Shivpreet Singh

We will continue our meditation on the light. Today we will continue to discuss the light of Guru Ramdas. I did not answer one of the questions in our last meditation session. And that was this: Why do we celebrate Guru Ramdas' Prakash Gurpurab with the shabad "Baitha Sodhi Paatshah" when Gurbani is against casteism. I have had the chance to think about this now and I will share my thoughts. Feel free to write comments in my blog if you want to share your opinion.

These words are taken from Bhai Gurdas' the 47th pauri of his first vaar. For folks who are interested in the context and doing more research, find it on SikhiToTheMax. From Pauris 23-48 Vaar 1 of Bhai Gurdas has the history of the first six Gurus. So we have to see the context of these writings. Bhai Gurdas is highly respected, so much so that, besides the Gurus only Bhai Gurdas' and Bhai Nandlal's bani can be recited in the Harmandir Sahib. If Bhai Gurdas' writings are held in such high esteem, why is there such an emphasis on "Sodhi Paatshaah" in describing Guru Ramdas, when Gurbani is against casteism?

Again, please feel free to write comments in my blog if you want to share your opinion. I will read these before our meditation this evening.

ਪਉੜੀ ੪੭ : ਗੁਰੂ ਰਾਮਦਾਸ ਤੇ ਗੁਰੂ ਅਰਜਨ ਦੇਵ

pauRee 47 : guroo raamadhaas te guroo arajan dhev

Guru Ram Das and Guru Arjan Dev

ਦਿਚੈ ਪੂਰਬਿ ਦੇਵਣਾ ਜਿਸ ਦੀ ਵਸਤੁ ਤਿਸੈ ਘਰਿ ਆਵੈ।

dhichai poorab dhevanaa jis dhee vasat tisai ghar aavai|

Liabilities of the previous births have to be settled and the thing goes to the house it belongs to.

ਬੈਠਾ ਸੋਢੀ ਪਾਤਿਸਾਹੁ ਰਾਮਦਾਸੁ ਸਤਿਗੁਰੂ ਕਹਾਵੈ।

baiThaa soddee paatisaahu raamadhaas satiguroo kahaavai|

Now Guru Ram Das, a Sodhi emperor, seated on the Guru-seat is called the true Guru.

ਪੂਰਨੁ ਤਾਲੁ ਖਟਾਇਆ ਅੰਮ੍ਰਿਤਸਰਿ ਵਿਚਿ ਜੋਤਿ ਜਗਾਵੈ।

pooran taal khaTaiaa a(n)mritasar vich jot jagaavai|

He got dug the complete holy tank and here settling down at Amritsar, he spread his light.

ਉਲਟਾ ਖੇਲੁ ਖਸੰਮ ਦਾ ਉਲਟੀ ਗੰਗ ਸਮੁੰਦ੍ਰਿ ਸਮਾਵੈ।

aulaTaa khel khasa(n)m dhaa ulaTee ga(n)g samu(n)dhr samaavai|

Wondrous is the play of the Lord. He can cause the Ganges to run in the opposite direction and to merge in the ocean.

ਦਿਤਾ ਲਈਯੇ ਆਪਣਾ ਅਣਿਦਿਤਾ ਕਛੁ ਹਥਿ ਨ ਆਵੈ।

dhitaa lieeye aapanaa anidhitaa kachh hath na aavai|

You get your own; given nothing cannot bring to you anything.

ਫਿਰਿ ਆਈ ਘਰਿ ਅਰਜਣੇ ਪੁਤੁ ਸੰਸਾਰੀ ਗੁਰੂ ਕਹਾਵੈ।

fir aaiee ghar arajane put sa(n)saaree guroo kahaavai|

Now the Guruship entered the house of Arjan (Dev) who, to say was the son, but, he proved through his good deeds to be worthy of the Guru-seat.

ਜਾਣਿ ਨ ਦੇਸਾਂ ਸੋਢੀਓਂ ਹੋਰਸਿ ਅਜਰੁ ਨ ਜਰਿਆ ਜਾਵੈ।

jaan na dhesaa(n) soddeeo(n) horas ajar na jariaa jaavai|

This Guruship would not go beyond Sodhis because none else can bear with this unbearable.

ਘਰ ਹੀ ਕੀ ਵਥੁ ਘਰੇ ਰਹਾਵੈ ॥੪੭॥

ghar hee kee vath ghare rahaavai ||47||

The thing of the House should remain in the House.

What is the Sarovar of Guru Ramdas?

"What is the 'Sarovar of Guru Ramdas'? Is it the holy pool around the Harmandir Sahib?" someone once asked me. I paused, realizing that the Sarovar of Ramdas is more than just the physical embodiment of water surrounding the magnificent Harmandir Sahib. To truly understand the essence of this Sarovar, we must delve into the life and teachings of Guru Ramdas, the fourth Guru of Sikhism.

Guru Ramdas, initially named Jetha, was the eldest son of his parents, who, unfortunately, passed away when he was merely seven years old. This early loss led to a life of abject poverty for young Jetha. He was taken in by his grandmother, who would prepare black beans for him to sell and help support the family. However, even in those trying circumstances, Jetha's heart was incredibly generous. He would often encounter poor or saintly individuals who were hungry, and without hesitation, he would share his beans with them, refusing any payment. This act of selflessness, performed by the young Jetha, foreshadowed the remarkable role he would play in the construction of the Harmandir Sahib, a sacred place that feeds countless people every year, embodying the spirit of compassion and community.

The Sarovar of Guru Ramdas encompasses not only his life experiences but also the profound impact of his spiritual teachings. His Baani, or spiritual poetry, is a significant element of this Sarovar. In his verses, Guru Ramdas expressed the deep yearning to unite with the Divine, exemplified in lines like "Koi Aan Milavai Mera Preetam Pyaara" (May someone unite me with my beloved). The love and devotion he conveyed in his poetry form a vital part of the Sarovar, a wellspring of inspiration for Sikhs and seekers of spiritual truth.

A remarkable incident involving Guru Ramdas and Baba Srichand, the eldest son of Guru Nanak and the founder of the Udasi sect, provides further insight into Guru Ramdas's character. When Baba Srichand, with curiosity, asked Guru Ramdas about the reason behind his long flowing beard, Guru Ramdas responded with humility, "To wipe the dust from the holy feet of the saints like you." This response left Baba Srichand deeply moved, acknowledging the Guru's sweet humility as a source of greatness. The interaction between these two spiritual leaders underscores the essence of the Sarovar of Guru Ramdas – a deep sense of humility and respect for all, regardless of their spiritual or social standing.

In essence, the Sarovar of Ramdas is not confined to the waters surrounding the Harmandir Sahib but extends far beyond. It is a spiritual reservoir that encompasses the compassionate heart of a young Jetha, the poetic verses of a devoted Guru, and the profound humility that characterized his interactions. The Sarovar of Guru Ramdas serves as a reminder of the values and principles that underpin the Sikh faith, inspiring generations to embrace compassion, humility, and devotion as they journey towards spiritual enlightenment.

Today I started the day watching this beautiful video describing ee cumming's shortest poem. Loneliness, in essence, is but a fleeting departure from oneness. It's a poetic analogy: akin to the way a leaf descends, parting from its larger entity, the tree, only to merge with the earth – a greater whole. The solitude experienced by the leaf during its descent is merely a momentary pause in its intrinsic oneness.

ee cummings' shortest poem

l(a

one

iness

—ee cummings

More on "l(a"

"l(a" is a remarkable and innovative poem written by E. E. Cummings, a celebrated American poet known for his unconventional and experimental approach to poetry. This poem serves as the opening piece in his 1958 collection titled "95 Poems." "l(a" is a prime example of Cummings' unique style and his ability to blend form and content in a way that captivates readers.

The most striking aspect of "l(a" is its visual structure. The poem is presented in a vertical format, with groups of one to five letters stacked one on top of the other. However, when the text is read horizontally, it unveils two different interpretations. The first reading reveals "l(a leaf falls)oneliness," where the word "loneliness" is interrupted by the insertion of the phrase "a leaf falls" between its initial letters "l" and "o." The second reading presents "l(a le af fa ll s) one l iness," with "one l iness" formed by the insertion of "le af fa ll s" between "a l" and "oneliness."

Cummings' biographer, Richard S. Kennedy, has aptly described "l(a" as "the most delicately beautiful literary construct that Cummings ever created." This poem showcases Cummings' mastery of language and his ability to convey profound ideas through minimalist and visually striking means.

The central theme of "l(a" revolves around loneliness, a topic that is symbolically represented by a single falling leaf. In the realm of literature and symbolism, a solitary falling leaf is often associated with solitude and isolation. Cummings cleverly employs the structural fragmentation of the poem's words to visually emphasize the theme of separation, which is the root cause of loneliness. The fragmented word "loneliness" itself becomes a potent symbol, as it highlights the presence of "one" within it, suggesting that even in isolation, there is an inherent oneness or unity.

The isolated letter "l" in the poem can initially be mistaken for the numeral one, creating the effect that the leaf remains one, or "oneliness," whole within itself, even after being detached from the tree. This play on words and visual elements adds depth and complexity to the poem's exploration of loneliness and individuality.

"l(a" is a prime example of Cummings' ability to merge form and content to convey profound emotions and ideas. It reminds readers of other works by Cummings that experiment with typography and structure, such as "i carry your heart with me(i carry it in," and "Buffalo Bill's defunct." These poems, like "l(a," challenge conventional notions of poetry and invite readers to explore the interplay between language and meaning in innovative ways.

From Isolation to Unity - Tuhi Tuhi

E. E. Cummings' poem "l(a" beautifully echoes the theme of seeking oneness through acceptance of separation, akin to profound meditation on "tuhi tuhi" or "you only." Both these poems invite readers to contemplate the journey from isolation to unity. Cummings' poem uses the falling leaf as a metaphor for loneliness and its eventual integration with a larger whole, illustrating the transient nature of solitude. Similarly, the meditation on "tuhi tuhi" emphasizes the singular focus on the Divine, where the seeker strives to dissolve their individual identity and merge completely with the divine essence, achieving a state of spiritual oneness. In both cases, these texts encourage individuals to embrace separation and isolation as steps towards a deeper, more profound connection with the larger, interconnected universe.

Kabir says, When one give up "I", one become you. The letting go is like the fall of the leaf. This is how Kabir becomes one. Tu Tu Karta Tu Hua

Saying you you, I became you
Now everywhere I look, I see you

Our friends might leave us. Our families might leave us. But you stay! Raghunath's support is unending. The leaf falls but finds support in the earth. This is the support of being one. Tek Ek Raghunath. The one support is Raghunath. The support of Raghunath is oneness.

My associates and companions have all deserted me; no one remains with me.
Says Nanak, in this tragedy, the Lord alone is my Support. ||55||

The only loneliness in the world is separation from you. When Guru Gobind Singh is utterly isolated in the jungles of Machhiwara he sings not about the separation from his worldly family, not about losing all his worldly possessions, he writes an ode about missing "you", who he calls "the loving friend", mittar pyare nu:

Guru Arjan's Music in Silence

This beautiful poem by Guru Arjan highlights the spiritual journey and the transcendent experiences of those who have delved deep into their inner selves. The "Glory of God" is equated with the "Sound-current of the Naad," which represents the divine resonance that underlies all creation. The poem suggests that this celestial music can be heard in the silence of meditation and contemplation. As the silent sages and humble beings come together in the "Realm of the Saints," they tap into this divine harmony. Through practices like meditation, faith, and chanting, they become attuned to the inner "Naam," the Name of the Lord, which is associated with a profound inner sound. This inner music not only leads to the dissolution of sins but also represents a form of spiritual enlightenment. Ultimately, it culminates in the merging of the individual soul into the divine Light, where all pain and suffering cease, and only the eternal music of silence remains.

Gun Naad Dhun Anand Bed - Bhai Avtar Singh

Melodic Stream of the Naad

The Glory of God resonates in the melodic stream of the Naad,

Celestial music of boundless bliss, Vedas' wisdom, forever clad.

In speech and silence, sages and humble souls unite,

In the Realm of Saints, a realm so pure and bright.

Spiritual wisdom, meditation, faith, and acts of grace,

Their minds imbibe the Naam's sweet, divine embrace.

Chanting it, sins are shattered, they find their release,

This is the Yoga's art, devotion's path, inner peace.

Intuitive knowing of the Shabad's eternal song,

Certain knowledge of Reality, steady and strong.

Chanting, meditating, in unbroken contemplation,

O Nanak, in the Light, find eternal liberation.

Notes on Gun Naad Dhun Anand Bed Composition in Raag Kalyan

July 15, 2021

I have recorded this several dozen times in the past month and meditated upon the shabad. Now singing and recording this in Bb. Added cello (Suellen Primost) and sax (Jeremy Marais) to it; but perhaps not satisfied with those recordings. I've played a sampled cello myself; perhaps mix it with piano is my current thought. Some synths have been added for rhythm and ambience. I am starting to hear the majesty of the Naad. Also named "Dhun Anand" project based on this. Started using "Mil Sant Mandali" as meditation element.

June 18, 2021

New Composition

21093 - Gun Naad

Raag Kalyaan

C - 60bpm - 6/8 (36 matras)

Lyrics and Translation: Gun Naad Dhun Anand Bed

ਕਲਿਆਨ ਮਹਲਾ ੫ ॥

कलिआन महला ५ ॥

Kaliān mėhlā 5.

Kalyaan, Fifth Mehl:

ਗੁਨ ਨਾਦ ਧੁਨਿ ਅਨੰਦ ਬੇਦ ॥

गुन नाद धुनि अनंद बेद ॥

Gun nāḏ ḏẖun anand beḏ.

The Glory of God is the Sound-current of the Naad, the Celestial Music of Bliss, and the Wisdom of the Vedas.

ਕਥਤ ਸੁਨਤ ਮੁਨਿ ਜਨਾ ਮਿਲਿ ਸੰਤ ਮੰਡਲੀ ॥੧॥ ਰਹਾਉ ॥

कथत सुनत मुनि जना मिलि संत मंडली ॥१॥ रहाउ ॥

Kathaṯ sunaṯ mun janā mil sanṯ mandlī. ||1|| rahāo.

Speaking and listening, the silent sages and humble beings join together, in the Realm of the Saints. ||1||Pause||

ਗਿਆਨ ਧਿਆਨ ਮਾਨ ਦਾਨ ਮਨ ਰਸਿਕ ਰਸਨ ਨਾਮੁ ਜਪਤ ਤਹ ਪਾਪ ਖੰਡਲੀ ॥੧॥

गिआन धिआन मान दान मन रसिक रसन नामु जपत तह पाप खंडली ॥१॥

Giān ḏẖiān mān ḏān man rasik rasan nām japaṯ ṯah pāp kẖandlī. ||1||

Spiritual wisdom, meditation, faith and charity are there; their minds savor the Taste of the Naam, the Name of the Lord. Chanting it, sins are destroyed. ||1||

ਜੋਗ ਜੁਗਤਿ ਗਿਆਨ ਭੁਗਤਿ ਸੁਰਤਿ ਸਬਦ ਤਤ ਬੇਤੇ ਜਪੁ ਤਪੁ ਅਖੰਡਲੀ ॥

जोग जुगति गिआन भुगति सुरति सबद तत बेते जपु तपु अखंडली ॥

Jog jugaṯ giān bẖugaṯ suraṯ sabaḏ ṯaṯ beṯe jap ṯap akẖandlī.

This is the technology of Yoga, spiritual wisdom, devotion, intuitive knowledge of the Shabad, certain knowledge of the Essence of Reality, chanting and unbroken intensive meditation.

ਓਤਿ ਪੋਤਿ ਮਿਲਿ ਜੋਤਿ ਨਾਨਕ ਕਛੂ ਦੁਖੁ ਨ ਡੰਡਲੀ ॥੨॥੨॥੫॥

ओति पोति मिलि जोति नानक कछू दुखु न डंडली ॥२॥२॥५॥

Oṯ poṯ mil joṯ Nānak kacẖẖū ḏukẖ na dandlī. ||2||2||5||

Through and through, O Nanak, merging into the Light, you shall never again suffer pain and punishment. ||2||2||5||

I love Walt Whitman for his personal and evocative poetry. He has written several poems where he directly addresses the reader and shows affection from this. "To You" is one such poem. Through this poem he celebrates the beauty any reader of his poem. I find it beautiful that while it may seem he doesn't know the peculiarity of this reader, he connects with their soul. He still professes his love even though he has not "met" them. This is the kind of unconditional love of the creation and creator that Kabir talks about when he sings Tu Tu Karta Tu Hua (Saying you you I have become you).

The poem begins by making the reader walk out of their dream. Guru Tegh Bahadur says, Sagal Jagat hai jaise supna: What is this life but a dream; it can be over in an instant. What we think are the realities of life, the mundane routines and distractions that often occupy our thoughts, are really temporary. They only blur the lines between what is real and what is imagined.

The person that Walt Whitman wants to love is the real person underneath. As the reader reads through this poem he starts shedding his superficial trappings of everyday existence. Whitman notes that even the most defining aspects of our lives—the features we bear, the joys we experience, the houses we inhabit, the trades we pursue, the manners we adopt, the troubles we face, the follies we commit, and even the crimes we may be guilty of—dissipate when viewed through the lens of his poetic gaze. In doing so, Whitman uncovers the profound truth of Ekonkar — the true soul and body of the reader emerge not from the mundane affairs of life but from the core of their being, beyond the constructs of society.

I think Whitman's declaration that "now I place my hand upon you, that you be my poem" is a pivotal moment in the poem. Here, he bestows upon the reader the highest honor, asking them to be the living embodiment of his art. He whispers to the reader, expressing his affection in intimate terms. He acknowledges the vastness of his love, claiming to have loved many individuals in his lifetime, but none as deeply and profoundly as the reader.

As he realizes his love, his own past a bit. He feels that he has been "dilatory and dumb," wasting time and remaining silent when he should have been actively celebrating and championing the reader. He wishes that he had directed all his energy and creativity toward the reader sooner, forsaking all distractions and focusing solely on extolling their essence. This sense of urgency underscores the depth of Whitman's affection and his unwavering commitment to the reader.

In perhaps the most profound gesture of love, Whitman vows to "leave all and come and make the hymns of you." He promises to forsake everything else, leaving behind the mundane to craft hymns that capture the essence of the reader. What is this essence other than Satnam, Ekonkar? This act of dedication signifies the reader's uniqueness and the reverence with which Whitman holds them. In Whitman's eyes, the reader is not just a person; they are a source of inspiration and a reflection of the grandeur of the universe.

My favorite lines in this poem are the following:

Whoever you are, now I place my hand upon you, that you be my poem, I whisper with my lips close to your ear, I have loved many women and men, but I love none better than you. O I have been dilatory and dumb, I should have made my way straight to you long ago,  I should have blabb'd nothing but you, I should have chanted nothing but you.
I will leave all and come and make the hymns of you ...

By placing his hand upon the reader metaphorically, Whitman symbolically transfers his love and reverence onto them, urging them to be the living expression of his poetry. In this act, Whitman not only cherishes the reader's individuality but also envisions them as the ultimate muse, inspiring his poetic creations. This gesture represents a unique and intimate bond between poet and reader, where the reader becomes the vessel for Whitman's deepest emotions and the living testament to his poetic love. And from there on, he leaves everything else and makes "hymns of you."

This reminds me of Guru Arjan's immortal words: Rasna Japti Tuhi Tuhi - my tongue chants, "Only you!" "Only you!"

To You by Walt Whitman

To You
Walt Whitman

Whoever you are, I fear you are walking the walks of dreams,
I fear these supposed realities are to melt from under your feet and hands
Even now your features, joys, speech, house, trade, manners, troubles, follies, costume, crimes, dissipate away from you,
Your true soul and body appear before me,
They stand forth out of affairs, out of commerce, shops, work, farms, clothes, the house, buying, selling, eating, drinking, suffering, dying.

Whoever you are, now I place my hand upon you, that you be my poem,
I whisper with my lips close to your ear,
I have loved many women and men, but I love none better than you.
O I have been dilatory and dumb,
I should have made my way straight to you long ago,
I should have blabb'd nothing but you, I should have chanted nothing but you.

I will leave all and come and make the hymns of you,
None has understood you, but I understand you,
None has done justice to you, you have not done justice to yourself
None but has found you imperfect, I only find no imperfection in you,
None but would subordinate you, I only am he who will never consent to subordinate you,
I only am he who places over you no master, owner, better, God, beyond what waits intrinsically in yourself.

Painters have painted their swarming groups and the centre-figure of all,
From the head of the centre-figure spreading a nimbus of gold-color'd light,
But I paint myriads of heads, but paint no head without its nimbus of gold-color'd light,
From my hand from the brain of every man and woman it streams, effulgently flowing forever.

O I could sing such grandeurs and glories about you!
You have not known what you are, you have slumber'd upon yourself all your life,
Your eyelids have been the same as closed most of the time,
What you have done returns already in mockeries,
Your thrift, knowledge, prayers, if they do not return in mockeries, what is their return?)

The mockeries are not you,
Underneath them and within them I see you lurk,
I pursue you where none else has pursued you,
Silence, the desk, the flippant expression, the night, the accustom'd routine, if these conceal you from others or from yourself, they do not conceal you from me,
The shaved face, the unsteady eye, the impure complexion, if these balk others they do not balk me,
The pert apparel, the deform'd attitude, drunkenness, greed, premature death, all these I part aside

There is no endowment in man or woman that is not tallied in you,
There is no virtue, no beauty in man or woman, but as good is in you,
No pluck, no endurance in others, but as good is in you,
No pleasure waiting for others, but an equal pleasure waits for you.

As for me, I give nothing to any one except I give the like carefully to you,
I sing the songs of the glory of none, not God, sooner than I sing the songs of the glory of you.

Whoever you are! claim your own at any hazard!
These shows of the East and West are tame compared to you,
These immense meadows, these interminable rivers, you are immense and interminable as they,
These furies, elements, storms, motions of Nature, throes of apparent dissolution, you are he or she who is master or mistress over them,
Master or mistress in your own right over Nature, elements, pain, passion, dissolution.

The hopples fall from your ankles, you find an unfailing sufficiency,
Old or young, male or female, rude, low, rejected by the rest, whatever you are promulges itself,
Through birth, life, death, burial, the means are provided, nothing is scanted,
Through angers, losses, ambition, ignorance, ennui, what you are picks its way.

More on "l(a"

From Isolation to Unity - Tuhi Tuhi

Guru Arjan's Music in Silence

Melodic Stream of the Naad

Notes on Gun Naad Dhun Anand Bed Composition in Raag Kalyan

SHIVPREET SINGH

Related Posts

Popular - 30 days

Blog Archive

Message

Twitter