Now my day is beautiful and my night is auspicious"
#singingwithnanak
A live Diwali celebration:
Guru Gobind Singh's Savaiyya:
Jagat Jot japai nis basur
ek bina man naik n anai.
Puran prem pratit sajai,
bart, gor, marhi, matt bhul n manai.
Tirath dan daya tap sanjam,
ek bina neh ek pachhanai.
Puran jot jagai ghat main,
tab khalas tahey nkhalas janai.
Word Meanings:
Jagat Jot(i)-awakened and effulgent;
Nis Basur-night and day;
Ek bina - without Ek Omkar
Naik-not even one.
Sajai-adorn;
Brat-fasting;
Gor-grave;
Marhi-a memorial built at the site of cremation;
Matt-math;
Tirath-places of pilgrimage;
Daya-on the name of kindness but is not even remotely connected with kindness, a ritual done in the name of non-violence;
Tap-putting body through strenuous ordeals for attainment of salvation (remaining hungry, sitting with fire surrounding all around, standing in cold water for hours etc.);
Sanjam-restraint, continence;
Puran jot(i)-light effulgence of Lords knowledge;
Jagai-awakened spiritually;
Ghat mai(n)-in the mind;
Nkhalas-absolutely pure; second meaning is "not pure"
To live in utmost purity, perceive with absolute clarity
Ignite this truest lamp, and let it shine brightly.
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.
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.
Reading and Meditating upon Allama Iqbal's poem, Aqal-o-Dil (Mind And Heart). This reminds me of Kabir's words: Meera Daana Dil Soch. And Also Emily Dickinson's poem on the same topic, The Mind lives on the Heart
Aqal Ne Aik Din Ye Dil Se Kaha
Bhoole Bhatke Ki Rahnuma Hun Main
One day reason said to the heart:
‘I am a guide for those who are lost.
Hun Zameen Par, Guzr Falak Pe Mera
Dekh To Kis Qadar Rasa Hun Main
I live on earth, but I roam the skies—
just see the vastness of my reach.
Kaam Dunya Mein Rahbari Hai Mera
Misl-e-Khizr-e-Khajasta Pa Hun Main
My task in the world is to guide and lead,
I am like Khizr of blessed steps.
Hun Mufassir-e-Kitab-e-Hasti Ki
Mazhar-e-Shan-e-Kibriya Hun Main
I interpret the book of life,
And through me Divine Glory shines forth.
Boond Ek Khoon Ki Hai Tu Lekin
Ghairat-e-Laal-e-Be Baha Hun Main
You are no more than a drop of blood,
While I am the envy of the priceless pearl!
Dil Ne Sun Kar Kaha Ye Sub Sach Hai
Par Mujhe Bhi To Dekh, Kya Hun Main
The heart listened, and then said: ‘This is all true,
But now look at me, And see what I am.
Raaz-e-Hasti Ko Ti Samajhti Hai
Aur Ankhon Se Dekhta Hun Main!
You penetrate the secret of existence,
But 1 see it with my eyes.
Hai Tujhe Wasta Mazahir Se
Aur Batin Se Ashna Hun Main
You deal With the outward aspect of things,
I know what lies within.
Ilm Tujh Se To Maarifat Mujh Se
Tu Khuda Joo, Khuda Numa Hun Main
Knowledge comes from you, gnosis from me;
You seek God, I reveal Him.
Ilm Ki Intiha Hai Betaabi
Iss Marz Ki Magar Dawa Hun Main
Attaining the ultimate in knowledge only makes one restless—
I am the cure for that malady.
Shama Tu Mehfil-e-Sadaqat Ki
Husn Ki Bazm Ka Diya Hun Main
You are the candle of the Assembly of Truth;
1 am the lamp of the Assembly of Beauty.
Tu Zaman-o-Makan Se Rishta Bapa
Taeer-e-Sidra Se Ashna Hun Main
You are hobbled by space and time,
While I am the bird in the Lotus Tree.
Kis Bulandi Pe Hai Maqam Mera
Arsh Rab-e-Jaleel Ka Hun Main!
My status is so high—
I am the throne of the God of Majesty!
This beautiful poem by Allama Iqbal, a renowned philosopher, poet, and scholar, captures a profound conversation between reason (Aqal) and the heart (Dil). It explores the distinct roles and perspectives of these two faculties in understanding the world, spirituality, and God. Here's a commentary on the poem:
Reason as the Guide : Reason is presented as the guide for those who are lost in the complexities of life. It's the rational and analytical part of human consciousness that seeks to provide direction and understanding.
Heart's Vast Perspective : The heart, in contrast, claims to possess a broader perspective. While reason lives on earth, the heart is not confined by such boundaries, symbolizing its emotional and spiritual depth.
Metaphorical Reference to Khizr : The mention of Khizr, a revered and mysterious figure in Islamic tradition, emphasizes the heart's connection to mysticism and spirituality, suggesting that the heart has insights beyond the rational.
Interpreting the Book of Life : Reason claims to interpret the book of existence, while the heart represents divine glory. This implies that both reason and emotion have their unique roles in understanding life and spirituality.
Value of the Heart's Perspective : The heart counters reason's assertions, highlighting its significance by comparing itself to a priceless pearl and stating that it can see existence through its own eyes.
Heart's Understanding : The heart claims to understand the secrets of existence and focuses on the inner aspects of things, suggesting that it holds a profound understanding of the metaphysical.
Quest for Gnosis and God : Reason seeks knowledge, while the heart is associated with gnosis (knowledge of the divine). The heart claims to reveal God, implying a spiritual connection beyond intellectual comprehension.
Restlessness in Knowledge : The heart acknowledges that attaining the ultimate knowledge can lead to restlessness, and it positions itself as a cure for this restlessness, suggesting that it brings a sense of spiritual peace.
Metaphorical Imagery : The poem uses rich metaphors, such as the heart being the lamp of beauty and the bird in the Lotus Tree, to illustrate the heart's connection to aesthetics and the divine.
Elevated Status of the Heart : The poem concludes by elevating the heart's status to a higher level, suggesting that it is the throne of the divine. This emphasizes the importance of spirituality and intuition in understanding God.
Overall, Iqbal's poem beautifully contrasts reason and the heart, highlighting their distinct but complementary roles in human understanding and spirituality. It encourages the reader to reflect on the interplay between intellect and intuition in their own life's journey.
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.
I have worked on this shabad off and on for 6 years. Thanks to music contributions by Bhai Gopal Singh ji, Rajhesh Vaidhya (Veena), Janapriyan Levine (Guitar) and Suellen Primost (cello).
This sacred hymn serves as a heartfelt homage to Guru Ramdas by his devoted disciple and the fifth guru, Guru Arjan Dev. It is meant to be sung and contemplated with the profound love of a disciple, with a special focus on the disciple's affection for the divine wisdom imparted by the Guru.
Lyrics and Alternative Translation
ਰਾਮਦਾਸ ਸਰੋਵਰਿ ਨਾਤੇ ॥
रामदास सरोवरि नाते ॥
Rāmḏās sarovar nāṯe.
Bathing in the nectar tank of Ram Das,
ਸਭਿ ਉਤਰੇ ਪਾਪ ਕਮਾਤੇ ॥
सभि उतरे पाप कमाते ॥
Sabẖ uṯre pāp kamāṯe.
all sins are erased.
ਨਿਰਮਲ ਹੋਏ ਕਰਿ ਇਸਨਾਨਾ ॥
निरमल होए करि इसनाना ॥
Nirmal hoe kar isnānā.
One becomes immaculately pure, taking this cleansing bath.
सही सलामति सभि थोक उबारे गुर का सबदु वीचारे ॥ रहाउ ॥
Sahī salāmaṯ sabẖ thok ubāre gur kā sabaḏ vīcẖāre. Rahāo.
Everything is safe and sound, as we contemplate the Word of the Guru's Shabad. ||Pause||
ਸਾਧਸੰਗਿ ਮਲੁ ਲਾਥੀ ॥
साधसंगि मलु लाथी ॥
Sāḏẖsang mal lāthī.
In the Saadh Sangat, the Company of the Holy, filth is washed off.
ਪਾਰਬ੍ਰਹਮੁ ਭਇਓ ਸਾਥੀ ॥
पारब्रहमु भइओ साथी ॥
Pārbarahm bẖaio sāthī.
The Supreme Lord God has become our friend and helper.
ਨਾਨਕ ਨਾਮੁ ਧਿਆਇਆ ॥
नानक नामु धिआइआ ॥
Nānak nām ḏẖiāiā.
Nanak meditates on the Naam, the Name of the Lord.
ਆਦਿ ਪੁਰਖ ਪ੍ਰਭੁ ਪਾਇਆ ॥੨॥੧॥੬੫॥
आदि पुरख प्रभु पाइआ ॥२॥१॥६५॥
Āḏ purakẖ parabẖ pāiā. ||2||1||65||
He has found God, the Primal Being. ||2||1||65||
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
le
af
fa
ll
s)
one
l
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:
Singing oneness!
