwand had become so proud of his musical ability that he once refused Baba Buddha's request for the recital of a sabda. He was reprimanded by the Guru and was told that he (the Guru) was within every Sikh and refusing a Sikh to recite a hymn meant refusal to the Guru himself. On another occasion, Balvand is said to have requested Guru Arjan to let him and Satta have all the offerings of the Baisakhi day of that year so as to enable them to meet the expenses of a marriage in the family. The Guru agreed. But the offerings on that day fell far short of their expectations. They asked the Guru for more which he refused.
Under the mistaken notion of their indispensability, both Satta and Balvand left the Guru, imagining that once they stopped reciting the hymns his following would dwindle. Guru Arjan sent for them, but they refused to return. When the Guru himself called on them, they spoke rudely of the House of Guru Nanak. Now discarded by the Guru, they found themselves alienated from the Sikhs. They suffered both mental anguish and fell sick with leprosy. A Sikh, named Laddha, petitioned the Guru on their behalf after rubbing his face with ashes (the Guru had threatened to have this done to anyone speaking on their behalf) and secured them forgiveness. Back in the presence of the Guru, they were cured of the disease. They then composed a Var, popularly known as Tikke di Var, in praise of the Gurus. They, perceived all the Gurus as sharing the same spirit, the same one light. Both Balwand & Satta, are said to have passed away at Lahore in the time of Guru Hargobind (1595-1644) and were buried on the bank of the River Ravi.
To convert love to devotion, you have to convert from bhairavi to Gauri.
Thats the question I repeat in my head when I read this shabad.
The emphasis is usually on "Miloan Meri Mai"
I used to feel that discovery of "other" religions is not important, so my research would be limited. But Guru Nanak removed the fog. His message about Love of the One and Oneness. So now have new found freedom to research and enjoy every aspect of life that can encourage me to sing His praises.
So, when I see a shabad in Raag Gauri, I ask why?
Someone asked me, who tells you these things. I tell them Guru Nanak's Mool Mantra. If applied it removes all sources of anger, frustration, bigotism that we might have.
Or maybe it is about meeting the Guru??
And Parbati Mai is the "Guru" Guru can tell you which attributes you need. Gur Isar, Gur Gorakh Barma, Gur Parbati Mai.
And the fact remains guru ji's focus is on "Kavan Gun" So my simran element is "Kavan Gun Mai" not "Miloan Meri Mai"
http://www.youtube.com/watch?v=w5BwXxTdHoU
The more popular bhairavi tune:
rwgu gauVI pUrbI mhlw 5
Raag Gauree Poorbee, Fifth Mehl:
<> siqgur pRswid ]
One Universal Creator God. By The Grace Of The True Guru:
kvn gun pRwnpiq imlau myrI mweI ]1] rhwau ]
By what virtues can I meet the Lord of life, O my mother? 1Pause
rUp hIn buiD bl hInI moih prdysin dUr qy AweI ]1]
I have no beauty, understanding or strength; I am a stranger, from far away. 1
nwihn drbu n jobn mwqI moih AnwQ kI krhu smweI ]2]
I am not wealthy or youthful. I am an orphan - please, unite me with Yourself. 2
Kojq Kojq BeI bYrwgin pRB drsn kau hau iPrq iqsweI ]3]
Searching and searching, I have become a renunciate, free of desire. I wander around, searching for the Blessed Vision of God's Darshan. 3
dIn dieAwl ik®pwl pRB nwnk swDsMig myrI jlin buJweI ]4]1]118]
God is Compassionate, and Merciful to the meek; O Nanak, in the Saadh Sangat, the Company of the Holy, the fire of desire has been quenched.
Two renditions of the shabad. One in Jai taal by Bhai Avtar Singh and one in Chaar Taal.
Why is this shabad addressed to the Mother? Because Mother is the Guru. She is the one who knows true love. She has the attributes that have kept her a Sohagan. So advice needs to come from a mother.
The advice is on beauty. No wonder the shabad is in Gauri. Gauri is the symbol of beauty. She is the wife of Shiva and her beauty is pure.
Fire (Jalan) makes you black. Jalan goes away with saadh sangat.
To become one with Gauri, one has to give up all ego.
To have the melodious voice of koyal, one has to be burnt by separation.
Kali Koyal tu kit gun kaali
Apne preetam ke haon birhai jaali
When it sings, its blackness is forgotten.
It becomes virtuous.
Lets sing Gauri in such a sweet way, that the dirt of our souls is forgotten,
Paarbati Mai appears in various portions of our bani.
The raag is often at contrast with the words. Raag bhairav gets its name from the destructive form of Lord Shiva. But shabads in Raag bhairav are about protection (Raakha Ek Hamara Swami). Similarly, here in Raag Gauri, a contrast is created between the idealism of Gauri with what the singer of the Shabad is: "Roop Heen, Budh bal heenee" - not only is the singer self described as lacking virtues of beauty, but also that of intelligence (budh) and strength (bal).
I surveyed the other shabads sung by raagis. This shabad is one of the ones that my grandmother used to sing. Although I never heard her sing, I retained some of the melodies that my father used to relate to me. And after several years I found the melody sung by Singh Bandhus:
Professor Darshan Singh - Gujri Todi
Poorvi thaat is one of the thaats I have experienced for a long time. But poorvi just has direction. Gauri poorvi has meaning. It was one of the raags I taught to students who used to learn indian classical music from me when I was doing my bachelors degree in Berkeley.
Gauri Poorvi.
Saadh Sang -
Color -- black
<> siqgur pRswid ]
One Universal Creator God. By The Grace Of The True Guru:
rwgu sUhI bwxI syK PrId jI kI ]
Raag Soohee, The Word Of Shaykh Fareed Jee:
qip qip luih luih hwQ mrorau ]
Burning and burning, writhing in pain, I wring my hands.
bwvil hoeI so shu lorau ]
I have gone insane, seeking my Husband Lord.
qY sih mn mih kIAw rosu ]
O my Husband Lord, You are angry with me in Your Mind.
muJu Avgn sh nwhI dosu ]1]
The fault is with me, and not with my Husband Lord. 1
qY swihb kI mY swr n jwnI ]
O my Lord and Master, I do not know Your excellence and worth.
jobnu Koie pwCY pCuqwnI ]1] rhwau ]
Having wasted my youth, now I come to regret and repent. 1Pause
kwlI koiel qU ikq gun kwlI ]
O black bird, what qualities have made you black?
Apny pRIqm ky hau ibrhY jwlI ]
"I have been burnt by separation from my Beloved."
iprih ibhUn kqih suKu pwey ]
Without her Husband Lord, how can the soul-bride ever find peace?
jw hoie ik®pwlu qw pRBU imlwey ]2]
When He becomes merciful, then God unites us with Himself. 2
ivDx KUhI muMD iekylI ]
The lonely soul-bride suffers in the pit of the world.
nw ko swQI nw ko bylI ]
She has no companions, and no friends.
kir ikrpw pRiB swDsMig mylI ]
In His Mercy, God has united me with the Saadh Sangat, the Company of the Holy.
jw iPir dyKw qw myrw Alhu bylI ]3]
And when I look again, then I find God as my Helper. 3
vwt hmwrI KrI aufIxI ]
The path upon which I must walk is very depressing.
KMinAhu iqKI bhuqu ipeIxI ]
It is sharper than a two-edged sword, and very narrow.
ausu aUpir hY mwrgu myrw ]
That is where my path lies.
syK PrIdw pMQu sm@wir svyrw ]4]1]
O Shaykh Fareed, think of that path early on. 41
Another shabad in Gauri Purbi, shows how Gauri is about removing sins and becoming pure:
Rāg gaoṛī pūrbī mėhlā 4.
Raag Gauree Poorbee, Fourth Nanak
Kām karoḏẖ nagar baho bẖariā mil sāḏẖū kẖandal kẖanda hey.
Lust and anger grip my mind
Meeting the Guru, I break their hold,
Pūrab likẖaṯ likẖe gur pāiā man har liv mandal mandā hey. ||1||
Graced by the Guru's wisdom, my mind is imbued with divine love.
Kar sāḏẖū anjulī pun vadā hey.
Praiseworthy it is to recognize the Guru with folded hands,
Kar dandauṯ pun vadā hey. ||1|| rahāo.
Better still, to humbly bow ||1||Pause||
Sākaṯ har ras sāḏ na jāṇiā ṯin anṯar haumai kandā hey.
Singing oneness!
