Showing posts with label kavi sammelan. Show all posts
Showing posts with label kavi sammelan. Show all posts

Thursday, October 14, 2010

Surdas - Indian Poet

करत करत अभ्यास के, जड़मति होत सुजान रसरी आवत जात ते, 
सिल पर परत निसान.हरी दर्शन की प्यासीअखियाँ हरी दर्शन की प्यासी (३)
देखियो चाहत कमल नैन को..निसदिन रहेत उदासीअखियाँ निसदिन रहेत उदासी..
अखियाँ हरी दर्शन की प्यासीआये उधो फिरी गए आँगन..
दारी गए गर फँसी..अखियाँ हरी दर्शन की प्यासी..
अखियाँ हरी दर्शन की प्यासी..

केसर तिलक मोतियाँ की माला..
ब्रिन्दावन को वासी..अखियाँ हरी दर्शन की प्यासी..
अखियाँ हरी दर्शन की प्यासी..
कहोके मंकी कोवु न जाने..
लोगन के मन हासी..
अखियाँ हरी दर्शन की प्यासी..
अखियाँ हरी दर्शन की प्यासी..
सूरदास प्रभु तुम्हारे दरस बिन..
लेहो करवट कासी..
अखियाँ हरी दर्शनदरसन की प्यासी..
अखियाँ हरी दर्शन की प्यासी.. 

The group of 16th-century Hindi poets, four of whom were disciples of Vallabha, and four of his son and successor, Vitthala.

The greatest of the group was Surdas, a blind singer whose descriptions of the exploits of the child-god Krishna are the highlights of his collection of poetry, the Sursagar, is admired throughout the Hindi-speaking areas of northern India. 

It is particularly rich in its details of daily life and in its sensitive perception of human emotion, the parent's for the child and the maiden's for her lover.  Other members of the Astchap group were Paramananddas, Nanddas, Karsandas, Govindswami, Kumbh-andas, Chitaswami, and Chaturbhujdas. What is commonly spoken of as Hindu is actually a range of languages, from Maithili in the east to Rajasthani in the west. 

The first major work in Hindi is the 12th-century epic poem Prthviraj Rasau, by Chand Bardai of Lahore, which recounts the feats of Prithviraj, the last Hindu king of Delhi before the Islamic invasions. 
The work evolved from the tradition maintained at the courts of the Rajputs. 

Noteworthy also is the poetry of the Persian poet Amir Khosrow, who wrote in the Awadhi dialect. 
Most of the literature in Hindi is religious in inspiration; in the late 15th and early 16th centuries, the reform-minded Kabir, for example, wrote sturdy short poems in which he sought to reconcile Islam and Hinduism. 

The most celebrated author in Hindi is Tulsidas, who renounced the world early in life and spent his days in Benares as a religious devotee. He wrote much, mostly in Awadhi, and focussed Hinduism on the worship of Rama. 

His most important work is the Ramcharit-manas, which is based on the Sanskrit Ramayana. More than any other work it has become a Hindu sacred text for the Hindi-speaking area and annually has been staged in the popular Ram Lila festival. 

Outstanding among the followers of Vallabha, philosopher and bhakti advocate of the Middle Ages, is the blind poet Surdas (died 1563), who composed countless bhajans (chants) in praise of Krishna and Radha, which are collected in the Sursagar. 

While many of the bhakti poets were of modest origin, an exception was Mira Bai, a princess of Jodhpur, who wrote her famous lyrics both in Hindi and Gujarati; the quality of her poetry, still very popular, is not as high, however, as that of Surdas. Significant also is the religious epic Padmavati by Jayasi, a Muslim from former Oudh state. Written in Awadhi (c. 1540), the epic is composed according to the conventions of Sanskrit poets. 

The 18th century saw the beginning of a gradual transformation from the older forms of religious lyric and epic to new literary forms influenced by Western models that began to be known. The new trends reached their pinnacle in the work of Prem Chand (died 1936), whose novels especially Godan and short stories depict common rural life; and in the work of Harishchandra of Benares (died 1885), honoured as Bharatendu, who wrote in the Braj Bhasa dialect.

Some of the modern Indo-Aryan languages have literary traditions reaching back centuries, with enough textual continuity to distinguish Old, Middle, and Modern Bengali, Gujarati, and so on. Bengali can trace its literature back to Old Bengali charya-padas, late Buddhist verses thought to date from the 10th century; Gujarati literature dates from the 12th century Shalibhadra's Bharateshvara-bahubali-rasa and to a period when the area of western Rajasthan and Gujarat are believed to have had a literary language in common, called Old Western Rajasthani. 

Jñaneshvara's commentary on the Bhagavadgita in Old Marathi dates from the 13th century and early Maithili from the 14th century, Jyotishvara's Varna-ratnakara, while Assamese literary work dates from the 14th and 15th centuries Madhava Kandali's translation of the Ramayana, Shankaradeva's Vaisnavite works. Also of the 14th century are the Kashmiri poems of Lalla Lallavakyani, and Nepali works have also been assigned to this epoch. 

The work of Jagannath Das in Old Oriya dates from the 15th century.Amir Khosrow used the term hindvi in the 13th century, and he composed couplets that contained Hindi. In early times, however, other dialects were predominant in the Madhya-desha as literary media, especially Braj Bhasa, Surdas' Sursagar, 16th century, and Awadhi, Ramcaritmanas of Tulsidas, 16th century. In the south, in Golconda, Urdu poetry was seriously cultivated in the 17th century, and Urdu poets later came north to Delhi and Lucknow. Punjabi was used in Sikh works as early as the 16th century, and Sindhi was used in Sufi (Islamic) poetry of the 17th-19th centuries. 

In addition, there is evidence in late Middle Indo-Aryan works for the use of early New Indo-Aryan; e.g., provincial words and verses are cited. The creation of linguistic states has reinforced the use of certain standard dialects for communication within a state in official transactions, teaching, and on the radio. 

In addition, attempts are being made to evolve standardized technical vocabularies in these languages. Dialectal diversity has not ceased, however, resulting in much bilingualism; for example, a native speaker of Braj Bhasa uses Hindi for communicating in large cities such as Delhi. 

Moreover, the attempt to establish a single national language other than English continues. This search has its origin in national and Hindu movements of the 19th century down to the time of Mahatma Gandhi, who promoted the use of a simplified Hindi-Urdu, called Hindustani. 

The constitution of India in 1947 stressed the use of Hindi, providing for it to be the official national language after a period of 15 years during which English would continue in use. When the time came, however, Hindi could not be declared the sole national language; English remains a co-official language. Though Hindi can claim to be the lingua franca of a large population in North India, other languages such as Bengali have long and great literary traditions--including the work of Nobel Prize winner Rabindranath Tagore, and equal status as intellectual languages, so that resistance to the imposition of Hindi exists. 

Tuesday, May 11, 2010

भज गोविन्दं (Bhaj Govindam)

भजगोविन्दं भजगोविन्दं
गोविन्दं भजमूढमते .
संप्राप्ते सन्निहिते काले
नहि नहि रक्षति डुकृञ्करणे .. १..

Worship Govinda, worship Govinda, worship Govinda, Oh fool !
Rules of grammar will not save you at the time of your death.

मूढ जहीहि धनागमतृष्णां
कुरु सद्बुद्धिं मनसि वितृष्णाम् .
यल्लभसे निजकर्मोपात्तं
वित्तं तेन विनोदय चित्तम् .. २..

Oh fool ! Give up your thrist to amass wealth, devote your mind to thoughts to the Real . Be content with what comes through actions already performed in the past.

नारीस्तनभर नाभीदेशं
दृष्ट्वा मागामोहावेशम् .
एतन्मांसावसादि विकारं
मनसि विचिन्तय वारं वारम् .. ३..

Do not get drowned in delusion by going wild with passions and
lust by seeing a woman's navel and chest . These are nothing but
a modification of flesh . Fail not to remember this again and
again in your mind.

नलिनीदलगत जलमतितरलं
तद्वज्जीवितमतिशयचपलम् .
विद्धि व्याध्यभिमानग्रस्तं
लोकं शोकहतं च समस्तम् .. ४..

The life of a person is as uncertain as rain drops trembling on a
lotus leaf . Know that the whole world remains a prey to
disease, ego and grief.

यावद्वित्तोपार्जन सक्तः
स्तावन्निज परिवारो रक्तः .
पश्चाज्जीवति जर्जर देहे
वार्तां कोऽपि न पृच्छति गेहे .. ५..

So long as a man is fit and able to support his family, see
what affection all those around him show . But no one at home
cares to even have a word with him when his body totters due to
old age.

यावत्पवनो निवसति देहे
तावत्पृच्छति कुशलं गेहे .
गतवति वायौ देहापाये
भार्या बिभ्यति तस्मिन्काये .. ६..

When one is alive, his family members enquire kindly about his
welfare . But when the soul departs from the body, even his wife
runs away in fear of the corpse.

तरुणस्तावत्तरुणीसक्तः .
परे ब्रह्मणि कोऽपि न सक्तः .. ७..

The childhood is lost by attachment to playfulness . Youth is lost by
attachment to woman . Old age passes away by thinking over many
things . But there is hardly anyone who wants to be lost in

काते कान्ता कस्ते पुत्रः
संसारोऽयमतीव विचित्रः .
कस्य त्वं कः कुत आयातः
तत्त्वं चिन्तय तदिह भ्रातः .. ८..

Who is your wife ? Who is your son ? Strange is this samsaara, the world.
Of whom are you ? From where have you come ? Brother, ponder
over these truths.

सत्सङ्गत्वे निस्स्ङ्गत्वं
निस्सङ्गत्वे निर्मोहत्वम् .
निर्मोहत्वे निश्चलतत्त्वं
निश्चलतत्त्वे जीवन्मुक्तिः .. ९..

From satsanga, company of good people, comes non-attachment,
from non-attachment comes
freedom from delusion, which leads to self-settledness . From
self-settledness comes Jiivan muktii.

वयसिगते कः कामविकारः
शुष्के नीरे कः कासारः .
क्षीणेवित्ते कः परिवारः
ज्ञाते तत्त्वे कः संसारः .. १०..

What good is lust when youth has fled ? What use is a lake
which has no water ? Where are the relatives when wealth is
gone ? Where is samsaara, the world, when the Truth is known ?

मा कुरु धन जन यौवन गर्वं
हरति निमेषात्कालः सर्वम् .
मायामयमिदमखिलं हित्वा
ब्रह्मपदं त्वं प्रविश विदित्वा .. ११..

Do not boast of wealth, friends, and youth . Each one of these
are destroyed within a minute by time . Free yourself from the
illusion of the world of Maya and attain the timeless Truth.

दिनयामिन्यौ सायं प्रातः
शिशिरवसन्तौ पुनरायातः .
कालः क्रीडति गच्छत्यायुः
तदपि न मुञ्चत्याशावायुः .. १२..

Daylight and darkness, dusk and dawn, winter and springtime
come and go . Time plays and life ebbs away . But the storm of
desire never leaves.

कथितो वैयाकरणस्यैषः .
उपदेशो भूद्विद्यानिपुणैः
श्रीमच्छन्करभगवच्छरणैः .. १२अ ..

This bouquet of twelve verses was imparted to a grammarian
by the all-knowing Shankara, adored as the bhagavadpada.

काते कान्ता धन गतचिन्ता
वातुल किं तव नास्ति नियन्ता .
त्रिजगति सज्जनसं गतिरैका
भवति भवार्णवतरणे नौका .. १३..

Oh mad man ! Why this engrossment in thoughts of wealth ? Is
there no one to guide you ? There is only one thing in three
worlds that can save you from the ocean of samsaara, get into
the boat of satsanga, company of good people, quickly.
Stanza attributed to Padmapada.

जटिलो मुण्डी लुञ्छितकेशः
काषायाम्बरबहुकृतवेषः .
पश्यन्नपि चन पश्यति मूढः
उदरनिमित्तं बहुकृतवेषः .. १४..

There are many who go with matted locks, many who have clean
shaven heads, many whose hairs have been plucked out; some are
clothed in orange, yet others in various colors --- all just for
a livelihood . Seeing truth revealed before them, still the
foolish ones see it not.
Stanza attributed to Totakacharya.

अङ्गं गलितं पलितं मुण्डं
दशनविहीनं जतं तुण्डम् .
वृद्धो याति गृहीत्वा दण्डं
तदपि न मुञ्चत्याशापिण्डम् .. १५..

Strength has left the old man's body; his head has become bald,
his gums toothless and leaning on crutches . Even then the
attachment is strong and he clings firmly to fruitless desires.
Stanza attributed to Hastamalaka.

अग्रे वह्निः पृष्ठेभानुः
रात्रौ चुबुकसमर्पितजानुः .
तदपि न मुञ्चत्याशापाशः .. १६..

Behold there lies the man who sits warming up his body with the
fire in front and the sun at the back; at night he curls up the
body to keep out of the cold; he eats his beggar's food from
the bowl of his hand and sleeps beneath the tree . Still in his
heart, he is a wretched puppet at the hands of passions.
Stanza attributed to Subodha.

कुरुते गङ्गासागरगमनं
व्रतपरिपालनमथवा दानम् .
ज्ञानविहिनः सर्वमतेन
मुक्तिं न भजति जन्मशतेन .. १७..

One may go to Gangasagar, observe fasts, and give away riches
in charity ! Yet, devoid of jnana, nothing can give mukthi even
at the end of a hundred births.
Stanza attributed to vaartikakaara.

सुर मंदिर तरु मूल निवासः
शय्या भूतल मजिनं वासः .
सर्व परिग्रह भोग त्यागः
कस्य सुखं न करोति विरागः .. १८..

Take your residence in a temple or below a tree, wear the
deerskin for the dress, and sleep with mother earth as your
bed . Give up all attachments and renounce all comforts . Blessed
with such vairgya, could any fail to be content ?
Stanza attributed to nityaananda.

योगरतो वाभोगरतोवा
सङ्गरतो वा सङ्गवीहिनः .
यस्य ब्रह्मणि रमते चित्तं
नन्दति नन्दति नन्दत्येव .. १९..

One may take delight in yoga or bhoga, may have attachment or
detachment . But only he whose mind steadily delights in Brahman
enjoys bliss, no one else . Stanza attributed to anandagiriH.

भगवद् गीता किञ्चिदधीता
गङ्गा जललव कणिकापीता .
सकृदपि येन मुरारि समर्चा
क्रियते तस्य यमेन न चर्चा .. २०..

Let a man read but a little from giitaa, drink just a drop of
water from the ganges, worship but once muraari . He then will
have no altercation with Yama . Stanza attributed to

पुनरपि जननं पुनरपि मरणं
पुनरपि जननी जठरे शयनम् .
इह संसारे बहुदुस्तारे
कृपयाऽपारे पाहि मुरारे .. २१..

Born again, death again, again to stay in the mother's womb !
It is indeed hard to cross this boundless ocean of samsaara . Oh
Murari ! Redeem me through Thy mercy.
Stanza attributed to nityanaatha.

रथ्या चर्पट विरचित कन्थः
पुण्यापुण्य विवर्जित पन्थः .
योगी योगनियोजित चित्तो
रमते बालोन्मत्तवदेव .. २२..

There is no shortage of clothing for a monk so long as there
are rags cast off the road . Freed from vices and virtues, onward
he wanders . One who lives in communion with god enjoys bliss,
pure and uncontaminated, like a child and as an intoxicated.
Stanza attributed to nityanaatha.

कस्त्वं कोऽहं कुत आयातः
का मे जननी को मे तातः .
इति परिभावय सर्वमसारम्
विश्वं त्यक्त्वा स्वप्न विचारम् .. २३..

Who are you ? Who am I ? From where do I come ? Who is my
mother, who is my father ? Ponder thus, look at everything as
essenceless and give up the world as an idle dream.
Stanza attributed to surendra.

त्वयि मयि चान्यत्रैको विष्णुः
व्यर्थं कुप्यसि मय्यसहिष्णुः .
भव समचित्तः सर्वत्र त्वं
वाञ्छस्यचिराद्यदि विष्णुत्वम् .. २४..

In me, in you and in everything, none but the same Vishnu
dwells . Your anger and impatience is meaningless . If you wish
to attain the status of Vishnu, have samabhaava, equanimity, always.
Stanza attributed to medhaatithira.

शत्रौ मित्रे पुत्रे बन्धौ
मा कुरु यत्नं विग्रहसन्धौ .
सर्वस्मिन्नपि पश्यात्मानं
सर्वत्रोत्सृज भेदाज्ञानम् .. २५..

Waste not your efforts to win the love of or to fight against friend and foe, children and relatives . See yourself in everyone and give up all feelings of duality completely. Stanza attributed to medhaatithira.

कामं क्रोधं लोभं मोहं
त्यक्त्वाऽत्मानं भावय कोऽहम् .
आत्मज्ञान विहीना मूढाः
ते पच्यन्ते नरकनिगूढाः .. २६..

Give up lust, anger, infatuation, and greed . Ponder over your real nature . Fools are they who are blind to the Self . Cast into hell, they suffer there endlessly.
Stanza attributed to bhaarativamsha.

गेयं गीता नाम सहस्रं
ध्येयं श्रीपति रूपमजस्रम् .
नेयं सज्जन सङ्गे चित्तं
देयं दीनजनाय च वित्तम् .. २७..

Regularly recite from the Gita, meditate on Vishnu in your heart, and chant His thousand glories . Take delight to be with the noble and the holy . Distribute your wealth in charity to the poor and the needy. Stanza attributed to sumatir.

सुखतः क्रियते रामाभोगः
पश्चाद्धन्त शरीरे रोगः .
यद्यपि लोके मरणं शरणं
तदपि न मुञ्चति पापाचरणम् .. २८..

He who yields to lust for pleasure leaves his body a prey to
disease . Though death brings an end to everything, man does not
give-up the sinful path.

अर्थमनर्थं भावय नित्यं
नास्तिततः सुखलेशः सत्यम् .
पुत्रादपि धन भाजां भीतिः
सर्वत्रैषा विहिआ रीतिः .. २९..

Wealth is not welfare, truly there is no joy in it . Reflect
thus at all times . A rich man fears even his own son . This is
the way of wealth everywhere.

प्राणायामं प्रत्याहारं
नित्यानित्य विवेकविचारम् .
जाप्यसमेत समाधिविधानं
कुर्ववधानं महदवधानम् .. ३०..

Regulate the praaNa-s, life forces, remain unaffected by external influences
and discriminate between the real and the fleeting . Chant the
holy name of God and silence the turbulent mind . Perform these
with care, with extreme care.

गुरुचरणाम्बुज निर्भर भकतः
संसारादचिराद्भव मुक्तः .
सेन्द्रियमानस नियमादेवं
द्रक्ष्यसि निज हृदयस्थं देवम् .. ३१..

Oh devotee of the lotus feet of the Guru ! May thou be soon
free from Samsara . Through disciplined senses and controlled
mind, thou shalt come to experience the indwelling Lord of your
heart !

मूढः कश्चन वैयाकरणो
डुकृञ्करणाध्ययन धुरिणः .
श्रीमच्छम्कर भगवच्छिष्यै
बोधित आसिच्छोधितकरणः .. ३२..

Thus a silly grammarian lost in rules cleansed of his narrow
vision and shown the Light by Shankara's apostles.

भजगोविन्दं भजगोविन्दं
गोविन्दं भजमूढमते .
नहि पश्यामो भवतरणे .. ३३..

Worship Govinda, worship Govinda, worship Govinda, Oh fool !
Other than chanting the Lord's names, there is no other way
to cross the life's ocean.

Friday, April 23, 2010

Hindi Poems of Kumar Vishwas

Few days back I was viewing the videos of Kumar Vishwas on youtube. One has to go through several videos to find a new poem as most of videos will have repetitive stuff. Ofcourse you will love hearing from him everytime but I thought of just writing the poems down.

shohrat na ata karna maula, daulat na ata karna maula
bas itna ata karna chahe jannat na ata karna maula
shammae watan ki lau par jab kurban patanga ho
hothon par ganga ho, haathon me tiranga ho
bas ek sada hi goonje sada barfeeli mast hawaon main
bas ek sada hi uthe sada jalte tapte sahraaon main
jeete ji iska maan rakhe, markar maryaada yaad rahe
hum rahe kabhi na rahe magar, iski saj dhaj aabad rahe
godhara na ho, gujrat na ho, insaan na nanga ho
hoton par ganga ho, haaton main tiranga ho


Koi Diwana Kehta Hai (Kumar Vishwas Poetry - AWESOME)

Koi Deewana Kehta Hai Koi Pagal Samajhta Hai
Magar Dharti Ki Bechani Ko Bus Badal Samajhta Hai
Mein Tujhse Door Kaisa Hoon, Tu Mujhse Door Kaisi Hai
Ye Tera Dil Samajhta Hai Ya Mera Dil Samajhta Hai

K Mohhabat Ek Ehsason Ki Pavan Si Kahani Hai
Kabhi Kabira Deewana Tha Kabhi Meera Deewani Hai
Yahan Sab Log Kehte Hain Meri Aakhon Mein Aansu Hai
Jo Tu Samjhe To Moti Hai Jo Na Samjhe To Pani Hai

Samander Peer Ka Aander Hai Lekin Ro Nahi Sakta
Ye Aansu Pyar Ka Moti Hai Isko Kho Nahi Sakta
Meri Chahata Ko Dulhan Tu Bana Lena Magar Sun Le
Jo Mera Ho Nahi Paya Wo Tera Ho Nahi Sakta

Bharar Koi Kumudani Par Machal Baitha To Hungama
Hamare Dil Mein Koi Khawab Pal Baitha To Hungama
Aabhi Tak Doob Kar Sunte The Sab Kissa Mohhabat Ka
Mein Kisse Ko Hakikat Mein Badal Baitha To Hungama

Best Kumar Vishwas - Indore Trip (MUST WATCH)

Please make sure you watch all 5 sets, 3/4/5 is the best one.. 4/5 baanche khila degi

Dr.Kumar Vishwas - Indore Trip - Set-1

Dr.Kumar Vishwas - Indore Trip - Set-2

Dr.Kumar Vishwas - Indore Trip - Set-3

Dr.Kumar Vishwas - Indore Trip - Set-4

Dr.Kumar Vishwas - Indore Trip - Set-5