Archive for 2021

Where the mind is without fear
and the head is held high;

- Rabindranath Tagore

Original Bengali version:

চিত্ত যেথা ভয়শূন্য উচ্চ যেথা শির,
জ্ঞান যেথা মুক্ত, যেথা গৃহের প্রাচীর
আপন প্রাংগণতলে দিবস-শর্বরী
বসুধারে রাখে নাই খণড ক্ষুদ্র করি,

যেথা বাক্য হৃদযের উতসমুখ হতে
উচ্ছসিয়যা উঠে, যেথা নির্বারিত স্রোতে,
দেশে দেশে দিশে দিশে কর্মধারা ধায়
অজস্র সহস্রবিধ চরিতার্থতায়,

যেথা তুচ্ছ আচারের মরু-বালু-রাশি
বিচারের স্রোতঃপথ ফেলে নাই গ্রাসি -
পৌরুষেরে করেনি শতধা, নিত্য যেথা
তুমি সর্ব কর্ম-চিংতা-আনংদের নেতা,

নিজ হস্তে নির্দয় আঘাত করি পিতঃ,
ভারতেরে সেই স্বর্গে করো জাগরিত ||

Devanaagari transliteration

चित्त जेथा भयशून्य ,उच्च जेथा शिर ,
ज्ञान जेथा मुक्त जेथा गृहेर प्राचीर
आपन प्रांगणतले दिवसशर्वरी
बसुधारे राखे नाइ खण्ड खण्ड क्षुद्रकरि,

जेथा वाकय हृदयेर उत् समुखहते
उच्छ्वसिया उठे , जेथा निर्वारित स्रोते
दशे देशे दिशे दिशे कर्मधारा धाय
अजस्र सहसबिध चरितार्थताय-

जेथा तुच्छ आचारेर मरुबालुराशि
बिचारेर स्रोतःपथे फेले नाइ ग्रासि,
पौरुषेरे करे नि शतधा-नित्य जेथा
तुमि सर्व कर्म चिन्ता आनंदेर नेता-

निज हस्ते निर्दय आधात करि पितः,
भारतेर सेइ स्वर्गे करो जागरित।

Hindi Translation - कवी शिवमंगल सिंह "सुमन" द्वारा

जहां चित्‍त भय से शून्‍य हो
जहां हम गर्व से माथा ऊंचा करके चल सकें
जहां ज्ञान मुक्‍त हो
जहां दिन रात विशाल वसुधा को खंडों में विभाजित कर
छोटे और छोटे आंगन न बनाए जाते हों

जहां हर वाक्‍य ह्रदय की गहराई से निकलता हो
जहां हर दिशा में कर्म के अजस्‍त्र नदी के स्रोत फूटते हों
और निरंतर अबाधित बहते हों
जहां विचारों की सरिता
तुच्‍छ आचारों की मरू भूमि में न खोती हो
जहां पुरूषार्थ सौ सौ टुकड़ों में बंटा हुआ न हो
जहां पर सभी कर्म, भावनाएं, आनंदानुभुतियाँ तुम्‍हारे अनुगत हों

हे पिता, अपने हाथों से निर्दयता पूर्ण प्रहार कर
उसी स्‍वातंत्र्य स्‍वर्ग में इस सोते हुए भारत को जगाओ

English Translation

Where the mind is without fear
and the head is held high;
Where knowledge is free;
Where the world has not been
broken up into fragments by the tireless efforts of men;

Where words come out from
the depth of truth;
Where the currents of tireless striving originate
and flow without hindrance all over;

Where the clear stream of reason and thoughts has not lost its way into the dreary
desert sand of lowly habits and deeds;
Where the valour is not divided in 100 different streams;
Where all the deeds, emotions are blissfully given by you

My father, strike the sleeping India without mercy,
so that she may awaken into such a heaven.

"Samrath Guru" now on Spotify: https://open.spotify.com/album/1y9WWdCA59ghJq62QO01eb

Reflection -

When the Samrath Guru
put his hand on my head
he gave me Hari’s name
and my burns were healed

Whether it was night or day
hearing Hari’s name incessantly
even the messenger of death
himself was fearful

The only wish I had left
was of the universe’s Guru,
Of touching that magical stone
who’s touch makes you magical

The disciple of the Guru
became divine himself ….
when the samrath guru
placed his hand on the head

Credits:

Production - Shivpreet Singh

Original Reet - Nirinjan Kaur
Flute - Rajesh Prasanna
Oboe - Kimberly Foree

Harmonies - Christine Linge

Original Lyrics and Traditional Translation

ਸਮਰਥ ਗੁਰੂ ਸਿਰਿ ਹਥੁ ਧਰ੍ਯ੍ਯਉ ॥

समरथ गुरू सिरि हथु धर्यउ ॥

Samrath gurū sir hath ḏẖaryao.

The All-powerful Guru placed His hand upon my head.

ਗੁਰਿ ਕੀਨੀ ਕ੍ਰਿਪਾ ਹਰਿ ਨਾਮੁ ਦੀਅਉ ਜਿਸੁ ਦੇਖਿ ਚਰੰਨ ਅਘੰਨ ਹਰ੍ਯ੍ਯਉ ॥

गुरि कीनी क्रिपा हरि नामु दीअउ जिसु देखि चरंन अघंन हर्यउ ॥

Gur kīnī kirpā har nām ḏīao jis ḏekẖ cẖarann agẖann haryao.

The Guru was kind, and blessed me with the Lord's Name. Gazing upon His Feet, my sins were dispelled.

ਨਿਸਿ ਬਾਸੁਰ ਏਕ ਸਮਾਨ ਧਿਆਨ ਸੁ ਨਾਮ ਸੁਨੇ ਸੁਤੁ ਭਾਨ ਡਰ੍ਯ੍ਯਉ ॥

निसि बासुर एक समान धिआन सु नाम सुने सुतु भान डर्यउ ॥

Nis bāsur ek samān ḏẖiān so nām sune suṯ bẖān daryao.

Night and day, the Guru meditates on the One Lord; hearing His Name, the Messenger of Death is scared away.

ਭਨਿ ਦਾਸ ਸੁ ਆਸ ਜਗਤ੍ਰ ਗੁਰੂ ਕੀ ਪਾਰਸੁ ਭੇਟਿ ਪਰਸੁ ਕਰ੍ਯ੍ਯਉ ॥

भनि दास सु आस जगत्र गुरू की पारसु भेटि परसु कर्यउ ॥

Bẖan ḏās so ās jagṯar gurū kī pāras bẖet paras karyao.

So speaks the Lord's slave: Guru Raam Daas placed His Faith in Guru Amar Daas, the Guru of the World; touching the Philosopher's Stone, He was transformed into the Philosopher's Stone.

ਰਾਮਦਾਸੁ ਗੁਰੂ ਹਰਿ ਸਤਿ ਕੀਯਉ ਸਮਰਥ ਗੁਰੂ ਸਿਰਿ ਹਥੁ ਧਰ੍ਯ੍ਯਉ ॥੭॥੧੧॥

रामदासु गुरू हरि सति कीयउ समरथ गुरू सिरि हथु धर्यउ ॥७॥११॥

Rāmḏās gurū har saṯ kīyao samrath gurū sir hath ḏẖaryao. ||7||11||

Guru Raam Daas recognized the Lord as True; the All-powerful Guru placed His hand upon His head. ||7||11||

Video on YouTube || Spotify || Apple Music

Shivpreet Singh · Navai Kai Rang

The words

This is the 20th pauri of Guru Nanak's long poem Japji Sahib. It is said that Guru Nanak composed this poem n Kartarpur on the right bank of the Ravi river towards the end of his travels. Many have called Japji Sahib the distillation of Guru Nanak's philosophy. From what I have experienced from listening to Japji over the years, Guru ji lays down a 40-step path for the soul bride to sing the essence of truth, Satnam. The initial and last steps are called shloka's and the 38 poems within are called pauris, which literally means steps. Devout sikhs like my grandfather and my parents recite Japji Sahib everyday in the morning. The lyrics and 3 alternative translations are below.

The music

I have been working on the music for this composition since several years. The idea was to interject the verses with chanting on Satnam. The harmonies are not computer generated as is for many arrangements these days; I took my sweet time and took over 100 takes for the different vocals in this track and layered them for the harmonies. So I want to especially thank my collaborators who had to wait a long long time before this was completed. In 2018, my friend and his wife David and Ana contributed some tracks to help with this. David Baynes (who also did the arrangement of Jo Mange from 2014, and played the guitar in Jin Prem Kiyo with me) played the guitar and bass for this track. Ana Milena Varona, a highly accomplished cellist, has played several cello tracks to make it sound like a string quartet. Both of them poured their hearts into this so if you enjoy the music, please send them your best wishes.

Lyrics and Translation

ਭਰੀਐ ਹਥੁ ਪੈਰੁ ਤਨੁ ਦੇਹ ॥
भरीऐ हथु पैरु तनु देह ॥
Bẖarīai hath pair ṯan ḏeh.
When the hands and the feet and the body are dirty,

ਪਾਣੀ ਧੋਤੈ ਉਤਰਸੁ ਖੇਹ ॥
पाणी धोतै उतरसु खेह ॥
Pāṇī ḏẖoṯai uṯras kẖeh.
water can wash away the dirt.

ਮੂਤ ਪਲੀਤੀ ਕਪੜੁ ਹੋਇ ॥
मूत पलीती कपड़ु होइ ॥
Mūṯ palīṯī kapaṛ hoe.
When the clothes are soiled and stained by urine,

ਦੇ ਸਾਬੂਣੁ ਲਈਐ ਓਹੁ ਧੋਇ ॥
दे साबूणु लईऐ ओहु धोइ ॥
Ḏe sābūṇ laīai oh ḏẖoe.
soap can wash them clean.

ਭਰੀਐ ਮਤਿ ਪਾਪਾ ਕੈ ਸੰਗਿ ॥
भरीऐ मति पापा कै संगि ॥
Bẖarīai maṯ pāpā kai sang.
But when the intellect is stained and polluted by sin,

ਓਹੁ ਧੋਪੈ ਨਾਵੈ ਕੈ ਰੰਗਿ ॥

ओहु धोपै नावै कै रंगि ॥
Oh ḏẖopai nāvai kai rang.
it can only be cleansed by the Love of the Name.

ਪੁੰਨੀ ਪਾਪੀ ਆਖਣੁ ਨਾਹਿ ॥
पुंनी पापी आखणु नाहि ॥
Punnī pāpī ākẖaṇ nāhi.
Virtue and vice do not come by mere words;

ਕਰਿ ਕਰਿ ਕਰਣਾ ਲਿਖਿ ਲੈ ਜਾਹੁ ॥
करि करि करणा लिखि लै जाहु ॥
Kar kar karṇā likẖ lai jāhu.
actions repeated, over and over again, are engraved on the soul.

ਆਪੇ ਬੀਜਿ ਆਪੇ ਹੀ ਖਾਹੁ ॥
आपे बीजि आपे ही खाहु ॥
Āpe bīj āpe hī kẖāhu.
You shall harvest what you plant.

ਨਾਨਕ ਹੁਕਮੀ ਆਵਹੁ ਜਾਹੁ ॥੨੦॥
नानक हुकमी आवहु जाहु ॥२०॥
Nānak hukmī āvhu jāhu. ||20||
O Nanak, by the Hukam of God's Command, we come and go in reincarnation. ||20||

Translation by Sant Kirpal Singh

More: https://www.shivpreetsingh.com/2012/10/guru-nanaks-japji-translation-by-sant.html

STANZA XX
When the hands, feet and the body are besmeared
they are washed clean with water;
When the clothes get dirty and polluted, they are cleansed
by soap;
When one's mind gets defiled by sin, it can be purified
only by communion with the Word.
Men do not become saints or sinners merely by words.
But they carry deeds with them wherever they go.
As one sows, so does one reap;
O Nanak, men come and go by the wheel(1) of birth and death
as ordained by His Will.

(1) The inexorable Law of Karma or the Law of Cause and Effect also works under His Will.
Good actions like acts of mercy and charity although commendable in themselves do not have an important bearing on the highest spiritual attainment. They cease to be of consequence once the soul begins its inner journey from the "Til" or the third eye: "If therefore thine eye be single thy whole body shall be full of Light." Matt 6:22. Borne along the Current of the Word, the soul reaches "Amrit-saar" or "Amritsar" or the Fount of Nectar, the Amritsar in man. There any impurities that may be still clinging to the soul are finally washed away. Thus the soul is made fit for the onward journey to the highest spiritual plane of "Sat Naam" which is of ineffable greatness and glory.

Rhyming Translation of Pauri 20 by Swami Raama

For full Japji: https://www.shivpreetsingh.com/2011/02/guru-nanak-japji-rhyming-translation.html

The dirt from off the hands can clean
And face and feet may water glean.
When the garments have been stained,
With soap is stainlessness regained.
When sin and vice the mind may blight,
Love of Name will set it right.
A saint or sinner can’t be known
Merely by the speech he’s sown,
But language of the heart unveils
The action that a man travails.
“As you show, so shall you reap”
The fruits of action one may keep.
Nanak says:
A person comes and then he dies,
To order of the lord complies. ||20||

#GuruNanak #Japji #ShivpreetSingh #Satnam

I am listening and reading about Amir Khusro's poetry tonight. First let me share my translation of his ghazal Guftam ke rohan az qamar, which is really a conversation with God (not unlike Allama Iqbal, Guru Nanak, and Neale Donald Walsch). Following this translation you will find another translation of the poem as well as some couplets sung by Bahauddin Khan Qawwal and party.

I asked, "Is anything more radiant than the moon's light?"
He replied, "Yes, my face shines just as bright."

"And sweeter than sugar in this earthly place?"
"My words make sugar seem dull and commonplace."

"What's death for lovers?" - my voice soft and shy,
"Parting from the beloved," was his reply.

"And life's pain, can it find a remedy?"
"Just seeing me should bring your harmony."

"The right path for lovers?" I implore,
"Only faithfulness of lovers I adore."

"Be not cruel, unfair," I begged with tears,
"That's how I've worked all the years."

"Are you of angels or fairies rare?"
"Lord of them all," he smiled, "beyond compare."

"Your love has broken Khusrau's heart today."
"To be my love, that's the price you pay."

Bahauddin Khan Qawwal (1934-2006), whose party render the qawwali below, traced his lineage back to the days of Amir Khusrau. To remind centuries-yet-to-be that he had loved his murshid, Khusrau banded together twelve youngsters, personally trained them, funded them, and performed with them. He appointed Mian Saamat as the leader of the Bachche (Youngsters) Qawwal. Bahauddin's family claims descent from the Bachche.

The first couplet is by Saʿdī. Abū-Muhammad Muslih al-Dīn bin Abdallāh Shīrāzī, aka Saʿdī Shirazi (Persian: ابومحمد مصلح الدین بن عبدالله شیرازی‎; 1210-1292) was the major classical Persian poet of the middle ages, recognized for the quality of his composition and for the depth of his thought.

اگرم حیات بخشی و گرم هلاک خواهی
سر بندگی به حکمت بنهم که پادشاهی

Garam hayat bakhshi wa garam hayat khwahi
Sar-e-bandagi-ba-khidmat bane humke badshahi

Grant me a warm new life or grant me a hot death
I bow my head at Thy service and make Thee my king.

The second couplet is by ‘Araqi. Fakhr al-dīn Ibrahīm ‘Irāqī, or ‘Araqi (Persian: فخرالدین ابراهیم عراقی‎; 1213-1289), was a Persian Sufi master (a friend of Jalaluddin Rumi), poet and writer. Born in Hamedan, (i.e. 'Irani Iraq'), ‘Araqi spent many years in Multan in the Indian subcontinent, as well as in Konya in present day Turkey.

نہ شود نصب دشمن، کہ شود ہلاک تیغت
سر دوستاں سلامت، کہ تو خنجر آزمائی

Na shabad naseeb-e-dushman ke shabad halaq-e-taighat
Sar-e-doston-salamat ke tu khanjarat ma aaye

Why should our enemies be so fortunate to die by Thine hands?
The heads of comrades are standing alive, ready for dagger-wielder Thou.

The rest is by Amir Khusrau (1253-1305):

گفتم که روشن از قمر گفتا که رخسار منست

گفتم که شیرین از شکر گفتا که گفتار منست

Guftam ke roshan az qamar gufta ke rukhsar-e-man ast
Guftam ke shireen az shakar gufta ke guftar-e-man ast

I asked: 'What is brighter than the moon?' She said: 'It is my face.'
I asked: 'What is sweeter than sugar?' She said: 'It is my talk.'

گفتم کہ مرگِ ناگہاں، گفتا که درد هجر من
گفتم علاج زندگی ،گفتا که دیدار منست

Guftam ke marg-e-'ashiqan gufta ke dard-e-hijr-e-man
Guftam 'ilaaj-e-zindagi gufta ke deedar-e-man ast

I asked about the death of lovers; She said; 'The pain of being separated from me.'
I asked about the cure of life; She said: 'It is the sight of my face.'

گفتم طریق عاشقان گفتا وفاداری بود
گفتم مکن جور و جفا، گفتا کہ این کار منست

Guftam tareeq-e-'ashiqan gufta wafadari buwad
Guftam makun jaur o jafa gufta ke iin kar-e-man ast

I asked about the way of lovers; She said: 'Fidelity.'
I said: 'Then do not be cruel and wicked.' She said: 'That is my task.'

گفتم که حوری یا پری ، گفتا که من شاه ِ بتاں
گفتم که خسرو ناتوان گفتا پرستار منست

Guftam ke houri ya pari gufta ke man shah-e-butan
Guftam ke Khusrau na-tavaan gufta parastar-e-man ast

I said: 'Are you a houri or a fairy?' She said: 'Of idols I am King.'
I said: 'Khusrau is helpless.' She said: 'Worship me.'

In his Lectures on Aesthetics, Hegel wrote:

Pantheistic poetry has had, it must be said, a higher and freer development in the Islamic world, especially among the Persians ... The full flowering of Persian poetry comes at the height of its complete transformation in speech and national character, through Mohammedanism ... In later times, poetry of this order [Ferdowsi's epic poetry] had a sequel in love epics of extraordinary tenderness and sweetness; but there followed also a turn toward the didactic, where, with a rich experience of life, the far-traveled Saadi was master before it submerged itself in the depths of the pantheistic mysticism taught and recommended in the extraordinary tales and legendary narrations of the great Jalal-ed-Din Rumi.

اگرم حیات بخشی و گرم هلاک خواهیسر بندگی به حکمت بنهم که پادشاهی

Today I was reading this poem by Hugo Williams and I was reminded of Ranjish hi Sahi, ghazal of Ahmed Faraz immortalized by the singing of Mehdi Hassan (ghazal).

Please Come Late

by Hugo Williams

Please come late,

so that I gave almost given you up

and have started glancing round the room,

thinking everyone is you.

Ranjish hi Sahi

Ranjish hi sahi dil hi dukhane ke liye aa

Aa phir se mujhe chod ke jaane ke liye aa

Let it be anguish, even to torture my heart, come

Come even if only to abandon me to torment again.

Pehle se marasim na sahi phir bhi kabhi to

Rasm-o-reh.e.duniya hi nibhane ke liye aa

Come, if not for our past commerce,

Then to faithfully fulfill the ancient barbaric rituals.

Kis kis ko bataayenge judaaii ka sabab hum

Tu mujh se kafa hai to zamane ke liye aa

How many people will I explain my grief to?

If you are mad at me, come just for the sake of this world

Kuch to mere pindaar-e-muhabbat ka bharam rakh

Tu bhi kabhi mujh ko manane ke liye aa

Respect, even if only a little, the depth of my love for you;

Come, someday, to offer me consolation as well.

Ek umr se hoon lazzat-e-giriya se bhi mehroom

Aye raahat-e-jaan mujh ko rulaane ke liye aa

Too long you have deprived me of the pathos of longing;

Come again, my love, if only to make me weep.

Ab tak dil-e-khush faham ko tujh se hain ummiiden

Ye aakhri shamme bhi bhujaane ke liye aa

Till now, my heart still suffers some slight expectation;

So come, snuff out even the last flickering torch of hope!

Maana ki muhabbat ka chupaana hai muhabbat

Chupke se kisi roz jataane ke liye aa

Agreed, silencing your love is the real form of love

Some day, come to silently express your love

Jaise tujhe aate hain na aane ke bahaane

Aise hi kisi roz na jaane ke liye aa

The way you find excuses to not come,

Some day, come with an excuse to stay forever

Alternative Translation (from rekhta)

ranjish hī sahī dil hī dukhāne ke liye aa

aa phir se mujhe chhoḌ ke jaane ke liye aa

even if you are annoyed come just to give me pain

come even if you have to then leave me yet again

kuchh to mire pindār-e-mohabbat kā bharam rakh

tū bhī to kabhī mujh ko manāne ke liye aa

the notion of my love's self-pride please do pacify

you should surely come one day and try to mollify

pahle se marāsim na sahī phir bhī kabhī to

rasm-o-rah-e-duniyā hī nibhāne ke liye aa

even tho no longer close we are as used to be

come even if it's purely for sake of formality

kis kis ko batā.eñge judā.ī kā sabab ham

tū mujh se ḳhafā hai to zamāne ke liye aa

the reason for our parting to whom should I relate

if cross with methen come and to the world narrate

ik umr se huuñ lazzat-e-girya se bhī mahrūm

ai rāhat-e-jāñ mujh ko rulāne ke liye aa

a lifetime have I missed the joy of tearful ecstasy

life's comfort thus to make me cry, you should come to me

ab tak dil-e-ḳhush-fahm ko tujh se haiñ ummīdeñ

ye āḳhirī sham.eñ bhī bujhāne ke liye aa

my heart is optimistic yet, its hopes are still alive

come to snuff it out, let not this final flame survive

Please Come Late

by Hugo Williams

Please come late,

so that I gave almost given you up

and have started glancing round the room,

thinking everyone is you.

Please don’t come

until I have started missing you,

thinking I will never see you again,

praying you are lost.

Come too late for me not to notice.

Make me suffer,

wondering what you are doing

on the other side of town,

still in your dressing down.

make me beg for mercy

when you pick up a magazine.

Are you looking in your mirror,

suddenly remembering me?

I’m on my second coffee by now,

eating the little bits of sugar in my cup.

Haven’t you even set out yet?

I decide I don’t want to see you after all.

I don’t really like you.

I’d rather be on my own.

I know it is all over between us.

but I go on sitting here,

reading a newspaper,

not understanding a word.

If you came in now, I wouldn’t recognize you.

Don’t come anywhere near me

until I have gone slightly mad for love of you.

Vaar 1, 23

ਸੁਣੀ ਪੁਕਾਰ ਦਾਤਾਰ ਪ੍ਰਭ ਗੁਰ ਨਾਨਕ ਜਗ ਮਾਹਿੰ ਪਠਾਯਾ ॥

ਚਰਨ ਧੋਇ ਰਹਿਰਾਸ ਕਰ ਚਰਨਾਮ੍ਰਿਤ ਸਿੱਖਾਂ ਪੀਲਾਯਾ ॥

ਪਾਰਬ੍ਰਹਮ ਪੂਰਨ ਬ੍ਰਹਮ ਕਲਿਜੁਗ ਅੰਦਰ ਇਕ ਦਿਖਾਯਾ ॥

ਚਾਰੈ ਪੈਰ ਧਰੰਮ ਦੇ ਚਾਰ ਵਰਨ ਇਕ ਵਰਨ ਕਰਾਯਾ ॥

ਰਾਣਾ ਰੰਕ ਬਰਾਬਰੀ ਪੈਰੀਂ ਪਵਣਾ ਜਗ ਵਰਤਾਯਾ ॥

ਉਲਟਾ ਖੇਲ ਪਿਰੰਮ ਦਾ ਪੈਰਾਂ ਉਪਰ ਸੀਸ ਨਿਵਾਯਾ ॥

ਕਲਿਜੁਗ ਬਾਬੇ ਤਾਰਿਆ ਸੱਤਨਾਮ ਪੜ੍ਹ ਮੰਤ੍ਰ ਸੁਣਾਯਾ ॥

ਕਲਿ ਤਾਰਣ ਗੁਰ ਨਾਨਕ ਆਯਾ ॥23॥

Alternative Translation -

ਸੁਣੀ ਪੁਕਾਰਿ ਦਾਤਾਰ ਪ੍ਰਭੁ ਗੁਰੁ ਨਾਨਕ ਜਗ ਮਾਹਿ ਪਠਾਇਆ
Sunee Pukaari Daatar Prabhu Guru Naanak Jag Maahi Pathhaaiaa
The benefactor Lord listened to the cries (of humanity) and sent Guru Nanak to this world.

ਚਰਨ ਧੋਇ ਰਹਰਾਸਿ ਕਰਿ ਚਰਣਾਮ੍ਰਿਤੁ ਸਿਖਾਂ ਪੀਲਾਇਆ

Charan Dhoi Raharaasi Kari Charanamritu Sikhaan Peelaaiaa

He washed His feet, eulogised God and got his Disciples drink the ambrosia of his feet.

ਪਾਰਬ੍ਰਹਮ ਪੂਰਨ ਬ੍ਰਹਮ ਕਲਿਜੁਗ ਅੰਦਰਿ ਇਕ ਦਿਖਾਇਆ

Paarabrahamu Pooran Brahamu Kalijugi Andari Iku Dikhaaiaa

He preached in this darkage (kaliyug) that, saragun (Brahm) and nirgun (Parbrahm) are the same and identical.

ਚਾਰੇ ਪੈਰ ਧਰਮ ਦੇ ਚਾਰਿ ਵਰਨ ਇਕ ਵਰਨੁ ਕਰਾਇਆ

Chaaray Pair Dharam Day Chaari Varani Iku Varanu Karaaiaa

Dharma was now established on its four feet and all the four castes (through fraternal feeling) were converted into one caste (of humanity).

ਰਾਣਾ ਰੰਕ ਬਰਾਬਰੀ ਪੈਰੀ ਪਵਣਾ ਜਗਿ ਵਰਤਾਇਆ

Raanaa Ranku Baraabaree Pairee Paavanaa Jagi Varataaiaa

Equating the poor with the prince, he spread the etiquette of humbly touching the feet.

ਉਲਟਾ ਖੇਲੁ ਪਿਰੰਮ ਦਾ ਪੈਰਾ ਉਪਰਿ ਸੀਸੁ ਨਿਵਾਇਆ

Ulataa Khaylu Piranm Daa Pairaa Upari Seesu Nivaaiaa

Inverse is the game of the beloved; he got the egotist high heads bowed to feet.

ਕਲਿਜੁਗ ਬਾਬੇ ਤਾਰਿਆ ਸਤਿਨਾਮੁ ਪੜ੍ਹਿ ਮੰਤ੍ਰ ਸੁਣਾਇਆ

Kalijugu Baabay Taariaa Satinaamu Parhhi Mantr Sunaaiaa

Baba Nanak rescued this dark age (kaliyug) and recited ‘satinam’ mantr for one and all.

ਕਲਿ ਤਾਰਣ ਗੁਰੁ ਨਾਨਕ ਆਇਆ ॥੨੩॥

Kali Taarani Guru Naanaku Aaiaa ||23 ||

Guru Nanak came to redeem the kaliyug.

Gulzar extend Mirza Ghalib's ghazal Dard Minnat Kash-e-davaa na hua. The bolded text are Mirza Ghalib's ghazal. The rest is from Gulzar. Interestingly Guru Nanak uses the same metaphor for pain (Dukh Daaru Sukh Rog Bhayaa). Also see similar ghazal: Ishrat-e-katra

Lyrics - Dard Minnat Kashe Dava Na Hua

dard minnat-kash-e-davā na huā

maiñ na achchhā huā burā na huā

jam.a karte ho kyuuñ raqīboñ ko

ik tamāshā huā gila na huā

ham kahāñ qismat āzmāne jaa.eñ

tū hī jab ḳhanjar-āzmā na huā

kitne shīrīñ haiñ tere lab ki raqīb

gāliyāñ khā ke be-mazā na huā

hai ḳhabar garm un ke aane kī

aaj hī ghar meñ boriyā na huā

kyā vo namrūd kī ḳhudā.ī thī

bandagī meñ mirā bhalā na huā

jaan dī dī huī usī kī thī

haq to yuuñ hai ki haq adā na huā

zaḳhm gar dab gayā lahū na thamā

kaam gar ruk gayā ravā na huā

rahzanī hai ki dil-sitānī hai

le ke dil dil-sitāñ ravāna huā

kuchh to paḌhiye ki log kahte haiñ

aaj 'ġhālib' ġhazal-sarā na huā

Rhyming Translation - Dard Minnat Kashe Dava Na Hua

1/2:

The pain hasn't yielded to the medicine's plea

I've not gotten better, nor has death come to me

Ghalib uses "obligation to medicine" to emphasize that if he were to recover with its help, he'd be indebted. He prefers not to owe anyone.

3/4:

Why do you gather other people to discuss and rue?

There hasn't been a complaint, just a spectacle from you

Ghalib questions why his beloved gathers his rivals to witness her grievances. He wishes she had discussed her complaints with him privately to avoid turning it into a public spectacle.

5/6:

Where do I go to test my fate's decree,

When you won't even wield your dagger at me!

Ghalib contemplates where he can seek his destiny when even his beloved, symbolized as a dagger, failed to end his life.

7/8:

Your lips are so sweet, even when you curse

my rivals find them delicious at worse

Ghalib praises his beloved's sweet lips, suggesting that even the curses she hurls at rivals are savored by them, not diminishing their charm.

9/10:

News of my love's arrival has come

However in my home the bed is still undone

Ghalib hears of his beloved's impending visit, but his home is too poor to even afford a welcome mat, making him unprepared for this significant event.

11/12:

It was like Namrood's false divinity, wasn't it?

I was fully devoted, but there was no benefit

Ghalib questions whether his beloved's actions resemble the false claims of Namrood, highlighting that his devotion hasn't brought him any benefit. Her behavior is akin to a deceptive divinity.

13/14:

I did give my life, but it was already yours

The truth remains that my debt still endures

Ghalib reflects on his sacrifice, emphasizing that he gave up his life, which was a gift from the Divine. Despite this sacrifice, the debt remains unpaid.

15/16:

If the wound is pressed, the blood won't stay,

If work's halted, life's flow too ebbs away.

Ghalib describes a hopeless situation where pressing the wound leads to unceasing bleeding, while stopping the effort results in life stagnating. Either way, it's a no-win scenario.

17/18:

Is it highway robbery or heart's pilfering, pray?

Taking my heart, the thief moves on her way.

Ghalib questions whether his beloved's actions are akin to highway robbery or heart theft. She takes his heart swiftly and departs, leaving him to ponder the nature of her actions.

19:

Study something for people say,

"Ghalib's ghazals don't hold sway today"

Ghalib encourages readers to study and learn, as people declare that today Ghalib reigns supreme as a complete poet.

Addition by Gulzar to Mirza Ghalib's Ghazal

Yoon to mera ilaaj kya na hua

Kam maraz hi magar zaraa na hua

Mujhpe ahsaan tabeeb ka na hua

Dard minnat-kash-e-dawa na hua

Main na achcha hua, buraa na hua

De Khuda reham in habeebon ko

Ke jalaayen na badnaseebon ko

Chalke sun lo alag jo sunte ho

Jamaa karte ho kyon raqibon ko

Ik tamasha hua gila na hua

Jaan taawat hi mein khapaai thi

Kuch khudi thi na khudnumaai thi

Sar tha, sajda tha, jabbasaai thi

Kya wo namarood ki khudai thi

Bandagi mein mera bhala na hua

Dhoondhta tha wo ik na ik tarqeeb

Ke mazen hon tere labon ke naseeb

Tu na samjhe to hai ye baat ajeeb

Kitne shirin hain tere lab, ke raqeeb

Galiyaan kha ke bemaza na hua

Hamne ki fikr jab bulaane ki

Unko soojhi kisi bahaane ki

Ab suni hai jo ghar lutaane ki

Hai khabar garm un ke aane ki

Aaj hi ghar mein boriya na hua

-Mirza Ghalib/ Unknown

यूं तो मेरा इलाज़ क्या न हुआ

कम मर्ज भी मगर जरा न हुआ

मुझपे एहसान तबीब का न हुआ

(तबीब = उपचारक, चिकित्सक)

दर्द मिन्नत-कश-ए-दवा न हुआ

मैं न अच्छा हुआ, बुरा न हुआ .......

मिन्नत-कश-ए-दवा = दवा का आभारी)

दे खुदा रहम इन हबीबों को

के जलाए न बदनसीबों को

चल के सुन लो अलग जो सुनते हो

जमा करते हो क्यूँ रक़ीबों को

इक तमाशा हुआ गीला न हुआ ...

(हबीब = मित्र, दोस्त, प्रिय)

(रक़ीब = प्रेमिका का दूसरा प्रेमी, प्रेमक्षेत्र का प्रतिद्वंदी)

(गिला = शिकायत, उलाहना)

जान तावत ने ही खपाई थी

कुछ खुदी थी न खुदनुमाई थी

सर था सजदा था झबसाई थी

क्या वो नमरूद की खुदाई थी

बंदगी में मेरा भला न हुआ ......

(तावत = उस अवधि तक, उस सीमा या हद तक, वहाँ तक)

(ख़ुदनुमाई = अभिमानी/ घमंडी होने का भाव)

(नमरूद = एक बादशाह जो अपनेआप को ख़ुदा कहता था)

ढूंड्ता था वो इक न इक तरकीब

के मज़े हो तेरे लबों पे नसीब

तू न समझे तो है यह बात अजीब

कितने शिरीन है तेरे लब के रकीब

गालियां खा के बेमज़ा न हुआ

(शीरीं = मीठे), (लब = होंठ)

हमने की फ़िक्र जब बुलाने की

उनको सूझी किसी बहाने की

अब सुनी है जो घर लुटाने की

है खबर गर्म उनके आने की

आज ही घर मैं बोरिया ना हुआ

Donate

Shabad by Guru Arjan

Translation/Reflection by Shivpreet Singh

Lyrics

Translation

The words

The music

Lyrics and Translation

Translation by Sant Kirpal Singh

Rhyming Translation of Pauri 20 by Swami Raama

Please Come Late

Ranjish hi Sahi

Please Come Late

Ghazal in English followed by 2 Translations

Translation in English - Dayaar-e-Ishq Main by Shivpreet Singh

Alternative Translation by Maahwish Mirza

Lyrics in Hindi - दयार-ए-इश्क़

Rahat Fateh Ali Khan Performance and Translation:

Lyrics - Dard Minnat Kashe Dava Na Hua

Rhyming Translation - Dard Minnat Kashe Dava Na Hua

Addition by Gulzar to Mirza Ghalib's Ghazal

SHIVPREET SINGH

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