If you have union now, you shall have it hereafter. Bathe in the truth, know the true Guru, have faith in the true Name! Kabîr says: “It is the Spirit of the quest which helps; I am the slave of this Spirit of the quest.”
INTRODUCTION Table of Contents
Living at the moment in which the impassioned poetry and deep philosophy of the great Persian mystics, Attâr, Sâdî, Jalâlu’ddîn Rûmî, and Hâfiz, were exercising a powerful influence on the religious thought of India, he dreamed of reconciling this intense and personal Mohammedan mysticism with the traditional theology of Brâhmanism.
A hater of religious exclusivism, and seeking above all things to initiate men into the liberty of the children of God, his followers have honoured his memory by re-erecting in a new place the barriers which he laboured to cast down. But his wonderful songs survive, the spontaneous expressions of his vision and his love; and it is by these, not by the didactic teachings associated with his name, that he makes his immortal appeal to the heart.
He is, as he says himself, “at once the child of Allah and of Râm.”
Hating mere bodily austerities, he was no ascetic, but a married man, the father of a family—a circumstance which Hindu legends of the monastic type vainly attempt to conceal or explain—and it was from out of the heart of the common life that he sang his rapturous lyrics of divine love.
The “simple union” with Divine Reality which
The images are all lifeless, they cannot speak: I know, for I have cried aloud to them. The Purâna and the Koran are mere words: lifting up the curtain, I have seen.
Now Kabîr, achieving this synthesis between the personal and cosmic aspects of the Divine Nature, eludes the three great dangers which threaten mystical religion.
Next, he is protected from the soul-destroying conclusions of pure monism, inevitable if its logical implications are pressed home: that is, the identity of substance between God and the soul, with its corollary of the total absorption of that soul in the Being of God as the goal of the spiritual life.
“That art thou.” But Kabîr says that Brahma and the creature are “ever distinct, yet ever united”; that the wise man knows the spiritual as well as the material world to “be no more than His footstool.” [Footnote: Nos. VII and IX.] The soul’s union with Him is a love union, a mutual inhabitation; that essentially dualistic relation which all mystical religion expresses, not a self-mergence which leaves no place for personality.
Love is throughout his “absolute sole Lord”: the unique source of the more abundant life which he enjoys, and the common factor which unites the finite and infinite worlds. All is soaked in love: that love which he described in almost Johannine language as the “Form of God.” The whole of creation is the Play of the Eternal Lover; the living, changing, growing expression of Brahma’s love and joy. As these twin passions preside over the generation of human life, so “beyond the mists of pleasure and pain” Kabîr finds them governing the creative acts of God. His manifestation is love; His activity is joy. Creation springs from one glad act of affirmation: the Everlasting Yea, perpetually uttered within the depths of the Divine Nature.
Though the Eternal and Absolute is ever present to his consciousness, yet his concept of the Divine Nature is essentially dynamic. It is by the symbols of motion that he most often tries to convey it to us: as in his constant reference to dancing, or the strangely modern picture of that Eternal Swing of the Universe which is “held by the cords of love.” [Footnote: No. XVI.]
Hence their constant declaration that they see the uncreated light, they hear the celestial melody, they taste the sweetness of the Lord, they know an ineffable fragrance, they feel the very contact of love. “Him verily seeing and fully feeling, Him spiritually hearing and Him delectably smelling and sweetly swallowing,” as Julian of Norwich has it. In those amongst them who develop psycho-sensorial automatisms, these parallels between sense and spirit may present themselves to consciousness in the form of hallucinations: as the light seen by Suso, the music heard by Rolle, the celestial perfumes which filled St. Catherine of Siena’s cell, the physical wounds felt by St. Francis and St. Teresa. These are excessive dramatizations of the symbolism under which the mystic tends instinctively to represent his spiritual intuition to the surface consciousness. Here, in the special sense-perception which he feels to be most expressive of Reality, his peculiar idiosyncrasies come out.
Creation, he says again and again, is full of music: it is music. At the heart of the Universe “white music is blossoming”: love
weaves the melody, whilst renunciation beats the time. It can be heard in the home as well as in the heavens; discerned by the ears of common men as well as by the trained senses of the ascetic. Moreover, the body of every man is a lyre on which Brahma, “the source of all music,” plays. Everywhere Kabîr discerns the “Unstruck Music of the Infinite”—that celestial melody which the…
He sees the supernal music, too, in its visual embodiment, as rhythmical movement: that mysterious dance of the universe before the face of Brahma, which is at once an act of worship and an…
Yet in this wide and rapturous vision of the universe Kabîr never loses touch with diurnal existence, never forgets the common life. His feet are firmly planted upon earth; his lofty and passionate apprehensions are perpetually controlled by the activity of a sane and vigorous intellect,…
The constant insistence on simplicity and directness, the hatred of all abstractions and philosophizings,[Footnote: Nos. XXVI, XXXII, LXXVI] the ruthless criticism of external religion:…
God is the Root whence all manifestations, “material” and “spiritual,” alike proceed; [Footnote: Nos. LXXV, LXXVIII, LXXX, XC.] and God is the only need of man—“happiness shall be yours when you come to the Root.” [Footnote: No. LXXX.] Hence to those who keep their eye on the “one thing needful,” denominations, creeds, ceremonies, the conclusions of philosophy, the disciplines of asceticism, are matters of comparative indifference. They represent merely the different angles from which the soul may…
One whom the Upanishad called “the Sun-coloured Being who is…
They will pour their wine into almost any vessel that comes to hand: generally using by preference—and lifting to new levels of beauty and significance—the religious or philosophic formulæ current in their own day. Thus we find that some of Kabîr’s finest poems have as their subjects the commonplaces of Hindu philosophy and religion: the Lîlâ or Sport of God, the…
His wide and deep vision of the universe, the “Eternal Sport” of creation (LXXXII), the worlds being “told like beads” within the Being of God (XIV, XVI, XVII, LXXVI), is here seen balanced by his lovely and delicate sense of intimate communion with the Divine Friend, Lover, Teacher of the soul (X, XI, XXIII, XXXV, LI, LXXXV, LXXXVI, LXXXVIII, XCII, XCIII; above all, the beautiful poem XXXIV).
Real worship and communion is in Spirit and in Truth (XL, XLI, LVI, LXIII, LXV, LXX), therefore idolatry is an insult to the Divine Lover (XLII, LXIX) and the devices of professional sanctity are useless apart from charity and purity of soul (LIV, LXV, LXVI). Since all things, and especially the heart of man, are God-inhabited, God-possessed (XXVI, LVI, LXXVI, LXXXIX, XCVII), He may best be found in the here-and-now: in the normal. human, bodily existence, the “mud” of material life (III, IV, VI,
There love and detachment, bondage and freedom, joy and pain play by turns upon the soul; and it is from their conflict that the Unstruck Music of the Infinite proceeds. Kabîr says: “None but Brahma can evoke its melodies.”
If you have union now, you shall have it hereafter. Bathe in the truth, know the true Guru, have faith in the true Name! Kabîr says: “It is the Spirit of the quest which helps;[2q] I am the slave of this Spirit of the quest.”
For work has no other aim than the getting of knowledge: When that comes, then work is put away. The flower blooms for the fruit: when the fruit comes, the flower withers. The musk is in the deer, but it seeks it not within itself: it wanders in quest of grass.
He Himself is the manifold form, the infinite space; He is the breath, the word, and the meaning. He Himself is the limit and the limitless: and beyond both the limited and the limitless is He, the Pure Being. He is the Immanent Mind in Brahma and in the creature. The Supreme Soul is seen within the soul, The Point is seen within the Supreme Soul, And within the Point, the reflection is seen again. Kabîr is blest because he has this supreme vision!
The devout seeker is he who mingles in his heart the double currents of love and detachment, like the mingling of the streams of Ganges and Jumna; In his heart the sacred water flows day and night; and thus the round of births and deaths is brought to an end. Behold what wonderful rest is in the Supreme Spirit! and he enjoys it, who makes himself meet for it. Held by the cords of love, the swing of the Ocean of Joy sways to and fro; and a mighty sound breaks forth in song. See what a lotus blooms there without water! and Kabîr says “My heart’s bee drinks its nectar.”
Kabîr says: “Dive thou into that Ocean of sweetness: thus let all errors of life and of death flee away.” Behold how the thirst of the five senses is quenched there! and the three forms of misery are no more!
Rapture wells forth, and all space is radiant with light. There the Unstruck Music is sounded; it is the music of the love of the three worlds.
Kabîr says: “Knowing it, the ignorant man becomes wise, and the wise man becomes speechless and silent, The worshipper is utterly inebriated, His wisdom and his detachment are made perfect; He drinks from the cup of the inbreathings and the outbreathings of love.”
I speak truth, for I have accepted truth in life; I am now attached to truth, I have swept all tinsel away. Kabîr says: “Thus is the worshipper set free from fear; thus have all errors of life and of death left him.” There the sky is filled with music: There it rains nectar: There the harp-strings jingle, and there the drums beat. What a secret splendour is there, in the mansion of the sky! There no mention is made of the rising and the setting of the sun; In the ocean of manifestation, which is the light of love, day and night are felt to be one.
II. 77. maddh âkas’ âp jahân baithe The middle region of the sky, wherein the spirit dwelleth, is radiant with the music of light; There, where the pure and white music blossoms, my Lord takes His delight. In the wondrous effulgence of each hair of His body, the brightness of millions of suns and of moons is lost. On that shore there is a city, where the rain of nectar pours and pours, and never ceases. Kabîr says: “Come, O Dharmadas! and see my great Lord’s Durbar.”
Where is the movement, where is the rest, on that shore? There is no water; no boat, no boatman, is there; There is not so much as a rope to tow the boat, nor a man to draw it. No earth, no sky, no time, no thing, is there: no shore, no ford! There, there is neither body nor mind: and where is the place that shall still the thirst of the soul? You shall find naught in that emptiness. Be strong, and enter into your own body: for there your foothold is firm. Consider it well, O my heart! go not elsewhere, Kabîr says: “Put all imaginations away, and stand fast in that which you are.”
One day your eyes shall suddenly be opened, and you shall see: and the fetters of death will fall from you. There is nothing to say or to hear, there is nothing to do: it is he who is living, yet dead, who shall never die again.
6q “It is the sport of the Unattainable One.”