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مُڈھلا ورقہ >> شاہ مُکھی وچار >> کلاسک >> کافیاں شاہ حسین >> سنگت شاہ حسین >> Kafi Shah Hussain 7

Kafi Shah Hussain 7

Muzaffar A. Ghaffar
April 8th, 2008
5 / 5 (1 Votes)

کافی ٧

١ ویلا سمرن دا نی' اُٹھی رام دھیاء
٢ ہتھ ملے مل پچھوتاسیں' ویسی آ وقت وہاء
٣ ویلا سمرن دا نی' اُٹھی رام دھیاء
٤ اس تڑے توں بھر بھر گئیاں' اپنی وار لنگھاء
٥ ویلا سمرن دا نی' اُٹھی رام دھیاء
٦ اکناں بھریا اک بھر گئیاں' اک گھرے اک راہے
٧ ویلا سمرن دا نی' اُٹھی رام دھیاء
٨ کہے حسین فقیر سائیں دا' آتن پھیرا پاء
٩ ویلا سمرن دا نی' اُٹھی رام دھیاء

ਕਾਫ਼ੀ 7

1 ਵੇਲਾ ਸਿਮਰਣ ਦਾ ਨੀ, ਉੱਠੀ ਰਾਮ ਧਿਆਇ
2 ਹਥ ਮਲੇ ਮਲ ਪੱਛੋਤਾਸੈਂ, ਵੈਸੀਆ ਵਕਤ ਵਿਹਾ
3 ਵੇਲਾ ਸਿਮਰਣ ਦਾ ਨੀ, ਉੱਠੀ ਰਾਮ ਧਿਆਇ
4 ਇਸ ਤੜੇ ਤੋਂ ਭਰ ਭਰ ਗਈਆਂ, ਅਪਣੀ ਵਾਰ ਲੰਘਾ
5 ਵੇਲਾ ਸਿਮਰਣ ਦਾ ਨੀ, ਉੱਠੀ ਰਾਮ ਧਿਆਇ
6 ਇੱਕਨਾ ਭਰਿਆ ਇੱਕ ਭਰ ਗਈਆਂ, ਇੱਕ ਘਰੇ, ਇੱਕ ਰਾਹ
7 ਵੇਲਾ ਸਿਮਰਣ ਦਾ ਨੀ, ਉੱਠੀ ਰਾਮ ਧਿਆਇ
8 ਕਹੇ ਹੁਸੈਨ ਫ਼ਕੀਰ ਸਾਈਂ ਦਾ, ਆਤਣ ਫੇਰਾ ਪਾਇ
9 ਵੇਲਾ ਸਿਮਰਣ ਦਾ ਨੀ, ਉੱਠੀ ਰਾਮ ਧਿਆਇ

Kaafi 7

1 Vela simran da ni, utthi Raam’ dhyaa’ae

2 Hath malae mall pachotaasaen, vaesiaa waqtvihaa’ae

3 Vela simran da ni, utthi Raam’ dhyaa’ae

4 Iss tarae ton bhar bhar gaiyyaan, apni vaar langhaa’ae

5 Vela simran da ni, utthi Raam’ dhyaa’ae

6 Iknaan bharya ik bhar gaiyyan, ik gharae ik raahae

7 Vela simran da ni, utthi Raam’ dhyya’ae

8 kahae Husayn faqeer saain da, aatan phaera paa’ae

9 Vela simran da ni, utthi Raam’dhyaa’ae

GLOSSARY:

Rahaao/refrain (Line 1, etc.):

Vela:s.m. Time, moment; a while, leisure; occasion;

Simran: s.f. Remembering, remembrance, recollection, memory; counting (one’s) beads.

Utthi: v.n. Getting up, (I’m) getting up, you get up, from utthna: v.n. To rise, rise up, get up (from bed, or from a sick bed, hence), to awaken.

Raam: adv. Pleasing, delighting, pleasant, lovely, beautiful, charming; - s.m. An old name of God.

Dhyaa’ae: To bring into dhyaan: s.m. Meditation; contemplation, (especially profound and abstract religious contemplation).

Line 2:

Pachotaasaen: (You will) regret, repent, rue, grieve.

Vaesiaa: You will go, etc.; from vaena/jaana: v.n. To go, depart; to pass, to pass away, to be lost, to disappear, etc..

Waqt: s.m. Time; term; fixed time (for); season; hour; - duration; juncture; - opportunity; - (met) adversity, distress.

Vihaa’ae: (Time) will pass, be spent; from vehna/behna: v.n. To flow; to go or swim with the stream; to float; to drift, etc.

Line 4:

Tarae: At a tara: s.m. A landing place; quay, wharf; ferry; ford; bathing place, or a place for washing clothes (on the bank of a river).

Var langhaa’ae: Take your turn.

Line 6:

Iknaan: adj. Some, certain; many.

Bharya: Is full, etc, from bharna: v.t. To be contained to fullness, be filled or filled up, be full; to be satisfied or sated.

Gharae: At home.

Raahae: On the way, on the road, traveling, in between (two points).

Line 8:

Aatan: s.m. A woman’s common; a party of women usually collected to spin yarn; a place where women gather to talk or to do chores.

1 Time is opportune lass, up! The Lord contemplate

2 Wringing hands you’ll rue, when your time will evaporate

3 Time is opportune lass, up! The Lord contemplate

4 From this quay they’ve filled up, taking turns through the gate

5 Time is opportune lass, up! The Lord contemplate

6 Some are filling, some filled up, some remain home, some routes navigate

7 Time is opportune lass, up! The Lord contemplate

8 Says Husayn, the Lord’s devotee, go round where women federate

9 Time is opportune lass, up! The Lord contemplate

NOTES:

Rahaao/refrain (Line 1):

Vela simran da ni, utthi Raam’ dhyaa’ae

Time is opportune lass, up! The Lord contemplate

This is the time for remembrance says the poet. Remembering is held in high regard by poets of the Punjabi Sufi tradition. The word the poet uses – simran – sets the mood of the kaafi. Included in the meanings of this word is a place where people meet and talk. Then this is collective prayer.

The second part of the line has remembrance built into it. We are reminded that the word Raam is the name of God in the old language (from which the name of Raam-chandar – which means ‘the moon of Raam’ from the tale and Hindu scri pture Ramaayan – is derived). We are reminded of the original word. This is the time to get up (utthi) and put our dhyaan on God, says the poet. The word dhyaan is contemplation which is religious, profound and abstract. Conventional thought tell us that such dhyaan is possible when we are alone (in the calm of mind, all passion spent). But here the dhyaan, tells us that women are being address. (Faqeers also address each other in the feminine gender).

This is not passive contemplation. The poet tells us to utthi (get up) and meditate. Meditation also presents another dimension. It is not individual but collective. This is the time of discernment (also a meaning of the word dhyaan). The discernment is perhaps to recognize the great gift of being with others when meditating God1.

Line 2:

Hath malae mall pachotaasaen, vaesiaa waqt vihaa’ae

Wringing hands you’ll rue, when your time will evaporate

The first two words give the image of someone wringing her hands. This action shows regret. The poet tells us that we will rue by the wringing of hands. This will happen when time will flow by, and will be lost. Opportune time is beings underscored. What might happen if we do not do dhyaan in the time of fellowship is being presented graphically.

Rahaao/refrain (Line 3):

Vela simran da ni, utthi Raam’dhyaa’ae

Time is opportune lass, up! The Lord contemplate

The rahaao (refrain) reminds us again that time is opportune to contemplate God. What remains unsaid but is implied is that every moment is an opportune time to remember God.

Line 4:

Iss tarae ton bhar gaiyyaan, apni vaar longhaa’ae

From this quay they’ve filled up, taking turns through the gate

The poet uses the word tara purposefully. This is a watering place. It is a place to fill up. This is a physical manifestation of opportune time. The tara is a brilliant image representing a moment. Every moment is surrounded by ‘flow’. In a way a moment is grounded in flowing time. This is time crystallized, analogous to when we get our feet wet in the flow. But the poet goes beyond the idea of a snapshot of a moment, which is given the image of a place. Space and time are poetically melded together. This Einstein did scientifically three centuries later. The poet tells us that this is the place, the hour, the moment, from where many have filled up and gone. The opportune moment is always present. The issue is using it right. The idea is to make time productive and fulfilling and no to wring hands in sorrow when that opportune time has passed. Time is always there. And like water at a tara, it is always flowing.

The second part of the line is full of innuendo. On the surface it says that we too should take our turn on the tara and fill up (or find fulfillment). The words vaar langhaa’ae also shows some resignation. Time can be endured. We may just go through our time as going through a gate or a door. Time will keep flowing whether we fill up (the water of life, etc.) from the tara, or not.

Rahaoo/ refrain (Line 5):

Vela simran da ni, utthi Raam’ dhyaa’ae

Time is opportune lass, up! The Lord contemplate

The activity of filling up (water, or here spiritually) is also the remembrance of God, the rahaao implies.

Line 6:

Iknaan bharya ik bhar gaiyyaan, ik gharae ik raahae

Some are filling, some filled up, some remain home, some routes navigate

Now comes the differentiation between different attitudes toward filling up, symbolized here by the scene at the tara (quay; watering place). Some women have filled up, some are now filling up. Some have not come and remained at home, while others are on the way (Who may have ‘filled-up’ and are now going away, or coming to fill up). These are all available options. What do we do with time? The decision is ours. All these categories are present in everyone’s experience. The idea of filling up time, the flow of time, into colorful pitchers is fantastic. And filling up pitchers of remembrance is an abstraction made graphic.

The individual is also here. The sanity of the individual lies in the continuity of his memories. That same sanity lies in the continuity of the traditions of the group. Memory is a forever, layered thing. Time for filling up memories is always there. Remembrance is also a activity.

Rahaoo/ refrain (Line 7):

Vela simran da ni, utthi Raam’ dhyaa’ae

Time is opportune lass, up! the Lord contemplate

The refrain exhorts us to use opportune time, to congregate, to contemplate God. We can read this to imply individual contemplation. But the word simran tells us that this is done in fellowship, which perhaps also leads us to consider that remembering is a service to God. And to oneself.

Line 8:

Kahae Husayn faqeer saain da, aatan phaera paa’ae

Says Husayn, the Lord’s devotee, go round where women federate

The poet introduces an aatan to us. This is a special place where women congregate. They may do it for spinning yarn. It is a place where women get together for any reason. The aatan may also be a place where a group of vocal women are strategizing how to thrive in a world apparently dominated by men. The lament that women are downtrodden and viewed as low by society is present in Shaah Husayn’s verse. Here their fellowship and federation implies strength. But the poet takes us further. He equates the federation of women at the aatan with opportune time. And with fulfillment at the tara.

This kaafi is full of flow, of time, of water, of movement. Remembrance also becomes a flow. It is there all the time, not available only in fits and starts. And yet remembrance may involve forgetting and remembering. Here it means keeping alive a thought, idea, a possibility, a name. Or knowledge. This the poet presents by making the aatan a focal point of productive existence, of collective remembrance, of congregational contemplation via physical action, of dhyaan (see Glossary).

This kaafi is about man’s relationship with time. And how he spends it. One can spend time on trivia, or what can generally be classified as bae dhyaani (inadvertence). This happens when body and mind do not form a joint focus. One way of living is to be ‘present’ in whatever we do. That is what Shaah Husayn calls Raam dhyaan. But if one is inadvertent, he is really absent from the moment, though willy nilly in its flow. Then all he harvests is the wringing of hands for what might have been. When we are not ‘present’ in our work, we are alienated from it and have no relationship with it. Consequently, we do not it well. Because of our lack of focus, we are in punishment rather than presaging fruition. We then rue the result. Similarly, relationships with others are impaired as we look elsewhere while talking to people. In such inadvertence time returns to become our nemesis. Instead of the strength and purpose of remembrance (also read focus), we only repent.

The poet tells us that work is not a matter of the individual but of the aatan. The only relationship of worth is with the aatan, with fellowship, where people do not just work or play together but find companionship. Thus the poet tells us, in a way that poets do: take a round of the aatan!

Rahaao/refrain (Line 9):

Vela simran da ni, utthi Raamdhyaa’ae

Time is opportune lass, up! the Lord contemplate

The refrain now means more. This, it says, is the time for finding love or Love. Commemorating God is loving Him.

Note:

One musical composition of the rahaao is as follows:

Utthi Raam dhyaa’ae

ni

vela simran da

The second line above would connect with each antra, with ni a bit closer to the last word of the antra than to the rest of the rahaao. Then the rahaao may be using complete before moving to the next antra.

_______________________

1 In Islam Allah is the Universal God. Knowing Muslims use all names of God to affirm this universality. The most used is Khuda, an ancient pre-Muslim Persian name of God. Muslims will never use the derivative names of God, such as Raam-chandar, but under bhakti influence Raam was used for God by them. Since chandar is often dropped from ‘Raam-chandar’ by Hindus, Raam is no longer used for God by Muslims.


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