shaheediyan

This is a beautiful shabad I learnt to sing recently in raag Asavari. It perfectly fits with the above theory re the white/pure Darbaar Sahib of old. If I could be allowed to expand a little further on the below tuk "ਜੈਸੇ ਅਲਿ ਕਮਲਾ ਬਿਨੁ ਰਹਿ ਨ ਸਕੈ ਤੈਸੇ ਮੋਹਿ ਹਰਿ ਬਿਨੁ ਰਹਨੁ ਨ ਜਾਈ ॥੧॥ jaisay al kamlaa bin reh na sakai taisay mohi har bin rahan na jaa-ee. ||1|| " This is such a deep and beautiful description given by Maharaj Guru Ram das Ji, completely in tune with our Guru Sahibans total understanding of their environment (and Universe to a greater extent). I feel my Guru is is describing us as the bumble bee, in search for that one thing that can truley fulfill our desire, enable us to understand our true nature and purpose in this clouded exitence, the bumble bee is at the stage of that man, who has identified his need and is captivated by the objective, and searches relentlessly, for that purity, which is the nectar found inside the externally pure Lotus flower. Man searches for Amrit and Naam the same way, our Guru Ghar is the Lotus flower, and Sri Guru Granth Sahib Ji is the nectar (amrit), you could take the view Sri Guru Granth Sahib Ji is the Lotus, and those who fathom the message, find the nectar... ਆਸਾਵਰੀ ਮਹਲਾ ੪ ॥ आसावरी महला ४ ॥ aasaavaree mehlaa 4. Aasaavaree, Fourth Mehl: ਮਾਈ ਮੋਰੋ ਪ੍ਰੀਤਮੁ ਰਾਮੁ ਬਤਾਵਹੁ ਰੀ ਮਾਈ ॥ maa-ee moro pareetam raam bataavhu ree maa-ee. O mother, my mother, tell me about my Beloved Lord. ਹਉ ਹਰਿ ਬਿਨੁ ਖਿਨੁ ਪਲੁ ਰਹਿ ਨ ਸਕਉ ਜੈਸੇ ਕਰਹਲੁ ਬੇਲਿ ਰੀਝਾਈ ॥੧॥ ਰਹਾਉ ॥ ha-o har bin khin pal reh na saka-o jaisay karhal bayl reejhaa-ee. ||1|| rahaa-o. Without the Lord, I cannot live for a moment, even an instant; I love Him, like the camel loves the vine. ||1||Pause|| ਹਮਰਾ ਮਨੁ ਬੈਰਾਗ ਬਿਰਕਤੁ ਭਇਓ ਹਰਿ ਦਰਸਨ ਮੀਤ ਕੈ ਤਾਈ ॥ hamraa man bairaag birkat bha-i-o har darsan meet kai taa-ee. My mind has become sad and distant, longing for the Blessed Vision of the Lord's Darshan, my Friend. ਜੈਸੇ ਅਲਿ ਕਮਲਾ ਬਿਨੁ ਰਹਿ ਨ ਸਕੈ ਤੈਸੇ ਮੋਹਿ ਹਰਿ ਬਿਨੁ ਰਹਨੁ ਨ ਜਾਈ ॥੧॥ jaisay al kamlaa bin reh na sakai taisay mohi har bin rahan na jaa-ee. ||1|| As the bumblebee cannot live without the lotus, I cannot live without the Lord. ||1|| ਰਾਖੁ ਸਰਣਿ ਜਗਦੀਸੁਰ ਪਿਆਰੇ ਮੋਹਿ ਸਰਧਾ ਪੂਰਿ ਹਰਿ ਗੁਸਾਈ ॥ raakh saran jagdeesur pi-aaray mohi sarDhaa poor har gusaa-ee. Keep me under Your Protection, O Beloved Master of the Universe; fulfill my faith, O Lord of the World. ਜਨ ਨਾਨਕ ਕੈ ਮਨਿ ਅਨਦੁ ਹੋਤ ਹੈ ਹਰਿ ਦਰਸਨੁ ਨਿਮਖ ਦਿਖਾਈ ॥੨॥੩੯॥੧੩॥੧੫॥੬੭॥ jan naanak kai man anad hot hai har darsan nimakh dikhaa-ee. ||2||39||13||15||67|| Servant Nanak's mind is filled with bliss, when he beholds the Blessed Vision of the Lord's Darshan, even for an instant. ||2||39||13||15||67||

Vaheguru ji ka Khalsa Vaheguru ji ki Fateh, Sangat Ji, Although no one has at yet had time to help me with my previous question (Anand Sahib Ji), I will ask another in any case! A friend told me that the reason Guru Ram Das Ji/Guru Arjun Dev Ji, decided on the colour white for Harmandhir Sahib, was to replicate a pure lotus in water - i.e. the sarovar filled to the top (on level with walkway) and then have Darbaar Sahib floating as a lotus in the middle, and not casuing the Sarovar to overflow. Obvioulsy this wasn't the only reason or even main reason for Darbaar Sahib. This seems a beautiful story, and fits with my understanding of our Guru Sahibans love for nature and drawing analogies from it. This must have been an ambrosial sight, with Guru Ji's beautiful bagh surrounding the Gurdwara Sahib... I personally am not the biggest fan of Ranjit Singh (Maharaj), for various reasons (not a discussion for this thread), and feel that probably all original Gurwarai may have been white in the holy days, for many reasons, i.e. beauty, simplicity, blend harmoniously in to the surroundings, reflect the brilliance (white light) of the truth residing within, psychologically appealing/welcoming to devotees visiting etc... In my opinion, even though Ranjit Singh did it out of love/glory/pride what have you, putting gold on to Darbaar Sahib was not a good action, with less money it could have easily have been restored to it's original design. Has anyone heard of or know the source of the above Lotus story?? Vaheguru

Veer ji, For a dhummalla, around 8-9 yards minimum, (with a 4 yard keski underneath), and for a modern turban, around 5-6 yards. Your green eyes are not so uncommon, some Punjabi Sikhs, and more Kashmiri Sikhs also have light coloured eyes (blue, grey, green etc)! I have quite a few relatives with light eyes. You've probably seen this already, but it's still a pretty good resource for those learning to tie a dhumalla ot turban. http://www.sikhnet.com/s/tyingturbans Other thing is make sure you ask for mal mal material, most shops try and rip you off and give you starch laced material that is harder and not flexible, mal mal is a really light, really soft material, pagri material comes with numbers, not sure of hte number for real mal mal. Mal is also kinder on your ears (if they protrude somewhat, like mine) whereas "normal modern" material may cut your ears if the pagri is tied to tightly. Best thing is to grab a Singh (literally) who's pagri you like and ask him to show you in a conveneient place! Good luck.

Veer Dynamic Ji, Aziz Mian's version does not really compare I'm afraid! http://www.musicindiaonline.com/music/qawwali/s/artist.403/ Enjoy many, many, many works of art from the Sufi maestro, Kirpa Karo is also here.

Come on veero, that's not nice, we are all Vaheguru's beautiful children, we shouldn't talk so lowly of others, esp those religious minded. Plus they the Sabri Bro's look more like Punjabi Folk/Bhangra singers than anything else (not saying that there is anything wrong with the way they look)!

Vaheguru ji ka Khalsa Vaheguru ji ki Fateh I am sure that amongst the blessed sangat of this forum there must be some kind veer/bhen-ji who can take a minute out to help... Dhanvaad

Also available here, but not sure if it may be overpriced? http://www.lotus4services.com/index.php?productID=1156

Thanks veer ji. Could you kindly provide a link to the relevent section on the website, as I am having trouble finding the steek. Dhanvaad.

Yes, this is really nice. I have the album, if anyone is interested it is called Rang-E-Bullehshah (Nupur). It also includes "Behad Ramzan Dassda Mera, Gal Ik Nukte Wich Mukdi Ae and Ghunghat Chuk O Sajan". No one presents these, like Ustad Nusrat Ji! I would also recommend Soul of Sufi Music (Sony), and my personal favourite "Kirpa Karo Maharaj" - raag mishra kafi, so beautiful... Vaheguru

Veer Fateh Singh Ji, Thank you. Could you please prove me with the page reference for the information you quoted (Suraj Parkash) and if possible, a short translation or original quote, I do not have access to the granth, so your help would be very much appreciated. Dhanvaad

Dear Veer Chinderpal Singh Ji, With all due respect, what is the difference between Puratan Style and kirtan as per Guru Ji's kirtan maryada - Nirdaareth Raag? As far as I was aware they were one and the same? Of all the contentious issues existing in the panth and it's many faces today, kirtan maryada is one, that no one can pull apart - for it forms the basis/spine of Sri Guru Granth Sahib Ji. Each shabad (par the begining and end of Maharaj) has Guru Ji's kirtan presentation authority stamped and authorised - RAAMKALI - Mahala 3. It can not be any clearer than that. We have other kirtan maryada rules i.e. ghar (guest microtone), partaal (variable rythm), poetic style, south indian style, folk style etc... You say there are many raagi, there probably are, but there are only a handful of raagi that do not bend to sangat trends, and strictly ardhere to only "TITLE" raag. There is no honour in presenting Guru Ji's shabad whic is meant to be in Sri (serious, truth invoking emotion) in any other emotion, it takes away the essence, the voice, the tone of Guru Ji's voice, even thought the words are still there. There are many different ways and interpretations of expressing one word. Vaheguru

Vaheguru ji ka Khalsa Vaheguru ji ki Fateh, When veers like Gurpreet Singh Ji have a problem, they should either have the courage to approach those they accuse themselves, or do proper research, think out a resolution and then approach mature individuals who can assess his response and maybe help to the resolution through to fruition. I have seen and responded to similar ill thought posts on another forum, so will will simply post my response here also, most of which is valid here also: To reiterate, there is nothing wrong with looking after the sanctity of Gurbani, in fact it us our duty, but this can be done politely, diplomatically, intelligently and productively. I have spoken to a close associate of Bhai Baljeet Singh Ji, they have advised the following facts which with their permission, I feel need to be shared and known to ascertain the facts and complexity of the situation, I only ask and do benti, to please not turn this into a Namdhari bashing post, that is not the issue here, Namdhari have their own version of beliefs which vary in some ways to the mainstream (mainly "Guru" Granth Sahib), but at the same time hold on to many puratan Sikh traditions, such as low cost weddings, simplicity in life and appearance, importance of education and a more puratan NITNEM, similar to Budda Daal (in my opinion, so need to discuss or argue re this), we must concentrate on the problem and solution, and not be fanatical or narrow minded, it's a big world, diversity is created by Guru, and many Namdhari have sharda, nimrata and gun, that lack in the mainstream, if there is a difference in belief today, it may not be there tomorrow, if amicable relations are kept, Satguru will do kirpa and bring the panth together one day: 1 - Namdhari's (namely Namdhari Guru Jagjit Singh Ji) believe that Sri Guru Granth Sahib Ji contains some mistakes (not sure of how many), one of them being the Phare and Pahire issue being discussed here. 2 - As one of myveers pointed out earlier, this is a question of santhia, and Bhai Baljeet Singh Ji are simply holding true to their schooling. 3 - Bhai Baljeet Singh Ji does not have an agenda, he has made many personal adjustments in terms of being respectful to the panthic traditions and beliefs i.e. matthaa takana, giving Fateh etc... I personally believe these are massive steps for any Namdhari to take, as they are contradictory to their beliefs, this shows Bhai Sahib has an open mind and is not fanatical, he does not look uncomfortabel either, which tells me he is genuine. 4 - His associate who is a highly educated Gursikh (non-Namdhari), is very close to Bhai Sahib, and has utmost respect for Bhai Sahib - who has never promoted /propogated his own beliefs and has always been open to happily teaching non-Namdhari students without discrimination. 5 - Bhai Sahib has performed Asa di Vaar on various occassions where non-Namdhari students have respectfully and rightfully sounded out correctly, those tuks where they know Namdhari views differ, Bhai Sahib has respected this fact and not challenged anyone. 6 - I feel Bhai Sahib has and is taken a huge step to remove boundaries, there should not be a fear that the Panth will be changed, there are to many educated (and fanatical) Sikhs for that to happen. 7 - I think we should welcome any person who is making a concious effort to work with and help the panth, and then in an EDUCATED and loving manner, educate them. It is this loving education of Guru Gobind Singh Ji's true sons, that has already allowed Bhai Sahib to bow to Sri Guru Granth Sahib ji and balaa Guru ji's Fateh. 8 - People who know Bhai Sahib talk highly of their persona, generosity and humility, which is a lot more than can be said for many Panthic raagi's/kirtanis performing and committing misdeeds around the world, without any questioning. 9 - MOST IMPORTANTLY, nothing is more sacred than Maharaj and their sanctity, I only wished to establish the facts before people started going off on unconsidered tangents. I do not think the Ram Rai issue is comparabel here, as Ram Rai knew exatcly what he was doing and what he was doing was worng, his Guru and father was Satguru. Bhai Sahib is simply doing what is the truth beknown to them, as probably taught by their Namdhari Guru, that is their education, whatever any person in this world is exposed to, taught or learns they hold true, so we cannot use this comparison. 10 - My veer is looking to have discussions with Bhai Sahib next week, this is happening on an on-going basis, many things have changed and with Vaheguru's kirpa will continue to change. In the mean time, it is the responsibilty of educated sangat, and more so the business minded Guru Ghar staff, to ask Bhai Sahib politely to adhere to and if possible explain what the panthic santhia is. We should leave our arms open for all, when the day comes when those in dilema, need to find a new truth, we should ensure that relations are such that they will come to their true home first. Vaheguru

Bhai Sahib, They say Baba Nanak in ancient times was Raja Janak. When Sukhdev, son of Byas Rakhisar, came to him in order to learn the way to reach the truth, he found the Raja sitting with one foot thrown into fire. The people, mounted and on foot and in ranks, and the deputies and ministers, were engaged in transacting affairs of state, elephants and horses passed in review. Sukhdev felt that such a spiritually perfect man should not be tied up with, and interested in, worldy affairs. The Raja, who posessed the knowledge of peoples hearts, discovered what thoughts were passing through Sukhdev's mind and with his power created the illusion of fire breaking out in the houses and ultimately fully destroying the horses and palaces. The Raja heard and saw all of it but paid absolutely no attention to it, til the fire reached the place where the Raja and Sukhdev themselves were. The Raja did not even look at it. Sukhdev had with him a wooden vessal for water, which they called Karmandal. It now caught fire. Sukhdev involuntarily jumped from his place and got hold of the Karmandal, to put out the fire. The Raja laughed and said to Sukhdev 'All these goods and valuables and such things that I had were destroyed, and my heart showed no attachment to them. They were thus destroyed, and I felt no sorrow. And you, just for the sake of the Karmadal, jumped up from your place. Who, now, has his heart tied to worldly things?' Sukhdev, hearing this, repented his own ill condition. This story has been heard from the Sikhs of Guru Nanak. In the Jog Basisht, which is one of the authoritative books of the Hindu's, the story is recorded in the following manner, story ommitted in this translation. To this point we have followed the account of Raja Janak as given in the Jog Basisht. Hope thats ok. Vaheguru

Vaheguru ji ka Khalsa Vaheguru ji ki Fateh, A benti to the more senior/resourceful members of the forum, could you kindly help with this request please; Could you kindly provide any sources (references/scans) of where the Anand Sahib Ji has been mentioned in purtan texts/hukumnamai. In particular, with reference to Vasakhi 1699, NITNEM and ending kirtan divans. I am trying to establish from where the trend of 6 pauri Anand Sahib Ji 1st started. I have heard various theories and references but have not the resources to pin them down i.e. 6 Pauris may have started during the early Sikh Regiment recruitment campaigns where it was compulsory for all non-Khalsa initiates to first take Amrit before joining the Unit, and the British suggested the shortened version to speed up the process. Also, it may have been a decision made by the "SGPC/Tat Khalsa?Singh Sabha "intellectuals" upon re-assessing and re-drawing Sikh practices. I have heard that puratan sources give 2 mentions re Anand Sahib being read in 1699, one mention is of the 1st 5 paurian, the second, of just the Anand Sahib (implying complete), but I do not have the reference for these. If any veer/bhen has these references, I would be indebted if they could scan and post them for me. Dhanvaad Vaheguru

Bhai Tirath Singh Ji, Thank you very much for sharing.

An English translation of Bandadir written by the emiminet poet Rabindranath Tagore in the early 1900’s. This poem was originally written in Bengali. In the prominent royal Mogul court of Delhi King's sleep will break-up hundred times daily There was such a dreadful fright in his heart In his consciousness painful sighs were brought What fire scorched his heart no one knows All of a sudden he was jumping in fiery blows It appeared like red hot sky from the Delhi court King's heart shaking, seeking Godly support Rivers of blood were flowing on the five rivers' land Sikhs were facing persecutions for some ideal ground Smeared in blood, they were saying thanks in gratitude Patiently, regardless of comforts, they were in solitude They crossed their way with the Moguls might With faithful heart they remembered God in sight Maiden decorated with mark of blood, their foreheads What sort of people are Sikhs, with such eagerness They move like moth, looking at burning all around Without delay they line up ready to fight duty bound They play jokes with death, and like lions they roar Wherever they stare and rebuke, enemy is no more Brave warriors jumped in fray with hand to hand attack They quickly hawk assaulting caught the deadly foe Like flying hawk assaulting a deadly poisonous snake Squeezing them in his claws from tip to toe Innumerable was the enemy army, Sikhs were very few They were surrounded in chains and were put in queue Clothes soaked in blood, bodies full of wounds and bruises Intestines fall in tummy but they had faith and confidence The enemy was battered by the dashing Banda Singh sage Moguls fought back and tied him like brave lion in cage Surrounded him from all the sides and imprisoned the hero chum Then they moved towards Delhi, on the beat of kettle-drum The Mogul army departed towards the Capital of Delhi city They moved like hurricane, without stopping or any pity Seven hundred Sikhs were imprisoned and curled-up in chains It was a disgusting sight, an extraordinary incident, full of pains On every pointed spear, the head of Sikh was hanging Streams of blood dripping, the sight will give a panging Sikh prisoners shackled in chains, shouted this voice of cry O! our true saviour preserve thy honour, don't let panth shy Spectators gathered in the heart of Delhi's Chandni Chowk This caravan of Sikhs was quite out of strength and in shock Outside they were dull and defeated, inside enjoying thrill Greeting loudly the victory of Guru and obedient to His will The onlookers revealed an extraordinary and peculiar tale The prisoners started argument as no body wanted to fail Everybody wanted to be first in their turn to meet the fate All wanted to meet the Beloved, Gobind through life's gate The wheel of death started, the murderers were on assault An applause was echoed, whenever the sword was at fault The Sikhs were being butchered, going forward for sacrifice It was game of seven days for seven hundred heroes nice Chief Banda Singh was in the clutches of destiny or fate Next they brought forward to kill his little son ever so great The Kazi passed on to banda Singh the killer sword grand He ordered to cut his son's head as it was royal command Sons are symbols of worldliness for formality in social affairs If someone rebukes them one feels like to pull his hairs What sort of test in life, to kill one's own son, was shaping The thing one can't even imagine, the same was happening Banda first picked his son and loved and caressed him Then he tried to explain the role and character of Sikhism Prince Fateh and Jujhar Singh were also children like you Now in the test time and what they achieved you can also do Greeting the victory loudly, the little son was revitalized If life goes, the custom of Sikhism is, let it be sacrificed For holder of righteousness definite victory will be at last His love won't be wasted, he meets the Beleoved very fast The Kazi became angry as he could not bear the splendour The executioner attacked the child and he started to flutter Even then this strange trick of destiny could not succeed Plump intestines jumping softly, the earth was red indeed It is written in the history that Banda remaned unmoved In his mouth soft plump heart of slayed child was forced In this hard probation Banda remained unshaken, steady The history will cry when going through its own study It was such a dreadful scene that onlookers could not spy Snatching with pincers first they took out his both eyes Iron bars were made red hot to burn his body limbs ready The Sikh greeted the victory loudly and soul left the body The Sky echoed with kettle-drum beat, banner flying like kite Once a hero takes a battlefield, he is eager to show his might A true warrior is one, who fights for sake of humble and meek He might cut into the pieces, but to leave battlefield will never seek

Tagore and the Sikhs by Amalendu Bose -- ------------------------------------------------------------------------------ An English translation of Bandadir is provided in the related link to this article. Rabindranath Tagore was granted Knighthood by the British Government, which he renounced in protest of the British massacre of peaceful protesters at Jallianwala Bagh on April 13, 1919. --Editor This is a re-print of the Quin-centenary tribute to Guru Nanak Devji from one of the most celebrated scholars of Bengal, the late professor Amalendu Kumar Bose of Calcutta University. --Editor, The Sikh Review. When I stand here to pay my humble and reverence-laden homage to the glorious child of God, Guru Nanak, whose holy birth - over five hundred years ago - brought solace, joy, purity, strength to millions of people down the corridors of history, I seek your permission to bring to your notice the deep impact produced by the Guru’s astonishing personality, and by certain memorable events of Sikh history, upon the mind and art of Rabindranath Tagore and, through his poetry, upon the thinking of generations of Bangalees. We cannot contain the waters of the seven seas in the tea-cup: we cannot see all of the rounded sky through a pipe-hole; we cannot limit the universalist meaning of the great Guru to the narrow angles of particular incidents or values. His greatness is transcendental, all-encompassing, timeless. But it is precisely this all-encompassing and transcendental quality of the Guru’s personality that comes home to us when we consider how the creative imagination of a great modern poet blossomed forth in response to the Guru’s teachings. Bengal is about a thousand miles far from Guru Nanak’s homeland. But what are a thousand miles to the universalist Spirit of one who traveled thousands and thousands of miles, north and south, west and east, the east including Bengal and Assam? Four hundred years after the Guru’s birth, a distinguished Bangalee, a man of deeply religious sensibilities, the poet Tagore’s venerable father, Maharshi Devendranath Tagore, a leader of the Brahmo Samaj, went year after year to the Golden Temple of Amritsar in quest of joy and Truth. We learn from the poet’s autobiography that for some years, the Maharshi’s personal attendant was a fine-featured young Sikh, named Lehnu who accompanied his employer to Calcutta. A boy of barely ten, the poet became attached to this Sikh youth and entertained him by exhibiting his toy ship that could gently roll, right and left, in tune with a toy organ. Shortly, after his upanayan, the shaven-headed Rabindranath, barely eleven, accompanied his father to Dalhousie, halting for a month in Amritsar. Let me quote here from the poet’s autobiography: The Gurdwara of Amritsar I remember as a dream. Many were the mornings when I went to the Sikh temple set within a tank. Bhajan was incessant there. Seated in the midst of the Sikh worshippers there, my father would join them in songs and they would greet him with pleased cordiality. The poet further says that his father would often invite one or another of the Bhajan singers of the Temple to his house and sing songs. The recollection of this boyhood experience remained with the poet till his last days. Even as a teen-aged person, he rendered into Bengali several hymns from the Japuji and some of these are, I understand from a scholarly Brahmo friend of mine, still sung at the Sunday prayers of the Samaj. It is my belief that the pure monotheism of the Japuji songs appealed deeply to the monotheistic mind of the youthful Brahmo, the poet Tagore, and further, the Guru’s beautiful exhortations of his followers to abjure all that is false and narrow and fissiparous, and to imbibe all that is true and comprehensive and unifying, and especially the constant tone of absolute surrender to the One Deity, are the qualities, among others, of the Japuji songs that won the poet’s heart. I may be permitted here to quote just two of these songs (as rendered into English by my young friend, Purshottam Lal): Hundreds of thousands! Of earth, of skies, Of skies upon skies! Hundreds of thousands: They cannot be counted: This is the one truth of the Vedas. Ask the Kateba! Eighteen thousand worlds! Eighteen thousand, but the source is one! Count them if you like! You will die before they end. He is great, says Nanak. He knows. Himself by Himself. ~ The Japuji, Fourteen Religious Songs, by Purshottam Lal. Like rivers rushing into seas, Not knowing where they go, They praise You, O Lord, Without knowing who you are. O King, O my Kind of Kings, All the oceans, All the mountains, All treasures, all power All like nothing, nothing Compared even to an ant Who has You in his heart. ~ (Ibid.) What makes these songs great poetry is the white radiance and purity of their emotion, absolutely untrammeled by the pettifogging dogmas of conventional theology. Here is palpably a man of God who has felt and known and whose feeling and knowledge well up in spontaneous words. I have found that the impact of such devotional poetry-especially the songs of Nanak, Kabir and the peregrinating bauls of Bengal-on Tagore’s own devotional poetry - is considerable. Tagore’s reverence for Guru Nanak was constant and I find passing references to the Guru in numerous places in his prose. In his middle period, he wrote a series of essays on Guru Nanak, Guru Gobind Singh, and the Sikhs in general. These essays are not learned treatises, they were not meant to be so; they are written in a remarkably simple and direct prose style for the edification of Bengalee children. You will remember that a hundred years ago, our school texts in history played down, for reasons of obvious political expediency, the teachings of the Sikhs. Tagore, therefore, sought to redress this imbalance by writing simple narrative accounts of the Guru and his followers, bringing their significance into luminous focus. And this has been of inestimable service to the growth of interest in Bengal in the Guru and his followers. There have been distinguished scholars among the Bangalees who have made important contributions to the history of the Sikhs but none, I can assure you, has rivaled these simple accounts of Tagore, both in prose and verse, in the matter of imparting a basic knowledge and understanding of the Sikhs to Bengalee children for the last several decades. One of these essays reads like a story, though it is scrupulously fact-based. It tells of the strange son of Kalu of Talwandi, the boy Nanak who preferred God’s name to the gold that his father expected him to earn as a trader in salt. It tells of the Guru’s disciples, Mardana, Lehna, Bala Sindhu and Ramdas. It tells of his wide wanderings and that profound reply that he gave to some Muslims in Mecca when they objected to his stretching his legs in the direction of the Kabah - that they might be pleased to turn his legs to any direction where God is not; Tagore in the last paragraph of this essay tells his yong readers: "The Sikhs whom you see around you today, men of sturdy build, handsome countenance, tough strength and unflinching courage, are the sishyas (disciples) of Baba Nanak. There were no Sikhs before Nanak. It was his noble personality and sublime spirituality that brought this race into existence. It is through his teachings that their temper is fearless, they keep their heads erect, and their character and countenance are brightened with magnanimity." Tagore expects our children to proceed from the effect to the cause, to some understanding of the Guru’s greatness from the admirable qualities, both racial and individual, of the followers who derive their strength from him. In illustration of this belief, that it is because of the purity and power of the source that the fruits are valuable too. Tagore wrote a number of poems that rank among his finest compositions and are known to every Bengalee, man and women, who has had some school education. In 1900 were published two volumes of ballads and narratives which are now combined in a single volume entitled Katha-O-Kahini (Tales and Legends). Some of these poems are based on Buddhist legends, some on Todd’s Rajasthan, and some on Sikhs history - one around Banda, another around Taru Singh, two others concern Guru Gobind Singh. I myself admire most the last two poems, for their rare depth of understanding of Guru Gobind’s self-exploration and moral strength during two crises of his life; but the poem on Banda, with its stirring metre and diction, is a must for every school function or social get-together where poems are recited; there are lines in this poem that Bangalee revolutionaries for half a century have uttered while jumping into the fray of life and death. To give my audience here some idea of the quality of the content of the poem, I propose to offer a rendering of some of its portions in my hesitant English prose. The title of the poem is “The Chained Hero,†Bandi Veer, bandi meaning a prisoner, but, I hope, my audience here will recognize the subtle sonal affinity between bandi and the hero’s name Banda The poem goes somewhat thus: "On the banks of the five rivers, inspired by their Guru’s mantra, hair tied up on head, the Sikhs wake up as a unified people, fearless and dauntless. All around, a thousand voices cry, Jai Guruji. Sikhs turn their gaze towards a new dawn. Alakh Niranjan, they cry, and that tremendous cry breaks down all fear, all inhibition, and their glad swords rattle next to their bodies. Alakh Niranjan, cries the Punjab on this day. "By the banks of the five rivers, this is a day when million hearts know no fear or care, when life and death are twin slaves at their feet. "By the banks of the five rivers, are the veins of blood now liberated in the bodies of a million bhaktas. And do their souls, like free birds, fly up to their nests? These heroes put the mark of blood on the forehead of their motherland. Locked in the embrace of a fight to the finish, Sikh and Mogul tighten their grips on each other’s throats; the bitten eagle struggles against the serpent. In that deadly battle, the Sikh hero cries in resonant voice ‘Jai Guruji’ and the blood-smeared faith-intoxicated Mogul repeats Deen, Deen. (Banda is taken prisoner in the fort of Gurdaspur and is removed to Delhi) "At the head of the procession, Mogul soldiers march through the dust that they raise, carrying severed heads of Sikhs struck on the pointed end of their spears; seven hundred Sikhs march behind, their chains tinkle but, heedless of the danger to their lives, they still cry, ‘Jai Guruji.’ "When in Delhi they are to be beheaded, there is rivalry among these prisoners as to who will precede the others in laying down his life. At the day’s end, a hundred brave men cry, ‘Jai Guruji’ and part with their heads. "When in a weeks time, seven hundred men have been beheaded, the Kazi placed a small son of Banda in the father’s arms, and says, the father must kill the son. Without a word, Banda hugs his child for a moment, puts his hand on the child’s head and kisses his crimson turban. Then he draws out his dagger from the sheath and says, "Fear not, my son, say "Jai Guruji". “Jai Guruji, I have no fear,†comes the clear voice of the child’s neck and bends his left arm around the child’s neck and with the right hand plunges the dagger deep into the small body. “Jai Guruji†cries the child before his body rolls on the ground. "Stillness descends on the congregation in the court. The executioner begins to tear off flesh from Banda’s body with hot pincers. Motionless stands the hero, dying without a single exclamation of pain." I doubt if there are many comparably stirring poems in many languages, and though I regret that it is beyond my capacity to render the tremendous power of the rhythm and imagery of the original, I think the incident itself is powerful enough to enter deep into the reader’s sensibility. By contrast, the poem on Taru Singh is a brief, piece of only sixteen lines. It goes thus: "The ground in Shahidganj became red with the blood of Sikhs taken prisoners in war and then slaughtered. Then the Nawab said, "Listen, Taru Singh, I wish to pardon you." "Why should you neglect me?" asked Taru Singh. Said the Nawab, "You are a brave man, I can’t be angry with you. I shall let you off. My only request is that you will cut off your hair plait and leave it with me." Taru Singh replied." I am so beholden for your kindness that, in return, I had better make a gift of my head along with the plait." This is the poem, taut and terse in its verbal economy, offering us quick glimpses of the explosive passion that lies underneath the courteous exchange of compliments. And in Taru Singh we behold one who is more than an individual Sikh hero; we behold one who is also a symbol of his race, a symbol of his faith. A parallel story occurs in one of the poems in Sesh Saptak (The Last Gamut) belonging to the final phase of the poet. This is once again the story of the siege of the Gurdaspur fort. The Badshah’s Lieutenants have planned to starve the handful of besieged Sikhs fighting under Banda Singh; all communication between the fort and the world outside has been snapped; the besieged soldiers are reduced to eating powdered barks and branches of trees and raw meat (if any meat be available). This infernal privation comes to an end when, after eight months, the fort falls; soldiers in chains shout, “Victory to the Guru†and day after day, severed Sikh heads roll on the ground. The poet now turns the focus on to a teen-aged young man, Nihal Singh, one of the chained soldiers. His is a fresh, serene countenance lit by an inner light; in his eyes are congealed the morning song of pilgrims; it is as if some divine sculptor had carved out his eighteen-year old body; he stands like a young cypress plant, straight but lissome and an exuberant vitality almost overflows his body and mind. His hands bound, he is brought to the court of the victors, the executioner is ready with his sword. At this moment a letter arrives from the capital conveying Syed Abdulla Khan’s order that the young man is to be set free. When they unloose the chains, Nihal asks why there should be such an order for him. He hears that his widowed mother has informed the authorities that her son is not a Sikh, that he has been forced by the Sikh to join them. The young man’s face is flushed in shame and grief, and he cries. "I do not care for my life in exchange for falsehood, in truth is my final liberation, I am a Sikh." - This too is a great poem in which Tagore has abandoned metre and rhyme, as he did in most of his later poetry. As if he challenges the reader to see if the stark prose rhythm cannot adequately convey the character of the incident - its dramatic development, the grim background against which stands Nihal Singh, the sharp contrast between his youthful vitality and its destruction in the offering, and, above all, his unflickering adherence to Truth which is the cardinal meaning of his faith. Of the two poems on Guru Gobind Singh, Shesh Siksha (The Last Lesson) tells the story of how the Guru had, once in sudden anger, killed a Pathan creditor; how, to atone for this act, he brought up the Pathan’s son, treating him as a son, and how the young Pathan became deeply devoted to the Master; how the Guru tried to arouse the young man’s vengeance but failed once, and how eventually the Pathan was made to fly into a rage and to plunge a dagger into the Master’s body; and how the dying Guru said, ?My son, this is my last lesson for you, you must take revenge for a wrong done.? This too is a great poem bringing out the Guru’s complex personality but the other poem, entitled Guru Gobind is, to my mind, the greatest of this group, great because of the rhythm and imagery, great because of the excruciating psychological self-exploration of the Guru during years of solitude. A man of action and organisation, Guru Gobind has been passing his days in contemplation, in an endeavor to attain to that spiritual fullness which alone should entitle him to the difficult role of leadership of his people. A humanist rather than an ascetic, his heart yearns for life in the midst of multitudes; he wakes up in his sleep dreaming of calls from his people; his sword in the scabbard wriggles like a living thing as he watches the restlessness of his followers. Ah, what a joy it would be to throw himself in the midst of a crowd, breaking and making kingdoms, destroying tyrants, catching hold of fate as if it were a disobedient horse, riding through millions, leaving behind indelible footprints on flame-crimsoned grounds, always jumping across death on to life. Sometimes it is a dark night and sometimes it is a shiny day, once the sky above is thunder-laden, torn asunder by a relentless and insane storm. But, heedless, the Guru sends his call to his followers, "Come ye all to me as the waters of the five rivers flow into the sea; come ye my bhakats and raise your intoxicated cry across the length and breadth of Punjab." The Guru’s voice penetrates the remotest nooks of jungles lest there should be some timid one hiding there. As he advances, his followers swell in number, Brahmin and Jat abandoning caste consciousness, ready to lay down their lives - But these are visions of the future that cannot be worked out yet. Now he has to control his passionate natural humanistic desires, now he must ponder and thoroughly examine himself until he can say to all: "I have no more doubts and hesitations, I have learnt what truth is, I have found my path and all obstacles, including life and death, cleared off from my course. A voice within tells me to stand up in the effulgence of my truth. I call ye, my followers, to come to me, let in your Guru’s life your own lives be enriched." But all this is yet to be, and the Guru hardens himself to more days of strenuous self-examination. He must be like a lamp steadfast amid darkness, emitting its light in a stormy world. And therefore Guru Govind asks his followers Sahu, Lehari and Ramdas to leave him alone with his unremitting self-preparation. - This is a poem containing over half-a-dozen stanzas that are memorized by every Bengalee young man worth his salt; these offer us the crystallized essence of a resolute and courageous Gospel of Action. In his prose and poetry, Tagore brings out some of the essential features of the Sikh character, especially the militant features. But these militant features acquire an unparalleled purity and nobility by virtue of their never-dimmed relation to their faith. For though changing times have necessarily brought about some modification or other in the social organisation of the Sikhs, there has never been a deviation from the Primal Spirit of their faith which they received from that incomparable man of God, Guru Nanak. I submit to this learned audience the view that a remarkably inspiring direction to that Primal Spirit has been indicated by Rabindranath Tagore in his poems, prose, essays, and in his devotional songs, a direction for which we in the eastern regions of our country are deeply indebted to him.

Bhai Tirath Singh Ji, Thank you for acknowledging the metaphoric aspect - I haven't as yet figured out if it is healthier for people to read bani as is or metaphorically, maybe there is room for both, and it is meant to be seen in both ways depending on the person, so long as the point is made I suppose it doesn't matter, it just annoys me some times when I hear people focusing on the details of the story, rather than the point of the story. I agree with everything you say, and particularly like your description of Avataars and Brahm-Gyanis. But what I would like to hear, is your opinion on whether or not the holy personalities I mentioned are Avataars or not. I know this question is seemingly shallow, and I also understand the greater point you have made, but am interested (if you are ok to share) in your view none the less. All faiths believe their path is nirmal. On another shallow point, I cannot bring myself to believe that India has the monopoly on Avataars (sorry don't mean to sound rude). Although some people like yourself can see above this, for the majority, things like this cause divides and hankaar (which maybe they are meant to). Lastly, on Avataar's, another question - using the above definition of an Avataar (self realised atma), Guru Nanak Dev Ji is an Avataar. But where does that leave Guru Ji's 9 Mahallai? The difference I take it between a Brahmgyani is that they are not born one where as an Avataar is. So If Guru Angad Ji recieved Nirgun Jyot at a specified time, then can they be Avataar, if so, then what were they before hand? That leads on to the last question, what is jagdi jyot? Is it a physical transfer of spirit or was it the transfer of the light of divine knowledge (Brahm-gyan) which reached it's final form in Sri Guru Granth Sahib Ji Maharaj? Sincere apologies for these further questions fom a tiny mind, I am genuinly interested in your opinion. Bhai Mekhane'ch Jannat Ji, I agree, thank you.

Vaheguru ji ka Khalsa Vaheguru ji ki Fateh, Beautiful, simple and very humble updesh. I loved the analogy of those who try and fight the dark/night! Would be really nice to see the rest of them. Dhan-vaadh.

Bhai Tirath Singh Ji, First of all I would like to thank you for your great seva on translating Bhav-ras-amrit, it has wonderful commentry, provides a rare insight into older Sikh traditions and provides explanation of misunderstood concepts (as in your post above). Could you kindly answer a few questions for me Bhai Sahib (please forgive my ignorence): 1 - Is it possible to say (or is it known) the chronological time periods of the 4 yugs. (with source i.e. ? purana) 2 - Are these 4 yugs also known/acknowledged in any other world culture? 3 - How do the likes of the respected Prophet Mohammed, Jesus Christ, Abraham, Siddhartha Gautama, Zoroaster and Confucius fit into the yugs, and how do these divine personalities differ from Guru Nanak Dev Ji Mahahraj in terms of their role and being? 4 - Sri Guru Granth Sahib Ji is a truth for the old age and the new, for east and west, for Hindu and Muslim (and all other unmentioned variants of the aforementioned), so uses metaphors in relation to the common and most respected belief systems of the the time, in order to explain the truth in a truely universal context (reach out to all audiences). How do we differenciate between metaphor and fact? e.g. reincarnation, heaven and hell, angels and demons, numerous holy rituals... Dhanvaad

Nanaksar Tath Isher Darbaar (Baba Amar Singh), does not request celibacy from sevadaars. Many of the main sevadaar from this Gurdwara are happily married with children (Baba Ji finding them suitable wives) , whilst still being full time sevadaars. There are more than a few splinter groups of Baba Nand Singh Ji's/Baba Isher Singh Ji's movement, so one needs to be careful not to group them together, when refereing to Nanaksar. The celibacy as far as I am aware is a personal choice, and one which usually only the leaders/sants/Baba's/Jathedaars etc decide to take to enable them to focus on their spiritual objectives without any attachment/distraction (in the way of their Nirmala inspired roots).

Ask your parents to find you a girl. If no luck there, approach Gursikh elders and Gurdwara, many mantain lists of prospective girls/boys from respectful Gursikh families. Please remember Guru Gobind Singh Ji has commanded; other than your wife, you are supposed to view and treat all women (not just Sikh) as your mother, sister or daughter according to age. It makes for a trouble free life. Vaheguru

Kam Ji, Whom do I send a pm to?

Dhanvaad. Does anyone have Bhai Tirath Singh Nirmala Ji's e-mail address. if it cannot be displayed here, please e-mail it to me at shaheed@khalsa.com I would like to learn some things from Bhai Sahib and have some questions regarding his excellent commentry of Bhavrasamrit. Vaheguru

Rumi Sahib... Wow, truely amazing. What a universal and all embracing personality. True inspiration. The meanings behind the dervishes holy dance also seem very deep. But I take it this is just a small part of Sufism, devotional singing is also a different expression of the same beliefs I think i.e. Ustaad Nusret Fateh Ali Khan Ji. Did Sufism start from Rumi Sahib, or had it existed in a known context before hand, just interested as it may be Bhai Mardana Ji was influenced by these teachings... Definately got a taste to learn more re Sufism, it seems to be drowned in raag Suhi as expressed by our Guru sahibaan.... Vaheguru