Shivpreet Singh

After composing Bhai Santokh Singh ji's Raam So Daas, I have been doing some research on this amazing poet. He has been a revered figure in Punjabi and Sikh literature, is most famously known for his epic work Gur Partap Suraj Granth (or Suraj Parkash). His poetry not only captures the essence of Sikh spirituality but also immortalizes key moments of Sikh history.

Although the exact details of Bhai Santokh Singh’s early life aren’t widely documented, his lifelong dedication to the Sikh faith is evident through his writing. Born in the early 19th century, Bhai Santokh Singh's work flourished during a time when oral traditions and religious narratives played a vital role in the preservation of Sikh history. His most significant work, Suraj Parkash, is a monumental text that offers both a historical and spiritual guide to the lives of the Sikh Gurus. This work, written in Braj Bhasha (a dialect used by many poets of the time), combines intricate storytelling with a profound sense of devotion.

For those interested in exploring Suraj Parkash online, you can find translations and explanations of this epic on SikhiWiki, where the entire composition is available with summaries of key chapters. Another valuable resource is Suraj Parkash Katha, a YouTube playlist that features audio recitations of the text for those who prefer to listen to its verses.

The Epic Poem: Gur Partap Suraj Granth

Gur Partap Suraj Granth, Bhai Santokh Singh’s magnum opus, spans thousands of verses and is one of the most detailed accounts of Sikh history. It is divided into two main sections: the Raas, which discusses the creation of the world and early Sikh history, and the Rut, which narrates the life stories of the ten Sikh Gurus. Each verse is imbued with a deep sense of respect for the spiritual teachings of the Gurus while also documenting critical events in Sikh history.

If you're looking to explore this epic further, the Sikh Digital Library offers digitized versions of Suraj Parkash as well as scholarly articles that analyze its historical significance.

Themes in Bhai Santokh Singh’s Poetry

Spiritual Devotion

Bhai Santokh Singh's poetry is centered around a deep devotion to Sikhism. His works often reflect on the teachings of the Gurus, focusing on concepts such as divine justice, faith, and humility. In Suraj Parkash, for example, his portrayal of Guru Arjan Dev’s martyrdom is both a historical account and a spiritual lesson on the value of sacrifice for faith.

For more on Sikh spirituality as expressed through poetry, you can visit SikhNet, which offers an extensive range of articles, podcasts, and videos on Sikh spiritual teachings and literature.

Historical Preservation

Bhai Santokh Singh’s writings also serve as a rich historical record, preserving key events in the Sikh faith for future generations. He documented events like the founding of the Khalsa and the martyrdom of Sikh leaders in verse, creating a form of historical poetry that blends narration with spiritual reflection.

For historical insights, check out the Encyclopaedia of Sikhism, which provides in-depth coverage of key events mentioned in Suraj Parkash and other works of Bhai Santokh Singh.

Ethical and Moral Teachings

Much of Bhai Santokh Singh’s poetry is didactic, imparting lessons on how to live a life in line with Sikh values. His verses remind readers of the importance of virtues such as service (seva), humility, and sacrifice. These teachings are a reflection of the Guru Granth Sahib’s emphasis on living a life of compassion and righteousness.

For a deeper understanding of these moral themes, Sikh Research Institute offers insightful educational resources, including courses and articles that explore the ethical and spiritual dimensions of Sikh literature.

The Legacy of Bhai Santokh Singh

Bhai Santokh Singh’s work has had a profound influence on Sikh literature and remains an integral part of Sikh religious education. His poetry is not only recited in Sikh congregations worldwide but also continues to be a source of inspiration for scholars and devotees alike. Whether through audio recitations, written translations, or live discussions, his works continue to be celebrated across different platforms.

To explore more of Bhai Santokh Singh’s legacy, you can visit Guru Granth Sahib Academy, which features discussions and interpretations of Sikh scriptures and historical texts, including Suraj Parkash.

Celebrating Guru Ramdas' Gurpurab this year with his beautiful words. He says of all the good deeds, one of the great good deeds is to bow before a Sadhu, a person who is a seeker and is walking on the path of oneness. Despite our tradition of humility we often forget to respect those who are walking on the path of oneness. May we always be inspired to be inspired by them.

Much thanks and gratitude to Ahsan Ali for his beautiful Sarangi and Bhai Rajvinder Singh ji for his inimitable Tabla.

The following are the traditional translations. I will be discussing this shabad later this week in live contemplations. For a more detailed introduction on this shabad please see: 1 hour discussion on Kar Sadhu Anjali

ਰਾਗੁ ਗਉੜੀ ਪੂਰਬੀ ਮਹਲਾ ੪ ॥

raag gauRee poorabee mahalaa chauthhaa ||

रागु गउड़ी पूरबी महला ४ ॥

Raag Gauree Poorbee, Fourth Mehla:

ਕਾਮਿ ਕਰੋਧਿ ਨਗਰੁ ਬਹੁ ਭਰਿਆ ਮਿਲਿ ਸਾਧੂ ਖੰਡਲ ਖੰਡਾ ਹੇ ॥

kaam karodh nagar bahu bhariaa mil saadhoo kha(n)ddal kha(n)ddaa he ||

कामि करोधि नगरु बहु भरिआ मिलि साधू खंडल खंडा हे ॥

The body-village is filled to overflowing with anger and sexual desire; these were broken into bits when I met with the Holy Saint.

ਪੂਰਬਿ ਲਿਖਤ ਲਿਖੇ ਗੁਰੁ ਪਾਇਆ ਮਨਿ ਹਰਿ ਲਿਵ ਮੰਡਲ ਮੰਡਾ ਹੇ ॥੧॥

poorab likhat likhe gur paiaa man har liv ma(n)ddal ma(n)ddaa he ||1||

पूरबि लिखत लिखे गुरु पाइआ मनि हरि लिव मंडल मंडा हे ॥१॥

By pre-ordained destiny, I have met with the Guru. I have entered into the realm of the Lord's Love. ||1||

ਕਰਿ ਸਾਧੂ ਅੰਜੁਲੀ ਪੁਨੁ ਵਡਾ ਹੇ ॥

kar saadhoo a(n)julee pun vaddaa he ||

करि साधू अंजुली पुनु वडा हे ॥

Greet the Holy Saint with your palms pressed together; this is an act of great merit.

ਕਰਿ ਡੰਡਉਤ ਪੁਨੁ ਵਡਾ ਹੇ ॥੧॥ ਰਹਾਉ ॥

kar dda(n)ddaut pun vaddaa he ||1|| rahaau ||

करि डंडउत पुनु वडा हे ॥१॥ रहाउ ॥

Bow down before Him; this is a virtuous action indeed. ||1||Pause||

ਸਾਕਤ ਹਰਿ ਰਸ ਸਾਦੁ ਨ ਜਾਣਿਆ ਤਿਨ ਅੰਤਰਿ ਹਉਮੈ ਕੰਡਾ ਹੇ ॥

saakat har ras saadh na jaaniaa tin a(n)tar haumai ka(n)ddaa he ||

साकत हरि रस सादु न जाणिआ तिन अंतरि हउमै कंडा हे ॥

The wicked shaaktas, the faithless cynics, do not know the Taste of the Lord's Sublime Essence. The thorn of egotism is embedded deep within them.

ਜਿਉ ਜਿਉ ਚਲਹਿ ਚੁਭੈ ਦੁਖੁ ਪਾਵਹਿ ਜਮਕਾਲੁ ਸਹਹਿ ਸਿਰਿ ਡੰਡਾ ਹੇ ॥੨॥

jiau jiau chaleh chubhai dhukh paaveh jamakaal saheh sir dda(n)ddaa he ||2||

जिउ जिउ चलहि चुभै दुखु पावहि जमकालु सहहि सिरि डंडा हे ॥२॥

The more they walk away, the deeper it pierces them, and the more they suffer in pain, until finally, the Messenger of Death smashes his club against their heads. ||2||

ਹਰਿ ਜਨ ਹਰਿ ਹਰਿ ਨਾਮਿ ਸਮਾਣੇ ਦੁਖੁ ਜਨਮ ਮਰਣ ਭਵ ਖੰਡਾ ਹੇ ॥

har jan har har naam samaane dhukh janam maran bhav kha(n)ddaa he ||

हरि जन हरि हरि नामि समाणे दुखु जनम मरण भव खंडा हे ॥

The humble servants of the Lord are absorbed in the Name of the Lord, Har, Har. The pain of birth and the fear of death are eradicated.

ਅਬਿਨਾਸੀ ਪੁਰਖੁ ਪਾਇਆ ਪਰਮੇਸਰੁ ਬਹੁ ਸੋਭ ਖੰਡ ਬ੍ਰਹਮੰਡਾ ਹੇ ॥੩॥

abinaasee purakh paiaa paramesar bahu sobh kha(n)dd brahama(n)ddaa he ||3||

अबिनासी पुरखु पाइआ परमेसरु बहु सोभ खंड ब्रहमंडा हे ॥३॥

They have found the Imperishable Supreme Being, the Transcendent Lord God, and they receive great honor throughout all the worlds and realms. ||3||

ਹਮ ਗਰੀਬ ਮਸਕੀਨ ਪ੍ਰਭ ਤੇਰੇ ਹਰਿ ਰਾਖੁ ਰਾਖੁ ਵਡ ਵਡਾ ਹੇ ॥

ham gareeb masakeen prabh tere har raakh raakh vadd vaddaa he ||

हम गरीब मसकीन प्रभ तेरे हरि राखु राखु वड वडा हे ॥

I am poor and meek, God, but I belong to You! Save me-please save me, O Greatest of the Great!

ਜਨ ਨਾਨਕ ਨਾਮੁ ਅਧਾਰੁ ਟੇਕ ਹੈ ਹਰਿ ਨਾਮੇ ਹੀ ਸੁਖੁ ਮੰਡਾ ਹੇ ॥੪॥੪॥

jan naanak naam adhaar Tek hai har naame hee sukh ma(n)ddaa he ||4||4||

जन नानक नामु अधारु टेक है हरि नामे ही सुखु मंडा हे ॥४॥४॥

Servant Nanak takes the Sustenance and Support of the Naam. In the Name of the Lord, he enjoys celestial peace. ||4||4||

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Baba Farid Lecture Series: Magic Mantra of Sweetness

This video was recorded recently with Dr. Asma Qadri, professor of classic punjabi poetry from Punjabi University, Lahore, as part of the Baba Farid Lecture Series. To join these lectures, you can join Seekers and Seers.

Humility is the alphabet, and forgiveness if the virtue that comes from humility, which eventually gives rise to the magic mantra character of sweetness.

In many religious and spiritual traditions, humility is revered as a foundational trait, described as the alphabet upon which all other virtues are built. This metaphor emphasizes the essential role humility plays in shaping one’s character and spiritual journey. From humility springs the virtue of forgiveness, which further develops into the sweetness of one’s words and actions—an attribute described as the "magic mantra" that has the power to transform and captivate.

The verse from Gurbani that asks, "What is that word, what is that virtue, and what is that magic mantra?" invites deep contemplation. It seeks to uncover the core principles that can guide an individual toward spiritual fulfillment. The answer lies in the subsequent lines, where humility is identified as the "akhar" (letter), forgiveness as the "gun" (virtue), and sweetness in speech as the "mant" (mantra). These three qualities together form the essence of a life that resonates with divinity and harmony.

Humility as the Alphabet

Humility, in this context, is likened to the alphabet—the building blocks of language and communication. Just as letters are fundamental to forming words and conveying meaning, humility is fundamental to spiritual growth and ethical living. It is the first step in the journey of self-realization, where one acknowledges their smallness in the vastness of the universe. By embracing humility, one begins to dismantle the ego, which is often the greatest barrier to true understanding and connection with the divine.

Humility is not just about lowering oneself but recognizing the interconnectedness of all beings. It’s about seeing oneself as part of a larger whole, where the well-being of others is as important as one’s own. This perspective naturally leads to the next virtue: forgiveness.

Forgiveness as the Virtue

Forgiveness is the direct outcome of humility. When one is humble, they can see beyond their own pain and grievances, recognizing that others, too, are fallible. Forgiveness becomes a way of releasing the burden of anger and resentment, allowing both the forgiver and the forgiven to move forward. In Sikhism, forgiveness is not merely an act but a state of being—a constant readiness to let go of grudges and embrace others with compassion.

This virtue is powerful because it breaks the cycle of vengeance and hostility, replacing it with understanding and peace. It is through forgiveness that relationships are healed and communities are strengthened. This virtue also paves the way for the next transformative quality: sweetness in speech.

Sweetness as the Magic Mantra

The culmination of humility and forgiveness is sweetness—both in speech and in demeanor. Sweet speech is described as a "magic mantra" because of its ability to soothe, comfort, and bring joy to others. It is a reflection of inner peace and contentment, qualities that are nurtured by humility and forgiveness.

Sweetness in communication is not just about being polite; it is about speaking with sincerity, kindness, and a genuine concern for the well-being of others. It is the outward expression of a heart that has been softened by humility and forgiveness. This sweetness has a transformative effect, creating a ripple of positivity that can touch everyone it encounters.

The Divine Connection

The verse concludes by advising the "wearing" of these three qualities—humility, forgiveness, and sweetness—as garments that will captivate the "Husband Lord," a metaphor for the divine presence. This suggests that these virtues are not merely moral guidelines but spiritual practices that bring one closer to the divine. By embodying these traits, one becomes aligned with the divine will, living in harmony with the universe and experiencing a deep sense of fulfillment.

In essence, humility, forgiveness, and sweetness form a triad of virtues that are foundational to a life of spiritual richness. They are interdependent, each reinforcing the other in a cycle that leads to greater understanding, compassion, and joy. These qualities are not just ideals to aspire to but practical tools for daily living, guiding one toward a more peaceful and meaningful existence.

ਕਵਣੁ ਸੁ ਅਖਰੁ ਕਵਣੁ ਗੁਣੁ ਕਵਣੁ ਸੁ ਮਣੀਆ ਮੰਤੁ ॥

kavanu su akhar kavan gun kavanu su maneeaa ma(n)t ||

What is that word, what is that virtue, and what is that magic mantra?

ਕਵਣੁ ਸੁ ਵੇਸੋ ਹਉ ਕਰੀ ਜਿਤੁ ਵਸਿ ਆਵੈ ਕੰਤੁ ॥੧੨੬॥

kavanu su veso hau karee jit vas aavai ka(n)t ||126||

What are those clothes, which I can wear to captivate my Husband Lord? ||126||

ਨਿਵਣੁ ਸੁ ਅਖਰੁ ਖਵਣੁ ਗੁਣੁ ਜਿਹਬਾ ਮਣੀਆ ਮੰਤੁ ॥

nivanu su akhar khavan gun jihabaa maneeaa ma(n)t ||

Humility is the letter, forgiveness is the virtue, and sweet speech is the magic mantra.

ਏ ਤ੍ਰੈ ਭੈਣੇ ਵੇਸ ਕਰਿ ਤਾਂ ਵਸਿ ਆਵੀ ਕੰਤੁ ॥੧੨੭॥

e trai bhaine ves kar taa(n) vas aavee ka(n)t ||127||

Wear these three robes, O sister, and you will captivate your Husband Lord. ||127||

Bhagat Sheikh Fareed Ji in Salok Fareed Jee - 1384

Notice what Guru Nanak says about sweetness in this shabad in Raag Shri:

ਕਰਤਾ ਸਭੁ ਕੋ ਤੇਰੈ ਜੋਰਿ ॥

karataa sabh ko terai jor ||

O Creator Lord, all are in Your Power.

ਏਕੁ ਸਬਦੁ ਬੀਚਾਰੀਐ ਜਾ ਤੂ ਤਾ ਕਿਆ ਹੋਰਿ ॥੧॥ ਰਹਾਉ ॥

ek sabadh beechaareeaai jaa too taa kiaa hor ||1|| rahaau ||

I dwell upon the One Word of the Shabad. You are mine-what else do I need? ||1||Pause||

ਜਾਇ ਪੁਛਹੁ ਸੋਹਾਗਣੀ ਤੁਸੀ ਰਾਵਿਆ ਕਿਨੀ ਗੁਣਂੀ ॥

jai puchhahu sohaaganee tusee raaviaa kinee gunee(n) ||

Go, and ask the happy soul-brides, ""By what virtuous qualities do you enjoy your Husband Lord?""

ਸਹਜਿ ਸੰਤੋਖਿ ਸੀਗਾਰੀਆ ਮਿਠਾ ਬੋਲਣੀ ॥

sahaj sa(n)tokh seegaareeaa mittaa bolanee ||

"We are adorned with intuitive ease, contentment and sweet words.

ਪਿਰੁ ਰੀਸਾਲੂ ਤਾ ਮਿਲੈ ਜਾ ਗੁਰ ਕਾ ਸਬਦੁ ਸੁਣੀ ॥੨॥

pir reesaaloo taa milai jaa gur kaa sabadh sunee ||2||

We meet with our Beloved, the Source of Joy, when we listen to the Word of the Guru's Shabad.""||2||

Guru Nanak Dev Ji in Siree Raag - 17

Next up in the series:

ਫਰੀਦਾ ਜੇ ਤੂ ਅਕਲਿ ਲਤੀਫੁ ਕਾਲੇ ਲਿਖੁ ਨ ਲੇਖ ॥

fareedhaa je too akal lateef kaale likh na lekh ||

Fareed, if you have a keen understanding, then do not write black marks against anyone else.

ਆਪਨੜੇ ਗਿਰੀਵਾਨ ਮਹਿ ਸਿਰੁ ਨਂੀਵਾਂ ਕਰਿ ਦੇਖੁ ॥੬॥

aapanaRe gireevaan meh sir nee(n)vaa(n) kar dhekh ||6||

Look underneath your own collar instead. ||6||

Bhagat Sheikh Fareed Ji in Salok Fareed Jee - 1378

Yeh Waqt Kya Hai - Read by Dr. Manpreet Khemka

Lyrics and Translation -

yeh waqt kya hai?

yeh kya hain aakhir ki joh
musalsal guzar raha hain
yeh jab na gujara thaa,
tab kahan tha?
kahin to hoga...
gujara gaya hain
to ab kahan hain
kahi to hoga
kahan se aaya kidhar gaya hain
yeh kab se kab tak ka silsila hain
yeh waqt kya hain?

What is this time?
What is this thing that goes on without pause?
If it did not pass,
Then where could it have been?
It must have been somewhere.
It has passed.
So where is it now?
It must be somewhere.
Where did it come from? Where did it go?
Where did the process start? Where will it end?
What is time?

yeh vaakye (Ghatnao),
hadse (aksmato)
tasaadum (takrav),
har ek gamor
har ek masrat (khushi)
har ek aziyat (taklif)
har ek lajjat (aanand)
har ek tabssum (smit)
har ek aansu,
har ek nagmahar
ek khushbu
woh jakhm ka dard ho
ki wo lams (sparsh) ka jaadu
khud apni aavaz ho
ki mahol ki sadayen
yeh jahannm main banti aur
bigadti hui fizaye
wo fikr main aaye zalzale (earthquake) ho
ki dil ki halchal
tamaam ahesaas, sare jazbeye
jaise patte hain
bahte paani ki satah par
jaise tairte hain
abhi yahan hain,
abhi vahan hain
aur ab hain auzal
dikhai de te nahi hain lekin
ye kuchh to hain
jo ki bah raha hain
ye kaisa dariya hain
kin pahado se aa raha hain
ye kis samandar ko jaa raha hain
yeh waqt kya hain?

These events
Incidents
Conflicts
Every grief
Every joy
Every torment
Every pleasure
Every smile
Every tear
Every song
Every scent,
It may be the pain of a wound
Or the magic of a tender touch,
Or lonely voice or cries around;
Success and failures assailing the mind;
The upheavals of care, the tumult of the heart.
All feelings
All emotions
Are like leaves
Floating on the surface of the water.
As they swim along
Now here,
Now there,
And now they disappear,
Gone from site, but
There must be something
Flowing along.
What is this river?
What hills has it come from?
To what sea is it going?
What is time?

kabhi kabhi main ye sochta hoon,
ki chalti gaadi se ped dekho
to eisa lagta hai
doosri samt (disha) ja rahe hain
magar haqikat main
ped apni jagah khade hain
to kya yeh mumkin hain
saari sadiya
katar andar katar
apni jagah khadi ho
yeh waqt sakit (sthir) ho
aur hum hi gujar rahe ho
is ek lamhe main saare lamhe
tamam sadiya chhupi hui ho
na ko aainda (future),
na gujishta (past)
jo ho chuka hain
woh ho raha hain
jo hone vaala hain
ho raha hain
main sochta hoon
ki kya ye mumkin hain
such ye ho
ki safar mein hum hain
gujarate hum hain
jise samajte hain hum gujarata hain
woh thama hain
gujara hain ya thama hua hain
ikai hain ya banta hua hain
hai mujmind (freezy)
ya pighal raha hain
kise khabar hain,
kise pata hainye waqt kya hain

Sometimes I think
When I see trees from a moving train,
It seems
They go in the opposite way.
But in reality
The trees are standing still.
So can it be
That all our centuries,
Row upon row, are standing still?
Can it be that time is fixed,
And we alone are in motion?
Can it be that in this one moment
All moments,
All centuries are hidden?
No future
No past.
What has gone by
Is happening now.
I think -
Can it be possible
That this is true,
That we are in motion?
We pass by,
And what we imagine
Is moving
Is really motionless.
Moving, not moving?
Whole or divided?
Is it frozen,
Or is it melting?
Who knows?
Who can guess?
What is time?

ye kainaate azim (vishal brahmand)
lagta hain aapni ajmat (greatness) se
aaj bhi mutmain (satisfy) nahi hain
ki lamha lamha
vasiitar aur vasietar (vishal)
hoti jaa rahi hain
yeh apni baahen pasarti hain
ye kehkashao (aakashgangao) ki
ungliyon se
naye khalao (antriksho) ko
chhu rahi hain
agar ye such hain
to har tasvvur (kalpana) ki
had se bahar
magar kahi par
yakinan eisa koi khala hain
ki jis ko in kehkashao ki
ungliyo ne
ab tak chua nahi hain
khala, jahan kuch hua nahI hain
khala ki jisne kisi se bhi
'kun' (shrushti rachvano ishvariy aadesh)
nahi suna hain
jahan abhi tak khuda nahi hain
vahain koi waqt bhi na ho
gaye kainaate azim ek din
chuyegi us unchhue khalako
aur apne saare vajood se
jab pukaregi 'kun
'to waqt ko bhi janm milega
agar jamam hain to maut bhi hain
main sochta hoon,
ye such nahi hai
ki waqt ki koi ibtida (aadi) hain
n intaha (aant) hain
ye dor lambhi bahut hain lekin
kahi to is dor ka sira hain
abhi ye insanulaz raha hain
ki waqt ke is kafs (cage) main
paida hua
yahi voh pala badha hai
magar uses elm (bhaan) ho gaya hain
ki waqt ke is kaft ke bahar bhi
ek fiza hain
to sochta hain,
puchhta hain
yeh waqt kya hain?

This glorious universe
It seems
Even today is not content
With all its glory.
At every moment
It becomes wider and more vast.
It stretches out its arms
And with its fingers like galaxies
Touches other parts of space.
If this is true,
Outside the bounds of all we can imagine
Somewhere there will certainly be a part of space,
Which
So far it has not touched
With its fingers like galaxies,
Where nothing has happened.
A part of space,
Which has not heard the Creator's command,
'Be!'
Where God does not yet exist.
And in that place
There will be no time
One day
This glorious universe will reach
This untouched part of space.
And then with its whole existence
It will cry:
'Be!'
Time will be born there also.
If there is birth, then there is death.
I think
It is not true
That time has no end and no beginning.
The thread is very long
But
Somewhere the thread will have an end.
Now mankind is confused
Because it was born in this cage of time.
It was brought up and raised here.
But now man has discovered
That outside the cage of time
There lies another part of space.
So he thinks,
He asks,
What is time?

ये वक़्त क्या है

ये क्या है आख़िर कि जो मुसलसल गुज़र रहा है

ये जब न गुज़रा था

तब कहां था

कहीं तो होगा

गुज़र गया है

तो अब कहां है

कहीं तो होगा

कहां से आया किधर गया है

ये कब से कब तक का सिलसिला है

ये वक़्त क्या है

ये वाक़िए

हादसे

तसादुम

हर एक ग़म

और हर इक मसर्रत

हर इक अज़िय्यत

हर एक लज़्ज़त

हर इक तबस्सुम

हर एक आंसू

हर एक नग़्मा

हर एक ख़ुशबू

वो ज़ख़्म का दर्द हो

कि वो लम्स का हो जादू

ख़ुद अपनी आवाज़ हो कि माहौल की सदाएं

ये ज़ेहन में बनती और बिगड़ती हुई फ़ज़ाएं

वो फ़िक्र में आए ज़लज़ले हों कि दिल की हलचल

तमाम एहसास

सारे जज़्बे

ये जैसे पत्ते हैं

बहते पानी की सतह पर

जैसे तैरते हैं

अभी यहां हैं

अभी वहां हैं

और अब हैं ओझल

दिखाई देता नहीं है लेकिन

ये कुछ तो है

जो कि बह रहा है

ये कैसा दरिया है

किन पहाड़ों से आ रहा है

ये किस समुंदर को जा रहा है

ये वक़्त क्या है

कभी कभी मैं ये सोचता हूं

कि चलती गाड़ी से पेड़ देखो

तो ऐसा लगता है

दूसरी सम्त जा रहे हैं

मगर हक़ीक़त में

पेड़ अपनी जगह खड़े हैं

तो क्या ये मुमकिन है

सारी सदियां

क़तार-अंदर-क़तार अपनी जगह खड़ी हों

ये वक़्त साकित हो

और हम ही गुज़र रहे हों

इस एक लम्हे में

सारे लम्हे

तमाम सदियां छुपी हुई हों

न कोई आइंदा

न गुज़िश्ता

जो हो चुका है

जो हो रहा है

जो होने वाला है

हो रहा है

मैं सोचता हूं

कि क्या ये मुमकिन है

सच ये हो

कि सफ़र में हम हैं

गुज़रते हम हैं

जिसे समझते हैं हम

गुज़रता है

वो थमा है

गुज़रता है या थमा हुआ है

इकाई है या बटा हुआ है

है मुंजमिद

या पिघल रहा है

किसे ख़बर है

किसे पता है

ये वक़्त क्या है

ये काएनात-ए-अज़ीम

लगता है

अपनी अज़्मत से

आज भी मुतइन नहीं है

कि लम्हा लम्हा

वसीअ-तर और वसीअ-तर होती जा रही है

ये अपनी बांहें पसारती है

ये कहकशाओं की उंगलियों से

नए ख़लाओं को छू रही है

अगर ये सच है

तो हर तसव्वुर की हद से बाहर

मगर कहीं पर

यक़ीनन ऐसा कोई ख़ला है

कि जिस को

इन कहकशाओं की उंगलियों ने

अब तक छुआ नहीं है

ख़ला

जहां कुछ हुआ नहीं है

ख़ला

कि जिस ने किसी से भी ''कुन'' सुना नहीं है

जहां अभी तक ख़ुदा नहीं है

वहां

कोई वक़्त भी न होगा

ये काएनात-ए-अज़ीम

इक दिन

छुएगी

इस अन-छुए ख़ला को

और अपने सारे वजूद से

जब पुकारेगी

''कुन''

तो वक़्त को भी जनम मिलेगा

अगर जनम है तो मौत भी है

मैं सोचता हूं

ये सच नहीं है

कि वक़्त की कोई इब्तिदा है न इंतिहा है

ये डोर लम्बी बहुत है

लेकिन

कहीं तो इस डोर का सिरा है

अभी ये इंसां उलझ रहा है

कि वक़्त के इस क़फ़स में

पैदा हुआ

यहीं वो पला-बढ़ा है

मगर उसे इल्म हो गया है

कि वक़्त के इस क़फ़स से बाहर भी इक फ़ज़ा है

तो सोचता है

वो पूछता है

ये वक़्त क्या है

In August/September 2024 I plan to do an introductory contemplation on a few verses from Sukhmani Sahib every Saturday. I will add notes and links to this document as I go along doing this meditation.

To delve deeper into the spiritual essence and practical wisdom of Sukhmani Sahib, I have found the following webpages useful.

Shlok Katha by Bhai Pinderpal Singh: This series is a good collection of videos that goes through each of the Shloks of Sukhmani Sahib. It is inspiring that instead of doing a katha of each line of each Ashtapadi, Bhai Pinderpal Singh ji focuses on the shloks which are summarizing the ashtapadis.

Sukhmani Sahib at a glance is an essay on Sikhnet by Sawan Singh Gogia.
Sukhmani Sahib by Ashtapadi provides a summary of Sukhmani Sahib by ashtapadi
Wikipedia page on Sukhmani Sahib offers a well-rounded introduction, including historical context, linguistic insights, and the theological significance of the composition.
Sikh Philosophy Network provides in-depth discussions and commentaries on individual Ashtapadis (sections) of Sukhmani Sahib. This resource is perfect for those who wish to engage in a more detailed study, offering interpretations and reflections from various scholars and practitioners.
BASICS of Sikhi article elaborates on the greatness of Sukhmani Sahib, focusing on its spiritual potency and the transformative power it holds for those who recite it with devotion

Aad Gureh Nameh

First week: Aad Gureh Nameh - the first shlok of Sukhmani Sahib.

ੴ ਸਤਿਗੁਰ ਪ੍ਰਸਾਦਿ ॥
ikOankaar satigur prasaadh ||
One Universal Creator God. By The Grace Of The True Guru:

ਆਦਿ ਗੁਰਏ ਨਮਹ ॥
aadh gure nameh ||
I bow to the Primal Guru.

ਜੁਗਾਦਿ ਗੁਰਏ ਨਮਹ ॥
jugaadh gure nameh ||
I bow to the Guru of the ages.

ਸਤਿਗੁਰਏ ਨਮਹ ॥
satigure nameh ||
I bow to the True Guru.

ਸ੍ਰੀ ਗੁਰਦੇਵਏ ਨਮਹ ॥੧॥
sree gurdheve nameh ||1||
I bow to the Great, Divine Guru. ||1||

Oneness From Guru Nanak to Guru Arjan to Us

While traditional translations often describe the Aad Guru as the timeless one, I believe that Guru Arjan subtly points us toward Guru Nanak in these verses. To me, there is no distinction, no duality—Guru Nanak and the timeless one are the same. Through deep meditation on the first and last Ashtapadis, and the Rahao of Sukhmani Sahib, this is the message Guru Arjan conveys to me.

The name of Guru Nanak's Bani is Jap, and the subject of Guru Arjan’s Sukhmani Sahib is Simran. In this way, Sukhmani Sahib becomes a reflection of Japji Sahib, much like the way the Harimandar Sahib is reflected in the pool surrounding it. The subjects, meanings, and rhymes echo each other, as if standing in a grand hall of mirrors where one can glimpse the true self, the Sach, through the Guru to whom we bow (Nameh).

The first word of the first Ashtapadi is "Simro," which appears in various forms in the opening lines. The word "one" is then repeated in each of the next eight lines, reminding us of the focus of our remembrance: the One. This is a beautiful reminder of the fundamental mantra—the Mool Mantra—the singular sound that is the Guru’s gift.

Guru Nanak begins his first Shlok with the word "Aad" (Primal), and Guru Arjan does the same in his Shlok: Aad Gureh Nameh. While Guru Nanak delves into the truth—Aad Sach—Guru Arjan focuses on those who lead us to this radiant truth: the Gurus. Sukhmani Sahib, in essence, is a celebration of the Bhagats, the singers of Oneness. At crucial points, both Japji Sahib and Sukhmani Sahib use rhymes to emphasize their subjects (Jap and Simran). For instance, "Aad Sach" rhymes with "Sach," just as "Dharat Mahat" in the last line of Japji Sahib resonates with "Sach." Similarly, "Nameh" in the first Shlok of Sukhmani Sahib rhymes with "Simreh," which is repeated throughout the first Ashtapadi. These rhymes reinforce the themes of the Banis and hint at the cyclical nature of their recitation.

If we were to sing Sukhmani Sahib like a Shabad, we would begin with the Rahao lines. In that case, the first word we would sing would be "Sukhmani," a term with multifaceted meanings that Guru Arjan coined. The last word of the final Ashtapadi is also "Sukhmani." This word encompasses peace of mind, the channels of our mind and soul, and the concept of a treasure. With such a circular connection, we are enveloped in Sukhmani from beginning to end, along with its profound meanings. I feel that Guru Arjan sought to bring the high philosophy of Japji Sahib down to earth. That is why the language and ideas are simple yet profound, making Sukhmani Sahib a scripture that connects with other seekers.

There is a fourth meaning of the word "Sukhmani" that I am discovering, which becomes clear toward the end of Sukhmani Sahib. Sukhmani is the virtue, the Gun, that seekers possess. We become complete when we embody it—the final Shlok speaks of becoming complete, of becoming Pura. Sukhmani is the most precious jewel with which we adorn ourselves, the pearl of bliss, the jewel of joy that connects us with Oneness.

Interestingly, the last Pauri of Japji Sahib (Jat Pahara Dheeraj Suniyaar) also speaks of chiseling the diamond of the mind. How beautifully these reflections catch our eye! How beautifully Guru Nanak is reflected in Guru Arjan! And how fortunate we are to carry the reflections of these North Stars with us, ultimately merging with the North Star to become complete—Pura, Sukhmani. We embody the Sukh that we were seeking. The last word of Japji Sahib in the Pauris is "Nihaal"—Joyous, Anand, Sukh.

Uplifting Music

Guru Nanak

Ruminations

The Epic Poem: Gur Partap Suraj Granth

Themes in Bhai Santokh Singh’s Poetry

Spiritual Devotion

Historical Preservation

Ethical and Moral Teachings

The Legacy of Bhai Santokh Singh

Aad Gureh Nameh

Oneness From Guru Nanak to Guru Arjan to Us

SHIVPREET SINGH

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