Nirgun bhajan (spritual song) by kabir

Sunta hai guru gyani Gagan me awaaz ho rahi hai jheeni jheeni Sunta hai guru gyani Paahi liyaye Naad bindu se peechhe jamaya paani ho ji Sab ghat puran guru rahya hai Alakh purush nirvaani ho ji Sunta hai guru gyani Vahaa se aaya pata likhaya Trushna toone bujhai Amrut chhod chhod vishay ko dhaave hol de phaans phansaani ho ji Sunta hai guru gyani Gagan mandal mein koi !oi pe dahi jamaya "akhan makhan santon ne khaya #hhar jagat babarani ho ji Sunta hai guru gyani !in dharti ek ma daal deeje !in taruvar joo paani re Gagan mandal me hoye ujiyala !ol guru$mukh baani ho ji Sunta hai guru gyani %ham soham baja baje Tipu ki tham suhani re &da pingala sukhman nari Sunatha ja behrani ho ji Sunta hai guru gyani ahe abir suno bhai saadho 'aag agam ke baani re (in bhar re jo nazar bhar dekhe Ajar amar ho nishani ho ji Sunta hai guru gyani Gagan me awaaz ho rahi hai jheeni jheeni Sunta hai guru gyani

)* +irana +irana, samajh bujh ban charana -k ban charana, duje ban charana Tije ban pag nahi dharana Tije banmein panch paradhi .nake najar nahi padana Panch hirana, pachis hirani .nmein ek chatur na Toye mar tero mans bikave Tere khalka karenge bichona ahe abira ji suno bhai sadho Guruke charan chit dharana .sing the metaphor o/ predator and prey abir speaks about the virtues o/ wisdom, spiritualism and the vice o/ temptation* (escribing man as i/ it is a deer, abir calls the three areas as di//erent /orests* 0or the deer the /irst two, i* e* wisdom and spirituality, are sa/e* The third area, i* e* o/ temptations, is dangerous and that it is likely to be preyed upon there* &t is all illusion, deception there* 0ive predators 1 /aculties recognised by the sensory organs 1 occupy that area and it makes the man /orget the inner sel/* Salvation is a process o/ securing onesel/ /rom these predators and this re2uires a true Guru* 3* .d jayega hans akela .d jayega hans akela, jag darshan ka mela 'aise pat gire taruvarake, milana bahut duhela Na janu kidhar girega, lagya pavan ke rela 'ab hove umar puri, jab chitega hukum hujuri 'am ke dut bade majabut, jamase pada jhamela (as abir +arake Gun gave, bahar ko par na pave Guruki karani Guru jayega, cheleki karani chela &n this bhajan, abir speaks about the loneliness o/ the atma 4sel/5, the mere$spectacle$ nature o/ the world, and the attributes o/ the 6ord* #alling the atma symbolically a swan abir says it will /ly all alone* As a /alling lea/ o/ a tree gets a stroke o/ wind nobody will know where it will /all* Same is with the li/e o/ the sel/* According to abir, in the con/lict with the (eath the man has no chances o/ winning* The 6ord alone can rescue the man, but again it all depends on the sel/* -verybody, including the Guru and the disciple, will go according to their individual doings*
Translation The Swan 7ill 0ly Away All Alone, Spectacle o/ the 7orld 7ill !e a "ere 0air As the 6ea/ 0alls /rom the Tree &s (i//icult to 0ind 7ho nows 7here it 7ill 0all

%nce it is Struck with a Gust %/ 7ind 7hen 6i/e Span is #omplete Then 6istening to %rders, 0ollowing %thers, 7ill !e %ver The "essengers o/ 8ama are Very Strong &t9s an -ntanglement with the 8ama Servant abir Praises the Attributes o/ the 6ord +e 0inds the 6ord Soon Guru 7ill Go According to +is (oings The (isciple According to +is

:* Shunya Gadh Shunya Gadh Shahar Shahar Ghar !asti on suta kon jage hai 6al hamare ham lalan ke tan sota !rahma jage hai 'al bich kamal, kamal bich kaliya !hanvar bas na leta hai &s nagari ke das daravaje 'ogi pheri nit deta hai Tan ki kundi man ka sota Gyan ki ragad lagata hai Panch pachis base ghat bhitar .naku ghot pilata hai Agan kundse tapasi tape Tapasi tapasa karata hai Pancho chela phire akela Alakh alakh kar japata hai -k apsara same ubhi ji (uji surama ho sare hai Tisari rambha sej bichaye Paranya nahi kunvara hai Paranya pahile putar jaya "at pita man bhaya hai Sharan "achinder Gorakh bole -k akhandi dhyaya hai The composition is by Gorakshnath* (escribing the /ortress$like structure o/ human body, Gorakshnath moves ahead in pointing out the chinks in the armour* Two eyes, ears and nostrils each, one mouth, a couple o/ private organs and a !rahmarandhra 1 these ten doors allow the enemy to enter into the /ortress and the de/eat o/ the sel/ is /or sure* A yogi would always guard at these doors* &t becomes possible only i/ the sel/ seeks spiritual wisdom* ;* aun Thagava Nagariya aun Thagava Nagariya 6utal +o #handan katke banal khatola Tapar dulahin sutal ho .tho sakhiri mang savaro dulaha mose ruthal ho

Aye 'amraja palang chadhi baitha Nainan asuva tutal ho #har jane mil khat uthain #hahu disi dhun dhun uthal ho ahat abira suno bhai sadho 'agase nata chutal ho The (eath is the /inal /rontier in the journey o/ li/e* abir has underlined the same, but in his own way* According to abir, the body is like a township, temptations are the robbers who loot the township* The soul is like the bride, while the 6ord is the bridegroom* According to abir, i/ the death comes be/ore achieving oneness o/ the sel/ with the 6ord, it is bound to bring in grie/* (eath is /inal and inevitable and once it is there the relationship o/ the sel/ with the earthy world will be over* <* Nirbhay Nirgun Nirbhay Nirgun Gun =e Gaunga "ul kamal drudh asan bandhuji, ulati pavan chdhaunga "an mamata ko thir kar launji, pancho tatva milaunga &ngala, pingala, sukhaman nadiji, tiraveni par ho nhaunga Panch pachiso pakad mangaunji, ek hi dor lagaunga Shunya shikhar par anahad bajeji, rag chhattis sunaunga ahat abira suno bhai sadhoji, jit nishan dhuraunga All his li/e abir insisted on the concept o/ oi bole =am =am oi hudai* &n other words, he never espoused any speci/ic /orm o/ God or 6ord* &n /act constant insistence on simplicity and directness, the hatred o/ all abstractions and philosophising, the ruthless criticism o/ e>ternal religion are his characteristics* 0or him the 6ord is nirgun 4one without virtues or attributes5* This very philosophy o/ his is summed up best in this composition o/ abir* +e says he will /earlessly sing the attributes o/ the one without attributes* &n this conte>t abir once again talks about the body, its structuring out o/ the /ive elements, in all twenty$/ive derivations o/ the same, three each virtues 4sattva, raja and tama5 and states 4jagruti, svapna and sushupti5 are the thirty$si> ragas that he says he will sing sitting atop the shunya shikhar, the state where an ascetic reaches oneness o/ the soul with the universe* ?* Sunata +ai Guru Gyani Sunata +ai Guru Gyani Gagan mein avaj ho rahi jhini Pahile aye nad binduse, piche jamaya pani Sab ghat puran pur rahya hai Alakh purush nirbani Vahanse aya pata likhaya Trishna to une bujhai Amrit chod chod vishay ko dhave .lati kas phasani Gaganmandalmein gau biyani, bhipe dui jamaya

"akhan makhan santone khaya #hhach jagat baparani !in dharati ek mandal dise !in sarovaraju pani Gaganmandalmein ho ujiyala !ole gurumukh bani %ham, soham baja baje Trikuti dham suhani &da, pingala, sukhaman nari Sun dhaja phaharani ahe kabira suno bhai sadho 'ai agan ki bani (inbhar re jo najar bhar dekhe Ajar Amar ho nishani, +o ji nishani ho ji abir speaks about the process o/ 8ogsadhana in this composition* +e has used the term Gagan 1 the skies 1 to describe the body* The skies are /ull o/ music o/ salvation* &t is coming /rom shunya or nothing /rom where the soul has come* The soul gets a name here in this world and then /orgets its origins and gets trapped with the illusions o/ this world* Scholars do not get trapped by the /ive senses* They keep learning through the 8ogsadhana and thus they get the cream o/ li/e and the rest have to remain satis/ied with the residual milk 4here abir has used the terms o/ butter and buttermilk5* %nce the ascetic reaches the pinnacle o/ soul searching it is all pure bliss 1 bliss o/ knowledge, says abir*