TulsiDaas

dhol ganwaar shoodra pashu naari
sakal taadna ke adhikaari



Dhol (whom wife gave good food , but he don't go for earning) ,
nari (for whom husband earns by hard work , but she don't respect )

should be beaten , instead of saying or thinking anger during sex.
anger during sex becomes the part of Opearting system of baby.

operating system of baby is developed during sex. Application software S/he learns outside.

so children should never be beaten.
but good wife (patni) should beat her dhol to make him pati. at night when he come after earning she should love him instead of comparing with other gents.

same with nari to make patni.

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It is to be noted that simply pulling out the word woman (‘Nari’) and declaring that Tulsidas told women are ought to be beaten and scolded (‘Tadan ke Adhikari’) as per Hindu society, would be wrong as the sentence contains many other entities and the context too has to be clarified. We will analyze the whole sentence and try to understand what is meant out of it, in context of the situation in the scripture, and as explained by Hindu saints. The above lines are said by the Sea Deity ‘Samudra’ to Lord Rama. When Lord Rama got angry and took out weapon in order to evaporate the whole sea, the deity appeared and said above lines in context of boundaries that are created by God himself in order to hold his creations. Even sea resides in its boundaries and hence to go across it, Rama supervised the construction of famous Rama Setu Bandh the trace of which exists even today (presu?). The metaphors are used to convince the reader that matter or non-matter, ignorant or learned, animal or human, all need to understand the importance of boundaries of nature. The exact meaning of the sentences even out of the context goes as:

Let us understand the literary meaning of ‘Tadana’ first. The word is of abstract meaning and can mean many things. Directly it means scolding or commenting so as to keep the conscience intact. Indirectly, it is considered as a boundary of society or family that holds a member of the family or society within its meaning. (sanctions?)

‘Dhol’ means drum – it needs to be beaten, but in boundaries of rhythm to produce beauty of music, otherwise it becomes harsh noise.
‘Gawanr’ means ‘Ignorant and illiterate’ – they need to be held in the observed boundary and controllable limits, or else they would create havoc out of means of livelihood.
‘Shudra’ means ‘Worker classes – they need to be guided so that they do not create mess of their work.
‘Pashu’ means animal – they need to be controlled.
‘Nari’ means ‘Woman’ – they need to be kept in the boundary of culture, as they are more important pillar of a house, society and nation than men.

Thus, the complete sentence means within context of the story, as Drum, Ignorant, Illiterates, Animals and Women are ought to respect boundaries, so the sea also has its boundaries in respect and powers should not be forced to destabilize those boundaries – this is what is told by the deity. I wonder, instead of focusing on the real fact about how miles long bridge was constructed in those days over the sea (the bridge now being proven through the images from NASA and carbon dating for its age), a technology not known to modern world, the critics diverts the focus with wrong meanings to defame Indian values.

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PS: I don't remember from where I have borrowed it, but it lying as draft for almost 2 (inactive) years. Anyway.....

Aaj ki shaam fir yu hi akele guzar jaayegi,
Fir teri yaad aake bhi mukar jaayegi,

ye raat abhi aur baki hai kuchh
fir ye subah thodi aur usar jaayegi

kabhi ye nigah idhar tiki hui hai
kabhi ye nigah fir udhar jaayegi

Awara-Madhosh fira karta hu, magar
tum aaoge to meri fitrat sudhar jaayegi

Heera soi saraahiye, from movie Highway (2014)

हीरा सोई सराहिये सहे घनन की चोट,
कपट कुरंगी मानवा परखत निकरा खोट ॥ Bijak/Sakhi 168 ||
Admire the diamond that can bear the hits of a hammer.
Many deceptive preachers, when critically examined, turn out to be false.
[Here diamond is siddhanta (the basic principles or doctrine).An experienced diamond cutter can hit the diamond using a chisel so that the chips will break off as expected. A diamond because if its crystalline structure tends to break off at specific angles. Similarly the true doctrine would come out shining when it is critically examined].

हीरा तहाँ ना खोलिए जहाँ कुँजड़ो की हाट,
सहज गाँठि बांधि के लगिए अपनी बाट ॥ Bijak/Sakhi 170 ||
Don't open your diamonds in a vegetable market.
Tie them in bundle and keep them in your heart, and go your own way.
[Don't discuss gyan (knowledge) with those who can not understand it].

हीरा परा बजार में रहा छार लपटाय,
केतिहे मूरख पचि मुए कोई पारखी लिया उठाय ॥ Bijak/Sakhi 171 ||
A diamond was laying in the street covered with dirt.
Many fools passed by. Someone who knew diamonds picked it up.
[Those who understand gyan-siddhanta (true knowledge/principles), pause to acquire it].


Reference (borrowed from) : http://www.cs.colostate.edu/~malaiya/kabir.html

Justice and Fair Pay

Should a banker be paid more than a nurse? - Michael Sandel audio podcast.

Effort and Hard Work
Importance of contribution to wealth creation, social well being
Intrinsic or moral value of the work
Logic of market "aggregate choices of individual consumers and people who offer their labour and services to decide"
Perfect meritocracy would justify the difference in pay?
Why the difference is so huge, is that fair?

Born with gifts and possession, moral arbitrariness.
Pay depends how society values ones' work.

"pay" should include job satisfaction?

Why the difference is so huge, is that fair?

Barfi ...

Lately a lot of people, mostly over FB but also in person had complained that Barfi is copied from other movies with a lot similarity from Charlie Chaplin. While I agree that many a scene can be called frame to frame copy from somewhere else (check this http://www.facebook.com/photo.php?v=4082374652071), I still don't see any point in calling the movie a copy, and just by this logic denying the whole ingenuity in the movie. The movie personally touched me so deep that now I don't even remember which one was the last movie that was so deep. I checked the whole list of Amir khan movies, while they were marvolous and I am big fan of him, still not that deep. And there shall be no no comparison. I am sorry to compare.

But to all those who think that the movie is a copy, I'll ask one simply question. When you know a person, what do you associate him with? I sure not the body part of his. If you see the person you wud call him by name. But if you to see (god forbid) only one part of the body of the same person, what ever part you may chose, would you call it the person. The same applies here too, a scene or two, in their isolation from the rest of context is not movie. They might be copy but the movie remains an original piece of work.

On a different note, even the whole movie was copy from another movie, frame by frame, just making it again with a different camera and actors, makes it different.

Few things about ramaayana

raam, raavan ka daamaad to ladaai kaise hui
siita lakshman ki bahan to bhaujaai kaise hui !!

Why did Ramji leave Sitaji?

Only a few days back, I had the opportunity to listen to Anup Jalota at ABES. In a bhajan, he drew our attention to the fact that "ram-sita koi na kehta, sab kahte sita-ram" (Nobody says Ram-Sita, but everyone says Sita-Ram), thus giving more importance to Shakti (womanhood). I was just discussing the topic with one of my friends, when I was made to remember that still, Ramji renounced Sitaji. I had never thought over the topic so seriously, and it just shook me. Even though, I believe it must have been more painful for Ramji to leave Sitaji, I don't think he can justify it on any basis.

So, to get answers to my question, to find what others think about this issue, I posted the same question on our newsgroup (iitk.misc) and I am happy that I got some very good replies. I am just trying to compile the posts in the thread, with some minor changes (but keeping the intent same).

I started out with the post asking junta their views:

I have been thinking about this thing for some time. Ramji denounced Sitaji for no mistake of her, just because somebody said something. Sitaji served him for 14 years in banbas. Was with him in his thick and thin. Do you think that it was a justified move by Ramji? Infact was even "Agni Pariksha" a justified move?

I would like to hear your arguments. Why have women been subject to punishments even without their faults?

Gagan guessed that may be the story has been tempered along the line:

Ramji lived his life as a template for rightful human behavior (maryada). The only exception is this act. Explanations that come to my mind:

1. Maybe he wanted to tell that you should be honest in a relationship. Rather than confining your doubts to yourself you should come out in the open with them.

2. Or maybe somewhere down the line somebody tampered the story.

But, the first reason did not appeal to me. Don't you think that there should be trust between the two spouses? Sitaji had been true to him, and their is no reason to believe otherwise.

Vinod has a view that it is only a story written by Kalidas, who didn't have much respect for women:

The Ramayana as we read it today was written by Tulsidas. So it is Ramayana as told by Tulsidas and not Ramayana as it happened - if at all it happened. Tulsidas had a personal grudge against women. He was not happy with his wife who regarded him as a useless person. Also we should keep in mind the social background in which he wrote his work. During those times, the position of women was not very high. Also, Tulsidas was a Pundit. Even now many religious people profess that women are vile creatures by nature and are the root of all evil.

There have been more instances of remarks against women in Tulsidas' Ramayana. Everyone knows about the doha -
Dhol ganwar shudra pashu nari,
Ye sab tadan ke adhikari.

Thus it appears that Tulsidas did not have much regard for women - even for Sita. His personal feelings may thus have affected his work. He might have felt that Ram was justified in denouncing Sita in this way. Or perhaps he felt that because his work should conform to the social standards of his time and any king during his times would have behaved in a similar manner so he wrote the story that way.

because as I see it the reasons for denouncing Sita - the suspicions of one single person - baseless suspicions at that - are absolutely inadequate.

It is very painful to note that even today some religious people tend to hold to this view :( These charges about Kalidas were refuted by Vinay who believes that Ramayana was actually written by Valmiki; and Kalidas has just altered that.

Actual source of the epic is valmiki ramayan. Ramacharit manas is not true ramayan but it is written with a twist to serve a different purpose. Maharisihi vedvyas wrote "adhyatma ramayan". It is the complete adhyatma modeled over Ramayan. Tulsidas takes from it heavily. So he also said this when he gives introduction, how he has built the story. He takes from various nigam-agam and after that "katha prabandh vichitra banayi"(in his own words).

He has tried to explain agni-pariksha with the belief that it was to dispel the fears within the masses:

Well as far as the agni-pariksha is concerned, valmiki ramayan is very clear about it. It was taken with same purpose of testing sita's character. The people, who see sita as goddess, will have difficult time in accepting it, so tulsidas mythologized it.

But the thing that is most difficult for me to digest is that some people do not consider Sitaji to be Pativrata. What else do you want? She helped him in his banbas.. and is that to be considered wrong?

Well, to give some reference, sita is not supposed to be "pativrata". Anusuya, Savitri etc comes into this category and they are never questioned over anything.
Sita's "patidharma" is questioned many times. Some reference:- When Ram went to vanawas, he asked sita to remain in ayodhya, as jungle is very problematic. He will have difficult time with her. Protection of sita was big headache. Sita didn't accept it. Tulsidas wrote that Ram was irritated enough about it that he even said, I am not going to keep any other women, so you don't worry. Even more tougher words (see valmiki ramayan). When Ram went to Anusuya's ashrma, Anusuya taught sita pativrat dharma. It was very odd that Ram is carrying over his wife so matter was understood.

Well the second time, it is clearly surprising to leave her as Sita had given agni-pariksha. As valmiki-ramayan states, that happened because of so many talks about Sita in Ayodhya. There was two possibilities. Either Ram leaves Sita or leave the throne. Second option, IMHO, would have given Ram and Raghuwansh bad repute. So I think first option was better.

Ashish believes that it is indeed a mockery on the stupid (if I am allowed to say so) norms of the society.

My explanataion goes this way that he was using his talent to make mockery of social values of his time by showing what was the character of common people and ruling class was at that time. We read about jauhar pratha in his time not when supposedly Ram and Sita walked on this earth. and the clues about this mockery are in his book itself. On one side he was showing that it was acceptable for Anusuya to be cheated and be forgiven but on the other hand society drove Rama to move out his wife. While Rama has love for shudras ,the society had concept like "Dhol ganwar....".
Ayush has given a very good reasoning behind such scriptures. He says that these religious texts are written to propagate the ideas of the "ruling class".

Indian society has been more or less male prime society. This episode was also probably written to support the same concept so that the common masses know that a woman should remain "pure" throughout her life. And that her respect and position in society goes away the moment she sleeps with a man not her husband( never a single such incident involving a man in any of religious texts).

You can also see that gurukuls always had ksatriyas and bramins. No shudras were ever shown in them and this is an actual fact too. They were always socially ostracized. There are other instances which can be quoted to explain the prevalent caste system in the times when Ramayana was written and passed on.

So these religious texts are mere instruments to propagate the higher caste superiority and male prime society .

This is a good insight into the mindset with which the text might have been written. Kiran and Gaurav have also given their valuable suggestions. They say that it was not Sitaji who was kidnapped but instead Vaidehi. Gaurav writes:

Ram ji knew what was about to happen, so he told SitaJi. Actually just before the abduction of Sita ji from the forest, Ram ji and Sita ji had a long chat. Then Ram ji called upon the fire god and asked him to take Sita ji under his protection and instead of Sita ji her a mere replica i.e. Pratibimbh and later this reflection of Sita ji was abducted by Ravana and was taken to Lanka. After the victory the real Sita ji had to be replaced so what Ram ji thought was by asking Sita ji to do a Agni Pariksha both the purposes would get solved.
Kiran has given a the nice story about Vaidehi:
Vaidehi is an incarnation of Tulasi who went into a great penance to become wife of Vishnu. Ravana is said to have tried to enroach upon her modesty; enraged she curses Ravana that he would burn to ashes the next time he touches a woman against her wishes. (So, contrary to what is shown on the TV, Ravana never touches Sita, rather only coaxes her to marry him so as to be safe from the curse.) Our Vaidehi meanwhile jumps into a fire created by her penance and dies. In her re-birth, she takes place of Sita and goes to Lanka not actual Sita. This is revealed to Rama after the fire test. So she is the suffering spiritual wife of Rama. Vaidehi is popularly mis-construed as another name of Sita but it is not so.
This was just a bit of trivia, mostly unrelated to the question that I posed. Even if all this was true, how we can not justify the move to abandon Sitaji. Nitin agrees with me, when I say that there is no way we can justify the move.

Everybody makes mistakes and that is why probably we say "Its HUMAN to make mistakes". Maybe that's why concept of GOD came up. People wanted to imagine and believe in something and someone totally PERFECT - The one who is flawless. I don't know whether Ramji is HIS incarnation amongst us lesser mortals but I can say one thing for sure of all the things, He has lead his life as an example to everyone, An ideal life, so what if he made some mistakes, everybody does.
Now to what Abhas said - Yes I believe that no matter what Ramji shouldn't have denounced Sitaji. And why the Agnipariksha itself in first place, Marriage is all about Trust. If He trusted Sitaji then of course it would be foolish to suggest that she was asked to give Agni Pariksha to show the world she was pure and yes she did come out unscathed. Maybe u still say that's justified but then how can He denounce her on a chastity statement of some foolish unreasonable guy from His kingdom. We know that guy was having a fight himself with his wife and he might have said that in anger and in prejudice.
One cant satisfy anyone and everyone. No matter what Ramji shouldn't have denounced Sitaji. He must have been supported her, that he didn't do. After all she chose staying with Ramji when he was banished from his kingdom and spent 14 years in jungle. She always did what was right and after all this Ramji shouldn't have done this to her. He faltered.

I found the explanation given by Chandra Mohan really appealing:

As far as my knowledge goes Ramji was going through his worst times when he had to denounce Sita. As was his practice he sent his men in his state to know if the public was happy or not. He was shocked to know that because of the incident of that one man denouncing his wife for spending a night at a boatman's house, many people in Avadh started saying that the women of Avadh were becoming characterless as Sita was given so much respect despite her stay at Ravana's place. Though this was a totally illogical statement yet it spread like anything.
Ramji had to set an example for his subjects. Though he never doubted Sita for her purity yet to justify according to the wishes of people he had to denounce her. We all know that Ramji was more of a democratic monarch and so he took decisions based on what people felt. According to his philosophy even if one man in his reign doubted his capability of ruling , he has no right to rule.
Still, all writers of Ramayana and its translated versions have shown sympathy not only to Sita for the denouncement but also to Ram who had to take such a hard decisions. I do not blame Ram for this act, it was the unequal treatment towards women at those times that compelled him to bow in front of mob mentality, which we all know is very dangerous.
On my remark that the condition of women is still bad, he had a good explanation.

We all feel that women should be treated equally, but actually at those times we either worshipped women or treated them in humanly. We held the position of women so high as Sati and Devi that we did not expect them to do any wrong and so even when we had the slightest doubt we used to degrade them to the rank of impure etc. Equality can never come if you place someone too high; only when we treat women as
nothing else except humans that man and women will be equal. Ram put his priorities as a king higher than that as a husband and they were conflicting. Only if he wasn't the king of Ayodhya....
I think that these are the best remarks to conclude my discussion. We need equality between men and women; Man and Woman are both humans and equal. I envision a day, when we can proudly say that, we HUMANS live in a PERFECT world.

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1. Death of Lakshman and Rama:
Nobody knows how they died. The story is like this. It might need
several corrections.

When the life of Rama and Lakshman neared its end as per godly records,
there was a long discussion among gods as how to make them die.

Then they hatched a plan. One God (was it Yamaraj) went to Ayodhya and
said he wanted to have a very important, private talk with lord Rama.
Rama not knowing about him, agreed. Rama ordered Lakshman to be on guard
at the palace door and not to let anybody, ANYBODY in till they come
out. They went in.

While they were in one other God (was it parasuram) came to the door,
and asked Lakshman that he has to see Rama immediately. Lakshman, under
order of Rama, did not allow. Guest got angree and gave all sort of
curses. When Rama and first guest came out, Second guest told Rama that
Lakshman has insulted a guest, a brahman by not heeding to his wishes.
He said that he wanted Lakshman to be punished.

Rama agreed to this view, and to sooth the guest, he gave life long
exile to Lakshman from Ayodhya.

Lakshman was a broken man and was not able to think how he will live
away from his brother, Rama. He went to exile but highly depressed, he
jalsamadhi (drowned) himself in Saryu River and committed suicide.

When Rama came to know about Lakshman's death, he felt guilty and
depressed. And then he himself went to the same place at Saryu and got
himself drowned (jalsamadhi). 

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bollywood sufi metaphore

laaga chunari me daag chhupaau kaise

nahi hona tha -- from dil se

fen di maine gali mejhoothi rasmo ki angoothi
tod diye sab laaz ke pahre mein har kaid se chhooti
vaapis kar aayi baabul ko mein shaadi ka joda
maine pyaa rko pahan liya re pyar ko sar pe oodha
pag pag thokar khaau chalti jaau ankhiya meeche
aage mere saajan ka ghar duniya rah gayi piichhe
ek dua maangoo rab se bichhada yaar mujhe mil jaaye
mere peer-o-muurshid mera pyar mujhe mil jaaye
apna laal dupatta maine il ke khoon se ranga
ye sangam ho jaaye saagar se mil jaaye ganga

Teraa Tujhko SauNp de, kya laagat hai mor

Mera mujhme kuchh naahi hai jo hove sab tor.

A beautiful couplet from a hindi song “Laagi tujhse man ki lagan” from a bollywood movie ‘paap’ describing the theme of total devotion towards GOD. This theme has always been there in poetry and music. Translation of these lines are as follows: “I am submitting myself to you as I am all yours only.”

This kind of total devotion can also be seen in poetry in other forms, such as a drunkard’s devotion towards wine. No matter what, he always goes to drink. Without drinking, he can’t live and there is no fixed time or routine for drinking. He drinks whenever he feels like and he drinks by denying all social and other obligations.

Another form of devotion in poetry is “moth and candle” as in Hindi “shamma-parwana”. A moth just loves the light of the candle, even though it would burn into the candle by reaching it. But that fear never occurs to the moth. No matter what, the moth always tries to reach the candle and submits itself into the flame of the candle by destroying it’s very self.

And nonetheless, Love between two human beings. Many love stories are casted upon True Love or total devotion towards one’s beloved. Like Laila-Majnu, Heer-Ranjha and many more. Lover, whether it is a moth, a drunkard or a majnu, welcomes not only goodness or blessing or love but evil or curse or hate of beloved as well.

These four themes have been widely used in poetry, Love towards the Beloved with total devotion. If all this is to be taken into account as forms of metaphor for GOD, this is the best description of Sufism. Sufism’s main belief is to devote yourself toward God and do all that is possible, to reach God. “I for you, you for whomever you want to be, I will love you forever without any expectation” -- This is what they call “True Love” or “Sufi Love”.

Often the great Sufi poets lived during times of religious fundamentalism. The authorities censored them, because they openly taught that man could have a direct contact with God. As a result poets developed an increasing array of metaphors and synonyms to describe God. Frequently we come across references such as Friend, Beloved, Father, Mother, the Wine seller, the Problem giver, and the Problem solver. This ambiguity in describing God served a dual purpose. Firstly it made it difficult for his poetry to be censored for its unorthodox mystical ideas. It also illustrates the inherent difficulty a poet has in describing the nature of God. The infinite is beyond all names and form, how can the poet describe that which is beyond words?

Here is a piece of poetry of Rumi (1207-1273 CE), (a very famous Sufi poet) whose book was the best selling poetry work in America in 2006. This particular poem describes the advancement towards God in death and incarnation and finally being united with God:

I died as mineral and became a plant,

I died as plant and turned to animal.

I died as animal and became Man.

What fear I, then, I cannot diminish by dying?

Once when I die as Human, I’ll become an angel,

And I shall give up angelhood,

I shall become what no mind ever conceived.

For Not-Being, ‘adam, calls in an organ like tune:

“Verily we are His, and to Him we return!”

However, Sufism is often considered to be an off-shoot of Islam, as most of the Sufi Masters happened to be Muslim and their basic beliefs were also from the Quran. Sufis do follow the Kalima that is “la-illaha-il-allah”, which means “there is no deity except God”. They believe that Muhammad (PBUH) was a messenger of God, to whom God Him-self revealed the Holy Quraan. The basic philosophy of Sufism can be described as “Wahdat-al-Wajood” the "Unity of Being", emphasizing that 'there is no true existence except the Ultimate Truth (God)'.

But it is also speculated that the concept of “wahdat-al-wajood” could be the product of Arab interaction with Hindu mystics and literature, specifically in reference to the non-dualistic teachings of the Upanishads, which preach very similar concepts in regards to reality being an illusion and the only true existence being Brahman.

But Sufism is not bound to Islam or any other religion. A well known example of that is ‘Meera Bai’ from ChittorGarh (Rajasthan), who devoted herself, to Lord Krishna. She loved God as her beloved and continued to do so even after her marriage. After the death of her husband, she left the palace and started wandering from temple to temple in search of Lord Krishna and finally, it is said, that she immersed into an idol of Lord Krishna. A classic example of Sufism, and I find no reason to discard it from Sufism.

In love, nothing exists between breast and Breast.

Speech is born out of longing,

True description from the real taste.

The one who tastes, knows;

The one who explains, lies.

How can you describe the true form of Something,

In whose presence you are blotted out?

And in whose being you still exist?

And who lives as a sign for your journey?

-- a beautiful poem by a female Sufi Poet, ‘Rabi'a-al-Adawiyya’ (717-801 CE), who first expressed the relationship with the divine referring to God as the Beloved.

The Sufi sees the truth in every religion. If invited to offer prayers in a church, a mosque, a synagogue, or a temple, the Sufi is ready to do so, knowing that all people worship the same God, the Only Being, no matter what Name they use. Yet the Sufi's true house of worship is the human heart, in which the Divine Beloved lives. Sufism is a religion for those who wish to learn religion from it, a philosophy for those wanting wisdom from it, a mystical path for any who would be guided by it to the unfoldment of the Soul, and yet it is beyond all these things. It is the Light of Life, which is the sustenance of every soul. Sufism is the Message of Love, Harmony, and Beauty.

is ghat antar - kabir

इस घट अंतर बाग-बगीचे, इसी में सिरजनहारां ।

इस घट अंतर सात समुंदर, इसी में नौ लख तारा ।

इस घट अंतर पारस मोती, इसी में परखनहारा ।

इस घट अंतर अनहद गरजै, इसी में उठत फुहारा ।

कहत कबीर सुनो भाई साधो, इसी में साईं हमारा ॥ --1-101

Within this earthen vessel are bowers and groves, and within it is the Creator.
Within this vessel are the seven oceans and the unnumbered stars.
The touchstone and the jewel-appraiser are within.
And within this vessel the Eternal soundeth, and the spring wells up.
Kabir says: "Listen to me, my Friend!  My beloved Lord is within."

saadho, brahm alakh lakhaaya - kabir

साधो, ब्रह्‍म अलख लखाया, जब आप आप दरसाया ।

बीज-मद्ध ज्यों बृच्छा दरसै, बृच्छा मद्धे छाया ॥

ज्यों नभ-मद्धे सुन्न देखिये, सुन अनंत आकारा ।

निःअच्छरते अच्चर तैसे, अच्छर छर बिस्तारा ॥

ज्यों रबि-मद्धे किरन देखिय, किरन मद्ध परकासा ।

परमातम में जीव ब्रह्‍म इमि, जीव-मद्ध तिमि स्वाँसा ॥

स्वाँसा-मद्धे शब्द देखिए, अर्थ शब्द के माहीं ।

ब्रह्‍‍मते जीव जीवते मन यों, न्यारा मिला सदा ही ॥

आपहि बृच्छ बीज अंकूरा, आप फूल-फल छाया ।

आपहि सूर किरन परकासा, आप ब्रह्‍‍म जिउ माया ॥

अनंताकार सुन्न नभ आपै, स्वाँस शब्द अरथाया ।

निःअच्छर अच्छर छर आपै, मन जीव ब्रह्‍‍म समाया ॥

आतम में परमातम दरसे, परमातम में झाँईं ।

झाँईं में परछाईं दरसै, लखै कबीरा साँईं ॥  --1-85

When He Himself reveals Himself, Brahma brings into manifestation, that which can never be seen.
As the seed is in the plant; as the shade is in the tree.
As the void is in the sky; as infinite forms are in the void.
So from beyond the Infinite, the Infinite comes; and from the Infinite the finite extends.

The creature is in Brahma, and Brahma is in the creature: they are ever distinct, yet ever united.
He Himself is the tree, the seed, and the germ.
He Himself is the flower, the fruit, and the shade.
He Himself is the sun, the light, and the lighted.
He Himself is Brahma, creature, and Maya.
He Himself is the manifold form, the infinite space;
He is the breath, the word, and the meaning.
He Himself is the limit and the limitless: and beyond both the limited and the limitless is He, the Pure Being.
He is the Immanent Mind in Brahma and in the creature.

The Supreme Soul is seen within the soul,
The Point is seen within the Supreme Soul,
And within the Point, the reflection is seen again.
Kabîr is blest because he has this supreme vision!

chanda jhalkai yadi ghat maanhi - kabir

चंदा झलकै यदि घट माहीं । अंधी आँखन सूझे नाहीं ॥

यहि घट चंदा यहि घट सूर । यहि घट गाजै अनहद तूर ॥

यहि घट बाजै तबल-निशान । बहिरा शब्द सुने नहि कान ॥

जब लग मेरी मेरी करै । तब लग काज एकौ नहि सरै ॥

जब मेरी ममता मर जाय । तब प्रभु काज सँवारै आय ॥

ज्ञान के कारन करम कमाय । होय ज्ञान तब करम नसाय ॥

फल कारन फूलै बनराय । फल लागै पर फूल सुखाय ॥

मृगा हास कस्तूरी बास । आप न खोजै खोजै घास ॥ --1-83

The moon shines in my body. But my blind eyes cannot see it.
The moon is within me, and so is the sun.
The unstruck drum of Eternity is sounded within me, but my deaf ears cannot hear it.
So long as man clamours for the I and the Mine; his works are as naught.
When all love of the I and the Mine is dead; then the work of the Lord is done.
For work has no other aim than the getting of knowledge; When that comes, then work is put away.
The flower blooms for the fruit; when the fruit comes, the flower withers.
The musk is in the deer; but it seeks it not within itself. it wanders in quest of grass.

avadhu, maya taji na aai - kabir

अवधू, माया तजी न आई ।

गिरह तज के बस्तर बांधा, बस्तर तज के फेरी ।

काम तजे तें क्रोध न जाई, क्रोध तजे तें लोभा ।

लोभ तजे अहँकार न जाई, मान-बड़ाई-सोभा ।

मन बैरागी माया त्यागी, शब्द में सुरत समाई ।

कहैं कबीर सुनो भाई साधो, यह गम बिरले पाई ॥ --1-63

Tell me, Brother, how can I renounce Maya?
When I gave up the tying of ribbons, still I tied my garment about me.
[--When I gave up tying my garment, still I covered my body in its folds.]
So, when I give up passion, I see that anger remains; And when I renounce anger, greed is with me still.
And when greed is vanquished, pride and vainglory remain.
When the mind is detached and casts Maya away, still it clings to the letter.
Kabir says, "Listen to me, dear Sadhu!  the true path is rarely found."

baago naa jaa re naa jaa - kabir

बागों ना जा रे ना जा, तेरी काया में गुलज़ार ।

सहस-कँवल पर बैथ के तू देखे रूप अपार ॥

Do not go to the garden of flowers! O Friend! go not there;
In your body is the garden of flowers.
Take your seat on the thousand petals of the lotus,
and there gaze on the Infinite Beauty.

saadho bhai jeevat hi karo aasaa - Kabir

साधो भाई, जीवत ही करो आसा ।

जीवत समझे जीवत बूझे, जीवत मुक्तिनिवासा ।

जीवन करम की फ़ाँस न काटी, मुये मुक्ति की आसा ।

तन छुटे जिव मिलन कहत है, सो सब झूठी आसा ।

अबहुँ मिला तो तबहुँ मिलेगा, नहिं तो जमपुरवासा ।

सत्त गहे सतगुरु को चीन्हें, सत्त-नाम विस्वासा ।

कहैं कबीर साधन हितकारी, हम साधन के दासा ॥

O friend!  hope for Him whilst you live,
know whilst you live, understand whilst you live: for in life deliverance abides.
If your bonds be not broken whilst living, what hope of deliverance in death?
It is but an empty dream, that the soul shall have union with Him because it has passed from the body:
If He is found now, He is found then, If not, we do but go to dwell in the City of Death. If you have union now, you shall have it hereafter.
Bathe in the truth, know the true Guru, have faith in the true name!
Kabir says: "It is the Spirit of the quest which helps; I am the slave of this Spirit of the quest."

Santan jaat na puCho nirguniya - Kabir

संतन जात ना पूछो निरगुनियाँ |

साध ब्राहमन साध छत्तरी, साधै जाती बनियाँ |

साधनमां छत्तीस कौम है, टेढी तोर पुछनियाँ |

साधै नाऊ साधै धोबी, साधै जाति है बरियाँ |

साधनमां रैदास संत है, सुपच ऋषि सों भंगिया |

हिंदू-तुर्क दुई दीन बने हैं, कछू ना पहचानियाँ ||

 

It is needless to ask of a saint the caste to which he belongs;
For the priest, the warrior, the tradesman;
and all the thirty-six castes, alike are seeking for God; It is but folly to ask what the caste of a saint may be;
The barber has sought God, the washerwoman, and the carpenter;
Even Raidas was a seeker after God, The Rishi Swapacha was a tanner by caste.
Hindus and Moslems alike have achieved that End, where remains no mark of distinction.

Moko kahan dhoondhe bande, - Kabir

मोको कहाँ ढूंढें बन्दे, मैं तो तेरे पास में |

ना में देवल ना में मसजिद, ना काबे कैलास में |

ना तो कौने क्रिया-कर्म में, नहीं योग-बैराग में |

खोजी होए तो तुरतै मिलिहौं, पल भर की तलास में |

कहैं कबीर सुनो भाई साधो, सब स्वांसों की स्वांस में ||

O servant, where dost thou seek Me? Lo!  I am beside thee.
I am neither in temple nor in mosque; I am neither in Kaaba nor in Kailash.
Neither am I in rites and ceremonies; nor in Yoga and renunciation.
If thou art a true seeker, thou shalt at once see Me; thou shalt meet Me in a moment of time.
Kabîr says, "O Sadhu!  God is the breath of all breath."

 

This poem is collected in "Kabir ke pad" by Shri Kshti Mohan Sen, and translated by Rabindranath Tagore in "Songs of Kabir".

kab mera nasheman ahal-e-chaman

A veru beautiful ghazal, sung by 'Munni Begum' and written by 'Qamar Jalalvi'

kab mera nasheman ahl-e-chaman gulshan me.N gawaara karte hai.N
ghunChe apni aawaazo.N me.N bijli ko pukaara karte hai.N

po.NCho na araq rukhsaaro.N se rangeeni-e-husn ko badhne do
sunte hai.N k shabnam ke qatre phoolo.N ko nikhaara karte hai.N

jaati hui mayyat dekh ke bhi allah tum uth kar aa naa sake
do chaar qadam to dushman bhi takleef gawaara karte hai.N

ab naza ka aalam hai mujh per tum apni mohabbat waapas lo
jab kashti doobne lagti hai to bojh utaara karte hai.N

taaro.N ki bahaaro.N me.N bhi 'qamar' tum afsurda se rahte ho
phoolo.N ko to dekho kaa.Nto.N me.N ha.Ns ha.Ns ke guzaara karte hai.N


nasheman = Nest
ahal-e-chaman = Residents Of The Garden
gawaara = Bearable, Tolerable
gunche = Flower buds
araq = Juice
rukhsaar = Cheek
shabnam = Dew
naza = Last Breath
afsurda = Depressed, Lifeless, Melancholy, Rueful

Gulzar presents Kabir by Abida : मन लागो यार फ़कीरी में

Commentary by Gulzar...

रांझा रांझा करदी हुण मैं, आपे रांझा होई ।

सुफ़ियों का कलाम गाते गाते आबिदा परवीन खुद सूफ़ी हो गई ।
उनकी आवाज़ अब इबादत की आवाज़ लगती है ।
मौला को पुकारती हैं तो लगता है,
हाँ, इनकी आवाज जरूर तुझ तक पहुंचती होगी ।
वो सुनता होगा, सिरत सदाक़त की आवाज ।

माला कहे है काठ की, तू क्यूं फेरे मोहे ।
मन का मणका फ़ेर दे, सो तुरत मिला दूं तोहे ॥

आबिदा कबीर की मार्फ़त पुकारती हैं उसे,
हम आबिदा की मार्फ़त उसे बुला लेते हैं ।

AbidA starts singing...

मन लागो यार फ़कीरी में,

कबीर रेख सिन्दूर, उर काजर दिया न जाय ।
नैनन प्रीतम रम रहा, दूजा कहां समाय ॥

प्रीत जो लागी भुल गयि, पीठ गयि मन मांहि ।
रूम रूम पियु पियु कहे, मुख कि सिरधा नांहि ॥

मन लागो यार फ़कीरी में,
बुरा भला सबको सुन लीजो, कर गुजरान गरीबी में ।

सती बिचारी सत किया, काँटों सेज बिछाय ।
ले सूती पिया आपना, चहुं दिस अगन लगाय ॥

गुरू गोविन्द दोऊ खड़े, काके लागूं पाय ।
बलिहारी गुरू आपणे, गोविन्द दियो बताय ॥

मेरा मुझ में कुछ नहीं, जो कुछ है सो तेरा ।
तेरा तुझ को सौंप दे, क्या लागे है मेरा ॥

जब मैं था तब हरि नहीं, अब हरि है मैं नांहि ।
जब अन्धियारा मिट गया, दीपक देखिया मांहि ॥

रूखा सूखा खाय के, ठन्डा पानी पियो ।
देख परायी चोपड़ी मत ललचावे जियो ॥

साधू कहावत कठिन है, लम्बा पेड़ खुजूर ।
चढे तो चाखे प्रेम रस, गिरे तो चकना-चूर ॥

मन लागो यार फ़कीरी में,
आखिर ये तन खाक़ मिलेगा, क्यूं फ़िरता मगरूरी में ॥

लिखा लिखी की है नहीं, देखा देखी बात ।
दुल्हा-दुल्हन मिल गये, फ़ीकी पड़ी बारात ॥

जब लग नाता जगत का, तब लग भक्ति न होय ।
नाता तोड़े हरि भजे, भगत कहावे सोय ॥

हद हद जाये हर कोइ, अन-हद जाये न कोय ।
हद अन-हद के बीच में, रहा कबीरा सोय ॥

माला कहे है काठ की तू क्यूं फेरे मोहे ।
मन का मणका फेर दे, सो तुरत मिला दूं तोहे ॥

जागन में सोतिन करे, साधन में लौ लाय ।
सूरत डार लागी रहे, तार टूट नहीं जाये ॥

पाहन पूजे हरि मिले, तो मैं पूजूं पहाड़ ।
ताते या चाखी भली, पीस खाये संसार ॥

कबीरा सो धन संचिये, जो आगे को होई ।
सीस चढाये गांठड़ी, जात न देखा कोइ ॥

हरि से ते हरि-जन बड़े, समझ देख मन मांहि ।
कहे कबीर जब हरि दिखे, सो हरि हरि-जन मांहि ॥

मन लागो यार फ़कीरी में,
कहे कबीर सुनो भई साधू, साहिब मिले सुबूरी में ।

Gulzar presents Kabir by Abida : भला हुआ मेरी मटकी

Commentary by Gulzar...

सूफ़ियों-संतों के यहां मौत का तसव्वुर बडे खूबसूरत रूप लेता है,
कभी नैहर छूट जाता है, कभी जोडा बदल लेता है,
जो मरता है ऊंच ही उठता है,
तरह तरह से अंत-आनन्द की बात करते हैं,
कबीर के यहां, ये खयाल कुछ और करवटें भी लेता है,
एक बे-तकल्लुफ़ी है मौत से, जो जिन्दगी से कहीं भी नहीं,

माटी कहे कुम्हार से, तू क्या रोंदे मोहे ।
एक दिन ऐसा आयेगा, मैं रोदुंगी तोहे ॥ १८ ॥

माटी का शरीर, माटी का बर्तन,
नेकी कर भला कर,
भर बरतन मे पाप पुण्य और सर पे ले,

Abida starts singing...

भला हुआ मेरी मटकी फूटी रे ।
मैं तो पनिया भरन से छूटी रे ॥

बुरा जो देखन मैं चला, बुरा ना मिलिया कोय ।
जो दिल खोजा आपणा, तो मुझसा बुरा ना कोय ॥

ये तो घर है प्रेम का, खाला का घर नांहि ।
सीस उतारे भुँई धरे, तब बैठे घर मांहि ॥

हमन है इश्क़ मस्ताना, हमन को हुशारी क्या ।
रहे आज़ाद या जग से, हमन दुनिया से यारी क्या ॥

कहना था सो कह दिया, अब कछु कहा ना जाये ।
एक गया सो जा रहा, दरिया लहर समाये ॥

लाली मेरे लाल की, जित देखूं तित लाल ।
लाली देखन मैं गयी, मैं भी हो गयी लाल ॥

हँस हँस कुन्त ना पाया, जिन पाया तिन रोये ।
हाँसि खेले पिया मिले, कौन सुहागन होये ॥

जाको राखे साईंयाँ, मार सके ना कोये ।
बाल न बांकाँ कर सके, जो जग बैरी होये ॥

प्रेम न भाजी उपजै, प्रेम न हाट बिकाय ।
राजा-प्रजा जोही रूचें, शीश देई ले जाय ॥

कबीरा भाठी कलाल की, बहूतक बैठे आई ।
सिर सौंपें सोई पीवै, नहीं तो पिया ना जाये ॥

सुखिया सब संसार है, खाये और सोये ।
दुखिया दास कबीर है, जागे और रोये ॥२६१॥

जो कछु सो तुम किया, मैं कछु किया नांहि ।
कहां कहीं जो मैं किया, तुम ही थे मुझ मांहि ॥

अन-राते सुख सोवणा, राते नींद ना आये ।
ज्यूं जल छूटे माछरी, तडफत नैन बहाये ॥

जिनको साँई रंग दिया, कभी ना होये कुरंग ।
दिन दिन वाणी आफ़री, चढे सवाया रंग ॥

ऊंचे पानी ना टिके, नीचे ही ठहराय ।
नीचे होये सो भरि पिये, ऊँचा प्यासा जाय ॥

आठ पहर चौंसठ घडी, मेरे और ना कोये ।
नैना मांहि तू बसे, नींद को ठौर ना होये ॥

सब रगे तान्त रबाब, तन्त दिल बजावे नित ।
आवे न कोइ सुन सके, के साँई के चित ॥

कबीरा बैद्य बुलाया, पकड के देखी बांहि ।
बैद्य न वेधन जानी, फिर भी करे जे मांहि ॥

यार बुलावे भाव सूं, मोपे गया ना जाय ।
दुल्हन मैली पियु उजला, लाग सकूं ना पाय ॥

Gulzar presents Kabir by Abida : सोऊं तो सपने मिलूं

Commentary by Gulzar...

कबीर को पढते जाओ, परत खुलती जाती है,
आबिदा को सुनते रहो सुरत खुलती रहती है,
ध्यान लग जाता है, इबादत शुरू हो जाती है,
अपने आप आंखें बन्द हो जाती हैं,
कोइ उन्हें सामने बैठ के सुने,
आंखें खोलो तो बाहर नज़र आती हैं,
आंखें मूंदो तो अन्दर,

पीतम को पतियां लिखूं, जो कहूं होये बिदेस ।
तन में मन में नैन में, ताको कहा सन्देस ॥

Abida starts singing...

सोऊं तो सपने मिलूं, जागूं तो मन मांहि ।
लोचन रातें सब घडी, बिसरत कबहू न मांहि ॥

कबीरा सीप समुंद्र की, रते प्यास पियास ।
और बूंद को ना गिहे, स्वाति बूंद की आस ॥

नैनन अन्तर आओ तो, नैन झांक तोहे ल्यूं ।
ना मैं देखूं और को, ना तोहे देखन द्यूं ॥

जात न पूछो साधू की, पूछ लीजिये ग्यान ।
मोल करो तलवार का, पडी रहन दो म्यान ॥

हम तुमहरो सुमिरन करो, तुम मोहे चेतो नांहि ।
सुमिरन मन की प्रीत है, सो मन तुमही मांहि ॥

ज्यूं नैनन में पोतली, यूं मालिक़ घट मांहि ।
मूरख लोग न जाने, बाहर ढूढत जांहि ॥१९२॥

चलती चक्खी देख के, दिया कबीरा रोये ।
दो पट भीतर आईके, साबित गया न कोये ॥

क्या मुखहे बिनती करूं, लाज आवत है मोहे ।
तुम देखत औ-गुन करूं, कैसे भाऊं तोहे ॥

मरिये तो मर जाइये, छूट पड़े जग जार ।
ऐसे मरना तो मरे, दिन में सौ सौ बार ॥

सबद सबद सब कोइ कहे, सबद के हाथ न पांव ।
एक सबद औशुध करे, एक सबद किर घाव ॥

माला तो कर में फिरे, जीभ फिरे मुख मांहि ।
मनवा तो चहूं दिस फिरे, ये तो सुमिरन नांहि ॥

उठा बगोला प्रेम का, तिनका उड़ा आकास ।
तिनका तिनका से मिला, तिनका तिनके पास ॥

नैनन की कर कोठड़ी, पुतरी पलंग बिछाय ।
पलकों की चित डाल के, पी को लिया रिझाय ॥

हरि से तो जन हेत कर, कर हरि-जन से हेत ।
माल मिलत हरि देत है, हरि-जन हरि ही देत ॥

कबीरा संगत साधु की, जौं की भूसी खाय ।
खीर खांड भोजन मिले, साकत संग न जाये ॥

Gulzar presents Kabir by Abida : साहिब मेरा एक है

Commentary by Gulzar...

नशे इकहरे ही अच्छे होते हैं,
सब कह्ते हैं दोहरे नशे अच्छे नहीं
एक नशे पर दूसरा नशा न चढाओ
पर क्या है कि, एक कबीर उस पर आबिदा परवीन
सुर सरूर हो जाते हैं,
और सरूर देह कि मट्टी पार करके रूह मे समा जाता है

सोइ मेरा एक तो, और न दूजा कोये ।
जो साहिब दूजा कहे, दूजा कुल का होये ॥

कबीर तो दो कहने पे नाराज़ हो गये,
वो दूजा कुल का होये !

Abida starts singing...

साहिब मेरा एक है, दूजा कहा न जाय ।
दूजा साहिब जो कहूं, साहिब खडा रसाय ॥

माली आवत देख के, कलियां करें पुकार ।
फूल फूल चुन लिये, काल हमारी बार ॥

चाह गयी चिन्ता मिटी, मनवा बेपरवाह ।
जिनको कछु न चहिये, वो ही शाहनशाह ॥

एक प्रीत सूं जो मिले, तको मिलिये धाय ।
अन्तर राखे जो मिले, तासे मिले बलाय ॥

सब धरती कागद करूं, लेखन सब बनराय ।
सात समुंद्र कि मस करूं, गुरु गुन लिखा न जाय ॥

अब गुरु दिल मे देखया, गावण को कछु नाहि ।
कबीरा जब हम गांव के, तब जाना गुरु नाहि ॥

मैं लागा उस एक से, एक भया सब माहि ।
सब मेरा मैं सबन का, तेहा दूसरा नाहि ॥

जा मरने से जग डरे, मेरे मन आनन्द ।
तब मरहू कब पाहूं, पूरण परमानन्द ॥

सब बन तो चन्दन नहीं, सूर्य है का दल नाहि ।
सब समुंद्र मोती नहीं, यूं सौ भूं जग माहि ॥

जब हम जग में पग धरयो, सब हसें हम रोये ।
कबीरा अब ऐसी कर चलो, पाछे हंसीं न होये ॥

औ-गुण किये तो बहु किये, करत न मानी हार ।
भांवें बन्दा बख्शे, भांवें गर्दन माहि ॥

साधु भूख भांव का, धन का भूखा नाहि ।
धन का भूखा जो फिरे, सो तो साधू नाहि ॥

कबीरा ते नर अन्ध हैं, गुरु को कहते और ।
हरि रूठे गुरु ठौर है, गुरु रूठे नहीं ठौर ॥

करता था तो क्यों रहा, अब काहे पछताय ।
बोवे पेड बबूल का, आम कहां से खाय ॥

साहिब सूं सब होत है, बन्दे ते कछु नाहि ।
राइ से परबत करे, परबत राइ मांहि ॥

ज्यूं तिल मांही तेल है, ज्यूं चकमक में आग ।
तेरा सांई तुझमें बसे, जाग सके तो जाग ॥