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Archive for the ‘Poetry’ Category

Kafir-e-Ishqam: Khusrau by Janki Bai (1880-1934)


 

کافر عشقم، مسلمانی مرا در کار نیست
ہر رگ من تار گشتہ، حاجت زُنار نیست
از سر بالین من برخیز ای نادان طبیب
دردمند عشق را دارو بہ جز دیدار نیست
ناخدا بر کشتی ما گر نباشد، گو مباش
ما خدا داریم ما را ناخدا در کار نیست
خلق می‌گوید کہ خسرو بت‌پرستی می‌کند
آری! آری! می‌کنم! با خلق ما را کار نیست

Kafir-e-ishqam musalmani mara darkaar neest
Har rag-e mun taar gashta hajat-e zunnaar neest;
Az sar-e baaleen-e mun bar khez ay naadaan tabeeb
Dard mand-e ishq ra daroo bajuz deedaar neest;
Nakhuda dar kashti-e maagar nabashad go mubaash
Makhuda daareem mara nakhuda darkaar neest;
Khalq mi goyad ki Khusrau but parasti mi kunad
Aarey aarey mi kunam ba khalq mara kaar neest.

Translation:

I am an infidel of love: the creed of Muslims I do not need;
Every vein of mine has become taunt like a wire,
the (Christian/Magian) girdle I do not need.
Leave my bedside, you ignorant physician!
The only cure for the patient of love is the sight of his beloved –
other than this, no medicine does he need.
If there be no pilot in our boat, let there be none:
We have God in our midst: the sea we do not need.
The people of the world say that Khusrau worships idols.
So he does, so he does; the world he does not need.

The singer: Janki Bai(1880-1934) was a celebrity singer of her times in Allahabad. She has 150 song records to her credit in the early years of gramophone. More about her here > http://scroll.in/article/729320/why-singer-jankibai-of-allahabad-was-always-associated-with-the-number-56

Another of her recording here:

 

 

 

In a gentle way, you can shake the world ~ Gandhi


Once upon a time, there was a wise man who used to go to the ocean to do his writing. He had a habit of walking on the beach before he began his work.

One day, as he was walking along the shore, he looked down the beach and saw a human figure moving like a dancer. He smiled to himself at the thought of someone who would dance to the day, and so, he walked faster to catch up.

As he got closer, he noticed that the figure was that of a young man, and that what he was doing was not dancing at all. The young man was reaching down to the shore, picking up small objects, and throwing them into the ocean.

He came closer still and called out “Good morning! May I ask what it is that you are doing?”

The young man paused, looked up, and replied “Throwing starfish into the ocean.”

“I must ask, then, why are you throwing starfish into the ocean?” asked the somewhat startled wise man.

To this, the young man replied, “The sun is up and the tide is going out. If I don’t throw them in, they’ll die.”

Upon hearing this, the wise man commented, “But, young man, do you not realize that there are miles and miles of beach and there are starfish all along every mile? You can’t possibly make a difference!”

At this, the young man bent down, picked up yet another starfish, and threw it into the ocean. As it met the water, he said,
“It made a difference for that one.”

The story is authored by Loren Corey Eiseley a highly respected anthropologist, science writer, ecologist, and poet.

Moral of the story in Gandhi’s words: In a gentle way, you can shake the world.

Saying it poetically:

If you deny
the power of
one tiny effort,
Light a candle
in the dark,
And watch
the small flame
defy & define
the darkness.

(Inspired from a quote by Anne Franke).
flame

The secret wish of every status quo is, it impatiently awaits to be broken. Don’t believe ! Give it a try.

Kesariya Baalam by Reshma


Reshma who originally hailed from Bikaner Rajasthan here sings a ‘maand’ or a welcome song in Rajasthani language for the arrival of the beloved.
(Have attempted to translate the verses from my basic knowledge of the language).

Kesariya baalam o’saa,
padhaaro mhaare des rey
Oh my saffron beloved,
Come to my abode.

Thaare aayo dujaan
Barishme mere
Your arrival
shall bring life in me

Saajan aaye o’ sakhi,
Main kayeen manwa vikraan,
Thaari paryo gaj motiyaan,
Aur ooper nayn dharaan.
My beloved shall come my friend
How can I keep my mind sane,
I shall spread pearls on the tray,
And keep my eyes on them.

Kesariya baalam o’saa,
padhaaro mhaare des rey
Oh my saffron beloved,
Come to my abode.

Sajan sajan main karaan
Sajan jeev jari
Choorley per moondshaan
Aur vachaan ghari ghari.
I utter “Beloved, Beloved.”
“Beloved” is embedded on my tongue,
Shall weave his name on my bracelet,
And watch it over and over.

Kesariya baalam o’saa,
padhaaro mhaare des rey
Oh my saffron beloved,
Come to my abode.

Awan saavan keh gayo dhola
Ker gaya khol anek
Bin taagan taa gash gayee
Mhaari anganiya ree rey.
Shall come in the rains, he promised,
Played many cruel jokes on me,
Without the rope of his swing,
My courtyard is deserted.

Kesariya baalam o’saa,
padhaaro mhaare des rey
Oh my saffron beloved,
Come to my abode.

God resides in your conscience


“Be just: that is nearer to piety.” (Quran: 5:8)

“Lo! The hearing and  the sight and the heart, of each of these it will be asked.” (Quran: 17:36)

No one would deny that  God resides within our conscience, in our kind deeds, and not merely in our rituals.

This Kabir poem befits that spirit:

Moko kahan DhunDhe re bande, main to tere paas me.
Where do you search me, O seeker? I am with you always.

Na main bakari, na main bherhi, na main chhuri gadaas me.
I am neither in goat nor in sheep (the sacrificial animals)) neither I am in the(sacrificial) knife or sword.

Nahi khal me, nahi ponchh me, na haddi na maans me.
I am not in the skin, in the tail, in bones or meat .

Na mein deval, na mein masajid, na kaabe kailaash me.
I am neither in the temple nor in the masque. I am not in the Kailash or Kaaba.
(They are symbols only)

Na mein kiriya karam me rahata, nahi jog sanyaas me.
 I am not in the worldy rituals nor in the act renunciation. 

Khoji hoy turat mili jaaun, ek pal ki talaash me.
If you seek me in true spirits, I am found in a moment’s search.

Main to raho shahar ke baahar, meri puri mawaas me.
I reside away from the city (Outside the usual places people associate with me) I live in the  real abode.

Kahe Kabir suno bhai saadho, sab sanso ki saans me.
Kabir says – Listen O’ the learned, I live within the breath of all your breaths.
(In your conscience).

Kindness

Hear the snowflakes speak…


Snow storm

Next time,
you are stranded in your car,
in a snow storm,
snail pacing thro the traffic,
Turn on a soft music and,
watch each snowflake closely,
so beautifully crafted,
yet none two identical,
in shape, size or character,
sailing down, leisurely,
in a silent chaos,
trying to speak to you.
And hitting the windscreen,
trying to reach you,
To whisper to you,
“How pure, soft, different are we.
But so short lived as individuals,
While so lasting when together.”

snowflakes2

Whatever IS will be WAS.


The above heading is a Buddhist saying by Monk Ñanamoli. The  in depth meaning of its essence could not be more powerfully conveyed than by an ancient  Buddhist ritual called dul-tson-kyil-khor ( Mandala of colored powders).

Sometime ago in search for an idea for silk painting I accidentally bumped into a beautiful  handmade creation, which in first hand looked like an intricate colorful geometrical design, called Sand Mandala.

As the name implies, it is a creation made from colored sand. Mandala means a palace. There is much more to it than the eyes can see.

From the Tibetan Buddhist tradition, this is not just a creation of a beautiful sand castle, but a spiritual journey, for which requires a great practice and meditation before embarking on it. Even during the creation , which usually requires 4 monks (bhikkus) who keep chanting hymns and focus all their minds and actions into its creation.

The sand mandala for them is a three dimensional Palace of Imagination in which they enter, and each dot, line, shape and color that they create in it stands for a specific aspect of Buddhist Philosophy. There are many types of Mandalas, and each stand for a unique symbol.

The creation has to be accurate, and the work  between the 4 creators, working on each quadrant,  has to be well coordinated.

Billions of grains of colored sand powder are carefully and accurately placed in its specific location, using two copper conical pipes called chapku, which are gently tapped over the other, to release controlled amount of sand.

The colors for the painting are usually made with naturally colored sand, crushed gypsum (white), yellow ochre, red sandstone, charcoal, and a mixture of charcoal and gypsum (blue). Mixing red and black can make brown, red and white make pink. Other coloring agents include corn meal, flower pollen, or powdered roots and bark. In the ancient times they used colored dust from the lapiz lazulli, emerald, ruby, and corals and other precious stones to get colored dust powder.

It takes from few days to few weeks to create a mandala.

However, the most mind boggling part arrives when the whole intricately built sand mandala is undone ( yes, you read it correct) from outside-in in a rotas wheel movement, never to exist again, by the very monks who created it. This metaphorically implies the impermanence of things.

The dust collected is immersed in a flowing water ( river nearby) symbolizing the transference of the energy of goodwill ( imparted to it during its creation)  and compassion, to the rest of the world. {The whole idea gave me shivers and goose bumps}

Hence, when even  at first look it appears to be an end of a creation, but in the real sense, nothing is ever destroyed forever, just that it is returned to the nature, to rejoin elements.

And this does happen to all animate and inanimate objects on earth, be they complicated  humans,  simple plants, soft clouds or  even lofty mountains.

When Buddha passed away, one of his disciples remarked:

Aniccaa vata sa”nkhaaraa — uppaada vaya dhammino
Uppajjitvaa nirujjhanti — tesa.m vuupasamo sukho.

Impermanent are all component things,
They arise and cease, that is their nature:
They come into being and pass away,
Release from them is bliss supreme.

It compels me to be reminded of Kabir’s doha:

Mati kahe kumar se tu kya rondey mohe,
Ik din aisa ayega main rondoonga tohe.
(The clay says to the Potter: What will you maul me, a day shall come, when I shall maul you).

Or yet in another doha he reminds:

Kaya nahin teri nahin teri,
Mat ker meri meri.
(This existence isn’t yours, don’t call it “It’s mine, it’s mine.”)

And of Bulleh Shah’s kaafi:

Na Kar Bandeya  
Meri Meri
Na Teri Na Meri
Char Dinan Da Mela
Duniya Fair Mitti Di Dheri.
(O people, why  be obsessed with me, mine. Its neither yours nor mine. Its for a while, then we all shall be but a pile of dust).

Indeed, “from dust we were born, and to dust we shall return.”.

Malala


Andhon ko unka chehra dikha diya hai Malala ney,
Jehad dar-asl kya hai, sikha diya hai Malala ney.

Jahalat sey hai jang, jata diya hai Malala ney,
Taleem  hai farz-e-momin, bata diya hai Malala ney

Soye huwe seenon ko jaga diya hai Malala ney,
 Khoye huwe iman se, mila diya hai Malala ney.

Payam-e-Amn duniya ko, suna diya hai Malala ney,
Her shakhs  ko Malala, bana diya hai Malala ney.

 

The blind have been shown their real face by Malala,
What is true struggle, has been taught to us by Malala.

The real fight is against ignorance, has been asserted by Malala.
Education is an obligatory duty of believers, is reminded, by Malala.

Apathetic hearts have been shaken awake  by Malala.
The lost message of faith  has been rediscovered by Malala.

The message of Peace to the world  has been conveyed by Malala,
Each one of us feels Malala, has been made possible by Malala.

 

 

Humbled these verses have been included in the anthology: Malala: The poems on Malala Yusufzai, released on the first anniversary of her tragic targetting on October 9, 2013.

https://www.goodreads.com/book/show/18405178-malala