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Kafi Shah Hussain 5 Raag GoRhi

مظفر اے غفار
March 26th, 2008
5 / 5 (3 Votes)

راگ گوڑی
١    میرے صاحبا! میں تیری ہو مُکّی آں
٢    منوں وسارِیں نہ توں مینوں' ہر گلوں میں چُکیّ آں
٣    میرے صاحبا! میں تیری ہو مُکّی آں
٤    اوگنہاری کوء گُن ناہیں' بخش کریں تاں چُھٹّی آں
٥     میرے صاحبا! میں تیری ہو مُکّی آں
٦     جیوں بھاوے تیوں راکھ پیاریا' دامن تیرے لُکّی آں
٧    میرے صاحبا! میں تیری ہو مُکّی آں
٨    جے توں نظر مِہر دی بھالیں' چڑھ چُبارے سُتّی آں
٩    میرے صاحبا! میں تیری ہو مُکّی آں
٠١    کہے حسین فقیر سائیں دا' در تیرے دی کُتّی آں
١١    میرے صاحبا! میں تیری ہو مُکّی آں

ਰਾਗ ਗੌੜੀ



1 ਮੇਰੇ ਸਾਹਿਬਾ! ਮੈਂ ਤੇਰੀ ਹੋ ਮੁੱਕੀ ਆਂ
2 ਮਨੋਂ ਵਿਸਾਰੀਂ ਨਾ ਤੂੰ ਮੈਨੂੰ' ਹਰ ਗੱਲੋਂ ਮੈਂ ਚੁਕਈ ਆਂ
3 ਮੇਰੇ ਸਾਹਿਬਾ! ਮੈਂ ਤੇਰੀ ਹੋ ਮੁੱਕੀ ਆਂ
4 ਔਗੁਣ ਹਾਰੀ ਕੋਇ ਗੁਣ ਨਾਹੀਂ' ਬਖ਼ਸ਼ ਕਰੇਂ ਤਾਂ ਛੁਟੀ ਆਂ
5 ਮੇਰੇ ਸਾਹਿਬਾ! ਮੈਂ ਤੇਰੀ ਹੋ ਮੁੱਕੀ ਆਂ
6 ਜਿਊਂ ਭਾਵੇ ਤਿਊਂ ਰਾਖ ਪਿਆਰਿਆ' ਦਾਮਨ ਤੇਰੇ ਲੁਕੀ ਆਂ
7 ਮੇਰੇ ਸਾਹਿਬਾ! ਮੈਂ ਤੇਰੀ ਹੋ ਮੁੱਕੀ ਆਂ
8 ਜੇ ਤੂੰ ਨਜ਼ਰ ਮਿਹਰ ਦੀ ਭਾਲੇਂ' ਚੜ੍ਹ ਚੁਬਾਰੇ ਸੁੱਤੀ ਆਂ
9 ਮੇਰੇ ਸਾਹਿਬਾ! ਮੈਂ ਤੇਰੀ ਹੋ ਮੁੱਕੀ ਆਂ
01 ਕਹੇ ਹੁਸੈਨ ਫ਼ਕੀਰ ਸਾਈਂ ਦਾ' ਦਰ ਤੇਰੇ ਦੀ ਕੁੱਤੀ ਆਂ
11 ਮੇਰੇ ਸਾਹਿਬਾ! ਮੈਂ ਤੇਰੀ ਹੋ ਮੁੱਕੀ ਆਂ

Raag Gauri

1.Maerae Saahiba! maen taeri ho mukki aan

2.Manon visaarin nah toon maenun, bar gallon maen cukki aan

3.Maerae Saahiba! maen taeri ho mukki aan

4.Aogunhaari koe gun naahin, baksh Karin taan chutti aan

5.Maerae Saahiba! maen taeri ho mukki aan

6.Jeun bhaavae teun raakh pyaaraeaa, daaman taerae lukki aan

7.Maerae Saahiba! maen taeri ho mukki aan

8.Jae toon nazar mehr di bhaalaen, carh cubaarae sutti aan

9.Maerae Saahiba! maen taeri ho mukki aan

10.Kahae Husayn faqeer Saain da, dar taerae di kutti aan

11.Maerae Saahiba! maen taeri ho mukki aan

GLOSSARY:

Rahaao/refrain (line 1, etc.)

Saahiba: s.m. O Saahib – s.m. Possessing, possessed of, endowed with; companion, associate, comrade; possessor; owner, lord, great man, governor, chief; God.

Mukki aan: I am completed; I am finished; from mukna: v.t. To be concluded, be terminated (at), be finished; - to be completed.

Line 2:

Visaarin: (You)cause to be forgotten, forget, etc.; from visaarna; v.t.To cause to forget, to efface or dismiss from memory.

Cukki: Omitted, etc.; from cukna: v.t. To cause to be omitted, in inadvertence or in oversight; failed; missed, mistaken, have made a mistake, blundered, in error, at fault.

Line 4:

Aogunhaari: s.f.With no virtue or science; vicious, depraved, corrupt one with defects, blemishes, faults, one held in contempt, disregard.

Koe guri: s.m. No gun, having no gun: a good quality, excellence, merits; virtue; good character; goodness, kindness, favor, benefit; skill, cleverness; sense, understanding.

Baksh: Share out, bestow, etc.; from bakshna: v.n. Sharing out, giving, imparting, bestowing; yielding; forgiving; - s.m. giver, bestower; forgiver.

Chutti. v.n. Released, liberated, delivered; having freedom, liberty; escaped; exempted; (got) remission (of)

Line 6:

Bhaavae: v.t. Approved, acceptable, pleasing, beloved, held dear; suit, fit, become; appear to be good or befitting.

Raakh: (same as rakh): v.t. Protect, preserve, keep, take care of, save; keep, maintain; posses, own; have, hold, harbor, entertain; deem, esteem, consider, engage, employ, take into service; apply, ascribe, impute.

Daaman: s.m. Skirt (of a garment or turban), lappet, petticoat; sheet (of a sail); foot, or declivity (of a mountain).

Daaman taerae laggi aan: I am attached to your lappet, etc.; from daaman naal lagna: To be in the daaman of:to cling to or seize the skirt (of0, to take refuge (with); to become an adherent or follower (of); - to surrender, to cry for mercy (from); - to be detained (by).

Line 8

Nazar: s.m. Sight, vision, view; look, regard, glance; observation, inspection; supervision; - favorable regard, favor, countenance.

Mehr: s.m. Love, affection, friendship, kindness, favor; mercy, pity, sympathy, feeling; - prosperity.

Bhaalaen: As you see, etc.; from bhaala: s.m. See; find; search for; not just see, but) bring into sight, or vision, or focus.

Cubaarae: On the cubaara: s.m. A kind of summer house or pavilion (generally built jointly by several people as an assembly room or resting place common to all); a private room; a room on the first (or second) floor of a house with windows on all four sides.

Sutti: v.n. Sleeping, sleeping 9with); from Sauna: v.n.To sleep; to lie down, repose, recline; to cohabit; to die.

Line 10

Kutti: s.f. A bitch; a term of abuse; a term of extreme humility or subservience; (met.) negation of the self.

O my Lord! becoming yours Pm consummate

From Your mind me don’t dismiss, in every matter I’m abnegate

O my Lord! becoming yours Pm consummate

No quality in this worthless one, only your grace can liberate

O my Lord! becoming yours Pm consummate

Keep me as you please Beloved, in your garment I confederate

O my Lord! becoming yours Pm consummate

If you bring me into kind regard, the pavilion Pd enter, sleep intimate

O my Lord! becoming yours Pm consummate

Says Husayn the Lord’s devotee, Pm a bitch at your gate

O my Lord! becoming yours Pm consummate

NOTES:

This kaafi moves on at least three levels.There is the aspiration of man to completely annihilate himself to realize Unity.At this level it is full of negation and extreme humility (and in some belief systems, self-mortification). At the same time the poet is showing us almost a caricature of man’s methodology and aspirations.

The third level is to present man’s aspirations in a certain perspective.An attempt is made to show another way of thinking and living.The outcome of this aspect of the kaafi is melding of aspirations with the possible.A way is shown which cleanses us and guides us to soften our approach towards life, as well as towards our aspirations.

Rahaao/refrain (Line 1):

Maerae Saahiba! Maen taeri ho mukki aan

O my Lord! becoming yours I’m consummate

The line is straightforward. The Lord is recognized and accepted as the Lord.the poet confirms that she has become His and that is a feeling of consummation.We know Punjabi poets of yore always addressed themselves in the feminine gender.The sexual connotation is perhaps there too.This makes the beloved temporal (in whom the Lord is sought).This can be heard throughout the kaafi.

The feeling of consummation stands out as an aspiration of; the poet, and of man.Right from the rahaao (refrain) we can see the situation which is often aspired for.And perhaps also an overdoing.Completion here seems to come via absolute devotion and confirmation of acceptance of the Lord (without conditions. Completely). The state or experience is achieved without recourse to any response to the love of the lover by the Beloved.

Line 2:

Manon visaarin nah toon maenun, har gallon maen cukki aan

From Your mind me don’t dismiss, in every matter I’m abnegate

Note surprisingly the fear of being dismissed or forgotten from the mind of the Beloved forms the background.This supplication, indeed imploration, is made stronger by reconfirming that the speaker fully accepts the Lord as her own lord.

There is also a rationale provided for why the Lord should not forget her. The rationale is that she is a person who has been ‘omitted’ by life – a blundering person who cannot get it right, who is a little astray and who has disassociated herself from all other. This is an exercise in detachment, in humility. Perhaps the poet wants us to recognize that such humility is not a rationale for her aspiration. With such self-abasement, would the Beloved think differently?(Groveling has hardly ever won over any beloved).Humility is of several kinds, the poet seems to say.His meaning seems to be ‘detachment from egotism’.

There is a play in this line on remembering and forgetting by the use of the words visaarin and cukkiaan.Visaarin refers to one who was remembered and does not want to be forgotten.In cukki aan there is a sense of not being given up on.The protagonist is not very apprehensive that her aspiration may not be realized.

Rahaao/refrain (line 3):

Maerae Saahiba! Maen taeri ho mukki aan

O my Lord! becoming yours I’m consummate

The refrain returns with its insistent note.As we go along we are also shown that insistence is often used as a great rationale by people who demand or aspire for things.But is it one? Sometimes insistence wearies us, and we acquiesce.Even this approach is tried by the poet.

Line 4:

Aogunhaari koe gun naahin, baksb Karin taan chutti aan

No quality in this worthless one, only your grace can liberate

The theme of the pervious antra continues. Now the poet claims that she is worthless and has no merit. But still the aspiration continues. The articulation of being fault-ridden and having no quality is presented as a sufficient reason for the Beloved to give her a share of His Love. Whatever is to be received would be an undeserved bounty says the protagonist. Would any lover be swayed by such fawning? There is rather a largely held belief that such ingratiation works.The poet is putting a focus on it and is asking us to make our minds.The poet also wants us to evaluate our aspirations. If we have no gun, what is the basis for such hankering? Can such yearning get us our beloved? Or the Beloved?

But the poet has hidden another layer in the line.Self-negation is indeed a quality which in many cases results in a certain magnetism. This is an admission that we have nothing to be arrogant about.The knowledge that we have no gun is perhaps a great gun. This route to self-knowledge works because hidden in it is the assurance that the Lord is All Gun.I have no gun. You have All.In the second part of the line, ‘give me my share of gun’, says the protagonist, ‘then I too will have some’.

This reading takes us to the widely held belief that god is great and man is infinitesimal.Most people live in this awe.But here the poet is asking for his share of gun. It is for the Lord to give or not, but the asking is there. Asking for what one is convinced is one’s due is perhaps itself a gun.Asking for love form the beloved is a remission of the pain of separation. We are reminded that this is not a ‘cold turkey’ supplicant. We are told in the second line that forgetting is to be averted.Forgetting can result only when one had remembered.Thus this is supplication with a beloved who remembered; who way have participated in the love.If the Beloved gives me my share of love, I will be liberated, says the poet.

Rahaao/refrain (Line 5):

Maerae Saahiba! Maen taeri ho mukki aan

O my Lord! becoming yours I’m consummate

The refrain gives assurance that there is complete and true love commitment with her Lord. Such confirmation and reconfirmation renews commitment. It assures the Beloved of the love of the lover. Perhaps articulation in such matters is itself a cleansing or reinforcing experience.

Line 6:

Jeun bhaavae teun raakh pyaaraeaa, daaman taerae lukki aan

Keep me as you please Beloved, in your garment I confederate

This line appears to start with the ultimate ‘do with me as you please’, which appears to be more obsequiousness. But the line says ‘keep me…’, Being kept leaves out the prospect of separation.

The second part of the line is more interesting. ‘I am hiding in your daaman (skirt, lappet, etc.), says the poet. This line can be seen as having cosmic dimensions. The skirt of God is the universe. The poet says that she is hiding in it. This hiding may be the feeling of being lost in the vast expanse. It may take us back to the earlier line where the predicament of the poet and her fear that she may be forgotten, is presented. With so many beings in creation, the human concern of being remembered by the Beloved is ever-present. This is because we work with an anthropomorphic God. Forgetting may only be a human attribute.

Hiding in the daaman is also a very poetic way of presenting closeness and intimacy. It also proclaims the Sufi predicament that man is separated from God, yet a part of Him (yearning to return to Unity).

The line also shows us the girl hiding in the lappet of her beloved. She will do anything to stay there.

Rahaao/refrain (Line 7):

Maerae Saahiba! Maen taeri ho mukki aan

O my Lord! becoming yours I’m consummate

The refrain now affirms the above thought, but we also realize that mukki aan assumes the meaning of ‘I am finished’, with the connotations of ‘I am incorporated’. She is hidden in the daaman, perhaps because this is a way of being incorporated into God which Sufis aspire for. Or perhaps this state of being hidden in the daaman is the ultimate aspiration man can have. After all hid body continues its physical journey. The ‘becoming one’ with God can at best be unio mystica [mystical union (with God)]. But to experience being in the lappet of God? Is that not ecstasy?

Line 8:

Jae toon mazar mehr di bhaalaen, carh cubaarae sutti aan

If you bring me into king regard, the pavilion I’d enter, sleep intimate

This line follows the previous antra. It links up with being hidden. Here the aspiration is to be brought into focus, into favorable regard. [Daekhna is seeing; bhaalna is to bring into sight, vision, focus. It involves recognition (of a previously known person)]. The second line is full of the possibilities of joys of sukh (solace, ease, tranquility). It also his sexual connotations. Human aspirations include celebration via physical union.

Favorable regard and being the focus of the beloved is a great aspiration of lovers. This is especially when, as in the love of God, there is little jealousy with other lovers. God can be and is the Beloved of the uncountable and yet there are no battles between the suitors. The battles seem to be between those who are mostly concerned with procedures.

The second part of the line has other flavors. One is that the cobaara is a pavilion on the first or second floor of a house. This is a rich man’s home. But a cubbra is also any airy room which is owned jointly and used by many people. Here the poet may be reaching out for human brotherhood which shares the love of God in togetherness. A third reading can be that since often the cubaara is on a high place. This may allude to moving to a higher plane of consciousness.

Sleeping in the cubaara has sexual connotations. It also means that the poet is at peace and sleeping soundly, intimately. It can also mean that complacency has set in after a make-believe confirmation that she is now really in the eyes of the beloved. (The earlier part of the line is conditional, the second part is rather non-de scri pt from this viewpoint). Being remiss after being accepted is something lovers fear, usually after the fact. The cubaara was often used by newlyweds for their first night together. This can thus be a ‘bride’ speaking. (The concept of becoming the bride of God is a Sufi aspiration).

The cubaara is a much-frequented room and yet it can be private. If the implication is drawn that woman has been misused we can draw an analogy from Vaalmiki’s Ramaayn’. There Sita says that Ramaayn’, who had taken her to Lanka, may have done something with her body but not with her spirit or mind. These, she affirms, were always with Raamcandar’. This could have the connotation that man’s body is of no consequence. Violation of the body is nothing. Violation of the spirit (usually self-inflicted but there are soul-destroying people too), is everything. But this connotation is often not the purpose of Sufis. Yet there are many among them who seek ‘complete’ union be self-annihilation (which means becoming an indistinguishable part of the Deity), like a drop becoming the Ocean.

Rahaao/refrain (Line 9):

Maerae Saahiba! Maen taeri ho mukki aan

O my Lord! becoming yours I’m consummate

The refrain affirms that there is no question of any violation of the bride by another. She has become her Lord’s.

Line 10:

Kahae Husayn faqeer da, dar taerae di kutti aan

Says Hussayn the Lord’s devotee, I’m a bitch at your gate

The second part of this line confirms that the poet is also working with a caricature, generally of man, and specifically of Sufis, who go overboard as discussed above. Calling oneself a bitch at the Beloved’s door certainly appears as a caricature. We can find implication if we try hard enough – such as a bitch (or dog) does not leave her master’s door. It is steadfast. And not loathe at all in ‘speaking’ its mind. Indeed it is a compulsive barker, ready to threaten and browbeat all intruders. The ‘overdoing’ by introducing a bitch seems to be intended as a warning to the over-enthusiastic. Or this is a high-end way of self-abnegation and a technique of malaamatis (self-abnegating faqeers).

Rahaao/refrain (Line 11):

Maerae Saahiba! Maen taeri ho mukki aan

O my Lord! becoming yours I’m consummate

Questions which the kaafi highlights are: if there is such a distance between the lover and the beloved, can there be a sustainable relationship between the lover and the between them? Even if a relationship is sustained can it give the peace and freedom which loves must ensure or at least lovers may aspire for? It the lover has not become a beloved with the force of her own love, what shall we call such love? If (intensely felt or so experienced) love alone can get us the beloved, what shall we call that relationship?

We can ponder at some general responses including ones offered in this kaafi. Here the poet is forcing us (gently) to make space for such questions. This kaafi is an exercise in thinking of what we consider ourselves to be. And to delve on what we are not. Man lives on the trust that this is what I have or can have. But is this the route to reaching the Beloved? This coming face-to-face with the sahib (Master, Husband) impels us to become soft for we may feel that only then can we indeed be accepted by the Beloved.

This kaafi is an exercise in listing, opening up, and of softening attitudes. It can help us create such receptions within ourselves. It shows us what demands and claims can (or more importantly, cannot) do. It also proposes keeping arrogant hopes at bay.

Note:

One musical composition of the rahaao can be as follows:

Maen taeri ho mukki aan

maerae Saahiba

maen taeri ho mukki aan

With maerae Saahiba following each antra, followed by the rest of the rahaao.


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