Launching this shabad as part of Guru Nanak's 555th birth centenary celebrations. I also wrote a poem inspired by this shabad while I was visiting New Jersey last week. For me the celebrations continue long after the supposed birthday is over. May the Guru continue to bless you!
Here is an excerpt from my poem:
Where you belong
Some moments you don’t want to end— standing across the Hudson, Manhattan glowing like a promise, its lights flickering into the water ...
I released a 13 Shabad Album launched to celebrate 555th Gurpurab of Guru Nanak Dev. I have been working on some of these shabads for several years. Hope you enjoy them.
Contemplation Series:
Every Morning From Nov 15 - Nov 28 2024 we will be celebrating Guru Nanak at 7:30am IST / 6:00pm PST / 9:00pm EST. Among other things I will be sharing learnings from my recent album, Hum Ghar Saajan Aye. The contemplation theme for the next few weeks will be how to invite the beloved home or how to go to the beloved's home. invite your beloved home.
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.
Raam So Daas
Happy Gurpurab everyone! Raam So Daas. Guru Ramdas! If you ask Bhai Santokh Singh who Guru Ramdas is, this is his answer. The daas is just like raam, the servant is a reflection of the master. Truly in the gurmat spirity of Har Jan Aisa Chahiye, Jaisa Har Hi Hoye (Bhagat Kabir: A true Hari jan is just like Hari).
A couple of weeks ago I was working on Gur Ramdas Rakho Sharnayi in a new raag that is a gift from Guru Ramdas. It is inspired both by Kalavati and komal Ni Asa. As a tribute to the great guru, I am calling it Raag Daas. At one of the live meditations I will cover this raag. There are 2 other compositions that I have landed on me in this raag in the past week or so, and I look forward to sharing those as well.
Thanks to Rajesh Prasanna for recording Bansuri on this track. I only composed this three days ago, recorded and sent it to him, he sent it back to me today and I mixed and produced this beautiful poem. I shared an earlier version of this poem with the Seekers group and they agreed with me: the spirit of Guru Ramdas is in these words.
This is the first time I have read any poem by Bhai Santokh Singh, and I must say I am blown over. The depth and the gurmat sikhya in each phrase is amazingly beautiful. I tried to share the lines of Gurbani that each phrase reminded me of in the video.
May the spirit of Guru Ramdas reside with you.
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.
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||
Google Play: https://play.google.com/store/music/artist/Shivpreet_Singh?id=Aoqsuo6pyrdjdkld6uutbsxty7a
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
Today I re-read a poem by Walt Whitman and was reminded of Guru Arjan's Rakha Ek.
I exist as I am
-Walt Whitman
I exist as I am, that is enough, If no other in the world be aware I sit content, And if each and all be aware I sit content. One world is aware, and by the far the largest to me, and that is myself, And whether I come to my own today or in ten thousand or ten million years, I can cheerfully take it now, or with equal cheerfulness, I can wait.
Rakha Ek Hamarar Swami
- Guru Arjan
Translation - Shivpreet Singh
Here’s a refined version of your translation:
Content when I rise,
Content as I sit,
Content in my sleep,
Content when I wake,
In my home, content,
Outside, content,
For the One
who knows all hearts
Is my protector.
(first revision)
Sukhmani Sahib - Walk Slowly, Bow Often
In the quiet of the morning, a hummingbird visits my window, seeking nectar from the flowers outside. It flits rapidly, here and there, its wings a blur of motion, until it finally hovers, almost still, over a single blossom.
This weekend in my weekly meditation, I described how Guru Arjan's concept of Ek Kinka has been transformational for me. Guru Arjan speaks of Ek Kinka—a single, small granule, a droplet from the vast ocean, a twig from the tree of seekers, a single grain of sand from life’s endless shore, or a note lifted from the grand symphony of existence. It reminded me of both Mary Oliver's poem (When I am among the trees) Bhagat Kabir's shabad (Har Ka Bilovana) where he talks about how Brahma and his sons missed out on focusing on the small details and instead got lost in the vastness.
What about the ocean's depths, where fish swim in schools, unseen? What about the countless leaves of the tree, each a green flag waving in the wind? What of the beach that stretches out like a promise, endless and inviting, where life unfolds in grains too numerous to count? And what about the songs—all the songs we might have sung, each a melody waiting to be born? These questions reflect a common human fear—the fear of missing out, the quiet ache known as *birha*—the separation that lingers within us, reminding us of the vastness from which we have come. This separation, this feeling that we are somehow missing the bigger picture, is a thread we pull but cannot follow to its end.
Yet, the poem suggests that it is precisely this separation that renews us. It is this distance that sharpens our sight, allowing us to see more clearly. *Separation is the Amrit*—the nectar that sweetens our understanding and clears our vision. This concept is further illustrated by an ancient bard's wisdom, which tells us that darkness is another kind of light. Each granule of darkness is like a photon, invisible to the eye but still carrying light within it.
As the hummingbird remains still over the flower, drawing in the nectar, this moment becomes a microcosm of all the world’s sweetness. It is a reminder that in such small, simple moments, all the wisdom we need is contained. No other scriptures are necessary; this moment of connection, of understanding, is enough for emancipation. We are left to reflect on the significance of smallness and separation in our lives. The vastness of existence lies in appreciating the tiny, seemingly insignificant moments that make up our everyday experience. Just as the hummingbird finds sustenance in a single flower, we too can find profound meaning in the smallest details of our lives, realizing that they are not separate from the whole but an essential part of it.
When I am among the trees
by Mary Oliver
When I am among the trees,
especially the willows and the honey locust,
equally the beech, the oaks and the pines,
they give off such hints of gladness.
I would almost say that they save me, and daily.
I am so distant from the hope of myself,
in which I have goodness, and discernment,
and never hurry through the world
but walk slowly, and bow often.
Around me the trees stir in their leaves
and call out, “Stay awhile.”
The light flows from their branches.
And they call again, “It’s simple,” they say,
“and you too have come
into the world to do this, to go easy, to be filled
with light, and to shine.”
ਦੁਤੁਕੇ
dhutuke
Dho-Thukay
ੴ ਸਤਿਗੁਰ ਪ੍ਰਸਾਦਿ ॥
ikOankaar satigur prasaadh ||
One Universal Creator God. By The Grace Of The True Guru:
ਆਸਾ ਸ੍ਰੀ ਕਬੀਰ ਜੀਉ ਕੇ ਚਉਪਦੇ ਇਕਤੁਕੇ ॥
aasaa sree kabeer jeeau ke chaupadhe ikatuke ||
Aasaa Of Kabeer Jee, Chau-Padhay, Ek-Thukay:
ਸਨਕ ਸਨੰਦ ਅੰਤੁ ਨਹੀ ਪਾਇਆ ॥
sanak sana(n)dh a(n)t nahee paiaa ||
Sanak and Sanand, the sons of Brahma, could not find the Lord's limits.
ਬੇਦ ਪੜੇ ਪੜਿ ਬ੍ਰਹਮੇ ਜਨਮੁ ਗਵਾਇਆ ॥੧॥
bedh paRe paR brahame janam gavaiaa ||1||
Brahma wasted his life away, continually reading the Vedas. ||1||
ਹਰਿ ਕਾ ਬਿਲੋਵਨਾ ਬਿਲੋਵਹੁ ਮੇਰੇ ਭਾਈ ॥
har kaa bilovanaa bilovahu mere bhaiee ||
Churn the churn of the Lord, O my Siblings of Destiny.
ਸਹਜਿ ਬਿਲੋਵਹੁ ਜੈਸੇ ਤਤੁ ਨ ਜਾਈ ॥੧॥ ਰਹਾਉ ॥
sahaj bilovahu jaise tat na jaiee ||1|| rahaau ||
Churn it steadily, so that the essence, the butter, may not be lost. ||1||Pause||
ਤਨੁ ਕਰਿ ਮਟੁਕੀ ਮਨ ਮਾਹਿ ਬਿਲੋਈ ॥
tan kar maTukee man maeh biloiee ||
Make your body the churning jar, and use the stick of your mind to churn it.
ਇਸੁ ਮਟੁਕੀ ਮਹਿ ਸਬਦੁ ਸੰਜੋਈ ॥੨॥
eis maTukee meh sabadh sa(n)joiee ||2||
Gather the curds of the Word of the Shabad. ||2||
ਹਰਿ ਕਾ ਬਿਲੋਵਨਾ ਮਨ ਕਾ ਬੀਚਾਰਾ ॥
har kaa bilovanaa man kaa beechaaraa ||
The churning of the Lord is to reflect upon Him within your mind.
ਗੁਰ ਪ੍ਰਸਾਦਿ ਪਾਵੈ ਅੰਮ੍ਰਿਤ ਧਾਰਾ ॥੩॥
gur prasaadh paavai a(n)mirat dhaaraa ||3||
By Guru's Grace, the Ambrosial Nectar flows into us. ||3||
ਕਹੁ ਕਬੀਰ ਨਦਰਿ ਕਰੇ ਜੇ ਮਂੀਰਾ ॥
kahu kabeer nadhar kare je ma(n)eeraa ||
Says Kabeer, if the Lord, our King casts His Glance of Grace,
ਰਾਮ ਨਾਮ ਲਗਿ ਉਤਰੇ ਤੀਰਾ ॥੪॥੧॥੧੦॥
raam naam lag utare teeraa ||4||1||10||
one is carried across to the other side, holding fast to the Lord's Name. ||4||
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.
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.
This is the first shabad a seeker sings when he finds his place.
The Birth of a Sacred City
Guru Ram Dass, the fourth Sikh Guru, envisioned a city that would become a haven for seekers—those who yearn for spiritual growth and the joy of communal singing. His dream was of a place where people from diverse backgrounds could come together, united by their quest for truth and self-discovery.
In 1574, he made a significant step towards realizing this vision by purchasing land in the village of Tung for 700 rupees. On this land, he planned the construction of a gurdwara, which he named Harmandir Sahib, meaning "The Abode of God."
Guru Ram Dass's design was unique and inspiring, a vision of a sacred space open to all, symbolizing inclusiveness and humility. However, it was his son, Guru Arjan, the fifth Sikh Guru, who would bring this vision to life. He oversaw the completion of the gurdwara, ensuring that it embodied the ideals and principles laid out by his father.
The Gurdwara was completed in 1604. Guru Arjan, installed the Guru Granth Sahib in it and appointed Baba Buddha as the first Granthi (reader) of it on August 1604. When Guru Arjan first laid eyes on the completed Harmandir Sahib, he was filled with awe. The gurdwara was magnificent, surrounded by a serene lake, known as the Amrit Sarovar. The waters of this lake, believed to be infused with spiritual nectar, reflected the golden glow of the temple, creating an ethereal atmosphere.
The amrit voice of seekers, their harmonious hymns and prayers, echoed from the heart of the temple. This melody of devotion was a testament to the spiritual energy that pervaded the place, drawing in seekers from far and wide.
In the 19th century, Maharaja Ranjit Singh, a powerful ruler, undertook the task of adorning the walls of Harmandir Sahib with gold. This act transformed the gurdwara into what is now famously known as the Golden Temple. The shimmering gold reminded devotees of the last pauri of Guru Nanak's Japji Sahib, which urges seekers to mint the true coin of self—satnam, the essence of truth.
The first shabad (hymn) sung in Harmandir Sahib was "Santan Kai Kaaraj," a hymn that embodies the humility and grace that are central to any seeker's aspiration. This is the first shabad that a seeker sings when he finds his place. It reflects the understanding that all actions, including the acts of seeking and singing, are expressions of the divine grace within—the true self, the eternal teacher, Hari. The hymn resonates deeply with the ethos of the Golden Temple, a place where the divine affairs of seekers unfold:
The Affairs of the Seekers
You come to complete
the affairs of the seekers.
You stand up yourself
To complete every task.
You designed the lands
And the pools around it
In which resides
The nectar of life
Salutations are resounding
In every direction.
The scriptures are singing
Your praises, oh One!
You have kept
Your promise,
You have confirmed
Your nature.
This shabad, with its profound message, continues to echo within the walls of Harmandir Sahib, reminding every visitor of the divine presence that orchestrates all actions. The temple, with its golden splendor and serene surroundings, stands as a beacon of humility, devotion, and unity—a true embodiment of Guru Ram Dass's vision.
Through the centuries, Harmandir Sahib has remained a sanctuary for the soul, where seekers come to immerse themselves in the divine melody, to grow, to reflect, and to find the true self within. It is a place where the affairs of the seekers are eternally completed by the grace of the One.
Architectural Features of the Harmandir Sahib
Some of the architectural features of the Harmandir Sahib were intended to be symbolic of the Sikh worldview. Instead of the normal custom of building a Gurdwara on high land, it was built at a lower level than the surrounding land so that Sikhs would have to go down steps to enter it.
In addition, instead of one entrance, Sri Harmandir Sahib has four entrances. Hindu temples are sometimes closed on three sides and opened only towards the east or the rising sun. Muslims would pray towards the west or to the Kaaba. The great Gurdwara at Amritsar was to be open on all sides. This meant that Sikh worship was open to all, and was not concerned with sun-worship or the Kaaba.
The Lord Himself has stood up to resolve the affairs of the Saints; He has come to complete their tasks. The land is beautiful, and the pool is beautiful; within it is contained the Ambrosial Water. The Ambrosial Water is filling it, and my job is perfectly complete; all my desires are fulfilled. Congratulations are pouring in from all over the world; all my sorrows are eliminated. The Vedas and the Puraanas sing the Praises of the Perfect, Unchanging, Imperishable Primal Lord. The Transcendent Lord has kept His promise, and confirmed His nature; Nanak meditates on the Naam, the Name of the Lord. ||1||
The Creator has given me the nine treasures, wealth and spiritual powers, and I do not lack anything. Eating, spending and enjoying, I have found peace; the gifts of the Creator Lord continually increase. His gifts increase and shall never be exhausted; I have found the Inner-knower, the Searcher of hearts. Millions of obstacles have all been removed, and pain does not even approach me. Tranquility, peace, poise and bliss in abundance prevail, and all my hunger is satisfied. Nanak sings the Glorious Praises of his Lord and Master, whose Glorious Greatness is wonderful and amazing. ||2||
It was His job, and He has done it; what can the mere mortal being do? The devotees are adorned, singing the Glorious Praises of the Lord; they proclaim His eternal victory. Singing the Glorious Praises of the Lord of the Universe, bliss wells up, and we are friends with the Saadh Sangat, the Company of the Holy. He who made the effort to construct this sacred pool - how can his praises be recounted? The merits of the sixty-eight sacred shrines of pilgrimage, charity, good deeds and immaculate lifestyle, are found in this sacred pool. It is the natural way of the Lord and Master to purify sinners; Nanak takes the Support of the Word of the Shabad. ||3||
The treasure of virtue is my God, the Creator Lord; what Praises of Yours should I sing, O Lord? The prayer of the Saints is, "O Lord and Master, please bless us with the supreme, sublime essence of Your Name". Please, grant us Your Name, grant us this blessing, and do not forget us, even for an instant. Chant the Glorious Praises of the World-Lord, O my tongue; sing them forever, night and day. One who enshrines love for the Naam, the Name of the Lord, his mind and body are drenched with Ambrosial Nectar. Prays Nanak, my desires have been fulfilled; gazing upon the Blessed Vision of the Lord, I live. ||4||7||10||
~ Sri Guru Granth Sahib Ji, Guru Arjan, Ang 783-784
The following also was composed on the same occasion;
vicẖ karṯā purakẖ kẖalo▫ā. vāl na vingā ho▫ā. Majan gur āʼnḏā rāse. Jap har har kilvikẖ nāse. ||1||
Sanṯahu Rāmḏās sarovar nīkā. Jo nāvai so kul ṯarāvai uḏẖār ho▫ā hai jī kā. ||1|| rahā▫o.
Jai jai kār jag gāvai. Man cẖinḏi▫aṛe fal pāvai. Sahī salāmaṯ nā▫e ā▫e. Apṇā parabẖū ḏẖi▫ā▫e. ||2||
Sanṯ sarovar nāvai. So jan param gaṯ pāvai. Marai na āvai jā▫ī. Har har nām ḏẖi▫ā▫ī. ||3||
Ih barahm bicẖār so jānai. Jis ḏa▫i▫āl ho▫e bẖagvānai. Bābā Nānak parabẖ sarṇā▫ī. Sabẖ cẖinṯā gaṇaṯ mitā▫ī. ||4||7||57||
Sorat'h, Fifth Mehl:
The Creator Lord Himself stood between us, and not a hair upon my head was touched. The Guru made my cleansing bath successful; meditating on the Lord, Har, Har, my sins were erased. ||1||
O Saints, the purifying pool of Ram Das is sublime. Whoever bathes in it, their family lineage and their soul is saved. ||1||Pause||
The world sings cheers of victory, and the fruits of ones mind's desires are obtained. One is safe and sound who comes and bathes here, and meditates on God. ||2||
One who bathes in the healing pool of the Saints, that humble being obtains the supreme status. One does not die, or come and go in reincarnation; one meditates on the Name of the Lord, Har, Har. ||3||
One alone knows this about God, whom God blesses with kindness. Baba Nanak seeks the Sanctuary of God; all worries and anxieties are dispelled. ||4||7||57||
~ Sri Guru Granth Sahib Ji, Guru Arjan, Ang 623
Guru Arjan described the advantages of the sarovar;
Ik▫oaʼnkār saṯgur parsāḏ. Rāmḏās sarovar nāṯe. Sabẖ uṯre pāp kamāṯe. Nirmal ho▫e kar isnānā. Gur pūrai kīne ḏānā. ||1||
Sabẖ kusal kẖem parabẖ ḏẖāre. Sahī salāmaṯ sabẖ thok ubāre gur kā sabaḏ vīcẖāre. Rahā▫o. Sāḏẖsang mal lāthī. Pārbarahm bẖa▫i▫o sāthī. Nānak nām ḏẖi▫ā▫i▫ā. Āḏ purakẖ parabẖ pā▫i▫ā. ||2||1||65||
Sorat'h, Fifth Mehl, Third House, Du-Padas:
One Universal Creator God. By The Grace Of The True Guru: Bathing in the nectar tank of Ram Das, all sins are erased. One becomes immaculately pure, taking this cleansing bath. The Perfect Guru has bestowed this gift. ||1||
God has blessed all with peace and pleasure. Everything is safe and sound, as we contemplate the Word of the Guru's Shabad. ||Pause|| In the Saadh Sangat, the Company of the Holy, filth is washed off. The Supreme Lord God has become our friend and helper. Nanak meditates on the Naam, the Name of the Lord. He has found God, the Primal Being. ||2||1||65||
~ Sri Guru Granth Sahib Ji, Guru Arjan, Ang 625
When the sarovar and Sri Harmandir Sahib were completed there were great rejoicings. The enormous exertions and personal sacrifices made by Bhai Budha, Bhai Bhagtu, Bhai Behlo and Bhai Shalo are specially mentioned. One day as they were all bathing, Guru Arjan shed tears on seeing the state of their bodies as the result of their labours.
The Guru said with mournful voice, that, as the sarovar had been constructed by such devout and sincere Sikhs, all sins should be removed and all desires fulfilled by bathing in it and duly worshipping God. The following also was composed on the occasion;
Saḏā saḏā har ḏẖi▫ā▫ī▫ai kicẖẖ bigẖan na lāgai. Nānak nām salāhī▫ai bẖa▫e ḏusman bẖāgai. ||2||3||67||
Bilaaval, Fifth Mehl:
God Himself has given me the Support of His Lotus Feet. God's humble servants seek His Sanctuary; they are respected and famous forever. ||1||
God is the unparalleled Savior and Protector; service to Him is immaculate and pure. The Divine Guru has built the City of Ramdaspur, the royal domain of the Lord. ||1||Pause||
Forever and ever, meditate on the Lord, and no obstacles will obstruct you. O Nanak, praising the Naam, the Name of the Lord, the fear of enemies runs away. ||2||3||67||
~ Sri Guru Granth Sahib Ji, Guru Arjan, Ang 817
Guru Arjan wrote the following on the completion of Sri Harmandir Sahib;
Ānanḏā vajėh niṯ vāje pārbarahm man vūṯẖā rām. Gurmukẖe sacẖ karṇī sārī binse bẖaram bẖai jẖūṯẖā rām. Anhaḏ baṇī gurmukẖ vakẖāṇī jas suṇ suṇ man ṯan hari▫ā. Sarab sukẖā ṯis hī baṇ ā▫e jo parabẖ apnā kari▫ā. Gẖar mėh nav niḏẖ bẖare bẖandārā rām nām rang lāgā. Nānak jan parabẖ kaḏe na visrai pūran jā ke bẖāgā. ||2||
Cẖẖā▫i▫ā parabẖ cẖẖaṯarpaṯ kīnĥī saglī ṯapaṯ bināsī rām. Ḏūkẖ pāp kā derā dẖāṯẖā kāraj ā▫i▫ā rāsī rām. Har parabẖ furmā▫i▫ā mitī balā▫i▫ā sācẖ ḏẖaram punn fali▫ā. So parabẖ apunā saḏā ḏẖi▫ā▫ī▫ai sovaṯ baisaṯ kẖali▫ā. Guṇ niḏẖān sukẖ sāgar su▫āmī jal thal mahī▫al so▫ī. Jan Nānak parabẖ kī sarṇā▫ī ṯis bin avar na ko▫ī. ||3||
Merā gẖar bani▫ā ban ṯāl bani▫ā parabẖ parse har rā▫i▫ā rām. Merā man sohi▫ā mīṯ sājan sarse guṇ mangal har gā▫i▫ā rām. Guṇ gā▫e parabẖū ḏẖi▫ā▫e sācẖā sagal icẖẖā pā▫ī▫ā. Gur cẖaraṇ lāge saḏā jāge man vajī▫ā vāḏẖā▫ī▫ā. Karī naḏar su▫āmī sukẖah gāmī halaṯ palaṯ savāri▫ā. Binvanṯ Nānak niṯ nām japī▫ai jī▫o pind jin ḏẖāri▫ā. ||4||4||7||
Suhi, Fifth Mehl:
By repeating God's name, the house of God has been built; the Saints and worshippers sing God's Glorious Praises. Remember, remember the Lord your God, and you shall be released from all your sins. By singing the glorious praises of the Lord, the supreme status is obtained. The word of God's Gurbani is sublime and exalted. God's Sermon is so very sweet. It brings celestial peace. It is to speak the unspoken speech. The time and the moment were auspicious, blessed and true, when the eternal foundation of this Temple was placed. O servant Nanak, God has been kind and compassionate; with all God's powers, God has blessed me. ||1||
The instruments of joy play through me continually; I have enshrined the Supreme Lord within my heart. As Gurmukh, my lifestyle is excellent and true; my false hopes and doubts are dispelled. The Gurmukh chants the Gurbani of the unstruck melody; hearing it, listening to it, my mind and body are refreshed. All pleasures are obtained, by that one whom God makes its own. Within the home of the heart are the nine treasures, filled to overflowing. One has fallen in love with the Lord's Name. Servant Nanak shall never forget God; his destiny is perfectly fulfilled. ||2||
God, the King, has given me shade under its canopy, and the fire of desire has been totally extinguished. The home of sorrow and sin has been demolished, and all affairs have been resolved. When the Lord God so commands, misfortune is averted; true righteousness, Dharma and charity flourish. Meditate forever on your God, when you sleep and sit and stand. The Lord and Master is the treasure of virtue, the ocean of peace; God pervades the water, the land and the sky. Servant Nanak has entered God's Sanctuary; there is no other than God. ||3||
My home is made, the garden and pool are made, and my Sovereign Lord God has met me. My mind is adorned, and my friends rejoice; I sing the songs of joy, and the Glorious Praises of the Lord. Singing the Glorious Praises of the True Lord God, all desires are fulfilled. Those who are attached to the Guru's feet are always awake and aware; God's Praises resound and resonate through their minds. My Lord and Master, the bringer of peace, has blessed me with God's grace; God has arranged this world, and the world hereafter for me. Prays Nanak, chant the Naam, the Name of the Lord forever; God is the support of the body and soul. ||4||4||7||
~ Sri Guru Granth Sahib Ji, Guru Arjan, Ang 781-782
I was noticing how the bees have left my front yard. I was reminded of Emily Dickinson's poem "I taste a liquor never brewed." Perhaps the bees overdrank and now have all burst like balloons that we popped last month on my kid's 10th birthday.
In "I taste a liquor never brewed," Dickinson masterfully captures the intoxicating beauty of nature. The poem likens the speaker’s delight in the natural world to the euphoria of drinking a divine, otherworldly liquor. From the "Tankards scooped in Pearl" to the "inns of molten Blue," Dickinson's vivid imagery invites readers to share in this ecstatic experience.
The whimsical notion of bees and butterflies getting drunk on dew and nectar adds a playful charm to the poem. It’s easy to imagine these tiny creatures, tipsy and joyous, much like the popped balloons that brought laughter and chaos to our backyard celebration. As the poem culminates with seraphs and saints observing the little tippler leaning against the sun, Dickinson reminds us of the boundless joy that can be found in simply reveling in the wonders around us.
I taste a liquor never brewed
- Emily Dickinson
I taste a liquor never brewed –
From Tankards scooped in Pearl –
Not all the Frankfort Berries
Yield such an Alcohol!
Inebriate of air – am I –
And Debauchee of Dew –
Reeling – thro' endless summer days –
From inns of molten Blue –
When "Landlords" turn the drunken Bee
Out of the Foxglove's door –
When Butterflies – renounce their "drams" –
I shall but drink the more!
Till Seraphs swing their snowy Hats –
And Saints – to windows run –
To see the little Tippler
Leaning against the – Sun!
Note from September 30, 2020
Yesterday I composed this Mirza Ghalib ghazal in Raag Nand. Listening to this Rageshri Bandish today. Interesting that he stops at each sher. Perhaps this is how ghazals should be sung. It lets the listener think and ruminate.
उस बज़्म में मुझे नहीं बनती हया किये
बैठा रहा अगरचे इशारे हुआ किये
us bazm me.n mujhe nahii.n banatii hayaa kiye
baiThaa rahaa agarche ishaare huaa kiye
बज़्म, Bazm: Meeting, “Mehafil”, Assembly, Company (At A Feast Or Entertainment), Gathering, Party
बेसर्फा, Be-Sarfaa: Simple Life, Useless (without much expenditure)
गरचे, Garche: Even Though, If
खिज्र, Khizr: A reference to Khwaaja Khizr; Name of a prophet skilled in divination, and who is said to have discovered and drank of the fountain of life
उम्र-इ-खिज्र, Umr-e-Khizr: Everlasting Life (since Khwajaa Khizr drank from the fountain of life)
हज़रत, Hazrat: Dignity, Lord, Title Of Respect
मक्दूर हो तो ख़ाक से पूछूं के ऐ लाइम
तूने वो गंज हया गिरान-माया क्या किये
maqaduur ho to Khaak se puuchhuu.N ke ae laiim
tuune vo ga.nj haaye giraa.N_maayaa kyaa kiye
मक्दूर, Maqduur: Ability, Afford, Capable
ख़ाक, Khaak: Ashes, Dust, Dirt, Earth, Land
लाइम, Laaim: Vile, abject, mean, base, worthless, reprehensible, inglorious, ignoble;—sordid, avaricious, miserly; a vile or worthless fellow; a sordid man, a miser.
सैकड़ों, Saikadon: By hundreds, in hundreds, hundreds of, hundreds upon hundreds
वादा, Vaada: Promise
वफ़ा, Vafaa: Fulfilling A Promise, Fulfillment, Fidelity, Faithful, Sincerity, Sufficiency
ग़ालिब तुम्हीं कहो की मिलेगा जवाब क्या
माना की तुम कहा किये और वो सूना किये
‘Ghalib’ tumhii.n kaho ki milegaa javaab kyaa
maanaa ki tum kahaa kiye aur vo sunaa kiye
ग़ालिब, Ghalib: A reference to the poet, Mirza Ghalib
Lyrics
Us Bazm Main Mujhe Nahi Banti Haya Kiye
Baitha Raha Agarche Ishare Hua Kiye
उस बज़्म में मुझे नहीं बनती हया किए
बैठा रहा अगरचे इशारे हुआ किए
दिल ही तो है सियासत-ए-दरबाँ से डर गया
मैं और जाऊँ दर से तिरे बिन सदा किए
रखता फिरूँ हूँ ख़िर्क़ा ओ सज्जादा रहन-ए-मय
मुद्दत हुई है दावत आब-ओ-हवा किए
बे-सर्फ़ा ही गुज़रती है हो गरचे उम्र-ए-ख़िज़्र
हज़रत भी कल कहेंगे कि हम क्या किया किए
मक़्दूर हो तो ख़ाक से पूछूँ कि ऐ लईम
तू ने वो गंज-हा-ए-गराँ-माया क्या किए
किस रोज़ तोहमतें न तराशा किए अदू
किस दिन हमारे सर पे न आरे चला किए
सोहबत में ग़ैर की न पड़ी हो कहीं ये ख़ू
देने लगा है बोसा बग़ैर इल्तिजा किए
ज़िद की है और बात मगर ख़ू बुरी नहीं
भूले से उस ने सैकड़ों वा'दे वफ़ा किए
'ग़ालिब' तुम्हीं कहो कि मिलेगा जवाब क्या
माना कि तुम कहा किए और वो सुना किए
Dilwalon kya dekh rahe ho
Lovers, what do you seek in these streets?
Here loneliness reigns till the end of vision.
Stillness is again licking the lamp's tears
This ravaged city will never settle.
This house has the silence of the whole forest.
Come evening, winds will stir within this grove.
Those caught betraying the heart,
for them too, the world will change.
Dear Razi, why so quiet tonight?
Speak up, your silence is spreading the tale
दिलवालो क्या देख रहे हो इन राहों में, इन राहों में
हद्द-ए-नज़र तक ये वीरानी साथ चलेगी, साथ चलेगी
सन्नाटे फिर शमा के आँसू चाट रहे हैं, चाट रहे हैं
ये बस्ती जो उजड़ गई है अब न बसेगी, अब न बसेगी
घर के अंदर सारे जंगल का सन्नाटा, सन्नाटा
शाम हुई तो इस जंगल में हवा चलेगी, हवा चलेगी
जिनके हाथों दिल की ये तौहीन हुई है, तौहीन हुई है
उनके लिये भी ये दुनिया ऐसी न रहेगी, ऐसी न रहेगी
'रज़ि' मियाँ तुम शाम से कैसे चुप बैठे हो, चुप बैठे हो
कुछ तो बोलो ऐसी चुप से बात बढ़ेगी, बात बढ़ेगी
The following is my attempt at translating a Polish poem by Tomasz Rozycki into English. And before I do this, let me just describe my process which might be different from others.
When I undertake translations, my goal is to condense the text to a minimal number of words. This approach is particularly crucial for video translations, where brevity enhances the conveyance of information because frames are changing rapidly, and viewer has a shorter time to comprehend.
Beyond the efficiency gained from succinct translations, there exists an additional advantage. Translating between languages is akin to crafting something entirely new, as certain nuances or expressions from the original language may not have direct counterparts in the target language. Consequently, this process involves a creative reimagining, allowing for the articulation of ideas in a manner that may be more artful or nuanced in the new language. The key lies in preserving the essence of the poet's message; as long as the core meaning remains intact, variations in expression or shade of meaning are not only acceptable but can also contribute to the richness of the translation.
Shadow
BY TOMASZ RÓŻYCKI
Translated by Shivpreet Singh
I leave you places where I am not
Like one on the Odra, one on the Skalki,
plus beds, some lofts and a mattress.
Especially the mattress. It'll be easier for me
so you can fill them and become fuller
in the places left and remaining,
in other words, everywhere else. Standing in the shadow
you look at me as I enter the gate
and a crack, and I'm gone. I fill-write to you,
what crumbled, what burned, what changed
form and condition, which is devoured in the grave
because of a fat worm is now clay,
grass, tree, chamomile. Be there, please, rule
then, as you wish, put on my clothes and shoes
take out the table, drink with your neighbors.
My letters against your minutes.
Shadow
BY Tomasz Różycki
TRANSLATED BY MIRA ROSENTHAL
To you, I leave the places where I’m absent.
That one along the Oder, another at the Reservoir,
apart from those some beds and attics, a mattress.
Especially the mattress. It’ll be much easier
to think of you as filling them, growing and going
rampant in places vacated and those that still remain,
to say it plain—everywhere else. From the shadows
perhaps you’re watching me pass through the gate
and snap, I’m gone, no longer. I bequeath to you
what falls apart, burns down, what shifts in shape,
what changes its own state, what’s been consumed
in the grave by a fat worm and is already clay
and grass and wood and chamomile. Please live there
and use it how you want, climb into my clothes and put
yourself in my shoes, set up a table, drink with the neighbors.
It’s my word, these letters against you and your minutes.
Translated from the Polish
Cień
Tobie zostawiam miejsca, w których już mnie nie ma.
Takie miejsce nad Odrą i jedno na Skałkach,
poza tym łóżka, kilka strychów i materac.
A zwłaszcza materac. Będzie mi dużo łatwiej,
z myślą, że wypełnisz je sobą, że się plenisz
w miejscach pozostawionych oraz w pozostałych,
słowem—że wszędzie indziej. I że stojąc w cieniu
może patrzysz tak na mnie, jak wchodzę do bramy
i trzask, i już mnie nie ma. Zapisuje tobie,
to, co się rozpadło, spłonęło, co zmieniło
swoją postać i stan swój, co zeżarte w grobie
przez grubego robaka teraz jest już gliną,
trawą, drzewem, rumiankiem. Bądź tam, proszę, władaj
tym tak jak zechcesz, wejdź w moje ubranie, buty
moje załóż, stół wynieś, wypij z sąsiadami.
Moje litery przeciwko twoim minutom.
Tu Sun Harna Kaleya
Lyrics and Traditional Translations
ੴ ਸਤਿਗੁਰ ਪ੍ਰਸਾਦਿ ॥
ikOankaar satigur prasaadh ||
One Universal Creator God. By The Grace Of The True Guru:
ਆਸਾ ਮਹਲਾ ੧ ਛੰਤ ਘਰੁ ੩ ॥
aasaa mahalaa pehilaa chha(n)t ghar teejaa ||
Aasaa, First Mehla, Chhant, Third House:
ਤੂੰ ਸੁਣਿ ਹਰਣਾ ਕਾਲਿਆ ਕੀ ਵਾੜੀਐ ਰਾਤਾ ਰਾਮ ॥
too(n) sun haranaa kaaliaa kee vaaReeaai raataa raam ||
Listen, O black deer: why are you so attached to the orchard of passion?
O black deer! (O mind that saunters carelessly through the world like a black deer!) You listen (to me)! Why are you enjoying yourself in this (world) flower garden? The fruit (of this fulwadi) is poison, (ie, it produces spiritual death) It looks delicious for a few days, then it becomes painful.
In which you are so engrossed, it eventually becomes painful. Without the name of God, it gives a lot of pain. (Even if it is short-lived) like the waves of the sea or like lightning.
There is no (ever-present) guardian except (the name of) God (O mind that pecks like a deer!) Him you have forgotten. Nanak says - O black deer! O mind! Meditate on the Everlasting God, otherwise (by being engrossed in this world) you will suffer your own spiritual death.
Meditation for May 25th will be on Remembrance - Guru Nanak uses the words "Chet Re Man" - O Mind, Remember! This is part of the The Black Deer meditation series, a meditation and contemplation of Guru Nanak's shabad Tu Sun Harna Kaleya - Listen O Black Deer.
We will start the meditation by discussing why Guru Nanak wrote this shabad in Raag Asa following up on last week's discussion. If you want to add to this discussion, either send me an email at shivpreetsingh@live.com or write a comment on either the Tu Sun Harna video (link below) or the blog (link below)
The public weekly meditation happens every week on Saturday (9am PST/10:30pm IST) where we can go wherever we want - listening, reciting, conversing, singing ... the sky is the limit!
Guru Nanak sings in Raag Asa to a black deer, enjoying fruit in a garden. "Tu Sun," he says—listen, the fruits you are enamored with will only last four days. The Guru is metaphorically addressing our mind, comparing it to the black deer wandering through the world garden, the forest of thoughts, oblivious to the inner fragrance it carries.
I think I composed this shabad in 2017. The first recordings for creating this arrangement were done in Delhi in 2019, and the last few recordings were done in 2024. I am thankful to Ahsan Ali for his Sarangi, Rajesh Prasanna for his bansuri, Shamik Guha Roy for his percussion/rhythm tracks, and especially Jashan Jot Kaur and Pragya Singh for their background vocals. Both Jashan Jot and Pragya traveled from Punjab and Rajasthan to just meet me when I was on a trip to India; when they visited me I was recording this and I thought it would be a good idea to have a "Tu Sun" chorus in the background - and that is how, that came about.
The shabad is about listening. We will be doing meditations on this in May and June of 2024. If you want to participate in these meditations, join me on the live YouTube sessions every Saturday at 9am PST/9:30pm IST.
Darshan Dekh Bhai Mat Puri
This is a hidden treasure from Guru Nanak This new shabad dedicated to the beloved ones. the listeners, the seekers, who want to see Guru Nanak this Baisakhi. This is a rare shabad that I have not heard anyone sing. There are so many such hidden treasures of Guru Nanak. It shows us how to see the Guru, to meet the Guru. Can we hear him? Can we see him?
I have been working on this track since 2019 and first released it in 2024. I was inspired to release this after thinking about the impact the recent India trip had on me. Thanks to Ahsan Ali for his amazing Sarangi and backing vocals and Rajvinder Singh ji for his amazing Tabla on this track.
Here are some alternative translations of this shabad.
ਗਉੜੀ ਮਹਲਾ ੧ ॥
Gauree, First Mehla:
Gauri 1st Guru.
ਗਊੜੀ ਪਾਤਸ਼ਾਹੀ ਪਹਿਲੀ।
गउड़ी महला १ ॥
ਐਸੋ ਦਾਸੁ ਮਿਲੈ ਸੁਖੁ ਹੋਈ ॥
Meeting such a slave, peace is obtained.
By meeting such a slave of the True Lord who has obtained Him,.
Singing oneness!
