Songs of Kabir — trans. Rabindranath Tagore, with an introduction by Evelyn Underhill (1915)

Open to allKabir62 segments · 21 pp

The text is shown on its own: no facing layer is held for this issue.

page 14

The translator’s English as printed (Rabindranath Tagore, with an introduction by Evelyn Underhill). The original-language text is not held; names are romanised as the translator printed them.

He is the only adorable one to me: I have none other. My tongue has left off impure words, it sings His glory day and night: Whether I rise or sit down, I can never forget Him; for the rhythm of His music beats in my ears. Kabîr says: "My heart is frenzied, and I disclose in my soul what is hidden. I am immersed in that one great bliss which transcends all pleasure and pain."

XLII

I. 79. _tîrath men to sab pânî hai_

There is nothing but water at the holy bathing places; and I know
that they are useless, for I have bathed in them.
The images are all lifeless, they cannot speak; I know, for I
have cried aloud to them.
The Purana and the Koran are mere words; lifting up the curtain,
I have seen.
Kabîr gives utterance to the words of experience; and he knows
very well that all other things are untrue.

XLIII

I. 82. _pânî vic mîn piyâsî_

I laugh when I hear that the fish in the water is thirsty:
You do not see that the Real is in your home, and you wander from
forest to forest listlessly!
Here is the truth! Go where you will, to Benares or to Mathura;
if you do not find your soul, the world is unreal to you.

XLIV

I. 93. _gagan math gaib nisân gade_

The Hidden Banner is planted in the temple of the sky; there the blue canopy decked with the moon and set with bright jewels is spread. There the light of the sun and the moon is shining: still your mind to silence before that splendour. Kabîr says: "He who has drunk of this nectar, wanders like one who is mad."

XLV

I. 97. _sâdho, ko hai kânh se âyo_

Who are you, and whence do you come?
Where dwells that Supreme Spirit, and how does He have His sport
with all created things?
The fire is in the wood; but who awakens it suddenly? Then it
turns to ashes, and where goes the force of the fire?
The true guru teaches that He has neither limit nor infinitude.
Kabîr says: "Brahma suits His language to the understanding of
His hearer."

XLVI

I. 98. _sâdho, sahajai kâyâ s'odho_

O sadhu! purify your body in the simple way. As the seed is within the banyan tree, and within the seed are the flowers, the fruits, and the shade: So the germ is within the body, and within that germ is the body again. The fire, the air, the water, the earth, and the aether; you cannot have these outside of Him. O, Kazi, O Pundit, consider it well: what is there that is not in the soul? The water-filled pitcher is placed upon water, it has water within and without. It should not be given a name, lest it call forth the error of dualism. Kabîr says: "Listen to the Word, the Truth, which is your essence. He speaks the Word to Himself; and He Himself is the Creator."

XLVII

I. 102. _tarvar ek mûl vin thâdâ_

There is a strange tree, which stands without roots and bears fruits without blossoming; It has no branches and no leaves, it is lotus all over. Two birds sing there; one is the Guru, and the other the disciple: The disciple chooses the manifold fruits of life and tastes them, and the Guru beholds him in joy. What Kabîr says is hard to understand: "The bird is beyond seeking, yet it is most clearly visible. The Formless is in the midst of all forms. I sing the glory of forms."

XLVIII

I. 107. _calat mansâ acal kînhî_

I have stilled my restless mind, and my heart is radiant: for in Thatness I have seen beyond That-ness. In company I have seen the Comrade Himself. Living in bondage, I have set myself free: I have broken away from the clutch of all narrowness. Kabîr says: "I have attained the unattainable, and my heart is coloured with the colour of love."

XLIX

I. 105. _jo dîsai, so to hai nâhîn_

That which you see is not: and for that which is, you have no words. Unless you see, you believe not: what is told you you cannot accept. He who is discerning knows by the word; and the ignorant stands gaping. Some contemplate the Formless, and others meditate on form: but the wise man knows that Brahma is beyond both. That beauty of His is not seen of the eye: that metre of His is not heard of the ear. Kabîr says: "He who has found both love and renunciation never descends to death."

L

I. 126. _muralî bajat akhand sadâye_

The flute of the Infinite is played without ceasing, and its sound is love: When love renounces all limits, it reaches truth. How widely the fragrance spreads! It has no end, nothing stands in its way. The form of this melody is bright like a million suns: incomparably sounds the vina, the vina of the notes of truth.

LI

I. 129. _sakhiyo, ham hûn bhâî vâlamâs'î_

Commentary
page 14 ·
Cross-estate§002

"The water-filled pitcher is placed upon water" with water inside and out, yet the song never says the vessel dissolves. What it forbids is a word: the pitcher "should not be given a name," because naming would call up the error of dualism. FitzGerald's Bird Parliament, on this shelf, holds a similar balance and puts the danger elsewhere. Its guide teaches that the double only seems and the One is, but warns in the same speech against confounding the copy with the type. For the Tajidar the risk is an error of sight, failing to see a shadow as a shadow; for Kabir it is an error of speech, and the remedy is not a clearer vision but restraint in naming.

contrasts with Bird-Parliament — trans. Edward FitzGerald (1889)