Awal Allah noor upaya
Kudrat ke sab bandey
Ek noor te sab jag upjaya
Kaun bhale ko mande.
‘First of all, God created light;
Mother Nature created all human beings equal;
from that one Light the entire world came into being;
so how do we differentiate that one is better that the other?’
Kaun Thagwa Nagariya Lutal Ho
Chandan Kaath Ke Banal Khatola, Tapar Dulihan Sutal Ho
Utho Sakhiri Maang Sawaro, Dulha Mosey Ruthal Ho
Aye Jamraja Palang Chadi Baitha, Nainan Ansuwan Tutal Ho
Char Jane Mil Khath Uthain, Chahun Disi Dhu Dhu Uthal Ho
Kehat Kabira Suno Bhai Sadho, Jug Se Nata Chutal Ho
Who Is The Thug Who Is Robbing The Town.
A Small Cot Is Made Of Sandalwood,
On Which The Bride Sleeps
Get Up Beloved Companion
Adorn Me With Bridal Makeup,
The Groom Is Upset With Me
The Lord of Death, Is Sitting On The Bed,
Eyes Are Filled With Tears
Four People Pick Up The Cot,
Sounds of The Flaring Flames Come From All Four Directions
Says Kabira Listen Oh Learned,
The Relationship With The World Comes To An End
The town symbolizes the body. The thug is death itself. It robs the body of its life force. The symbolism is at two levels. At the physical level where body and spirit are intertwined like groom and bride, the spirit thinks that body is its abode and tries its best to hang on. It cries at the sight of such a catastrophic loss. But the relentless time (personified as the Angel of Death), is sitting in no mood to yield. The bride or spirit thinks that the groom (body) is upset so tries its best to attract its mate and resorts to all kinds of means represented in the song as “bridal makeup”. The impermanence of the physical reality is manifested ever so clearly as the body is consumed by the very sensory attributes that it identified with (represented as flames). At the spiritual level, of course, the bride is starting its true journey to reach its permanent abode and therefore the relationship with the world comes to an end. The latter part is inferred in contrast to the more apparent physical reality. In his typical mystical fashion, Kabir urges the listener (Sadhu or one who is doing Sadhana) to come to this understanding on their own – a realization that is not bookish but experiential.
Ever seen a human reincarnation of a ‘rasgullah’?
Here it is:
Sweeter than the sweetest honey
Softer than the softest bunny
Juicier than the juiciest fruit
Ever saw a rasgullah so very cute?
Lucky are the kins of an awesome treasure
Who spills just joy beyond any measure
With drenching drooling, the melodious cooing
The resonant ga ga, the symphonic goo gooing
Oh, such rolly, polly, bouncy little guy
The snugly charm that makes you sigh
Those screams and wails of a naughty lil’ boy
Ah, you infinitely charming, you bundle of joy.
O’ my dear Kamran
Each match, each over, each bowl
I want you to catch me
I want you to hold me
I even want you to hug me.
O’ you adorable Kamran
Each time I come near you,
You don’t even stop me
You don’t even look at me
You don’t even attend to me
O’ you hearltess Kamran
Each time I bounce on you
You just push me away
You just look the other way
You just fall the wrong way
O’ you clumsy Kamran
How long will this go on, O’ Kamran?
Will a bowl come when you will stop me from a ‘four’ ?
Will an over come when you will catch me for an ‘out’ ?
Will a match come when you will bail me off for a ‘stump’?
O’ you lazy Kamran.
The Poor Ball.