I am reading Desire Path: Sequoia by Donika Kelly today in Poetry magazine (see below for the poem) and meditating upon the theme of the impermanence of faces.
We, as humans, are minuscule and transient. Faces that will disappear like clouds. We see them today everywhere, and tomorrow there are no where to be seen. Perhaps some will appear, like Ghalib says in his Ghazal Sab Kahaan, through beautiful flowers.
Sab kahaan kuchhh lalaa-o-gul mein numaaya ho gayeen
Khaak main kyaa suratein hongi ki pinhaa ho gayeen
Where are they all, a few manifest in beautiful flowers
What spectacular faces must have beem that the ground now hides
Our impermanence can swiftly transform our existence, making us vulnerable like something inflammable. Like Baba Farid says, don't touch the safflower, O love, it will burn. It is vulnerable and flammable.
Hath na laayi kasumbharai, jal jaasi dhola
Everything that currently possesses a distinct identity, even objects with faces, will eventually lose their individuality and merge with the vastness of the universe. Time will gradually deposit layers upon them, turning them into sediment, blending them into the fabric of eternity. This reminds me of Shams Mashraqi's Persian poem Har Lehza where he talks about find the trickster love in every face:
Har lehza ba shakl aan but-e-ayyar baraamad
Dil burd-o-nihaan shud
Har dum ba libaas-e-digar aan yaar baraamad
Gah peer-o-jawaan shud
O' that trickster idol-beloved! Every time he made an appearance, he had a different face
He pulled the people's hearts, And hid from view.
Every time he came out in a different garb
He was sometimes young, And sometimes he was old.
The future remains unknown, and perhaps we need to express gratitude for this lack of foresight. Or the gratitude for the foresight to see the one in all, and thereby not needing to know that everything is impermanent.
Desire Path: Sequoia
The poem is titled "Desire Path: Sequoia" to evoke the sense of longing and the connection between human desires and the majestic Sequoia tree. The term "Desire Path" suggests an unconventional route or an intuitive path created by human yearning. In this context, it represents the speaker's deep connection with nature and their vulnerability, symbolized by the Sequoia.
Desire Path: Sequoia
By Donika Kelly
Today I see the faces in everything:
the trees across the street, the clouds
in Ansel Adams’s The Golden Gate
Before the Bridge, San Francisco,
California. In the picture, I’m not hugging
the sequoia; I’m showing the woman
behind the camera I am small, young,
that I’ve always been vulnerable
to fire, and I am smiling to know this.
I am holding my arms perpendicular
to the plane of my body, which is parallel
to the plane of the tree, the tree
between my arms, outstretched,
and in so doing I am saying to the woman
behind the camera: You too are small, young,
you have always been vulnerable to fire.
In taking the picture, she says: I agree.
You are small. The picture is on a screen
in a hotel room. The woman behind the camera
a figment of memory, her face smudged,
imprecise. There is pleasure in planes
gone to silt, in time (as with water, as with wind)
doing its sedimentary work. Pleasure
in what’s past—the feeling of the tree’s
rough bark, its trunk as whole
between my arms as the Golden Gate,
through either peninsula, running
into ocean under only one horizon—
pleasure in not knowing (fire, steel,
grief) what’s yet to come.
Sab kahan kuchh lala-o-gul mein numayaan ho gayin Khaak mein kya suraten hongi ki pinhaan ho gayin
Where are they? Some have manifested in roses and tulips!
O what faces must be in dust that have disappeared?
In the realm of Mirza Ghalib's poetry, this couplet stands as an enigmatic masterpiece in my view. It is a window into the timeless questions that have haunted literature's most profound minds. It embodies the interplay of life and death, beauty and decay, and the ever-elusive quest to uncover the hidden facets of our existence.
As we read this, we embark on a journey with Mirza Ghalib through a beautiful garden with roses and tulips we encounter a profound question: "Sab Kahaan" or "Where are all?" The poet's inquiry echoes the echoes of literary giants who have pondered the same mysteries. This reminds me of Kabir's "Kahaan gaye" - "where have they gone?" Reminiscent of Whitman's poignant musings on the multitudes, Ghalib's verse beckons us to contemplate the invisible threads that connect humanity.
Within this poetic tapestry, Ghalib intertwines nature's vibrant hues with the fleeting presence of souls. He unravels the essence of existence, revealing how some unveil themselves amidst the blossoms of tulips and roses. In this interplay of life's transience and nature's fleeting beauty, echoes of Rumi's metaphysical exploration resonate, as he too sought to decipher the hidden truths embedded in the tangible world.
But the poet's introspection does not cease there. Ghalib delves into the profound enigma of the second line: "In the dust, what faces there will be that have become hidden?" Here, he poses an existential puzzle that evokes the poetic introspection of Emily Dickinson. Like Dickinson's fascination with the enigmatic depths of the human soul, Ghalib ponders the faces concealed within the dust, contemplating the myriad possibilities of hidden identities and untold stories.
Ghalib's verse transcends mere words, inviting us to embrace the beauty that surrounds us, even within the ephemeral nature of life's fragile tapestry.
yaad thi hamko bhi ranga rang bazm-aaraaiyan lekin ab naqsh-o-nigaar-e-taaq-e-nisiyaan ho gayin.
I too used to remember those colorful gathering adornings and arrangements. But now they have become a mark or portrait in the niche of oblivion.
The poet says that he once too reveled, in the corridors of his mind in the remembrance of those vivid gatherings, adorned with resplendent embellishments and meticulous arrangements. Mirza Ghalib was after all the Mughal poet laureate. However, like delicate brushstrokes upon a canvas, those memories have now evolved into ethereal portraits, nestled within the niche of oblivion. The effervescence that once animated those days has now dissipated, leaving behind a mere echo of their former glory. These memories, like distant paintings, now find their residence within the hallowed confines of oblivion.
The poet's bear resemblance to the fleeting imagery conjured by Proust's madeleine, each stroke of color a portal to a bygone era, where time held no sway. Some evocative recollections symbolize the bittersweet ebb and flow of life's tapestry, mirroring the poignant sentiments echoed in the works of Marcel Proust, who delved deep into the realm of memory and the impermanence of time. Mirza Ghalib fills his cup of melancholy, honors these faded treasures that grace the niche of oblivion and accepts that they are now gone.
thi banaat-un-naash-e-garduun din ko parde men nihaan shab ko un ke ji men kya aai ki uryaan ho gayin
The Ursa Minor constellation was hidden in a veil during the day. In the night, I don't know what came in its heart that it became bare.
qaid mein yaqub ne li go na yusuf ki khabar lekin ankhen rauzan-e-diivaar-e-zindaan ho gayin
In the prison, Jacob (yaqub) although has taken no information about Joseph (yusuf). But eyes have become windows in the wall of the prison.
In the annals of the Old Testament, two prominent figures emerge: Joseph and Jacob. Joseph, the son of Jacob, found himself unjustly confined within the Pharaoh's prison. Amidst this troubling chapter in his life, the poet reflects upon Jacob's plight, revealing a poignant truth. Though bereft of any news or knowledge regarding his incarcerated son, Jacob's eyes became a profound portal within the prison's walls. They stood as a steadfast window, vigilantly watching over Joseph, a symbol of a father's unwavering love.
Despite the absence of tangible information about his son, Jacob's tearful eyes remained fixated, casting their gaze upon his beloved son. Through this unyielding connection, his eyes became an intimate aperture, akin to a tender crack in the prison's unyielding facade. Night and day, they served as a conduit, allowing Jacob to keep an unrelenting watch over his son's well-being. Such is the boundless depth of a father's affection for his children, transcending physical barriers and imprisonment.
The poet captures the essence of paternal love, highlighting the indomitable power of love to traverse even the most formidable confines. Through Jacob's tearful vigilance, we witness the resolute strength that emanates from a parent's heart, one that creates a window in the prison walls.
sab raqibon se hon nakhush, par zanan-e-misr se hai zulaikha khush ke mahv-e-mah-e-kanan ho gain
Unhappy with all the rivals, but with the women of Egypt Zulaikha is happy because they have become transfixed in the moon of Canaan.
In the realms of ancient Egypt, a tale unfolds involving the captivating figure of Zulaikha, a queen enraptured by the love she held for Joseph. As word of her affection spread throughout the land, the women of Egypt began to taunt her, provoking a response unexpected. For typically, lovers harbor discontent toward rivals who vie for the affections of their beloved. Yet, Zulaikha's heart remained unperturbed by the presence of these rivals, finding solace in a peculiar outcome.
Indeed, she discovered a sense of contentment, for as these women beheld the radiant figure of Joseph, often referred to as the "moon of Canaan," their attention became transfixed upon his resplendent charm. Enraptured by his beauty, they became absorbed, momentarily forgetting their spiteful mockery. Herein lies the crux of a story narrated in the Qur'an, which sheds further light upon the matter.
In this ancient tale, Zulaikha distributed apples to each of these women, urging them to cut the fruit upon Joseph's arrival. As destiny would have it, their gazes fell upon him, and in their distraction, they accidentally wounded their own fingers while slicing the fruit. Seizing the moment, Zulaikha reminded them that Joseph graced their presence daily, thus reminding them of the pain they had inadvertently inflicted upon themselves. In this realization, fueled by both physical and emotional discomfort, the women ceased their mockery.
Through this story, the poet unravels a profound truth. Zulaikha's benevolent intent, manifested through the distribution of apples, revealed a wisdom that surpassed the petty taunts and jeers. Instead of harboring resentment, she employed a gentle tactic, one that allowed the natural allure of Joseph to captivate and transform those who had once mocked her. In their mesmerized state, the women found a new perspective, fostering an end to their mockery.
This tale stands as a testament to the power of empathy and understanding, illuminating Zulaikha's remarkable ability to rise above adversity and transform the hearts of her rivals. It portrays a profound lesson on the potential for love to conquer animosity, demonstrating the capacity for personal growth and enlightenment through compassion and self-reflection.
ju-e-khun ankhon se bahane do ki hai shaam-e-firaq main ye samajhunga ke shamaen do farozan ho gayin
In this eve of parting, let the river of blood flow from my eyes. I shall perceive them as two radiant candles.
The poet, immersed in the depths of longing and separation, utters a poignant plea, beckoning the river of blood to flow from their eyes. This moment, veiled by the twilight of their parting, becomes a canvas for profound emotion. Amidst this profound anguish, a flicker of solace emerges, taking form in the metaphorical illumination of two candles.
In the darkness that envelops the night of separation, the poet envisions these tears, crimson and sorrowful, as radiant flames that dispel the gloom. The bloodied tears, akin to burning candles, cast their luminous glow upon the surrounding darkness, granting a glimmer of comfort amidst the desolation.
In this striking imagery, reminiscent of a scene crafted by the great poet Rumi, the rivers of blood become symbols of fervent devotion. The illumination they cast pierces through the abyss of longing, evoking the transformative power of love amidst the heart's deepest yearnings.
Thus, through the poet's metaphorical invocation, we witness the beauty that can arise from the depths of despair. Like candles ablaze, the tears of the poet create a semblance of light, illuminating the path forward amidst the profound darkness of separation.
in parizadon se lenge khuld men ham intiqam qudarat-e-haq se yahi huren agar vaan ho gayin
In the realm of paradise, we shall enact vengeance upon these alluring fairies, if, by the power of Truth, they too reside within. The poet laments that this earthly existence falls short in granting retribution from their beloveds, yearning for their presence in heaven to fulfill his desire for revenge. In this sentiment, echoes of Dante's longing for divine justice resonate, as he journeyed through the realms of the afterlife seeking resolution.
neend usaki hai, dimag usaka hai, raten usaki hain teri zulfen jisake bazu par pareshan ho gayin
Sleep is his, Mind is his, The Nights are his. Your curls of hair, on whose shoulder have become disordered and disheveled.
In this poignant verse, the poet paints a vivid picture of the disarrayed locks of his beloved's hair, cascading upon the shoulder of the lover. In this juxtaposition, the poet reflects upon the contrasting states of their minds and souls. As the locks of hair find solace upon the lover's shoulder, tranquility befalls the rival, their sleep undisturbed, their thoughts lucid, and their nights devoid of despair. In stark contrast, the poet laments his own tumultuous state, plagued by restless nights, a mind in disarray, and thoughts entangled with confusion. Through this evocative imagery, the poet conveys the profound imbalance and longing that consumes the depths of their being, as the beloved's scattered locks symbolize the disorder within their own thoughts and emotions.
main chaman mein kya gaya, goya dabistan khul gaya bul-bulen sun kar mere nale, gazalkhwan ho gayin
I had hardly entered the garden, as if a school had opened. The nightingale having heard my lamentations, become ghazal singers.
The poet says that has he ventured into the garden, consumed by contemplation, it seemed akin to entering a school. Like a chorus of children reciting verses in unison, the nightingales, upon hearing his plaintive cries, transformed into maestros of ghazals. His lamentations, so poignant and melodious, resonated within their very souls, weaving together a refined ghazal that transcended the realms of beauty and sorrow.
In this enchanting scene, echoes of Hafez's nightingales come to mind, their songs imbued with the essence of longing and poetic mastery. The convergence of my heartfelt expressions with the nightingales' melodic imitation birthed a sublime ghazal, epitomizing the profound beauty that lies within the interplay of human emotion and the natural world.
vo nigahen kyun hui jati hain yarab dil ke par jo meri kotaahii-e-qismat se mizshgan ho gain
Why do those glances, oh Lord! keep going through the heart? Which through my failure of fate, became eye-lashes.
In this verse, the poet explores the profound impact of the beloved's glances, specifically focusing on the significance of receiving only a glimpse or eyelash. The poet distinguishes between the usual glances bestowed by the beloved and the rarity of receiving just the attention of their eyelashes. This unusual occurrence suggests a lack of fortune or limited luck, as the poet yearns for the complete gaze of the beloved.
However, despite this misfortune, the poet is astounded by the profound effect that even the smallest glance of the beloved has on their heart. It transcends the limitations of mere physical sight, resonating deeply within their being. The poet marvels at the immense power contained within these seemingly insignificant eyelash glances, acknowledging the all-encompassing impact they have on their heart.
Through this reflection, the poet poignantly captures the intensity of their longing and the ability of even the tiniest gestures from the beloved to evoke a profound emotional response. The disparity between the limited fortune and the immense impact of these small glances highlights the extraordinary power of love to transcend physical boundaries and touch the depths of the heart.
bas ki roka main ne aur seene mein ubharen pai-ba-pai meri aahein bakhiya-e-chak-e-garibaan ho gayin
Although I stopped them, more emerged or swelled up with in the chest again and again. My sighs became the stitching on the torn hem of the shirt.
The poet portrays the relentless surges of sighs within their heart, drawing a striking parallel to the act of mending a torn shirt's hem. It is an act of futility, for these sighs persistently rise, analogous to the relentless tearing and mending of the fabric. Initially, madness compelled the poet to rip the shirt, while moments of calmness allowed for the stifling of never-ending sighs, akin to stitching the torn garment. However, the mounting pressure of suppressed sighs eventually becomes suffocating, necessitating the tearing of the shirt once again to allow the heart to breathe. This cycle of sighs, tearing, and sewing offers no meaningful solace, perpetuating an endless chain of emotional turbulence. As Pritchett astutely observes, the poet skillfully employs wordplay, wherein "seene" (chest) can also be interpreted as "seena" (to sew up), while strategically juxtaposing the words "tearing" and "sewing" for heightened dramatic effect.
vaan gaya bhi main to unki gaaliyon ka kya jawab yaad thi jitini duayen, sarf-e-darbaan ho gayin
Even if I were to go there, what answer would I have for her insults? As many prayers I could remember, all were used on the doorkeeper.
The poet contemplates the consequences of approaching the beloved's door, fearing not receiving any favors or glances, but instead enduring taunts and insults. In this quandary, the poet ponders the dilemma of how to respond. All the prayers and blessings they could recall were exhausted on the doorman, leaving no resources for a suitable retort. This predicament, lacking the freshest and newest blessings to counter the beloved's crude and humiliating words, becomes a source of worry. It is indeed an amusing situation, reminiscent of the comedic complexities found in the works of Molière, where irony and wit collide, presenting the poet with a humorous yet challenging conundrum.
jaan-fiza hai baada, jis ke hath mein jaam aa gaya sab lakiren haath ki goya rag-e-jaan ho gayin
Lively is wine, in whomsoever's hand the glass comes. All the lines of the palm as if became the jugular vein.
There can be two main interpretations of this:
The first interpretation highlights the lively and exhilarating nature of wine. The poet suggests that consuming wine leads to a sense of expansiveness and euphoria, symbolized by the engorged lines on one's hand, resembling blood-filled veins. By connecting the visuals of wine, hand lines, and the heart's main artery, the poet emphasizes the life-affirming qualities of wine and its ability to animate and invigorate.
The second interpretation focuses on the visual imagery created by a glass of red wine in hand. As the glass is held, the lines on the hand appear red when seen through the glass, resembling arteries filled with living blood. This interpretation suggests that wine possesses the power to imbue life and vitality. The dry lines on the hand, usually devoid of color, now appear to be brimming with flowing blood, signifying the life-giving properties attributed to wine.
Both interpretations emphasize the transformative nature of wine, whether through its ability to elicit a sense of liveliness and euphoria or its metaphorical representation of life-giving qualities. The imagery of wine and its connection to the hand's lines and the flow of blood serve to underscore the profound impact that wine can have on one's experience and perception of life.
hum muwahhid hain, hamara kesh hai tark-e-rusum millatein jab mit gain, ajza-e-iman ho gayin
We are the believers in one God, our nature is the abandonment of rituals and customs. When nations or communities have been erased, they become part of the faith.
The poet expresses a belief in the unity of God and emphasizes that true spiritual fulfillment can only be attained by relinquishing external customs, rituals, and religious practices. According to the poet, the elimination of sectarian divisions and the abandonment of religious distinctions would enable individuals to become united in their faith. It is through transcending the confines of organized religion that one can truly embrace a genuine spiritual path.
In the poet's perspective, the essence of a genuine religion lies in the absence of any specific religious affiliation. By discarding the trappings of organized religion, individuals can reach a state where the oneness of God and the oneness of humanity are realized. This notion challenges the notion of religion as a set of dogmas and rituals, instead emphasizing a deeper, more profound connection to the divine that transcends traditional boundaries.
Ultimately, the poet suggests that the pursuit of true faith necessitates a departure from religious structures and the unification of people under the banner of a universal belief in the oneness of God. By embracing this notion, individuals can transcend the limitations of external religious practices and foster a deeper understanding of the spiritual realm.
ranj se khugar hua insaan to mit jata hai ranj mushkilen mujh par padi itani ke asaan ho gayin
When a person become accustomed to grief, then the grief gets erased. So many difficulties have fallen upon me, that they became easy.
This couplet is widely recognized as one of the most renowned verses from this ghazal. The poet asserts that by aligning oneself with grief, the grief itself loses its hold. Despite the multitude of hardships that have befallen the poet, they have become bearable, as the poet has attuned themselves to such challenges. These difficulties no longer evoke despair, as the poet has adapted to them. This sentiment also evokes the teachings of Guru Nanak, specifically the concept of "Dukh Daaru Bhaya," where sorrow transforms into a healing remedy. There are also two similar couplets by Ghalib: - 'ranj uthanay say bhi khushi ho gi, pahlay dil dard aashna keejay' and "dard minnat-kash-e-davā na huā".
yunn hi gar rota raha 'ghalib', to ae ahl-e-jahan dekhana in bastiyon ko tum ki viraan ho gayin
If Ghalib keeps on crying like this, then oh! people of this world. You take a look at these towns, that they have become abandoned and deserted.
The couplet suggests that the poet believes their emotional state is so intense and overwhelming that it has the power to affect the environment and the people around them. The poet implies that their constant weeping and expression of sorrow will have a profound impact on the towns or communities they inhabit. The idea conveyed is that the poet's emotional distress is so pervasive that it can cause a sense of desolation and emptiness, symbolically driving people away from the towns. It reflects the poet's belief in the profound influence of their emotions on the world around them.
Ja Tu Mere Val Hai
Surrender of the Singer of Oneness
The shabad "Ja Tu Mere Val Hai" conveys a powerful message centered around the concept of surrendering oneself to oneness and the transformation that ensues. While it is impossible to explain this transformation, I will try to write my feelings from the point of view of a singer of oneness.
It is somewhat miraculous that the singer of oneness finds complete reliance and trust in the divine power. Surrendering to oneness in essence is realizing the interconnection with the universe and aligning our faith with this elusive highest authority that has no parallel or end. This surrender becomes the foundation for the subsequent experiences of peace and contentment.
With oneness on their side, the singer of oneness transcends worries and concerns. The sense of security and assurance derived from their connection with the divine shields them from the anxieties that often plague ordinary life. By entrusting their cares to oneness, they find solace in the knowledge that their well-being is safeguarded.
The act of serving all constituents of oneness brings forth abundant blessings and benefits for the singer. The wealth they receive is boundless, surpassing material possessions and encompassing the richness of spiritual enlightenment. By dedicating themselves to the cause of oneness, the singer taps into the limitless grace that flows from the divine source.
The singer of oneness experiences a profound transformation in their relationships. Enemies are no longer adversaries but become friends as harmony and goodwill permeate their interactions. This shift signifies the all-encompassing love and compassion inherent in oneness, fostering unity and understanding among all beings.
The connection between the singer of oneness and their Guru Govinda represents a deep spiritual bond. Through this relationship, the singer finds peace, bliss, and profound fulfillment. The union with the divine guru becomes a source of guidance, enlightenment, and ultimately, the realization of the self's true purpose.
Surrendering oneself to oneness leads to a profound sense of contentment and resolution. The singer's affairs find resolution, and inner conflicts dissolve in the light of divine acceptance. By aligning their will with the divine plan, the singer of oneness experiences a harmonious flow of life, unburdened by the complexities that hinder personal growth and fulfillment.
For me this shabad encapsulates the transformative power of surrendering oneself to oneness. Through the act of singing and embracing oneness, I have felt profound reliance and trust in the highest power. By singing and embracing oneness, I have experienced a profound sense of reliance, trust, and interconnectedness with the divine. Singing this surrender to oneness with love, and I know it can lead to freedom from worries and concerns, a feeling of abundant blessings, and a harmonious existence. I believe surrender has transformative effects on anyone that sings and meditates upon this shabad.
Ja Tu Mere Val Hai - The Form of Pauris
The form of this shabad is a "Pauri", a Punjabi term used to describe a ladder, step, staircase. Pauris are a poetic form characterized by their concise structure, typically comprising 6 to 8 lines. Within a Pauri, two or more lines are skillfully crafted to end with rhyming words, adding a harmonious and melodic quality to the composition. Guru Nanak's Japji Sahib has 38 Pauris or step, each progressing the singer of the hymns to the highest ideal. Metaphors of stairways are also found in Hindu, Buddhist and American works.
Ja Tu Mere Val Hai - Meaning/Translation
If you are on my side
what worry do I have?
You give me everything
If I serve you
My wealth is endless
however much I spend and consume
8.4 million species
are all helping me
All enemies have become friends,
no one wishes me ill.
No one calls me to account,
if Hari absolves me
I have found peace and bliss
meeting Guru Govinda
All my affairs have been resolved,
since you are pleased with me.
If you are on my side
what worry do I have?
You have given me everything
If I am Your slave.
Chords for Shabad
These are the instructions I gave to fellow musicians for the music of this shabad:
Chords
D2 Bm Dmaj7 A x4
D2 Bm G2 Asus
D2 G2 Asus D2 x2
D2 Bm Dmaj7 Asus x2
D2 Bm G2 Asus
D2 G2 Asus D2 x2
D2 Bm Dmaj7 Asus x5
Ja Tu Mere Val Hai - Lyrics
Ja Tu Mere Val Hai
Ta Kya Mohchhanda
Tudh Sab Kichh Mainu Saunpeya
Jaa Teraa Bandaa
Lakhmi thot na aavai
khae kharach rehanda
Lakh chauraasi medni
sab sev karanda
Eh Vairi Mitra Sab keeteya
neh mangai manda
Lekha Koi Na Puchhayi
Ja har bakshandaa
Anand bhaya sukh paya
mil gur govinda
Sabai kaaj savaariey
jaa tudh bhaavandaa
Ja Tu Mere Val Hai
Ta Kya Mohchhanda
Tudh Sab Kichh Mainu Saunpeya
Jaa Teraa Bandaa
If you are on my side
what worry do I have?
You give me everything
If I serve you
My wealth is endless
however much I spend and consume
8.4 million species
are all helping me
All enemies have become friends,
no one wishes me ill.
No one calls me to account,
if Hari absolves me
I have found peace and bliss
meeting Guru Govinda
All my affairs have been resolved,
since you are pleased with me.
If you are on my side
what worry do I have?
You have given me everything
If I am Your slave.
Gurbani Lyrics and Alternative Translations
ਪਉੜੀ ॥
पउड़ी ॥
Paoṛī.
Pauree:
ਜਾ ਤੂ ਮੇਰੈ ਵਲਿ ਹੈ ਤਾ ਕਿਆ ਮੁਹਛੰਦਾ ॥
जा तू मेरै वलि है ता किआ मुहछंदा ॥
Jā ṯū merai val hai ṯā kiā muhcẖẖanḏā.
When You are on my side, Lord, what do I need to worry about?
ਤੁਧੁ ਸਭੁ ਕਿਛੁ ਮੈਨੋ ਸਉਪਿਆ ਜਾ ਤੇਰਾ ਬੰਦਾ ॥
तुधु सभु किछु मैनो सउपिआ जा तेरा बंदा ॥
Ŧuḏẖ sabẖ kicẖẖ maino saupiā jā ṯerā banḏā.
You entrusted everything to me, when I became Your slave.
ਲਖਮੀ ਤੋਟਿ ਨ ਆਵਈ ਖਾਇ ਖਰਚਿ ਰਹੰਦਾ ॥
लखमी तोटि न आवई खाइ खरचि रहंदा ॥
Lakẖmī ṯot na āvī kẖāe kẖaracẖ rahanḏā.
My wealth is inexhaustible, no matter how much I spend and consume.
ਲਖ ਚਉਰਾਸੀਹ ਮੇਦਨੀ ਸਭ ਸੇਵ ਕਰੰਦਾ ॥
लख चउरासीह मेदनी सभ सेव करंदा ॥
Lakẖ cẖaorāsīh meḏnī sabẖ sev karanḏā.
The 8.4 million species of beings all work to serve me.
ਏਹ ਵੈਰੀ ਮਿਤ੍ਰ ਸਭਿ ਕੀਤਿਆ ਨਹ ਮੰਗਹਿ ਮੰਦਾ ॥
एह वैरी मित्र सभि कीतिआ नह मंगहि मंदा ॥
Ėh vairī miṯar sabẖ kīṯiā nah mangėh manḏā.
All these enemies have become my friends, and no one wishes me ill.
ਲੇਖਾ ਕੋਇ ਨ ਪੁਛਈ ਜਾ ਹਰਿ ਬਖਸੰਦਾ ॥
लेखा कोइ न पुछई जा हरि बखसंदा ॥
Lekẖā koe na pucẖẖī jā har bẖakẖsanḏā.
No one calls me to account, since God is my forgiver.
ਅਨੰਦੁ ਭਇਆ ਸੁਖੁ ਪਾਇਆ ਮਿਲਿ ਗੁਰ ਗੋਵਿੰਦਾ ॥
अनंदु भइआ सुखु पाइआ मिलि गुर गोविंदा ॥
Anand bẖaiā sukẖ pāiā mil gur govinḏā.
I have become blissful, and I have found peace, meeting with the Guru, the Lord of the Universe.
ਸਭੇ ਕਾਜ ਸਵਾਰਿਐ ਜਾ ਤੁਧੁ ਭਾਵੰਦਾ ॥੭॥
सभे काज सवारिऐ जा तुधु भावंदा ॥७॥
Sabẖe kāj savāriai jā ṯuḏẖ bẖāvanḏā. ||7||
All my affairs have been resolved, since You are pleased with me. ||7||
Singing oneness!
