Monday, August 28, 2017

The importance of Naam/Name - Brihadaranyaka Upanishad

The importance of Naam or Name from The Brihadaranyaka Upanishad -
More: https://www.wisdomlib.org/hinduism/book/the-brihadaranyaka-upanishad/d/doc118304.html

याज्ञवल्क्येति होवाच, यत्रायं पुरुषो म्रियते किमेनं न जहातीति; नामेति, अनन्तं वै नाम, अनन्ता विश्वे देवाः, अनन्तमेव स तेन लोकं जयति ॥ १२ ॥

yājñavalkyeti hovāca, yatrāyaṃ puruṣo mriyate kimenaṃ na jahātīti; nāmeti, anantaṃ vai nāma, anantā viśve devāḥ, anantameva sa tena lokaṃ jayati || 12 ||

12. ‘Yājñavalkya,’ said he, ‘when this man dies, what is it that does not leave him?’ ‘Name. The name indeed is infinite, and infinite are the Viśvadevas. He (who knows thus) wins thereby verily an infinite world.’

Is it only the organs of a liberated man that are merged, or is it also all[9] that moves them to action? If it is only the former, but not the latter, then with the presence of these stimulating causes the organs would again be likely to function. If, on the other hand, everything such as desire and action is merged, then only liberation is possible. It is to bring this out that the next question is put: ‘Yājñavalkya,’ said he, ‘when this man dies, what is it that does not leave him?’ The other said: Name. That is, everything is merged; only the name[10] is left because of its relation to the type, for the name is eternal. The name indeed is infinite —the infinity of the name is its eternity— and infinite are the Viśvadevas, because they possess the infinity of the name. He (who knows thus) wins thereby verīly an infinite world. Having identified himself with the Viśvadevas who possess the infinity of the name, he wins through this realisation only an infinite world.

Friday, August 25, 2017

Do not try to become anything

A quote by Ajahn Chah (1918 - 1992), a famous Buddhist teacher from Thailand, is related:

Do not try to become anything.
Do not make yourself into anything.
Do not be a meditator.
Do not become enlightened.
When you sit, let it be.
What you walk, let it be.
Grasp at nothing.
Resist nothing.


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Dhoondo Ge Agar Mulkon Mulkon - Abida Parveen Ghazal and Translation




Dhoondo Ge Agar Mulkon Mulkon is a ghazal written by Shaad Azeemabadi (1846 - 1927).

Translation and further explanation can be found here: http://gurmeet.net/poetry/dhoondoge-agar-mulkon-mulkon/

Roman Script
Dhoondo Ge Agar Mulkon Mulkon
Milne Ke Nahin Nayaab Hain Hum
Tabeer Hai Jiski Hasrat-O-Gham
Aye Humnafaso Woh Khwaab Hain Hum

Translation
Even if you search from nation to nation,
You won’t find me, for I’m a rare jewel.
With a willingness to handle grief and sorrow,
O friends! I am an embodiment of that dream.

Tabeer - Interpretation of a dream

Roman Script
Aye Dard Bata Kuch Tu Hi Pata
Ab Tak Yeh Mu’ammya Hal Na Hua
Hum Mein Hain Dil-E-Betaab Nihan
Yah Aap Dil-E-Betaab Hain Hum

Translation
O grief! Please help me understand
For the situation hasn't resolved itself yet,
Whether a restless heart is embedded inside me
Or am I the restless heart itself?


Roman Script
Main Hairat-O-Hasrat Ka Maara
Khamosh Khada Hoon Sahil Par
Dariya-E-Mohabbat Kehta Hai
“Aa Kuch Bhi Nahin Payaab Hain Hum”

Translation
I, driven by wonder and desire
Stand quietly at the bank of a river.
The river of love beckons,
"Don't be afraid, I am shallow and fordable”


Roman Script
Lakhon Hi Musafir Chalte Hain
Manzil pohunchte Hain Do Ik
Aye Ahl-E-Zamana Qadr Karo
Nayaab Na Hon Kamyaab Hain Hum

Translation
Millions of travelers walk,
Only a handful reach their destinations,
O my contemporaries! Appreciate me for I am,
rare, if not elusive.


Roman Script
Murghan-E-Qafas Ko Phoolon Ne
Aye Shaad Ye Kahla Bheja Hai
Aa Jao Jo Tum Ko Aana Ho
Aise Mein Abhi Shadaab Hain Hum

Translation
O Shaad! The flowers have dispatched
This message to birds in captivity
"Come if you wish to,
I am resplendent in the present moment."

Monday, August 7, 2017

Wich Rohi de Randiyan - Khwaja Ghulam Fareed Kafi - Translation


विच्च रोही दे रहन्दियां

विच्च रोही दे रहन्दियां ।नाज़क नाज़ो जट्टियां ।
रातीं करन शिकार दिलें दे ।डेहां वलोड़न मट्टियां ।
गुझ्झड़े तीर चलावन कारी ।सै सै दिल्लड़ियां फट्टियां ।
कर कर दरदमन्दां कूं ज़खमी ।है है बधन न पट्टियां ।
छेड़न भेडां बक्करिया गाईं ।ले ले गाबे कट्टियां ।
कई मसकीन मुसाफर ।चौड़ कीतो ने तरट्टियां ।
धूई दार फ़कीर थ्यु से ।फ़खर वड्डाईआं स्ट्टियां ।
हउं दिलबर दै कुतड़े दर दै ।बिरहों पईआं गल गट्टियां ।
मूझे फ़रीद मज़ीद हमेशा ।अज्ज कल्ह खुशियां घट्टियां ।

There in the Rohi desert 
Live soft and cute country girls (Juttiyan),
They (Juttiyan) attack their prey (Hearts of strangers) during night hours,
While in the daytime they wander around in wasteland.
They (Juttiyan) throw their sharp spears,
Hundreds of innocent hearts they lacerate,
They injure the pitiable natives,
Alas, they don’t bandage the wounded people after that.
They (Juttiyan) engage in recreation with sheep and goats and cows,
And lambs and oxen and Buffalos,
They have ambushed many meek visitors,
Who failed to break out the trap,
I became a celebrated saint,
But my pride made me low
I am a dog on my beloved’s door
Separation is like a strap around my neck,
O Farid! My sorrows are ever increasing
Bliss has diminished these days.


Sunday, August 6, 2017

Tum Ik Gorakh Dhanda Ho - Nusrat Fateh Ali Khan Lyrics




Kabhi Yahaan Tumhein Dhonda, Kabhi Wahaan Pohncha
Tumhari Deed Ki Khaatir Kahan Kahan Pohcha 
Ghareeb Mit Ga'ay, Pamaal Ho Gaye Laikin
Kisi Talak Na Tera Aaj Tak Nishaan Pohncha


Ho Bhi Nahi Aur Her Jaa Ho
Ho Bhi Nahi Aur Her Ja Ho
Tum Ek Gorakh Dhanda Ho


Her Zarray Mein Kiss Shaan Say Tu Jalwa Numa Hai
Hairaan Hai Magar Aqal K Kaisay Hai To Kia Hai
Tum Ek Gorakh Dhanda Ho

Tujhay Dair-O-Haram Mein Nai Dhonda Tu Nahi Milta
Magar Tashreef Farma Tujhay Apne Dil Mein Daikha Hai

Tum Ek Gorakh Dhanda Ho

Dhonday Nahi Milay Ho Na Dhonday Say Kaheen Tum
Aur Phir Yeah Tamasha Hai, Jahan Hum Hein Waheen Tum

Tum Ek Gorakh Dhanda Ho


Jab Bajuz Tairay Koi Dosra Maujood Nahi
Phir Samajh Mein Nahi Aata Tera Purdah Karna

Tum Ek Gorakh Dhanda Ho


Harm O Dair Mein Hai Jalwa E Purfan Tera
Do Gharoon Ka Hai Charaagh E Kurkhe Roshan Tera

Tum Ek Gorakh Dhanda Ho


Jo Ulfat Mein Tumhari Kho Gaya Hai, Usi Kho'ay Hoay Ko Kuch Mila Hai
Na But-Khanay, Na Kabay Mein Mila Hai, Magar Totay Hoay Dil Mein Mila Hai
Adam Bun Ker Kaheen To Chup Gaya Hai, Kaheen To Hast Bun Ker Aa Gaya Hai
Nahi Hai Tu To Phir Inkaar Kaisa, Nafi Bhi Tairay Honay Ka Pata Hai
Mein Jiss Ko Keh Raha Hoon Apni Hasti, Agar Wo Tu Nahi To Aur Kia Hai
Nahi Aaya Khayaloon Mein Agar Tu, To Phir Mein Kaisay Samjha Tu Khuda Hai

Tum Ek Gorakh Dhanda Ho

Hairan Hoon Is Baat Pay, Tum Kon Ho Kia Ho
Haath Aao To But, Haath Na Aao To Khuda Ho

Tum Ek Gorakh Dhanda Ho


Aqal Mein Jo Ghir Gaya La-Intiha Kiyoon Ker Hua
Jo Samajh Mein Aa Gaya Phir Wo Khuda Kiyoon Ker Hua

Tum Ek Gorakh Dhanda Ho


Falsafi Ko Behas K Ander Khuda Milta Nahi
Dour Ko Suljha Raha Hai Aur Sira Milta Nahi

Tum Ek Gorakh Dhanda Ho


Pata Yoon To Bata Daitay Ho Sub Ko La-Makaan Apna
Ta'ajub Hai Magar Rehtay Ho Tum Tootay Hoay Dil Mein

Tum Ek Gorakh Dhanda Ho


Jab K Tujh Bin Nahi Koi Maujood
Phir Yeah Hangama Ay Khuda Kia Hai

Tum Ek Gorakh Dhanda Ho


Chuptay Nahi Ho, Samnay Aatay Nahi Ho Tum, Jalwa Dikha K Jalwa Dikhatay Nahi Ho Tum
Dair O Haram K Jhagray Mita'tay Nahi Ho Tum, Jo Asal Baat Hai Wo Batatay Nahi To Tum
Hairaan Hoon Mairay Dil Mein Sama'ay Ho Kiss Tarah, Haan'la K Do Jahan Mein Samatay Nahi To Tum
Yeah Ma Bud O Haram, Yeah Qaleesa-o-Dair Kiyoon, Harjayii Ho Jabhi To Bata'tay Nahi To Tum

Tum Ek Gorakh Dhanda Ho




Dil Peh Hairat Nai Ajab Rung Jama Rakha Hai, Aik Uljhi Howi Tasveer Bana Rakha Hai
Kuch Samajh Mein Nahi Aata K Yeah Chakkar Kia Hai, Khail Kia Tum Nai Azal Say Yeah Racha Rakha Hai
Rooh Ko Jism K Pingray Ka Bana Ker Qaidee, Us Pay Phir Mout Ka Pehraa Bhi Bithaa Rakha Hai
Day K Tadbeer K Panchi Ko Uranay Tu Nai, Daam-E-Tadbeer Mein Her Sumt Bicha Rakha Hai
Kar K Araish E Qounain Ki Barsoon Tu Nai, Khatam Karne Ka Bhi Mansooba Bana Rakha Hai
La-Makaani Ka Bahr Haal Hai Dawa Bhi Tumhein, Nahl-O-Akrab Ka Bhi Paighaam Suna Rakha Hai
Yeah Burai, Wo Bhalai, Yeah Jahannum, Wo Bahisht, Is Ulat Phiar Mein Farmao To Kia Rakha Hai
Jurm Aadam Nai Kiya Aur Saza Baitoon Ko, Adl O Insaaf Ka Mi'aar Bhi Kia Rakha Hai
Dai K Insaan Ko Dunya Mein Khilafat Apni, Ik Tamasha Sa Zamanay Mein Bana Rakha Hai
Apni Pehchaan Ki Khaatir Hai Banaya Sub Ko, Sub Ki Nazaroon Say Magar Khud Ko Chup Rakha Hai

Tum Ek Gorakh Dhanda Ho

Nit Naye Naqsh Banatay Ho Mita Daitay Ho, Janay Kiss Jurm-E-Tamanna Ki Saza Daitay Ho
Kabhi Kunker Ko Bana Daitay Ho Heeray Ki Kani, Kabhi Heeron Ko Bhi Mitti Mein Mila Daitay Ho
Zindagi Kitnay He Murdoon Ko Ata Ki Jiss Nai, Wo Maseeha Bhi Saleebon Pay Saja Daitay Ho
Khuwahish-E-Deed Jo Kar Baithay Sir-E-Tuur Koi, Tuur Hee Bark e Tajaali Say Jala Daitay Ho
Nalay Namrood Mein Dalwatay Ho Qudrat Na Khaleeq, Khud Hee Phir Naar Ko Gulzaar Bana Daitay Ho
Chahay Kin Aan Mein Phainko Kabhi Maah Kinaan, Noor Yaqoob Ki Aankhon Ka Bujha Daitay Ho
Day Ke Yusuf Ko Kabhi Mirs K Bazaaron Mein, Aakhir Kaar Shah-E-Misr Bana Daitay Ho
Jazb O Masti Ki Jo Manzil Pe Pohonchta Hai Koi, Baith Ker Dil Mein Anal Haq Ki Sada Daitay Ho
Khud He Lagwatay Ho Phir Kufr K Fatway Us Per, Khud He Mansoor Ko Sooli Peh Charha Daitay Ho
Apni Hasti Bhi Wo Ik Rooz Gawa Baith'ta Hai, Apne Darshan Ki Lagan Jiss Ko Laga Daitay Ho
Koi Ranjha Jo Kabhi Khoj Mein Nikle Teri, Tum Usay Jhang K Bele Mein Rula Daitay Ho
Justujo Lay K Tumhari Joh Chalay Qais Koi, Us Ko Majno Kisi Laila Ka Bana Daitay Ho
Jot? Sassi K Agar Mun Mein Tumhari Jaagay, Tum Usay Taptay Hoay Thal Mein Jala Daitay Ho
Sohni Gar Tum Ko Mahiwaal Tassawur Kar Le, Us Ko Bikhri Howi Lehron Mein Baha Daitay Ho
Khudh Joh Chaho To Sar-E-Arsh Bula Kar Mehboob, Aik He Raat Mein Mairaaj Kara Daitay Ho

Tum Ek Gorakh Dhanda Ho

Aap Hi Apna Pardah Ho
Tum Ek Gorakh Dhanda Ho


Jo Kehta Hoon Mana Tumhein Lagta Hai Bura Sa, Phir Bhi Hai Mujhay Tum Say Baharhaal Gila Sa
Chup Chaap Rahay Daikhtay Tum Arsh-E-Bareen Per, Taptay Hoay Karbal Mein Mohammad Ka Nawasa
Kiss Tarah Pilata Tha Laahu Apna Wafa Ko, Khud Teen Dino Say Wo Agarchay Tha Piyasa
Dushmun To Bahar Haal Thay Dumshun Magar Afsoos, Tum Nai Bhi Faraham Na Kia Pani Zara Sa
Her Zulm Ki Taufeeq Hai Zaalim Ki Wirasat, Mazloom K Hissay Mein Tasalli Na Dilasa
Kal Taaj Saja Daikha Tha Jis Shaqs K Sir Per, Hai Aaj Usi Shaqs K Haathon Mein Hikasa
Yeh Kia Hai Agar Pochon To Kehtay Ho Jawaban, Is Raaz Say Ho Sakta Nahi Koi Shanasa

Tum Ek Gorakh Dhanda Ho

Hairat Ki Ik Dunya Ho
Tum Ek Gorakh Dhanda Ho


Har Aik Jaan Pey Ho, Laikin Pata Nahi Maloom
Tumahra Naam Suna Nai, Nishaan Nahi Maloom

Tum Ek Gorakh Dhanda Ho

Dil Say Armaan Jo Nikal Ja'ay To Jugnu Ho Ja'ay, Aur Aankhon Mein Simat Aa'ay To Aanso Ho Ja'ay
Ja Pe Ya Huu Ka Jo Be Hu Karay Hu Mein Kho Ker, Us Ko Sultaniyaan Mil Jaein Woh Baahu Ho Ja'ay
Baalgi Ka Na Kisi Ka Ho Churi Ke Neechay, Halk-E-Asghar Mein Kabhi Teer Tarazu Ho Ja'ay

Tum Ek Gorakh Dhanda Ho


Kiss Qadar Beniyaaz Ho Tum Bhi
Daastan E Niyaaz Ho Tum Bhi
Tum Ek Gorakh Dhanda Ho


Raah-E-Tehqeeq Mein Her Gaam Pay Uljhan Daikhoon, Wohi Halaat O Khayalaat Mein Anaban Daikhoon
Bana Ke Rah Jaata Hoon Tasaveer Pareshaani Ki, Ghaur Say Jab Bhi Kabhi Dunya Ke Darpan Daikhoon
Aik He Khaaq Pay Fitrat Ke Tajaadaat Itne, Itne Hisson Mein Banta Aik He Angan Daikhoon
Kahin Zahmat Ki Sulagti Howi Patjhar Ka Sama, Kahin Rahmat Ke Barastay Hoay Sawan Daikhon
Kahin Punkartay Darya, Kabhin Khamosh Pahar, Kabhi Jungle, Kahin Sahra, Kahin Gulshan Daikhoon
Khoon Rulata Hai Yeh Taqseem Ka Andaaz Mujhay, Koi Dhanwaan Yahaan Per Koi Nirdhan Daikhoon
Din Ke Haathon Mein Faqat Ek Sulagta Suraj, Raat Ki Maang Sitaroon Say Muzayyan Daikhon
Kahin Murjha'ay Howe Phool Hein Sach'chaii Ke, Aur Kahin Jhoot Ke Kaanton Pay Bhi Joban Daikhon
Shams Ki Khaal Kaheen Khinchti Nazar Aati Hai, Kaheen Sarmad Ki Utarti Howi Gardan Daikhoon
Raat Kia Shay Hai Sawayra Kia Hai, Yeah Ujala Yeah Andhera Kia Hai
Mein Bhi Naayib Hoon Tumhara Aakhir, Kiyoon Yeh Kehtay Ho K Tera Kya Hai

Tum Ek Gorakh Dhanda Ho

Daikhnay Wala Tujhay Kia Dekhta
Tu Nai Her Rung Say Pardah Kia

Tum Ek Gorakh Dhanda Ho

Masjid Mandir Yeh Mekhanay, Koi Yeh Manay Koi Woh Manay
Sub Tere Hein Jaana Kasahanay, Koi Yeh Manay Koi Woh Manay
Ik Honay Ka Tere Qaail Hai, Inkaar Pay Koi Maail Hai
Ik Khalq Mein Shaamil Karta Hai, Ik Sub Say Akela Rehta Hai
Hein Dono Tere Mastanay, 
Koi Yeh Manay Koi Woh Manay

Sub Hein Jab Aashiq Tumhare Naam Ke, 
Kiyoon Yeh Jhagray Hein Rahim-O-Raam Ke

Tum Ek Gorakh Dhanda Ho


Dair Mein Tu Haram Mein Tu, Arsh Pe Tu Zameen Pe Tu
Jiss Ki Pohonch Jahan Talak Us K Liyeah Waheen Pe Tu

Tum Ek Gorakh Dhanda Ho


Her Ik Rung Mein Yakta Ho
Her Ik Rung Mein Yakta Ho
Tum Ek Gorakh Dhanda Ho


Markaz E Justuju, Aalam E Rung O Boo, Dum Ba Dum Jalwagar Tu He Tu Chaar Su
Hu K Mahool Mein Kuch Nahi Illah Hu, Tum Bohot Dilruba Tum Bohot Khoobaru
Arsh Ki Azmatein Farsh Ki Aabro, Tum Ho Qonein Ka Haasil-E-Aarzo
Aankh Nay Ker Lia Aanso'on Say Wazu, Ub To Ker Do Ata Deed Ka Ik Sabu
Aao Parday Say Tum Aankh K Ru Baru, Chund Lamhay Milan Do Ghari Guftagu
Naaz Jabta Phiray Ja Baja Qo Ba Qu, Wahdahu Wahdahu La Shareeka Laho


Allah Hu Allah Hu Allah Hu Allah Hu
Allah Hu Allah Hu Allah Hu Allah Hu

Tasbih de ik ik daane te - Nusrat Song with Lyrics



Lyrics: Sheikh Muhammad Sadiq Hussain

Yaar de naave tann mann laa ke
Assan apna farz nibhaya


Baaki sabak nahi padne change
Assan iko vird pakaya


Reh gaye sochan sochde jehde
Ohna avein waqt gavaya


Sadak yaar mana lai jehna
Ohna jeen da maqsad paaya


Tasbih de ik ik daane te
Tu yaar da vird pakaunda raho


Rabba jaan lai tu yaar da dwara
Makke da painda muk javega


Ohdi yaad da vichcha ke tu masalla
Tu ishq di namaaz neet lai


Kasse sajna tu ankhiyan de bhar ke
Wazu hanjuan de paani de naal kar ke


Bhavein hain e hanju anmol moti
Ohdi yaad de vich tu gereya kar
Kithe wakhre bai ke duniya ton
Ohde naam de tasbih phereya kar


Oh ruseya aape mann jayega
Tu apna farz nibhaunda raho


Tun dil de sheeshe vich rakh lai
Tasveeran apne yaar diyan


Tun maar ke jhaati apne vich
Nit yaar da darshan paunda raho


Chchad jhoothe vird wazifeyan nu
Ohde ishqe da qaeeda padeya kar


Jag bhavein kaafir kehnda rahe
Tu eho sabak pakaunda raho


Oh bole bhavein na bole
Eh marzi ohde dil de e


Sar rakh ke yaar de qadman te
Tu sajna sees nawaunda raho


Je bandeya tun kujh khatna e
Bas ik da hoja chup karke


Tu lag ke aakhe lokan de
Na avein waqt gawaunda raho


Je tak leya sohneya ik waari
Tenu saadak manzil mil jayegi


Tun athru ohdiyan yaadan de
Nit ankhiyan vich sajaunda raho

Tuesday, August 1, 2017

People with a higher sense of purpose live longer and happier ...

People with a higher sense of purpose live longer and happier ... 

https://www.psychologicalscience.org/news/minds-business/a-meaningful-job-linked-to-higher-income-and-a-longer-life.html#.WROJWlPytE4

A Meaningful Job Linked to Higher Income and a Longer Life

Throughout the 1970s, the oral historian Studs Terkel traveled the country interviewing dozens of regular people about their jobs. After interviewing everyone from telephone operators to strip miners for his book Working, Turkel concluded: “Work is about a search for daily meaning as well as daily bread, for recognition as well as cash, for astonishment rather than torpor…” As Terkel saw it, most of us “have jobs that are too small for our spirit” – that is, a good job is about more than a steady paycheck.

Surveys show that a sense of meaning or purpose is often rated as one of the most desirable qualities in a job, sometimes even topping perks like a higher salary. Research has also linked a strong sense of purpose or meaning to a multitude of positive outcomes, ranging from a longer life to a bigger bank account.

In a 2014 study published in Psychological Science, researchers Patrick L. Hill (Carleton University) and Nicholas A. Turiano (West Virginia University) analyzed data collected from over 6,000 people as part of the longitudinal Midlife in the United States (MIDUS) study. As part of this questionnaire, participants answered questions gauging their sense of purpose in life (e.g., “Some people wander aimlessly through life, but I am not one of them”), as well as questions that gauged other psychosocial variables, including the experience of positive and negative emotions.

Fourteen years after the initial survey, approximately 570 of the original participants had died (about 9% of the sample). Interestingly, those who had self-rated themselves as having a high sense of purpose were more likely to have survived. Even after controlling for other markers of psychological and affective well-being, the results of the analysis showed that purposeful individuals outlived their more aimless peers.

“Our findings point to the fact that finding a direction for life, and setting overarching goals for what you want to achieve can help you actually live longer, regardless of when you find your purpose,” Hill said in a statement. “These findings suggest that there’s something unique about finding a purpose that seems to be leading to greater longevity.”

But feeling a sense of meaning in life, and in work specifically, isn’t just good for our health, it may also be good for our wallets. In a new study, Hill and Turiano found that a sense of purpose not only buffered against mortality, it also predicted financial success.

“Studies show that purpose correlates positively with more expansive future time perspectives and with a greater sense that their time is being used effectively to fulfill downstream goals,” Hill, Turiano, and colleagues write in the Journal of Research in Personality. “As such, purposeful people may be more likely to save money or make investments that support downstream goals, and not squander resources based on impulsive decisions.”

As in the previous study, the research team analyzed data collected from MIDUS. This time, the research team also analyzed self-report measures on income and net worth. Respondents were asked about their wages over the past year, their spouse’s earnings, government assistance, stocks and bonds, savings, real estate, vehicles, and debts.

The median net worth in 1995 was $32,500. Around 9 years later, when the second wave of the survey was conducted, the median net worth had risen to $137,700 in 1995 dollars.

Again, more purposeful people came out ahead of their peers; a one standard deviation increase in purpose was associated with an “increase of $4,461 in income and $20,857 in net worth over time, even controlling for the other variables.”

Exactly why purposeful individuals gained an economic edge was unclear. People who started out with a higher sense of purpose had higher levels of household income and net worth initially, and were also more likely to increase this wealth over the nine years between assessments.

“For one, if purposeful individuals tend to be physically and psychologically healthier, they will incur fewer health care costs and miss work less frequently,” the researchers explain. “Purposeful individuals also may be more focused on their occupational objectives, as one study suggested that individuals who rated occupational goals as more important during the transition to adulthood reported a greater sense of purpose in adulthood. If so, purposeful individuals may strive toward occupational success, which would likely increase personal income.”

Saturday, July 8, 2017

A Malhar by Rabindranath Tagore: Mor bhabonare



More Info: http://www.geetabitan.com/lyrics/M/mor-bhaabonare-ki-haway-lyric.html

Parjaay: Prakriti (123)
Upa-parjaay: Borsha (98)
Taal: Tritaal
Raag: Gour-Malhar
Anga: Gat
Written on: 1939 (29/8/1938)
Place: Shantiniketan
Swarabitan: 58
Notation by: Shailajaranjan Majumdar
Bhanga Gaan

Mor bhabonare ki hawai matalo
Dole mon dole akarono harose
Hridoyo gagone sajol ghano nobin meghe
Roser dhara barose

Tahaare dekhi na je dekhi na
Shudhu mone mone khoney khoney oi shona jaai
Baje alokhito tari charone
Runurunu runurunu nupurdhwani

Gopono swapone  chhailo
Aporosho ancholero nabo nilima
Ure jaye badole rei bataashe
Tar chhayamoyo elo kesha akashe
She je mono mor dilo akuli
Jol bheja ketokir dur subaashe


मेरी भावना को, क्यों छेड़े हवाओं
झुमे जिया झुमे बिन कारण खुशी से ॥
हिय गगन में सजल-सघन नवीन मेघ
से रस की धारा बरसे

हो जाते वे ओझल नयनों से
बस हर पल मन मेरा आहट सुने
बजे उनकी अलख पंगो की पायल
रून-झुन-घुंघरुन, ध्वनि बरसे ॥

चुपके सपने में छा जाये
अनुछुई अंचला की नव नीलीमा
उड़ चले बदराई हवा में
उनके छाया घने खुले के आकाश में
उन्होने मेरा मन अकुलायां
भीगी-भीगी केतकी भी दूर महके ॥


Which breeze it is that sends me a crazy note,
Rocks my mind for joy unknown.
Young clouds, moist and dense, encroach the sky within my heart,
Spatter of nectar, it rains.
I am unable to find her,
Persistent tinkling sound of ornaments
From her invisible feet
Merely haunts my mind.
Suppressed dreams spread like clouds,
Across the young blue, like a veil out of reach.
Her magical free hair casts shadow through the sky
Fluttering with the breeze of the monsoon.
She leaves my mind nervous
With the aroma of distant, wet blossoms of KETAKI.


Shiv's Translation

In the rampant winds of my feelings
my heart sways without reason in bliss;
And from dense clouds in my heart's sky
a sweet nectar pours, a sweet nectar pours!

Although I cannot see my love
my heart hears her presence
as the anklets of her feet
spatter and tinkle away

a sweet nectar pours




Kirtan Sohila - Baba Jai Ghar Karte Keerat Hoye

Kirtan Sohila is the night time prayer said by all Sikhs before they go to sleep. The following is a rendition of the second shabad in Kirtan Sohila in Raag Asa, "Baba Jai Ghar Karte Keerat Hoye":



Three Gurus -- Guru Nanak, Guru Ram Das and Guru Arjan - contributed five shabads on the pain of separation and celebrating the bliss of union. The first three Shabads were uttered by Guru Nanak, the fourth by Guru Ram Das and the fifth by Guru Arjan Dev. The actual name of Bani is Sohila Sahib and is found on pages 12 to 13 of Guru Granth Sahib (for Kirtan Sohila and its translation see below).

- The first shabad visualises the union of the personal self with the Ultimate Reality.
- The second shabad presents the singularity of the Ultimate despite endless diversity of scriptures, teachers and philosophies.
- The third shabad rejects all modes of external piety and ritual, and vividly portrays the entire cosmos making harmonious worship. Instead of trays with lamps placed upon them with incense and other offerings, the skies become an integrated platter, the sun and moon the lamps, stars the beads, and all vegetation an offering of flowers. Loud chanting is replaced by the inner unstruck melody playing motionlessly.
- The fourth shabad explains the importance of the divine Name through which all suffering and transmigration is annulled.
- The fifth shabad celebrates life here in this world: we must avail ourselves of this wonderful opportunity to serve others and to win divine merit. The unknown Mystery becomes known to the enlightened person who thereafter enjoys the bliss and freedom of immortality.

It is also recited before cremation, following a death.

To remove the fear of death. Good to recite when your life feels boring, and you are uninspired. It multiplies your aura, eliminates negativity in you and around you, and protects you. Excellent before you sleep at night to bring restful sleep, prevent nightmares and create a shield of protection. This Bani protects the soul on its journey after it leaves the body at death. Related to earth element. Panj Ishnana (washing feet, hands and face) is performed before going to sleep. After this, one is to sit upon their bed cross-legged, facing their pillow and recite the prayer. Satguru is with us at all times and protects us from the Angel of Death and demons. If one unexpectedly dies in their sleep, they will not enter lower lifeforms. Bad thoughts or dreams do not occur if Kirtan Sohila has been recited. Satguru places an iron fortress around him/her so nothing can hurt or scare the individual.



ਸੋਹਿਲਾ ਰਾਗੁ ਗਉੜੀ ਦੀਪਕੀ ਮਹਲਾ ੧
Sohilaa Raag Gourree Dheepakee Mehalaa 1
सोहिला रागु गउड़ी दीपकी महला १
Sohilaa ~ The Song Of Praise. Raag Gauree Deepakee, First Mehl:


ੴ ਸਤਿਗੁਰ ਪ੍ਰਸਾਦਿ ॥

Ik Oankaar Sathigur Prasaadh ||

ੴ सतिगुर प्रसादि ॥

One Universal Creator God. By The Grace Of The True Guru:


ਜੈ ਘਰਿ ਕੀਰਤਿ ਆਖੀਐ ਕਰਤੇ ਕਾ ਹੋਇ ਬੀਚਾਰੋ ॥

Jai Ghar Keerath Aakheeai Karathae Kaa Hoe Beechaaro ||

जै घरि कीरति आखीऐ करते का होइ बीचारो ॥

In that house where the Praises of the Creator are chanted and contemplated


ਤਿਤੁ ਘਰਿ ਗਾਵਹੁ ਸੋਹਿਲਾ ਸਿਵਰਿਹੁ ਸਿਰਜਣਹਾਰੋ ॥੧॥

Thith Ghar Gaavahu Sohilaa Sivarihu Sirajanehaaro ||1||

तितु घरि गावहु सोहिला सिवरिहु सिरजणहारो ॥१॥

-in that house, sing Songs of Praise; meditate and remember the Creator Lord. ||1||


ਤੁਮ ਗਾਵਹੁ ਮੇਰੇ ਨਿਰਭਉ ਕਾ ਸੋਹਿਲਾ ॥

Thum Gaavahu Maerae Nirabho Kaa Sohilaa ||

तुम गावहु मेरे निरभउ का सोहिला ॥

Sing the Songs of Praise of my Fearless Lord.


ਹਉ ਵਾਰੀ ਜਿਤੁ ਸੋਹਿਲੈ ਸਦਾ ਸੁਖੁ ਹੋਇ ॥੧॥ ਰਹਾਉ ॥

Ho Vaaree Jith Sohilai Sadhaa Sukh Hoe ||1|| Rehaao ||

हउ वारी जितु सोहिलै सदा सुखु होइ ॥१॥ रहाउ ॥

I am a sacrifice to that Song of Praise which brings eternal peace. ||1||Pause||


ਨਿਤ ਨਿਤ ਜੀਅੜੇ ਸਮਾਲੀਅਨਿ ਦੇਖੈਗਾ ਦੇਵਣਹਾਰੁ ॥

Nith Nith Jeearrae Samaaleean Dhaekhaigaa Dhaevanehaar ||

नित नित जीअड़े समालीअनि देखैगा देवणहारु ॥

Day after day, He cares for His beings; the Great Giver watches over all.


ਤੇਰੇ ਦਾਨੈ ਕੀਮਤਿ ਨਾ ਪਵੈ ਤਿਸੁ ਦਾਤੇ ਕਵਣੁ ਸੁਮਾਰੁ ॥੨॥

Thaerae Dhaanai Keemath Naa Pavai This Dhaathae Kavan Sumaar ||2||

तेरे दानै कीमति ना पवै तिसु दाते कवणु सुमारु ॥२॥

Your Gifts cannot be appraised; how can anyone compare to the Giver? ||2||


ਸੰਬਤਿ ਸਾਹਾ ਲਿਖਿਆ ਮਿਲਿ ਕਰਿ ਪਾਵਹੁ ਤੇਲੁ ॥

Sanbath Saahaa Likhiaa Mil Kar Paavahu Thael ||

स्मबति साहा लिखिआ मिलि करि पावहु तेलु ॥

The day of my wedding is pre-ordained. Come, gather together and pour the oil over the threshold.


ਦੇਹੁ ਸਜਣ ਅਸੀਸੜੀਆ ਜਿਉ ਹੋਵੈ ਸਾਹਿਬ ਸਿਉ ਮੇਲੁ ॥੩॥

Dhaehu Sajan Aseesarreeaa Jio Hovai Saahib Sio Mael ||3||

देहु सजण असीसड़ीआ जिउ होवै साहिब सिउ मेलु ॥३॥

My friends, give me your blessings, that I may merge with my Lord and Master. ||3||


ਘਰਿ ਘਰਿ ਏਹੋ ਪਾਹੁਚਾ ਸਦੜੇ ਨਿਤ ਪਵੰਨਿ ॥

Ghar Ghar Eaeho Paahuchaa Sadharrae Nith Pavann ||

घरि घरि एहो पाहुचा सदड़े नित पवंनि ॥

Unto each and every home, into each and every heart, this summons is sent out; the call comes each and every day.


ਸਦਣਹਾਰਾ ਸਿਮਰੀਐ ਨਾਨਕ ਸੇ ਦਿਹ ਆਵੰਨਿ ॥੪॥੧॥

Sadhanehaaraa Simareeai Naanak Sae Dhih Aavann ||4||1||

सदणहारा सिमरीऐ नानक से दिह आवंनि ॥४॥१॥

Remember in meditation the One who summons us; O Nanak, that day is drawing near! ||4||1||


ਰਾਗੁ ਆਸਾ ਮਹਲਾ ੧ ॥

Raag Aasaa Mehalaa 1 ||

रागु आसा महला १ ॥

Raag Aasaa, First Mehl:


ਛਿਅ ਘਰ ਛਿਅ ਗੁਰ ਛਿਅ ਉਪਦੇਸ ॥

Shhia Ghar Shhia Gur Shhia Oupadhaes ||

छिअ घर छिअ गुर छिअ उपदेस ॥

There are six schools of philosophy, six teachers, and six sets of teachings.


ਗੁਰੁ ਗੁਰੁ ਏਕੋ ਵੇਸ ਅਨੇਕ ॥੧॥

Gur Gur Eaeko Vaes Anaek ||1||

गुरु गुरु एको वेस अनेक ॥१॥

But the Teacher of teachers is the One, who appears in so many forms. ||1||


ਬਾਬਾ ਜੈ ਘਰਿ ਕਰਤੇ ਕੀਰਤਿ ਹੋਇ ॥

Baabaa Jai Ghar Karathae Keerath Hoe ||

बाबा जै घरि करते कीरति होइ ॥

O Baba: that system in which the Praises of the Creator are sung


ਸੋ ਘਰੁ ਰਾਖੁ ਵਡਾਈ ਤੋਇ ॥੧॥ ਰਹਾਉ ॥

So Ghar Raakh Vaddaaee Thoe ||1|| Rehaao ||

सो घरु राखु वडाई तोइ ॥१॥ रहाउ ॥

-follow that system; in it rests true greatness. ||1||Pause||


ਵਿਸੁਏ ਚਸਿਆ ਘੜੀਆ ਪਹਰਾ ਥਿਤੀ ਵਾਰੀ ਮਾਹੁ ਹੋਆ ॥

Visueae Chasiaa Gharreeaa Peharaa Thhithee Vaaree Maahu Hoaa ||

विसुए चसिआ घड़ीआ पहरा थिती वारी माहु होआ ॥

The seconds, minutes and hours, days, weeks and months,


ਸੂਰਜੁ ਏਕੋ ਰੁਤਿ ਅਨੇਕ ॥

Sooraj Eaeko Ruth Anaek ||

सूरजु एको रुति अनेक ॥

And the various seasons originate from the one sun;


ਨਾਨਕ ਕਰਤੇ ਕੇ ਕੇਤੇ ਵੇਸ ॥੨॥੨॥

Naanak Karathae Kae Kaethae Vaes ||2||2||

नानक करते के केते वेस ॥२॥२॥

O Nanak, in just the same way, the many forms originate from the Creator. ||2||2||


ਰਾਗੁ ਧਨਾਸਰੀ ਮਹਲਾ ੧ ॥

Raag Dhhanaasaree Mehalaa 1 ||

रागु धनासरी महला १ ॥

Raag Dhanaasaree, First Mehl:


ਗਗਨ ਮੈ ਥਾਲੁ ਰਵਿ ਚੰਦੁ ਦੀਪਕ ਬਨੇ ਤਾਰਿਕਾ ਮੰਡਲ ਜਨਕ ਮੋਤੀ ॥

Gagan Mai Thhaal Rav Chandh Dheepak Banae Thaarikaa Manddal Janak Mothee ||

गगन मै थालु रवि चंदु दीपक बने तारिका मंडल जनक मोती ॥

Upon that cosmic plate of the sky, the sun and the moon are the lamps. The stars and their orbs are the studded pearls.


ਧੂਪੁ ਮਲਆਨਲੋ ਪਵਣੁ ਚਵਰੋ ਕਰੇ ਸਗਲ ਬਨਰਾਇ ਫੂਲੰਤ ਜੋਤੀ ॥੧॥

Dhhoop Malaaanalo Pavan Chavaro Karae Sagal Banaraae Foolanth Jothee ||1||

धूपु मलआनलो पवणु चवरो करे सगल बनराइ फूलंत जोती ॥१॥

The fragrance of sandalwood in the air is the temple incense, and the wind is the fan. All the plants of the world are the altar flowers in offering to You, O Luminous Lord. ||1||


ਕੈਸੀ ਆਰਤੀ ਹੋਇ ॥

Kaisee Aarathee Hoe ||

कैसी आरती होइ ॥

What a beautiful Aartee, lamp-lit worship service this is!


ਭਵ ਖੰਡਨਾ ਤੇਰੀ ਆਰਤੀ ॥

Bhav Khanddanaa Thaeree Aarathee ||

भव खंडना तेरी आरती ॥

O Destroyer of Fear, this is Your Ceremony of Light.


ਅਨਹਤਾ ਸਬਦ ਵਾਜੰਤ ਭੇਰੀ ॥੧॥ ਰਹਾਉ ॥

Anehathaa Sabadh Vaajanth Bhaeree ||1|| Rehaao ||

अनहता सबद वाजंत भेरी ॥१॥ रहाउ ॥

The Unstruck Sound-current of the Shabad is the vibration of the temple drums. ||1||Pause||


ਸਹਸ ਤਵ ਨੈਨ ਨਨ ਨੈਨ ਹਹਿ ਤੋਹਿ ਕਉ ਸਹਸ ਮੂਰਤਿ ਨਨਾ ਏਕ ਤਦ਼ਹੀ ॥

Sehas Thav Nain Nan Nain Hehi Thohi Ko Sehas Moorath Nanaa Eaek Thuohee ||

सहस तव नैन नन नैन हहि तोहि कउ सहस मूरति नना एक तोही ॥

You have thousands of eyes, and yet You have no eyes. You have thousands of forms, and yet You do not have even one.


ਸਹਸ ਪਦ ਬਿਮਲ ਨਨ ਏਕ ਪਦ ਗੰਧ ਬਿਨੁ ਸਹਸ ਤਵ ਗੰਧ ਇਵ ਚਲਤ ਮੋਹੀ ॥੨॥

Sehas Padh Bimal Nan Eaek Padh Gandhh Bin Sehas Thav Gandhh Eiv Chalath Mohee ||2||

सहस पद बिमल नन एक पद गंध बिनु सहस तव गंध इव चलत मोही ॥२॥

You have thousands of Lotus Feet, and yet You do not have even one foot. You have no nose, but you have thousands of noses. This Play of Yours entrances me. ||2||


ਸਭ ਮਹਿ ਜੋਤਿ ਜੋਤਿ ਹੈ ਸੋਇ ॥

Sabh Mehi Joth Joth Hai Soe ||

सभ महि जोति जोति है सोइ ॥

Amongst all is the Light-You are that Light.


ਤਿਸ ਦੈ ਚਾਨਣਿ ਸਭ ਮਹਿ ਚਾਨਣੁ ਹੋਇ ॥

This Dhai Chaanan Sabh Mehi Chaanan Hoe ||

तिस दै चानणि सभ महि चानणु होइ ॥

By this Illumination, that Light is radiant within all.


ਗੁਰ ਸਾਖੀ ਜੋਤਿ ਪਰਗਟੁ ਹੋਇ ॥

Gur Saakhee Joth Paragatt Hoe ||

गुर साखी जोति परगटु होइ ॥

Through the Guru's Teachings, the Light shines forth.


ਜੋ ਤਿਸੁ ਭਾਵੈ ਸੁ ਆਰਤੀ ਹੋਇ ॥੩॥

Jo This Bhaavai S Aarathee Hoe ||3||

जो तिसु भावै सु आरती होइ ॥३॥

That which is pleasing to Him is the lamp-lit worship service. ||3||


ਹਰਿ ਚਰਣ ਕਵਲ ਮਕਰੰਦ ਲੋਭਿਤ ਮਨੋ ਅਨਦਿਨਦ਼ ਮੋਹਿ ਆਹੀ ਪਿਆਸਾ ॥

Har Charan Kaval Makarandh Lobhith Mano Anadhinuo Mohi Aahee Piaasaa ||

हरि चरण कवल मकरंद लोभित मनो अनदिनो मोहि आही पिआसा ॥

My mind is enticed by the honey-sweet Lotus Feet of the Lord. Day and night, I thirst for them.


ਕ੍ਰਿਪਾ ਜਲੁ ਦੇਹਿ ਨਾਨਕ ਸਾਰਿੰਗ ਕਉ ਹੋਇ ਜਾ ਤੇ ਤੇਰੈ ਨਾਇ ਵਾਸਾ ॥੪॥੩॥

Kirapaa Jal Dhaehi Naanak Saaring Ko Hoe Jaa Thae Thaerai Naae Vaasaa ||4||3||

क्रिपा जलु देहि नानक सारिंग कउ होइ जा ते तेरै नाइ वासा ॥४॥३॥

Bestow the Water of Your Mercy upon Nanak, the thirsty song-bird, so that he may come to dwell in Your Name. ||4||3||


ਰਾਗੁ ਗਉੜੀ ਪੂਰਬੀ ਮਹਲਾ ੪ ॥

Raag Gourree Poorabee Mehalaa 4 ||

रागु गउड़ी पूरबी महला ४ ॥

Raag Gauree Poorbee, Fourth Mehl:


ਕਾਮਿ ਕਰੋਧਿ ਨਗਰੁ ਬਹੁ ਭਰਿਆ ਮਿਲਿ ਸਾਧੂ ਖੰਡਲ ਖੰਡਾ ਹੇ ॥

Kaam Karodhh Nagar Bahu Bhariaa Mil Saadhhoo Khanddal Khanddaa Hae ||

कामि करोधि नगरु बहु भरिआ मिलि साधू खंडल खंडा हे ॥

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


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

Poorab Likhath Likhae Gur Paaeiaa Man Har Liv Manddal Manddaa Hae ||1||

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

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


ਕਰਿ ਸਾਧੂ ਅੰਜੁਲੀ ਪੁਨੁ ਵਡਾ ਹੇ ॥

Kar Saadhhoo Anjulee Pun Vaddaa Hae ||

करि साधू अंजुली पुनु वडा हे ॥

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


ਕਰਿ ਡੰਡਉਤ ਪੁਨੁ ਵਡਾ ਹੇ ॥੧॥ ਰਹਾਉ ॥

Kar Ddanddouth Pun Vaddaa Hae ||1|| Rehaao ||

करि डंडउत पुनु वडा हे ॥१॥ रहाउ ॥

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


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

Saakath Har Ras Saadh N Jaaniaa Thin Anthar Houmai Kanddaa Hae ||

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

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


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

Jio Jio Chalehi Chubhai Dhukh Paavehi Jamakaal Sehehi Sir Ddanddaa Hae ||2||

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

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


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

Har Jan Har Har Naam Samaanae Dhukh Janam Maran Bhav Khanddaa Hae ||

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

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


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

Abinaasee Purakh Paaeiaa Paramaesar Bahu Sobh Khandd Brehamanddaa Hae ||3||

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

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


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

Ham Gareeb Masakeen Prabh Thaerae Har Raakh Raakh Vadd Vaddaa Hae ||

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

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


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

Jan Naanak Naam Adhhaar Ttaek Hai Har Naamae Hee Sukh Manddaa Hae ||4||4||

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

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


ਰਾਗੁ ਗਉੜੀ ਪੂਰਬੀ ਮਹਲਾ ੫ ॥

Raag Gourree Poorabee Mehalaa 5 ||

रागु गउड़ी पूरबी महला ५ ॥

Raag Gauree Poorbee, Fifth Mehl:


ਕਰਉ ਬੇਨੰਤੀ ਸੁਣਹੁ ਮੇਰੇ ਮੀਤਾ ਸੰਤ ਟਹਲ ਕੀ ਬੇਲਾ ॥

Karo Baenanthee Sunahu Maerae Meethaa Santh Ttehal Kee Baelaa ||

करउ बेनंती सुणहु मेरे मीता संत टहल की बेला ॥

Listen, my friends, I beg of you: now is the time to serve the Saints!


ਈਹਾ ਖਾਟਿ ਚਲਹੁ ਹਰਿ ਲਾਹਾ ਆਗੈ ਬਸਨੁ ਸੁਹੇਲਾ ॥੧॥

Eehaa Khaatt Chalahu Har Laahaa Aagai Basan Suhaelaa ||1||

ईहा खाटि चलहु हरि लाहा आगै बसनु सुहेला ॥१॥

In this world, earn the profit of the Lord's Name, and hereafter, you shall dwell in peace. ||1||


ਅਉਧ ਘਟੈ ਦਿਨਸੁ ਰੈਣਾਰੇ ॥

Aoudhh Ghattai Dhinas Rainaarae ||

अउध घटै दिनसु रैणारे ॥

This life is diminishing, day and night.


ਮਨ ਗੁਰ ਮਿਲਿ ਕਾਜ ਸਵਾਰੇ ॥੧॥ ਰਹਾਉ ॥

Man Gur Mil Kaaj Savaarae ||1|| Rehaao ||

मन गुर मिलि काज सवारे ॥१॥ रहाउ ॥

Meeting with the Guru, your affairs shall be resolved. ||1||Pause||



ਇਹੁ ਸੰਸਾਰੁ ਬਿਕਾਰੁ ਸੰਸੇ ਮਹਿ ਤਰਿਓ ਬ੍ਰਹਮ ਗਿਆਨੀ ॥

Eihu Sansaar Bikaar Sansae Mehi Thariou Breham Giaanee ||

इहु संसारु बिकारु संसे महि तरिओ ब्रहम गिआनी ॥

This world is engrossed in corruption and cynicism. Only those who know God are saved.


ਜਿਸਹਿ ਜਗਾਇ ਪੀਆਵੈ ਇਹੁ ਰਸੁ ਅਕਥ ਕਥਾ ਤਿਨਿ ਜਾਨੀ ॥੨॥

Jisehi Jagaae Peeaavai Eihu Ras Akathh Kathhaa Thin Jaanee ||2||

जिसहि जगाइ पीआवै इहु रसु अकथ कथा तिनि जानी ॥२॥

Only those who are awakened by the Lord to drink in this Sublime Essence, come to know the Unspoken Speech of the Lord. ||2||


ਜਾ ਕਉ ਆਏ ਸੋਈ ਬਿਹਾਝਹੁ ਹਰਿ ਗੁਰ ਤੇ ਮਨਹਿ ਬਸੇਰਾ ॥

Jaa Ko Aaeae Soee Bihaajhahu Har Gur Thae Manehi Basaeraa ||

जा कउ आए सोई बिहाझहु हरि गुर ते मनहि बसेरा ॥

Purchase only that for which you have come into the world, and through the Guru, the Lord shall dwell within your mind.


ਨਿਜ ਘਰਿ ਮਹਲੁ ਪਾਵਹੁ ਸੁਖ ਸਹਜੇ ਬਹੁਰਿ ਨ ਹੋਇਗੋ ਫੇਰਾ ॥੩॥

Nij Ghar Mehal Paavahu Sukh Sehajae Bahur N Hoeigo Faeraa ||3||

निज घरि महलु पावहु सुख सहजे बहुरि न होइगो फेरा ॥३॥

Within the home of your own inner being, you shall obtain the Mansion of the Lord's Presence with intuitive ease. You shall not be consigned again to the wheel of reincarnation. ||3||


ਅੰਤਰਜਾਮੀ ਪੁਰਖ ਬਿਧਾਤੇ ਸਰਧਾ ਮਨ ਕੀ ਪੂਰੇ ॥

Antharajaamee Purakh Bidhhaathae Saradhhaa Man Kee Poorae ||

अंतरजामी पुरख बिधाते सरधा मन की पूरे ॥

O Inner-knower, Searcher of Hearts, O Primal Being, Architect of Destiny: please fulfill this yearning of my mind.


ਨਾਨਕ ਦਾਸੁ ਇਹੈ ਸੁਖੁ ਮਾਗੈ ਮੋ ਕਉ ਕਰਿ ਸੰਤਨ ਕੀ ਧੂਰੇ ॥੪॥੫॥

Naanak Dhaas Eihai Sukh Maagai Mo Ko Kar Santhan Kee Dhhoorae ||4||5||

नानक दासु इहै सुखु मागै मो कउ करि संतन की धूरे ॥४॥५॥

Nanak, Your slave, begs for this happiness: let me be the dust of the feet of the Saints. ||4||5||

Saturday, July 1, 2017

Why did Waris Shah Write the Story of Heer Ranjha?


Heer Ranjha - A painting by Chughtai

Now considered the "quintessential works of classic Punjabi literature" Waris Shah re-wrote the undying story of Heer and Ranjha in 629 poems.  Friends asked him why he told this story again, and he responded:

ਯਾਰਾਂ ਅਸਾਂ ਨੂੰ ਆਣ ਸਵਾਲ ਕੀਤਾ, ਕਿੱਸਾ ਹੀਰ ਦਾ ਨਵਾਂ ਬਣਾਈਏ ਜੀ ।
ਏਸ ਪ੍ਰੇਮ ਦੀ ਝੋਕ ਦਾ ਸਭ ਕਿੱਸਾ, ਜੀਭ ਸੁਹਣੀ ਨਾਲ ਸੁਣਾਈਏ ਜੀ ।
ਨਾਲ ਅਜਬ ਬਹਾਰ ਦੇ ਸ਼ਿਅਰ ਕਹਿ ਕੇ, ਰਾਂਝੇ ਹੀਰ ਦਾ ਮੇਲ ਕਰਾਈਏ ਜੀ ।
ਯਾਰਾਂ ਨਾਲ ਬਹਿ ਕੇ ਵਿਚ ਮਜਲਿਸਾਂ, ਮਜ਼ਾ ਹੀਰ ਦੇ ਇਸ਼ਕ ਦਾ ਪਾਈਏ ਜੀ ।

They asked me why did you write this new story of Heer? You tell this beautiful story with your sweet tongue.  In these wonderful couplets you have shown the consummation of the love of Heer and Ranjha. Sitting in the company of other seekers, you have attained the bliss of the love of Heer. 

No wonder, researchers when they write about Heer, title their papers "For the love of God and man."

For the love of God and man -Fatima Hussain

Waris Shah is a name to be reckoned with in the tradition of Punjabi Qissa poetry, best known for his seminal work Heer, now considered one of the quintessential works of classical Punjabi literature.

But less known is that Waris Shah borrowed the story and plot of the legend of Heer-Raniha and restructured it. The earlier versions of Heer were written by Damodar (around the time of Mughal Emperor Akbar's reign) and by Ahmad Gujjar.


Punjab was an area which on account of its natural and human resources, as well as its strategic location, played a crucial role in the political fortune of the sub-continent. Economically, trade and manufacture had developed in this area. Traders and administrators played an important role here because Punjab was placed at the juncture of important trade routes to Central Asia. As a result, the history of Punjab had been (and continues to be) witness to many storms interspersed with prosperous, peaceful interludes.

In the 18th century, Punjab lay exposed to fresh invasions from the northwest. (The Mughal empire was disintegrating and much of India was in turmoil.) Punjab faced the brunt of Persian marauder Nadir Shah and Afghan invader Ahmad Shah Abdali. It was a generally pessimistic time in Punjab, and this is reflected in several maxims and rhyming wisdoms from the time.

The tragic ending of Waris Shah's Heer, when viewed in this social context, seems to tally with the air of pessimism in 18th century Punjab. It is also true that by the time Waris Shah was writing, European literature had become known in South Asia. The tragic trope, so well developed in European literature, may have influenced Waris Shah's writing.

Waris Shah was well grounded in Muslim as well as Hindu tradition. His knowledge was wide ranging, from astronomy, medicine and social rites to the different breeds of horse and cattle in Punjab. Moreover, Waris Shah's Heer reflects a distinct flavour of Punjabiat. The use of folk idioms from rural Punjab, the stark realism of the narrative, set apart the Heer of Waris Shah from its earlier versions.

The Heer of Waris Shah has attracted a variety of interpretations and critical approaches. Interestingly, there is even a Marxist interpretation to the Heer-Ranjha story. And it is true that material concerns seem to be of paramount importance to the author, who weaves in a caustic social commentary and exposes the fabric of the contemporary social network. It is not far-fetched to read the tragedy in Waris Shah's Heer as one in which human values are subverted in the cause of material interests.

It is said that Waris Shah had an unrequited love for a woman called Bhagbhari. This endowed him with the feelings and insights to express the Heer-Ranjha legend as an unrealized love story, with its many bittersweet emotions.

According to some scholars, the broad categorization of the work as belonging to the "Sufi" genre, quite like the works of other Punjabi poets, robs Punjabi literature of its natural ontological diversity. Nevertheless, there is an undeniable fragrance of Tasawwuf in the the Heer-Ranjha story.

The elusive Heer, like the formless absolute, awakens in Ranjha a a desire that overpowers his mind and heart and does not allow him any peace. The impulse towards union or "wisal" is avoided through a series of narrative incidents that delay the satisfaction love until the seeker is purified. This can be likened to several stations or maqamat that a mureed has to pass through before he attains the final union with the Divine. To achieve this goal, he has to seek the assistance of a spiritual master, the pir who in the Heer-Ranjha story is the yogi of Tila Balnath in Jhelum.

The Heer-Ranjha union is entwined with the widespread Sufi notion of annihilation or fana, which is a cause of celebration for the Sufi. The death of a Sufi heralds the ultimate union with the beloved God and is celebrated in the form of his urs. In fact, this is the true birth of the Sufi. A spiritual reading of Heer sees in the story both Allah's might and majesty (jalal) and His gentle grace (jamal).

Earning love can be a protracted and painful process for which everything wordly has to be sacrificed, a process which involves much self-mortification. This is the path of truth (haqiqat) and it has to be followed by the Sufi, who reposes an unending trust in God (tawakkul). Waris Shah describes this process in the vivid hues of 18th century Punjab. The vocabulary and similies deployed by him convey devotional emotions with skillfull restraint: though the formulaic plot of Sufi romance contains a set of easily predictable conventions and motifs, Waris Shah's Heer shows a great deal of inventiveness in its depiction of human experience without fundamentally altering the philosophical structure of the tale.

In characteristic Sufi style, Waris Shah exposes the hypocrisy of the priests (ulema) and is obliquely critical of the divisions between people in Punjabi society, the dichotomy between prececpt and practice in Islam, etc. He gives a strong pedagogic message of accommodation in his Heer.

Dr. Fatima Hussain is Associate Professor of History at Delhi University, India