MORNING ARATI
I. BHUPALI ,
(Composed by : Sant Tukaram Maharaj)
Joduniyaa kara charanee ttevilaa maatha
Parisaawee vinanthee maajzee
sadgurunaathaa
Aso naso bhaava aalo tujziyaa ttaayaa
Kripaa drishtee paahe majzkade
sadgururaayaa
Akhndeeta Asaave aise vaatate paayee
Saandoonee sankoch ttaava todaasaa deyee
Tukaahamane devaa maajzee vedeevaakudee
naame bhavapaasaa haathee aapu/yaa thondi
Translation
With folded hands I bow down to thee, Oh Sadgurunath, please
pay heed to my
prayer!
I have resorted to thee with or without having ardent
devotion! Yet, Oh Sadgururaya,
I beg thee to cast thy glances of grace at me (discounting
the degree of my devotion);
I aspire to adore thy holy-feet incessantly forever and
anon; I pray thee to put aside
all hesitation and condescend to allow a little room for me
at thy holy feet;
(I,) Tukaram implores thee, to free me from any
unmindfulness in my contemplation
of thy Holy Name and, free me from all mundane attachments!
Commentary
This abhang is composed by Sant Tukaram Maharaj on his
chosen deity Shri
Panduranga. By substituting the epithets 'Sadgurunatha' and
'Sadgururaaya' for
'Pandharinatha' and 'Pandhariraya' of the original
respectively the psalm has been
adapted to the Book of Shirdi Aratis.
An abhang is a metrical composition in Marathi, which is
very akin to the religious
Lyric in English. Literally, abhang means unbroken (a <
unbhanga< broken). It is, in
26
ARATI SAI BABA
essence, an unbroken poetic effusion of the innermost mystic
musings of a pious
soul. Usually it is composed in four lines (padas) following
an ABBC rhyme-pattern.
The wide use of this form of devotional poetry began with
Nivrittinath and Jnanadev
and reached its acme with Sant Tukaram.
This abhang breathes the spirit of loving abandonment to the
all-embracing grace of
God, which cannot be earned by one's merits such as
puissance, skill, knowledge
and the like, but flows to the devotee quite
unconditionally, Time and again Sant
Tukaram stresses in his abangs that without the grace of
God/Guru any sadhana is
of no avail. "What is the use of all sadhanas?"
asks Tukaram, "God's form will
appear before us only if he takes compassion upon us."
Sant Tukaram Maharaj (1598-1659) is perhaps, the most
popular of all the post-
saints of Maharashtra . No
other poet-saint is so oft-quoted by the people of
with which all his abhangs invariably conclude, has become
in common parlance, a
synonym for unerring truth. Tukaram's abhangs were one of
the favourites of Shri
Sai Baba. Of the fourteen traditional psalms adapted into
the Book of Shirdi Aratis,
the largest number authored by a single poet, (i.e. five)
are the abhangs of Sant
Tukaram.
This and the following three bhupalis are sung in rag
bhupali. Rag Bhupali is a
melodic pattern or scale (raga) in the classical Indian
musical tradition. Bupali is an
improvisation based on rag bhupali.
Literally, Bhupali means, of or pertaining to a bhupal
<“the ruler of the Land'. Many
features in the ceremonial services offered to a deity in a
Hindu temple are modelled
on the procedures which were normally followed in a royal
palace. These kinds of
liturgical services offered to a deity are called
rajopacharas (< services befitting to be
offered to a monarch) in the past, the court-musicians in a
royal palace were to
sing/play melodies daily, in the morning, to reverentially
rouse the king from his bed.
As a part of the court repertoire, the.soft awaking melodies
were mostly tuned in
raag bhupali.
27
ARATI SAI BABA
II. BHUPALI
(Composed by ; Sant Janabai)
Uttaa paandurangaa aataa
prabhaatasamayo paatalaa
Vaishnawaancha melaa
garudapaaree daata!aa
Garuda
paaraapaasunee
mahaadwaaraa
paryanta
Survaraanchee
maandee
ubhee jodooniyaa
haat
Suka sanakaadika
naarada
tumbara
bhaktyanchyaa kotee
Trisool damaroo
ghewooni
wubhaa girijechaa
patee
Kaleeyugeechaa
bhakta
Namaa ubhaa
keertanee
Paatteemaage
wubhee
dolaa laavuniyaa
Janee.
Translation
Oh Lords Panduranga, the day is about to break. The coterie
of the devotees of
Vishnu throng by the garuda dhwaja (the temple flagstaff);
Thence up to the main door of the sanctum sanatorium all
gods wait in an echelon
with folded hands for thy darshan;
Not only great sages such as Suka and Sanaka and celestial
minstrels such as
Narada and Tumburu, but also Lord Siva, the consort of
goddess Girija, holding his
trishul (trident) and damaru (a two-sided hand-drum), call
on thee;
Namadev, thy devotee par excellence in this Kali Age sings
thy glories. Janabai, his
maid servant, stands by gazing agog to have a glimpse of
thee.
Commentary
This psalm, composed by Jana Bai is one of the popular
traditional arati-psalms in
28
ARATI SAI BABA
saint-poets, who was a disciple of Sant Namadev and Sant
Jnaneswar Maharaj. She
was dedicated by her parents to the service to Sant Namadev
even when she was a
child. Serving Sri Namadev as a maid in his household she
grew up into a mature
saint-poetess,
III. BHUPALI
(Composed by : -, Shri Krishna
Jogiswar Bhishma)
Utta utta sri sainaathaguru
charana kamala daavaa
Aadhivyaaadhi bhavataapa
vaarunee taaraa jadajeevaa
Gelee tumha soduniyaa bhava
tama rajanee vilayaa Pareehi agnaanaasee tumachee
bhulavi yogamaayaa Sakthi na aahmaa yatkinchitahee
tijalaa saaraaya
Tumheecha teete saaruni
daavaa mukha jana taaraayaa
Bhoo sainaatha maharaaja
bhava timiranaasaka ravee
Agnaanee aamhee kitee
tava varnaava thoravee
Thee varnitaa bhaagale
bahuvadani sesvidhi kavee
Sakripa howuni mahimaa
tumchaa tumheecha vadavaava
Utta....
Bhakta manee sadbhaava
dharooni je tumha anusarale
Dhyaayaasthawa te darsana
tumache dhwaari ubhe ttele
Dhyaanasthaa tumha asa
paahunee mana
amuche ghaale
29
ARATI SAI BABA
Pares
thwadvachanaamrith
praasaayaate
aatura jzhaaie
Wughadoonee
netrakamalaa
deenabandhu
ramaakaanta
Paahi baa
kripadrishtee
baalakaa jashee
maaataa
Ranjavee
madhuravaanee
haree taapa
sainaatha
Aamheecha aapule
karyaasthava tuja kashtavito deva
Sahana karisi! te
aikuni
dyaavee bhett
Krishna daavava
Utta.,..
Translation
Kindly awake, Sadguru Sainath, to grant us the sight of thy
lotus-feet! Oh Sadguru,
to cure the maladies of our mundane life and to uplift us
who are languishing in a
state of insensate existence. The dark night of ignorance
has already fled from thee.
But, thy yoga maya (divine power of illusion) has ensnared
us, the ignorant folk (in
the vortex of worldly desires and attachments). We are
absolutely powerless to
resist the pull of the world. Grant us the sight of thy
radiant face, which alone can
save us from the entanglements of maya.
Oh Sainath Maharaj, thou art verily the sun who drives out
the darkness of worldly
attachments. (Remove from our hearts the darkness of
ignorance, and illumine the
path of enlightenment!) Though having numerous faces, even
Adisesha and demiurg
Brahma and, other godly bards totally gave up on exhaustion
describing thy glories.
As such, how can I, an ignorant being, describe thy
marvellous magnificence! So,
mercifully reveal thy glories thyself to us.
Thy devotees stand at thy door to take thy darshan, to
meditate on thee and to serve
thee. Beholding thee in thy mystic trance, we feel out of
our minds. We are eager to
be all ears for the nectarine flow of thy speech. Oh the
friend of the helpless, Oh
Ramakantha, open thy lotus-like eyes and cast thy
affectionate glances on us just as
a mother beholds her child. With the sweet nectar of thy
words, quench our thirst
30
ARATI SAI BABA
(hearts' yearnings) and make us happy. We may be troubling
thee with our
importunities! Yet, pray, grant us (I me, Krishna Jogiswar
Bhishma) thy audience
and give thy ear to our petitions with patience,
IV. BHUPALI
(Composed by : Sant Namdev)
Utta panduranga aataa
darshan dhya sakala Jzhala arunodaya saali nidrechi vela
Sant sadhu muni
avaghe jhaleti ghola
Soda sheje sukhe
aata
bandu ghya mukha
kamala
Rang mandapi
mahadwari
jzzaafise datee
Man utaavee! roop
pahawaya drishti
Rahee rakhumabai
tumha yewo dya daya.
Sheje haalawunee
jage kara dev raya
Garud hanumant
ubhe paahatee wat
Swarginche surwar
ghewuni aale bobhat
Zhale muktha dwar
laabha zhala rokada
Vishnudas naama ubha ghewooni kakada
Translation
Oh Panduranga, the hour of sleep has passed and now it is
already dawn. Awake
and grant us all thy darshan (in all thy divine glories);
Saints, sages, mystics and the pious are all awaiting thee.
Give up the pleasure of
sleep and give us the darshan of thy hallowed face;
We all throng at thy threshold bubbling with enthusiasm to
catch a sight of thee;
Mother Rukmini, thou must take pity on us and wake up the
God of gods from his
bed; Garuda and Hanumantha stand biding thy darshan. All the
gods have arrived
here from the heavens chanting thy holy Name all along the
way;
Vishnudas (alias) Namadev stands by to perform the Morning
Arati to thee. Pray,
open the (Mandir) doors (of Liberation) and grant us the
bliss of thy darshan.
31
ARATI SAI BABA
Commentary
This is also a popular traditional abhang (psalm) on Lord
Panduranga composed by
Sant Namdev. Sant Namdev, in the later years of his life has
composed a number of
abhangs and biographies of saints under the nom de plume
'Vishnudas'. The shrine
of Lord Vittal at Pandharpur was the hub of inspiration to a
galaxy of great mediaeval
saint-poets who flourished in Maharashtra
and northern Karnatak. In Marathi, vitt
means brick. As the deity, Panduranga, is believed to have
been standing on a brick,
he is also called Vittal or Vittoba in common parlance.
V. ABHANG
(Composed by : Shri Krishna
Jogiswar Bhishima)
Ghewuniya panchaarati karoo babansi aarati
Utta utta ho
bandhawa,
awaaloo ha
ramadhava
sayee ramadhava
awaaloo ramadhava
Karuniya sthira
man,
paahu gambhira he
dhyan
Krishnanatha datt
sai jado chitta tujze paayee
Sayee tuzhe
paayee jado chitta tuzhe paayee
Translation
Sai Baba, offer thee pancharati by devoutly waving before
thee, a lamp with five
lighted wicks;
Friends, awake, arise and rush up to offer arati (worship)
to Lord Ramadhava, i.e. to
our Sai Ramadhava;
Fixating our minds with steadfast devotion, let us meditate
on Sai!
Oh Sai, thou art Lord Krishna and Lord Datta incarnate. We
offer our insensate
minds at thy feet. Make them ware with enlightened devotion
by the thaumaturgic
touch of thy holy feet!
32
ARATI SAI BABA
VI. KAKAD AARTI
(Composed by : Shri Krishna
Jogiswar Bhishma)
Kakad aarati kareeto sainatha deva
Chinmaya roop daakhavee
ghewuni balak laghu seva
Kaam krodh mad matsar
aattunee kaakada kela
Vairagyache toop ghaaluni mee to bhijaveela
Sainath Guru bakti jwalane to mee petawila
Tad vryitti jaluni guroo ne prakash paadila
Dwaita tama naasooni
milavi tatswaroopi jeewa
Chinmaya roop>>>>
Bhoochar khechar vyaapooni
awaghe hritkamali raahasee
Tochi dattadev tu
shirdi raahuni paawasee
Rahooni yethe
anayatrahitoo
baktaastava
dhavasee
Nirasooniyaa
sankata
daasaa anubhawa
daavisee
Na kale
twalleelahee kanyaa
devaa waa
maanavaa
Chinmaya room»>
Twat yasha dundubheene
saare ambar he knodale
Sagun murti
paahanyaa
aatur jan shirdee
aale
Prashuni
twadvachanaamrita
aamuce dehabhaan
haarpale
Sodooniyaa
durabhimaan
maanas
twaccharanee waahile
33
ARATI SAI BABA
Kripa karooniya
Sai maawle
daas padari ghyaawaa
Chinmaya roop»>
Translation
Oh Lord Sainath, we offer Kakad Arati to thee! Kindly accept
this tiny service offered
by thine ignorant child;
I make my lust, anger, pride, envy and hatred as wicks and
dip them in the ghee of
vairagya (dispassion). The five wicks are kindled with the
fire of Guru Bhakti. Lo!
Now seen with help of the light (emanating from the flames
of the pancharati),
Sadguru Sainath is shining forth with brilliance. That illumination
destroys the
darkness (of all sense) of duality and lo, both the seer and
the seen shine as One
(without any shade of difference.)
Thou pervade earth and heaven and thou art the indweller of
the hearts of all yogis.
All rejoice that thou, being the incarnation of Lord Datta,
has taken thy abode at
Shirdi, so that those who live away from the thee (in the
sense of
separateness/duality), may be able to take thy darshan. Thou
art not only warding
off the troubles of those who take refuge in thee but also
granting them illuminating
experiences. Neither any human being nor any god can discern
the glories of the
divine sport.
The heavens are resonating with trumpets of thy glory.
People eagerly rush to Shirdi
to see thee, Oh Sai, who art the embodiment of formless
divinity incarnated with all
divine attributes. Listening to thy words as sweet as
nectar, they forget themselves;
and leaving all their prejudices and proclivities (of caste,
creed, religion, status etc.)
they take refuge at the holy feet. Oh Sainath, kindly accept
us who are thy servants
and, deign to grant us refuge as thy holy feet.
(Composed by : Sant Tukaram Maharaj)
Bhaktaachiya potee bodh kaakada jyoti
Pancha prana jeevebhave owaaloo aarati
Owaaloo aaratee maajyza
pandhareenaatha
majyza sainathaa
34
ARATI SAI BABA
Donhi kara
jodonee charanee ttevilaa mathaa
Kaay mahima
varnoo aataa sangane kitee
Kotee brahma
hatyaa mukha pahataa jaatee
Rahee
rakhmaabaayee
ubhya doghee do
baahee
Mayur pincha
chaamara
dhaaliti thaayee
che thaayee
Tuka mhane deep
ghewuni unmaneet sHobhaa
Vittevaree ubha
dise laawanya gaabhaa
Owaaloo
aaratee>»
Translation
With fire of devotion glowing in our hearts, we offer Kakad
Arati to thee! Igniting our
five vital forces (pranas) and the sense of ego as wicks in
the Arati lamp, we offer
Arati to thee.
Oh! My Lord of Pandari, Sri Sainath, hai to thy glory! With
folded hands, I humbly lay
my head on thy holy feet. How can I describe thy ineffable
glories? Even billions of
deadly sins such as brahmahatya (killing a brahmin etc.)
shall be purged just by the
mere sight of thy hallowed face. Rayee and Rukhumabai,
standing on either side,
gently fan about about thee with chowries (royal fans) aloft
lauding thy divine
splendour, absorbed in blissful rapture. It is verily a
sight for the gods and a feast for
the eyes to behold Lord Vittal standing gracefully on a
brick (of bhakti).
VIII. PADH
(Composed by : Sant Namadev)
Utta utta saadhu
sant aapulale hit
Jaaeel jaaeel ha
nardeh
mag kaincha
bhagawant
Uttoniya pahaante
baba ubha ase vitte
Charan tayaache gomate
amrit drishti awalokaa
Utta utta ho gegesee
chalaa jaawoonya raawuiaasee
35
ARATI SAI BABA
Jalatil
patakaanchya raashi
kaakad aarati
dekhliyaa
Jaage karaa
rukhminivar,
dev aahe
nijasuraant
Vege limbalon
karaa drisht hoeel tayasee
Daaree waajantree
vaajatee
dhoi damaame
garjatee
Hote kaakad
aarati maazhyaa
sadguru
rayaanchee
Simhanaad
shankabheree aanand
hoto mahaa
dwaaree
Keshawaraaj vittewaree naamaa
charan vandito
Translation
Awake .and arise oh! Pious and devout, and wend your way for
your lasting weal!
Once this mortal coil passes away how can you perceive the
divine glories of God?
Awake early in the morning and take darshan of Lord Vittal
who stands gracefully on
a brick. Lo! His merciful looks shower nectar. Take refuge
at his feet!
A glimpse of the glowing lamp of Kakad Arati destroys a mass
of a million sins! Get
up from your beds and make haste to the Mandir!
Invoke the consort of Rukmini to rise from his bed. He is
verily the Lord of all gods.
Proffer pure butter (of devotion) to the Lord without any
delay lest it should be
polluted by greedy looks (i.e. lest the devotion should be
polluted by looking greedily
at the world.)
At the Mandir-entrance, musical instruments such as drums
are being played as the
Morning Arati is being offered to our Sadguru.
Deep resonant sounds from trumpets and conch-shells roar
forth with crescendo
from the Main Door in festive gusto. Namadev prostrates to
the holy feet of Vittal
who is Lord
Kesava manifest.
36
ARATI SAI BABA
Commentary
The morning awakening services rendered to a deity are
called Kakad Arati. Kakad
means a wick made of a thin strip of cloth. Customarily such
a cloth-wick is used in
the aarti-lamp waved before the deity in the morning
services. So its name Kakad
Arati. The Varkari saints attached great importance and
sentiment to kakad jyoti and
encouraged people to begin their day by attending or
performing Kakad Arati to their
chosen deity. Sant Namdev, for instance, calls out in the
present aarti-psalm, "A
glimpse of the glowing lamp of Kakad Arati destroys a mass
of a million sins; get up
from your beds and make haste to the Mandir!" The daily
performance of the devout
morning service like the Kakad Arati not only induces a
sense of auspiciousness in
the heart of people but also conduces a lingering devotional
effect on them, even
amidst their quotidian chores.
Padh is a popular form of Lyrical poetry in the northern India . It is a
short lyrical
composition set to a raga (musical mode), and especially
meant for singing. In
singing a padh, the refrain (dhruti) is repeated -in a
chorus -between each verse.
BHAJAN
Sainath guru maajhe aaee
Majlaa thaav dhyaavaa paayeen
Datta raaja guru majhe aaee
Majlaa thaav dhyaavaa paayeen
Translation
Oh Sainath, my Guru, thou art verily my mother! Grant refuge
at thy holy feet;
Oh Lord Datta, my Guru, thou art verily my mother! Grant
refuge at thy holy feet.
Shri Satchitaanand Sadguru Sainath Maharaaj ki Jai
IX. SAINATH PRABHATASTAK
(Composed by : Shri Krishna
Jogiswar Bhishma)
Prabhat samayeen nabhaa
shubh ravi prabha phaankalee
Smare guru sadaa ashaa
samayin tya chhale naa kalee
Manhoni kar jadoonee karoon
37
ARATI SAI BABA
ataa guru praarthanaa
Samartha guru sainath
puravee manovaasanaa
Tamaa nirasi bhaanu
ha guruhi naasi
agnyaanataa
Parantu guruchee
karaa na
ravihee kadhee
saamyathaa
Punhaa thimir
janm ghe
gurukrupeni
agnaan naa
Samartha guru
sainath
puravee
manovaasanaa
Ravi pragat
howuni twarita
ghaalawee aalasaa
Tasa guruhi
sodawee sakal dushkriti laalasaa
Haroni
abhimaanahee
jadwi tatpadee
bhavanaa
Samath guru
sainath puravee manovaasanaa
Guroosi upama dise
vidhi
hareeharaanchi
unee
Kuttoni mag yeie
tee
kavaniyaa ugee
paahunee
Tuzheech upama
tulaa
bharavi shobhate
sajjanaa
Samarth guru
sainath puravee manovaasanaa
Samaadhi
uthroniyaa guru
chalaa mashidee
kade
twadeeya
vachnokti tee
madhur vaaritee
saankhade
Ajaataripu
sadguro akhil pathkaa bhanjanaa
Samarth guru
sainath puravee manovaasanaa
Ahaa susamayaasi
yaa guru uttoniyaa baisale
38
ARATI SAI BABA
Vihkuni
padaashrithaa tadiya aapade naasile
Asaa suhithkaaree
yaa
jagati konihee
anya naa
Samarth guru
sainath puravee manovaasanaa
Asa bahut
shaahanaa pari
na jyaa guroochi
kripaa
Na tatswahit tyaa
kaiae
karitase rikamya
gapaa
Jari gurupada
dhari sudhrid
bhaktineh tho
manaa
Samarth guru
sainath puravee manovaasanaa
Guru vinati mee
karee
hridayamandiree
yaa basaa
Samasth jag he guruswaroopee
ttaso maanasaa
Ghado satat sathkruptee
matihi deh jagatipaavanaa
Samarth guru sainath puravee manovaasanaa
Sragdhara
Preme yaa asthakaashi paduni guruvaraa
Praarthitee je prabhaatee
Tyaanche chittasee deto akhilharooniyaan
braanti mee nitya shaantee
Aise he sainathe kathuneesuchvileh
jevee yaa baalakaasee
Tevee tyaa krishnaapaayee namuni
savinayeh arpito ashtakaasee
Translation
It's morning! The sun shines in the (eastern) horizon with
his rays of beneficence.
The power of illusion cannot ensnare those who contemplate
on the Guru at this
39
ARATI SAI BABA
auspicious hour. Hence let us pray ardently to our Sadguru
with folded hands. May
Lord Sainath, the Omnipotent Sadguru, fulfil all our hearts'
desires!
Just as the sun drives out darkness, the Sadguru dispels the
nescience from our
hearts. Yet, it is not apt to compare the Guru with the sun.
Because the darkness
driven away by the sun returns (by night); but the nescience
removed by the grace
of the Guru never recrudesces. May Lord Sainath, the
Omnipotent Sadguru, fulfil all
our hearts' desires!
The sun rises and rouses us to activity by restoring energy
to the exhausted souls.
Similarly, the Guru invigorates our souls by removing all
the mental weaknesses,
which impel us to indulge in ignoble deeds. Leaving all
prejudices and proclivities,
let's contemplate on the holy feet of our Sadguru. May Lord
Sainath, the Omnipotent
Sadguru, fulfil all our hearts' desires.
Even the Trinity, Brahma, Vishnu and Maheswara cannot be
equal to our Sadguru
Sainath. None can be found to match him in his ability to
uplift human beings from a
downfall. May Lord Sainath, the Omnipotent Sadguru, fulfil
all our hearts' desires'.
Oh Guru, arise from thy samadhi (mystic trance) and come and
take thy seat at the
Masjid. By thy sweet utterances remove (the bitterness of)
our sufferings. Sadguru
Sainath, thou art the friend of all and cherish no ill will
to anyone. Thou art the
destroyer of all sins. May Lord Sainath, the Omnipotent
Sadguru, fulfil all our hearts'
desires!
Oh! This hour is very auspicious. The Guru has arisen (from
his samadhi) and by his
gracious glances warding off the troubles of his devotees
who have taken refuge in
him. There is no benefactor equal to him in this world. May
Lord Sainath, the
Omnipotent Sadguru, fulfi all our hearts' desires!
Without the grace of the Guru, no one, however clever he
might be, can achieve his
lives' objectives. Such a one merely trifles his time in
fruitless pursuits. Only by
obtaining steadfast devotion to the feet of the Guru, can
one's heart's desires be
fulfilled. May Lord Sainath, the Omnipotent Sadguru, fulfil
all our hearts' desires!
O Sadguru, I pray thee to dwell in my heart always and bless
me to look upon the
whole world as thy form. I pray to thee, Oh the purifier of
the whole world, to inspire
40
ARATI SAI BABA
me to do noble deeds always. May Lord Sainath, the
Omnipotent Sadguru, fulfil all
our hearts' desires!
Sragdhara
Shoever devoutly chants this astaka (the hymn of eight
stanzas) daily in the morning
and ardently prays to the Guru, shall be free from all
illusions and attain everlasting
peace. Thus declares Sadguru Sainath himself, when this
child, Krishna Jogiswar
Bhishma, (the composer of the hymn) has humbly offered this
astaka to him.
Commentary
This is one of the five psalms composed by Shri K. J.
Bhishma under the divine
afflatus granted by Sri Sai Baba. As such, it is a revealed
scripture for the devotees
of Sri Sai Baba.
Suprabhat Seva or Kakad Arati, in its denotative scene, is
an invocation to awaken
the deity from sleep. Offering Kakad Arati to Sri Sai Baba
is a reverential prayer to
awaken him from sleep. But to a Sai devotee rousing Sri Sai
Baba from sleep seems
paradoxical and pointless. For, the devotees are a aware
that Sri Sai Baba never
sleeps in the genetic sense of the word, but as Baba himself
has declared, he sleeps
"with his eyes wide open". When a devotee asked
Bhagavan Sri Ramana Maharshi,
."What is meant by sleeping while awake?",
Bhagavan replied, "That is the state of a
jnani! In sleep our ego disappears; senses do not work. As
the ego of the jnani is
already annihilated, he does not have the sense of doership
or any deliberate
activity with the senses. That is why a janai is said to be
always in a 'perpetual
sleep'. But as in the ordinary sleep thee is no
forgetfulness in jnani's sleep. He is
always in the pure awareness of his Self. So there is no
sleep for a jnani.... Sleep is
necessary for one who thinks 'I have risen from sleep'. For
those who are ever in
changeless sleep what need is there for any other sleep? He
sleeps awake and,
while awake he sleeps!"
Therefore, the poet, aptly invokes Sri Sai Baba to 'rise'
not from his 'sleep', but 'from
his samadhi' ('samadhi uthariniya....'), The waking sleep!
41
ARATI SAI BABA
X. PADH
(Composed by : Sri Dasganu Maharaj)
Sai raham nazar karnaa
Bhachonkaa paalan karnaa
Jaanaatumneh jagat pasaaraa
Sabahee jzhoott jamaanaa
Sai raham....
Mem andhaa hoon bandaa aapkaa
Mujhse prabhu dikhlaanaa
Sai raham....
Dass Ganu kahe ab kyaa boloo
Thak gayi meree rasnaa
Sai raham....
Translation
Lord Sainath, take care of us, thy children, by always,
keeping thy gracious eye on
us;
If we know the the truth we find that thou pervade the whole
universe. Anything seen
apart from thee is but false;
I am blind and a bondsman of thee. Pray, grant me the divine
vision of the Lord!
My tongue is totally exhausted and dumbfounded in thy
praise. and, what else can
this Ganu, thy servant, speak?
XL PADH
(Composed by : Shri Dasganu Maharaj)
Raham nazar karo, ab more sayee
Tumbin naheen
mujze maa baap bhaayee
Raham
>>>>
Mein andhaa hoon
banda tumhaaraa
Mein naa jaanoon
allaah ilaahee
Raham
>>>>
Khaiee jamaanaa
meineh gamaayaa
Saathee aakhar
kaa kiyaa na koyee
Raham >>>>
42
ARATI SAI BABA
Translation
Lord Sai, kindly cast thy gracious glances on me. I have no
mother, father or brother
other than thee;
I am blind and a bonded slave of thee. I know not the truth
(which thou always drive
home,) that Allah alone is All-in-All;
I have scoured the whole country (in vain pursuits) but
could find none who can
remain as my everlasting companion;
I am nothing but a simple broom in thy Masjid and thou art
verily our Master, Oh
Baba Sai!
Commentary
(On Padh Nos.'X & XI)
This couple of dithyrambs (in Hindi), composed by Sri
Dasganu Maharaj are one of
the sterling pieces in the whole gamut of Shirdi
Arati-psalms. The fervent feelings
and the ardent outpourings of a devout heart are very
artistically articulated in these
psalms. The passionate yearnings of a Sai devotee expressed
in these psalms
inspire, in turn, kindred feelings in the hearts of those
who sing them a devoutly.
They also earmark, in a subtle manner, the attitude an
earnest devotee has to
cherish towards Baba, such as the mood of a helpless child
towards its loving
mother, the attitude of a humble servant towards his benign
master, the attitude of a
sincere disciple towards his gracious Guru et. al.
The elan vital of Baba's life and teachings is beyond all
the barriers of all religions.
Yet, he did manifest under the trappings of a Muslim fakir.
In spite of their orthodox
penchants, many ardent devotees of Baba such as Sri Dasganu
Maharaj, Sri K. J.
Bhishma and others accepted and adored him as their
Guru-God. This fact is amply
displayed by the choice of the diction in the present
psalms, such as nazr, rahm,
masjid, allah-i-Ilahi etc., which are derived from the
Arabic, especially from the
Islamic legacy. The fundamental principle on which the
Islamic religion rests in the
Shahdah. La-illaha-illa-Allah muhammad-ur-rasul-u-allah.,
which means, There is no
God save Allah: Muhammad is the messenger of Allah. A person
becomes a Muslim
by simply repeating the shahdah with faith. But a Sufi, in
his mystic quest to explore
the ultimate meaning of it, concludes that the real
Existence cannot be attributed
43
ARATI SAI BABA
ontologically to anything except God (which is a logical
consequence of the first part
of the shahdah) and tries to realize it. It matters
spiritual Baba spoke mostly in the
Sufi jargon. He often used to say, "All that IS is
Allah!". Accordingly, Sri Dasganu
uses the phrase 'Allah-i-Iahi' to mean the All-pervasive
nature of Allah (God).
Besides, the Islamic concept of the Masjid as the solemn
court of the sovereign
Creator, has been transformed by Sri Sai Baba, in his own unique
and inimitable
way, into a loving lap of a doting mother, -the Masjid Ayi,
Referring to the Masid in
which he lived, Baba declared, "Highly merciful in this
Masjid Ayi! She is the mother
of those who place their entire faith in her. If they are in
danger, she will save them.
Once a person climbs into her lap, all his troubles are
over. He who rests in her
shade attains bliss."
Having been imbued with the basic essence of the teachings
of Sri Sai Baba through
his close association with him. Sri Dasganu Maharaj implores
Baba to cast his
gracious glances (nazr) on him. But, the glances he seeks
are not the vigilant looks
of a benevolent sovereign Lord, but the fond looks of a
caring and loving mother at
her child. From the mood of a helpless baby, the bard soars
to the heights of self-
surrender by humbly making himself a simple broom in the
precincts of Baba's
Masjid. This metaphorical outburst is replete with sublime
connotations. For, though
a broom is one of the most indispensable items of a
household it is also the one
which is looked down upon as paltriest de classe, and is
thrown into a corner as
soon as its use is over. Not only in this song but also in
his other writings, Dasganu
implores Baba to make or use him as a broom, a pliant tool
in his mission of
sweeping away impurities from the world. Besides, what else
except a besom in
Baba's Masjid can have the good fortune of constantly
touching the holy dust of the
feet of Baba and his devotees? Is it not as if Shri Dasganu
finds and offers a
practical solution for the prayer, "charanaraja tali
dyava dasa visava, bhakta
visava...." (kindly allow us to settle snugly in the
dust of thy holy feet!) of the famous
aarti-psalm
'Arati Sai Baba?' As Allah is the malick (Master) of Baba. Baba is the
'Big
Boss' of his devotees -malick hamara!
Dasganu's prayer to Baba to grant him the vision of God
(prabhupad dikhalna) has
an autobiographical undertone. For many years Dasganu was
praying, nay rather
44
ARATI SAI BABA
pestering Baba to grant him the vision of the Divine
(sakshatkar), such one as Sant
Namadev and other saints had experienced. Every time, When
Dasganu made the
request, Baba used to say simply, "Wait". One day
Dasganu complained, "Baba, you
have long been putting off my request. When will you give me
sakshatkar?" This
time Baba replied, "Arre! You see me, don't you? That
is sakshatkar!" Baba's
statement is very significant if we dive deep into its
spiritual implications. Perhaps, in
the light of the said statement of Baba, Sri Kakasaheb Dixit
has suggested an
amendment to the plea in the psalm, "'prabhu
dikhalana" ('show me the Lord'), by
adding 'pad' and, thus making it "prabhupadh dikhalana'
which means 'show me thy
feet!" Besides, Shri Dixit offers another apt
alternation! To the desperate and
pessimistic tone expressed in the statement (in the psalm
No. X) "Sathee akhirika
kiya na koyee" ('An everlasting companion I have found
none'), just by replacing
'kiya' with 'tumabina', the altered statement reads, 'sathee
akhirika tumabina koyee'
which means 'an everlasting companion; I have found none
except Thee!' The
amended phraseology voices not only the tone of optimism but
also the mood of
ananya bhakti (undivided and whole-hearted devotion). The
psalms would be replete
with richer meanings if the meliorations were carried to the
original Psalms Book of
Shirdi Aratis.
Above all, it seems, Baba very much liked these twin songs!
Laxman Bhat Joshi of
Shirdi recalls,
"I was quite a boy when I was with Sai Baba. We would
sleep with Baba at the
Chavadi.... We were allowed to be with him when none else
were allowed.... At night
at the Chavadi, he occasionally asked me to sing. 'Sing
Ganu's songs or Tukaram's.
What does Ganu say?' he would say. I .would joke with him by
singing songs in his
praise lightheartedly, 'Rahama najara karo abomore Sai'
etc., He liked both tune and
subject matter of the songs."
XII. PADH
(Composed by : Sant Jana Bai)
Tujze kai devoon saawalyaa
mee khaayaa taree
Mee dubaiee batik
45
ARATI SAI BABA
naamyaachee jaan shreeharee
Uchishta tulaa denen hee ghosht naa baree
Toon jagannaath tujze
deoon kashire bhaakaree
Nako ant madeeya pahoon
sakhya bhagwantaa shrikaantaa
Maadhyaahnraatra vultoi
gaelee hee aatan
aan chittaa
Ja hoieel tujha
re kaakadaa hee raolaantaree
Aanateel bhakt naivedya hi naanaaparee
Translation
Oh Swarthy One (Sri Krishna), what can I offer thee as
breakfast (naivedya)? I am a
poor maid-servant of thy devotee Namadev, Oh Srihari,
(subsisting on the doles of
thy ucchista [leftovers]).
(As such,) How can f offer thee, Oh Lord of the Universe,
the same piece of bread
that thou hast mercifully doled out to me?
Oh Bhagavan, do not cut off the cherished bond of cozy amity
between us. Oh
Srikanta, after the Kakad Arati is over, I shall go and
avidly return soon to take thy
darshan at noon
and again in the night.
Many a devotee has come with rich dainties to offer to thee
as breakfast (naivedya)
soon after the Kakad Arati. Pray, place thy kind attention
on me!
Commentary
The present psalm elucidates the attitude one ought to have
while offering naivedya
to God. Baba not only exhorts us to offer (Mentally)
whatever we eat or drink, but
also declares that he is one who provides all. So a Sai
devotee should always keep
in his mind that he has received, including his daily bread,
in the prasad (blessed
food offering) bestowed upon him by Baba. The act of
offering naivedya is in fact a
means or a pretext to remember the above mentioned truth!
Offering naivedya to
God, as Bhagavan Sri Ramana maharshi puts it, is just like
'offering sugar to the idol
of a deity made of sugar-candy!' The act of naivedya if
properly done with an ardent
spirit, would consequently lead one to a state, which Sant
Janabai expresses in
46
ARATI SAI BABA
another abhang, at the heights of her devotional rapture,
"I eat God; I sleep in God; I
breathe God; I feel God; speak God and I give God and take
God."
XIII. PADH
(Composed by : Shri Krishna
Jogiswar Bhishma)
Shreesadguru baabaa sayee
Tujh waanchuni aashraya naahi bhutalee
Mee paapee patit dheemanda
Taarane malaa gurunathaa jhadkari
Toon shaantikshamechaa meroo
Toon bhavaarnaveethe taaru guruvaraa
Guruvaraa majzasi paamaraa ataan udharaa
Tvarit lavlaahee tvarit lavlaahee
Mee budato bhavbhaya dohee udharaa
>»Shri sadguru»
Translation
Sri Sadguru Sai Baba, where else shall I take refuge on the
face of the earth except
in thee! I am a sinner, a wretch and a fathead! Purify and
uplift me Oh Gurudev!
Thou art as great as Mount Meru
the Sadguru par excellence who saves the ignorant folk like
me from the ocean of
illusory attachments.
We, lowly folk, are miserably drowned in this ocean of samsara
and gasping with
fear and frustration! Oh Sadguru, make posthaste to save us
promptly.
End of Kakad Arati
47
ARATI SAI BABA
CHAPTER IV
II. ARATI
(Composed by : Shir Madhavarao Adkar)
Arati Saibaabha soukhyadaataara jeevaa
charana fajaatalee dhyaavaa daasaan visaawaa
bhaktaa viswaawaa
Jaaluniuaam aanang swaswaroopee raahe dhanga
Mumukshu janaan
daavee nija dolaan serranga,
dolan sreeranana
Jayaa maneejaisaa
bhaava tayaa taisaa anubhava
Daawisee
dayaaghanaa aisee tujee hee maava
thuzeehimaava
Tumache naama
dhyaataan hare sansrithi vyathaa
Agaadha tava
karanee maarga daawisee anaadhaa
daawisee anaadhaa
Kaliyugee
avataara sagunabrahma saachaara
AvateernajhaaSaase
swami datta digambara
datta digambara
Aattaan divasaan
guruwaaree bhakta karitee waaree
Prabhupada
pahaavayaa bhaavabhaya niwaaree.
bhaya niwaaree.
Maajzaa nija
dravaya tteesaa tav charan rajasevaa
Maagane
hechiyaataa tumhan
devaadhideva
devaadehideva
Jchchita deena
chaatak nirmai toya nijasookha
Paajaawe
maadhavaa yaa saambha!
aapuiee bhaaka
appulee bhaaka
48
ARATI SAI BABA
Translation
We offer arati, bailing thy glories, Oh Sai Baba, who art
the hestower of happiness of
beings. Kindly allows us, who are thy footmen and devotee,
to rest in the dust of thy
holy feet. Thou bast reduced the god of lust, Eros
(Manmatha) to ashes and, always
remain absorbed in thin own Self (which is pure
Being-Awareness-Bliss). Bestow on
ardent seekers of Self-Realization the vision of the real
Self (atmasakshatkar);
As is ones intent, such shall be his experience. As such
thou bestow thy grace upon
each according to his conception ofthee. Such is thy divine
sport, Oh
Compassionate One! Contemplation of thy Holy name destroys
all dolorous
distresses borne of inherent tendencies. Thy ways are verily
inscrutable. Thou art
the friend and guide of the helpless;
Thou art the divine incarnation in the Kali Age and, thou
art the formless Absolute
embodied (as Sai Baba) with all divine attributes. Thou art
the perfect manifestation
of Lord Datta the Supreme Master;
Once in a week, on every Thursday, devotees throng to thee.
Thou remove the fears
and frustration of those who take refuge in thy holy feet;
What all I possess, (wealth, body and mind etc.) is proffered
at thy feet. Pray grant
me the humble service at the holy feet, which indeed, I
deem, is my real treasure,
Oh God of gods!
Just the chatak-bird slakes it's thirst only by the heavenly
waters (rain-drops), make
me (Madhav, the poet) too, feed my mind always upon thy
blessed from alone.
Commentary
This popular arati-psalm of Sri Sai Baba is composed by Sri
Madhav V. Adkar of
Beed. He was a playwright and an artist who came into
contact with Baba through
Sri Dasganu Maharaj. His photograph can be seen in the front
hall of Sri Sai Baba
Samadhi Mandir at Shirdi. According to Sri Sai Satcharitra
(Ch.33), this is the aratisong
which was went to Sri Nanasaheb Chandorkar through Ramagir
Bua by
Shama (on the supposed instruction of Sri Sai Baba) alone
with the udi, at the time
when Sri Nanasaheb's daughter, Mainatai, was facing a
perilous parturition.
49
ARATI SAI BABA
III. ARATI
(Composed by : Shir Krishna
Jogiswar Bhishma)
Jaya devajaya deve dattaa
avadhutaa sayee avadhutaa
Jodoonikara tava
charanee ttevito maathaa
Jaya deva...
Avataraseen too
yaetaan dhanrtaante glaanee
Naastheekaanaahee
too laavsi njiabhajanee
Daavissi naanaa
leela asankhya roopaanee
Harisee
dheenanchee too sankata dinarajanee
Jaya deva...
Yavana swaroopee
alikhyaa darshana twaan
dhidhale
Samsaya
nirsunyaan thathdwaitaa ghaalavil
Gopeechandaa
mandaa twaanchee uddharile
Momina vamsee
janmuni bkaan tarriyael
Jaya deve....
Bhed na tathwee
Hindoo yavanaancha kaanhee
Dawaayaansee
twatpadanata vhaave
Paramaayaamohita
janamochana jhanin vhaave
Twakripayaa
sakalaanche sankata nirasaawe
Deshila tari de
twadhyash krishnaane gaave
Jaya deva...
Kaliyugee
avataara sagunabrahma saachaara
Avateema
jhaalaase swami datta digambara
datta digambara
Aattaan divasaan
guruwaaree bhakta karitee waaree
Prabhupada
pahaavayaa ,bhaavabhaya niwaaree,
bhaya niwaaree.
Maajzaa nija
dravaya tteesaa tav charan rajasevaa
Maagane
hechiyaataa tumhan
50
ARATI SAI BABA
devaadhideva
devaadehideva
Tchchita deena
chaatak nirmal toya nijasookha
Paajaawe
maadhavaa yaa saambhal
aapulee bhaaka
appulee bhaaka
Translation
Hail unto thy glory. Oh Sai Avadhut, who art Lord Datta
incarnate. With folded
hands, I humbly lay my head at thy feet;
When dharma (righteousness) is in peril, thou incarnate in
this world and
demonstrate the truth of divinity in innumerable ways,
making even come around to
sing thy glories. Very vigilant thou art, day and night, to
ward off the troubles of thy
devotees.
Thou hast manifested in the form of a Muslim Fakir and
strived to destroy the sense
of difference, between Hindus and Muslims, thus uplifting
many stupid and ignorant
folk (from heinous religions bigotry). To uplift humanity
thou hadst taken birth in a
Momins (Muslim weavers) Family (as Kabir).
To reiterate the truth that there is absolutely no meaning
in the different between
Hindus and Muslims, thus human form (as Sai Baba). Those
lovingly look upon both
Hindus and Muslims with an equal eye. Thou hast proved that
One all pervading
consciousness dwells in all beings.
Lord Sainath, humble prostrations at thy Holy Feet! Pray,
liberate all ignorant folk
from the snares of maya. By thy grace, ward off the trouble
(wordly and spiritual) of
all. Pray, kindly bestow on me (Krishna Jogiswar Bhishma,
the psalmist) the ability to
sing thy glories.
Commentary
This psalm is significant in many ways. It lucidly brings
forth many salient features of
Sri Sai Baba's manifestation and his mission. "My
business of give blessing",
declared Baba, If we are to sum up Baba's life, it is the
spontaneous overflow of
bounteous grace inundating in the form of spiritual and
temporal well-being, those
who take refuge in him. It is the wall of separateness, to
put it in Baba's own words.,
bricked with sense of ego (ahankar) and cemented by the
proclivities of caste,
creed, religion and orthodoxy, that stands out as a
barricade on the road to truth,
51
ARATI SAI BABA
damming the flood of Baba's grace. What Baba has asked us is
to 'pull down the
wall' that differentiates us from one another and separates
us from Baba.
Is Baba a Hindu or a Muslim ? "He is neither a Hindu
nor a Muslim, he is above
both", states Sri. S. D. Dhumal, one of the close
devotees of Baba, perhaps very
aptly ! While Sri Dhumal said it, he might be unconsciously
voicing the unspoken
insight which Baba has bestowed upon most of his devotees.
In the present psalm,
Sri Bhishma also addresses Baba as Datta Avadhut and Sai
Avadhut. Datta is
synonymous with the concept of perfect manifestation of the
Divine as Sadguru and,
Avadhut means one who has eschewed or transcended all
religious formalities. In
spite of the fact that Baba had donned the trappings of a
Muslim their own or any
other creed. Then, what must have been Baba's religion ? It
is kabir, as has been
avowed by Baba himself. Kabir did not identify himself with
any religion. In one of his
dohas (couplets) Kabir declares unequivocally. "Hindu
kahoon tho mein nahin,
Musalman bhee naahin !" (I am neither a Hindu nor a
Muslim; I am none of them.)
Baba not only declared that his religion was Kabir, but also
'disclosed' that he was
Kabir himself in his previous incarnation ! He said, "I
was kabir and used to spin
yarn." Sri Bhishma points this out in the present psalm
saying that kabir has been
reincarnated (Daya ya Si Zhala punarapi naradehi) as Sri Sai
Baba. It would not be
irrelevant in the context of the present arati-psalm, to
take note of a verse of Kabir
which is included in the Sikh's Adigranth (Maru-4) In it
Kabir says :
So the man who looketh on all with an equal eye shall become
pure and
blessed with the infinite. Why should I return to this world
? Transmigration
take place by God's order, he who obeyeth it shall blend
with him. I devote
myself to and perform the duties which, God assigned me.
Like Kabir, Baba too strived to strike a harmonious rapport
between the Hindus and
the Muslims and looked upon both wiht an equal eye. Yet all
the time remaining
beyond both. The popular notion is that Baba expressed
himself as a Hindu and
Hindus and to Muslims as a Moslem and so on. But in most
cases he acted vice
versa ! He insisted that the Hindus and the Moslems should
accept him as a Fakir
and a Brahmin respectively, crossing the barriers of caste
and creed. Many close
devotees of Baba such as Dasganu Maharaj, Nanasaheb
Chandorkar, H.S. Dixit, G.
52
ARATI SAI BABA
S. Khaparde, Upasani Maharaj, Bade Baba, Abdul Baba,
Shamsuddin Rangari,
Abdulla Jan and others, in spite of their flora for
orthodoxy, accepted Baba as he
was and adored him as their Guru-God. They did not stoop
down to the intellectual
hypocrisy of projecting him as one of their own creed.
Cherishing any kind of
heinous prejudices of creed or religion ill becomes a true
Sai devotee.
IV. ABHANG
(Composed by : Shir Dasganu Maharaj)
Shrdee maajze pandharapura Saibaba ramaavara
Shuddha bhakthee chandrabhaagaa bhaava
pundaleeka jaagaa
Yaa hlyaa.ho avaghejana karaa babaansee
vandana
Ganoo mhane Baba sayee dhaava paava maajze aayee
Translation
Verily Shirdi is my Pandharpur and Sai Baba is Lord Vittal !
Pure and unalloyed
devotion (which flows at Shirdi) is the River Chandrabhaga
(which courses across
Pandharpur); mindful awareness (in the hearts of the devotees
at Shirdi) is the holy
locus where Bhakt
pundalik is ensconced. Attention one and all! Come up, come up
quickly and make nascence to Sai Baba. Dasganu call out, Oh
Sai, my mother I
Pray come I Nay, rush posthaste to uplift me!
V. NAMAN
(A Graland of Traditional Prayers)
Ghaakeena
btaangana vandeen charan
Dolyanee paaheen
roop tujze
preme aalingina
aananade poojin
Bhaave oowaalina
mhane naamaa
Tvameva maataa
cha pitaa tvameva
Tvameva
bandhuscha sakhaa tvameva
Tvameva vidyaa
dravinam tuameva
Tvameva servam
mama devadeva
Kaayena vaachaa
manasevdriyaiarwan
53
ARATI SAI BABA
Budhayatmanaa vaa
prakriti swabhaavaat
Karomi
yadyatska!am parasmai
Naryanaayeti
samarpayaami
Achyutam keshavam
raamanaaraayanam
krishnadaamodaram
vaasudevam harim
Shreedharam
maadhavam gopikaa vallabham
jaanakeenaayakam
raammachandram bhaje
Translation
Making humble prostrations to thy lotus-feet, rejoicing at
the sight of thy blessed
form, (mentally) embracing that form of bliss with love, we
adore thee (Lord Sainath)
absorbed in the ecstatic rapture (.says Namadev).
Thou art my mother and my father thou art; thou art my
kinsman and bosom friends
thou art; thou art my knowledge and my wealth thou art; thou
art verily everything
unto me. Oh my God of gods !
I offer to Lord Narayane (in worshipful surrender) all my
actions done with my body,
speech, mind, sense, intellect, volition and instinct.
(Sadguru Sainath,) I worship thee, who art adored with
various names viz., Achyutta
Kesava, Rama,
Narayana, Krishna, Damodara, Vasudeva, Hari, Sridhara, Madhava,
Gopikavallabha,
Janakinayaka, Ramchandra etc.
VI. NAMASMARAN
Hare Raama Hare
Raama
Raama Raama Hare
Hare
Hare Krishna Hare Krishna
Translation
Hail Ram, Hail Ram, Hail all Ram Ram;
Hail Krishna , Hail Krishna , Hail Krishna Krishna !
54
ARATI SAI BABA
(Composed by :
Shir Mohini Raj)
Anantaa tulaa ten
kase te sthavaave
Anantaa tulaa ten
kase te sthavaave
Anantaa
mukhaanchaa shine shesh gaataan
Namaskaar
Saashtaang Sri Sainathaa
Smataave hmanee
twatpadaa nitya bhaave
Wurave taree
bhaktisaattee swabhaave
Taraave jaggaa
taarunee maaya taataa
Namaskaar
Saashtaang Sri Sainathaa
Vase jo sadaa
daavayaa santleelaa
Dise agna
bkaanaparee jo janaa!aa
Paree angaree
gnaana kaiwalya daata
Namaskaar
Saashtaang sri Sainathaa
Baraa laadhalaa
janma haa maanvaachaa
Naraa saarthakaa
saadhaneebhuha saachaa
Dharoon
sayeepremaa galaayaa ahantaa
'Namaskaar
Saashtaang Sri Sainathaa
Dharaave karee saana
alpagna baalaa
Karaave amhmaa
dhanya chumboni gaalaa
Mukhee ghaala
preme karaa graas aataan
Namaskaar
Saashtaang Sri Sainathaa
Suraakeeka
jyaanchyaa padaa vandistaantee
sukaadeeka
jyaante samaanatva detee
Prayaagaadi
teerthen padee namra hotaa
Namaskaar
Saashtaang Sri Sainathaa
Tujhyaa jhya
padaa paahtan gopanaalee
Sadaa rangalee
chitswaroopee milaalee
karee
raasakreedaa save Krishna naathaa
Namaskaar
Saashtaang sri Sainathaa
Tulaa maagato
maagane eka dhyaave
Karaa jodito
deena afyanta bhaave
Bhavee
mohaneeraaja haa taari aataan
Namaskaar
Saashtaang sri Sainathaa
55
ARATI SAI BABA
Translation
Oh, the Infinite One, how can I extol thee ! Oh, the
Boundless Being, how to make
obeisance to thee I Having innumerable faces, even Adiesha
is exhausted by
singing thy ineffable glories. Lord Sainath, my worshipful
prostrations to thee !
Daily I contemplate on thy holy feet with ardent devotion.
That contemplation (in
turn) strengthens the nature of my devotion to thee. Only by
such steadfast devotion
can one escape from the snares of illusory worldly
attachments. Lord Sainath, my
worshipful prostrations to thee !
The object of thy life (as Sai Baba) is to bless the pious
with the leelas of thy divine
glory. To the ignorant thou too seem to be one such. But, in
reality, thou art the
bestower of true knowledge and enlightenment. Lord Sainath,
my worshipful
prostrations to thee !
It is a rare fortune to have htis human birth. One has to
utilize this fortune by earnest
endeavours to realise the Self. Hence, kill the ego and
kindle love towards thee in
my heart. Lord Sainath, my worshipful prostrations to thee !
Carry me, this ignorant child, in thine arms,
make me blessed by caressing me affectionately and feeding
me lovingly wiht thy
prasad. Lord Sainath, my worshipful prostrations to thee !
To whose holy feet all gods make obeisance; to whom great
sages such as Suka
pay homage as their compeer; at whose holy feet all the holy
places such as Prayag
lay humbly, to thee, Lord Sainath, my worshipful
prostrations!
In order to obtain the good fortune to be always at thy holy
feet, the milkmaids of
Brindavan took part in thy divine sport completely absorbed
in the ecstatic joy of
pure Awareness, Thou art verily Lord Krishna, O Sainath, my
worshipful prostrations
to thee !
With folded hands I humbly implore thee, with ardent
devotion, for nothing else but
to save me, mohini raj (the psalmist) from the snares of
wordly attachments and
desires. Oh Lord Sainath, my worshipful prostrations to thee
I
Commentary
This lucid octave, with a forcefully effectual refrain, is
composed by Sri Mohini Raj an
ardent devotee of Sri Sai Baba who worked as a Mamaltadar at
Nasik .
56
ARATI SAI BABA
Experiencing an unconditioned state of blissful ecstasy is
the goal of all spiritual
endeavours; and effacing the "conditioning' of the ego
which get in the way of
realizing that state is the essence of all spiritual
disciplines. Ego has an instinctive
self-perpetuating tendency which doesn't allow it to throw
itself off happily. When
encountered with an overwhelming situation or a overpowering
personage, the ego
experiences unpleasant reflexes and grabs all possible
self-defensive shifts. In the
path of devotion-only in the path a devotion-the subtle
'conditionings' of the ego are
loosened by overpowering emotion (devotion) and the ego
allows itself to be
blissfully lost in its own image of the divine magnitude.
Namaskar symbolizes this
state of ego's readiness to lose itself. Gestures like
uniting ones two palms together
prostrating etc., while doing namaskar, suggest the said
state of merger or union.
Thus, namaskar is not a mere deferential gesture of
greeting. It is a meaningful
techniques handed down by the masters of mystic wisdom as a
means of effacing
the ego. It is not simply treated as an -adjuvant ancillary
to various devotional moods
and modes. In fact it has been given an independent status
as a mode of devotional
discipline. Namaskara Bhakti is, thus one of the nine modes
of devotional
approaches (navavidha bhakti) enumerated in the tenets of
devotional literature.
Literally the term namaskar is said to be a compound of
three root-word=na
(no)+mama(=I)+ aaskaara (=scope) = no scope for the ‘I’.
Thus it is a state of mind
in which the self is effaced by an expressive recognition of
the divine magnitude. To
bear such a self-effacing feeling in mind is true namaskar.
Saashtaanga means sa with,
ashta -eight, anger-limbs; Sashtaanga namaskar is making
reverential
obeisance by prostrating in such a way that the eight limbs
of the body, viz, two
hands, tow legs, two shoulders, chest and forehead touch the
ground. All the devout
gestures such as folding of hands (keeping the palms
together), kneeling, bowing
down in obeisance, prostrating etc., are only ingenious
designs conducive to effect a
feeling of self-effacing humility in our hearts. Bereft of
such a feeling namaskar
becomes a mere namesake.
This Hymnal Octave of Obeisance (Namaskaraashtaka), if
meaningfully recited,
enables us to do a perpetual prostration-sastang namaskar-to
the Ashtaka the eight
limbs !
57
ARATI SAI BABA
VIII. PRARTHANA
(Prayer)
Aisaa eyee baa-Sayee digambaraa
Akshaya roopa avataara-sarvahiyaapaka too
Shrutisaara-anusayaatrikumaaraa-maharajeyeebaa!
Kassshee snaanajapa-praridivashee
Kolhapura bhikshesee-nirmala nadi tungaa
Jala praasee-nidra madhur deshee aisaa
Jzholee lombatase vaamakaree trishoola
Damaroodhaari bhaktaa varada sadaa sukhkaaree
Deseel muktee chaaree aisaa...
Paayeepaadukaajapmaala kamandaloo
Mrigacchalaa dharana kariseebaa naagijataa
Mukuta sobhato maathaa aisaa...
Tatpara tujyaa yaaje dhyaanee akshaya
Thyaanche sadhanee lakshmeevasa kafee
Dinarajanee rakshisi sankat vaaruni aisaa...
Yaa pari dhyaana tujze gururaayaa
Drishya karee nayanaan yaa
Poornaananda sukhe hee kaayaa
Laavisi hariguna gaayaa aisaa...
Translation
We invoke, thee, Oh Sai Digambar! thou art the immoral
incarnation of the
indestructible spirit which animals the infinite forms of
this universe. Thou art all
pervasive and the essence of all revealed scriptures. I
invoke thee, my Lord, the son
of Sage Atri and Anasuya !
I invoke thee, Oh Sai Digambar, who perform thy daily
ceremonial ablutions at Kasi
(Banares), accept alms of Kolhapur and partake everyday of the pure
water of the
river Tunga Bhadra and retire to bed at Mahurpur every
night.
Having a long mendicant bag adorned round thy left arm and
trishul (trident) and
damarit (a two sided hand-drum) in thy right hand, thou
always make thy devotees
58
ARATI SAI BABA
happy by granting them boons and leading them on the path of
Liberation. Such
thou art, Oh'Sai Digambar, I invoke thee !
Wearing wooden sandals on thy even feet, holding a rosary
and kamandalu (waterpot)
in thy dressed in a deerskin attire, thou shine forth with
the crown of matted
locks coiled as a serpent on they head. Such thou art, Oh
Sai Digambar, I invoke
thee.
Thou take all care to see that there will be no dearth in
the houses of thy devotees
who devotedly contemplate on thee and, make the goddess of
wealth never leave
their homes. Thou art ever vigilant, by day and night, to
ward off the troubles of thy
devotees. Oh Sai Digambar, I invoke thee.
Oh ! Master of master, bestow on me boundless bliss of
having constantly the vision
of thy blessed form and bless me to contemplate on thee
uninterruptedly. Make my
body always adore thee in singing thy glories. Oh Sai
Digambar, I invoke thee.
Commentary
This is also on of the traditional hymns adapted to the Book
of Shirdi Aratis by
substituting 'Sai for Datta' in the refrain.
59
ARATI SAI BABA
IX. SRI SAINATHA MAHIMA STHORAM
(Composed by :
Sri Upasani Baba Maharaj)
Sadaa
satswaroopam chidaananda kandam
Jagat
sambhavasthaana samhaara hetum
Swabhaktechhayaa
maanusham darsaynatham
Namaameeswaram
sadgururm Sainaatham
Bhawadhwaanta
vidhwamsa maarthaanda
meeddyam
Manovaagateetam
munir dhyaana gamyam
Jagadvyapakam
nirmalam nirgunam twqam
Namaamee... '
Sacdaa nimba
vrikshasya mooiaadhivaasaat
sudhaasravinam
tiktamapya priyantam
Tarum kalpa
vrikshaadhikam saadhayantam
Namaamee.....
Sadaa
kaipavrikshasya tasyaadhi moole
Bhawadhaava
buddhyaa saparyaadisevaam
Nrinaam kurwataam
bhukti mukti pradantam
Namaamee....
Anekaashrutaa
tarkya leela vilaasaein
Samaavishkruteshaana
bhaaswat prabhaavam
Ahambhaava heenam
prasannatma bhaawam
Namaamee...
Ajanmaadhyamekam
param brahma saakshaat
Swayam sambhavam
raamamevaavateeranam
Bhawadhrshanaathsam
puneetah prabhoham
Namaamee....
Sro sayeesa
kripaanidhe akhilanrinaam
Sarwaarth
siddhiprada
Yushmatpaadarajah
prabhaavamatulam
dhaataapi
vaktaakshamah
Sadbhkthyaa
saranam krithaanjali
putah
samprapithosmi prabho
Shrimath
sayiparesa paada kamalaa naanya
Ccharanyam nama
Sayiroopadhara
raaghavottaman
Bhakta kaama
vibudha dhrumam prabhum
Mayayopahata
chitta shudhayae
chintayaamyahamahamisam
mudaa
Sharat sudhaamsu
pratime prakaasam
Kripatpaatram
tava sainaatha
Twadeeya
paadeebja smaaashritaanaam
Swachhaaayayaa
taapamapaa karothu
Upaasanaa daivata
sainaatha
Sthavairmayopaasaninaasthu
sthatwam
Ramenmanome tava
paadayuame bhrungo
Yathaabje
makaramda lubdhah
Anekajanmaarjita
paapasamkshyo
Bhavet
bhawatpaada saroja darshanaat
Kshamaswa
sarvaanaparaadha poonjakaan
Praseeda sayeesa
guro dayaanidhe
Sri sainaatha
charanaamrita putachithaah
Sthwatpaada seva
narataah satatmcha bhaktyaa
Samsaara janya
duritaagha vinirgataaste
KivaSya dhaama
paramam samavaapnuvanti
Sthotrame
tatpatte bhakthyaa yonara
sthanmanaahsadaa
Sadguroh sainaadhasya
kripa paatram
bhaveddhwvam
60
ARATI SAI BABA
Translation
The state of Absolute Being is his eternal form and Pure
Awareness and Bliss are
his attributes. He is the primordial cause of creation,
sustainment and destruction of
the universe. He has assumed this human frame (as Sai Baba)
in response to the
fervent prayers (and exigencies) of his devotees. I bow down
to Sri Sainath, who is
the Supreme Lord and the Master of Creation.
He is the sun who banishes the darkness of ignorance and the
one who transcends
all thought and speech. He is the goal of the meditations
and the moorings of the
mystics. He pervades the whole universe and is pure and
unalloyed without any
relative attributes. I bow down to Sri Sainath, who is the
Supreme Lord and the
Master of Creation
By dwelling at the foot of the neem tree (at Shirdi) thou,
hast removed its bitterness
by showering ambrosia (of the grace) and have made the tree
surpass even the
kalpavriksha (the celestial wish-fulfilling tree). I bow
down to Sri Sainath, who is the
Supreme Lord and the Master of Creation.
Thou always take delight to rest under the neem tee and to
bestow both material
and spiritual prosperity upon thy devotees, who lovingly
attend upon thee (there) I
bow down to Sri Sainath, who is the Supreme Lord and the
Master of Creation,
61
ARATI SAI BABA
Thou reveal thyself in innumerable divine exploits which are
unheard of and are
unfathomable by discursive reasoning. Thou art the mystic
sun who unleashes the
light of divine knowledge bereft of all sense of egoism.
Thou always abide in the
Self-abounding grace. Such thou art, Oh Sainath, I bow down
to Sri Sainath, who is
the Supreme Lord and the Master of Creation.
Thou art the bestower of bliss and bounty on thy devotees.
Thou art the sole anchor
of repose and rejoicing and the object of their constant
adoration. I bow down to Sri
Sainath, who is the Supreme Lord and the Master of Creation.
Thou art the Primordial Self which transcends the cycle of
births. Thou art verily the
Absolute Being who hast assumed this human form at thine own
will as was Lord Sri
Rama incarnated (om days of yore). We shall verily be
hallowed just by the sight of
thee. Oh Lord, Sainath, I bow down to Sri Sainath, who is
the Supreme Lord and the
Master of Creation.
Lord Sainath thou art the ocean of grace and bestower of
success and fulfillment of
all the four objects of life (viz, dharam, arthka, kama and moksha.) Even demiurg
Brahma cannot described the great efficacy of the dust of
thy hallowed feet. With
folded hands, I take refuge in thee; wiht earnest devotion I
surrender to none other
than the lotus feet of thy divine form, Oh Sainath !
For the purification of my mind stained with delusions, I
lovingly contemplate day
and night on Sri Rama, who has assumed the form of Lord
Sainath. He is verily the
celestial Wish-fulfilling Tree for his devotees.
Oh Lord Sainath, thou art a vaulting umbrella of Grace,
glowing with the soothing
lustre of moon light and protecting those who take refuge at
thy lotus feet from the
scorching showers of suffering.
Oh Sainath, thou art the most adorable deity who art
ardently adored by this adorer
(Upasani). May my mind hold fast to thy lotus feet in rapt
delight just as a honeybee
covetously clings to a bloom.
The accumulated sins earned in numerous past births shall be
annulled just by the
sight of thy hallowed lotus-feet. Oh Lord, Sainath, my
Sadguru, thou art the ocean of
mercy. Kindly forgive me for all my umpteen sins and, bless
me graciously.
62
ARATI SAI BABA
Those devotees whose minds are completely absorbed in the
bliss of tasting the
nectar of the lotus-feet of Sri Sainath, and always lovingly
adore his feet with
unswerving attention, shall be free from all troubles and
turmoils borne of this
mundane existence and will surely attain the state of
Kaivalya.
Who-so-eve recites this stotra (hymn) wiht steadfast
devotion, shall certainly obtain
the grace of Sadguru Sainath.
Commentary
This Sanskrit hymn was composed by Sri Upasani Baba Maharaj
in 1911 at Shirdi,
during the period of his spiritual probation prescribed by
Sri Sai Baba. When a pair
of marble padukas of Sri Sai Baba was installed (on Sravan
Poornima, 15 th of
August, 1912) at the foot of the neem tree at Baba's
Gurusthan, the fourth and fifth
slokas (Stanzas) of this hymn were inscribed on a marble
slab affixed to the small
pedestal supporting the installed padukas.
This hymn, composed by the Saint of Sakori on the Saint of
Saints, Sri Sai Baba,
should indispensably form apart of the daily prayers of all
Sai Devotees. The first
eight stanzas form a fine astaka (octave) even if they are
read separately. Of all the
Hymn it is the makutam (refrain) 'namameeswaram sadgurum
Sainatham' of the first
eight slokas (Stanza), which is of surpassing value. The
makutam expresses both
the Iswara and the sadguru aspects of Sri Sai Baba. The
Manifestation of the
powers of omnipotence, omniscience and omnipresence, with
perfect control of
lordship over the phenomena] world, is the Iswara aspect,
and while always
remaining in a state of transcendence and instructing and
helping sincere seekers to
reach that state is the sadguru aspect. These two aspects
are very rarely to be seen
in one personage and, Sri Sai Baba is such a rare
manifestation. As Mrs. Tarkhad, a
contemporary ardent devotees of, Shri Sai Baba, described
with deep insight. "One
noticeable difference between Sri Sai Baba and other saints
struck me. I have seen
them in high Samadhi or trance condition entirely forgetting
their body. I have seen
them later, getting conscious of their surroundings, knowing
what is in our hearts
and replying to us. But, with Sri Sai Baba there was this
peculiar feature. He did not
have to go into trace to achieve anything or to reach any
higher position or
knowledge. He was, every moment, exercising a double
consciousness, one actively
63
ARATI SAI BABA
utilising the ego called Sri Sai Baba and dealing with other
egos in temporal of
spiritual affairs, and the other entirely superseding all
egos and resting in the
position of the Universal Soul. He was exercising and
manifesting all powers and
features incidental to both states of consciousness. He was
always inside and
outside of the material world's In other words, what Mrs.
Tarkhad has described is
the perfect blend of the Iswara and the Sadguru aspects of
God, manifested so
perfectly in Sri Sai Baba. Thus, the makutam of the stotra,
chanted devoutly and
meaningfully, becomes a mahamantra which bestows immense
benefits, both
spiritually and materially.
X. PUSHPANJALI
(Mantra Pushpam) (Vedic Hymn)
dharmaani
Prathamaanyaasan
Teha naakatn mahimaanah sachine yatra
Poorvesaadhyaa santi devaah
Vaishravanaaya kurmahe
Samekaaman kaama kaamaaya mahyam
kaameswaro
Vairaajyam
Paarameshtyam raajyam maharajya
maadhipatyamayam
samantparyaa yeesyaat
Saavabhaoumah saarvaayushya
Aantaadaaparaaraadhaat prithivayai
Samudraprayanthaayaa ekaraaliti tadapsyesha
slokobhigeeto marutah
Pariveshtaaro maruttayaavasan gruhe
Aviskhitasya kaamaprer vsivedevaah sabhaasada ithi.
64
ARATI SAI BABA
Sri Naraayana Vasudeva Satchidananda Sadganj Sri Sainath
Mahraaj Kijai!
XL PRARTHANA
Karacharanakritam vaakkaayajam karmajam vaa
Shravanayanajam vaa maanasam vaaparaadham
Viditamaviditam vaa sarvame tatshkamasva
Jayajaya karunaahdhe sriprabho sainatha
Translation
Oh, Lord Sainath, Ocean of mercy, kindly forgive me for all
my guilty (mis-) deeds
done with my hands and feet, by my body and speech, with my
organs of sight and
hearing, by thought and action, (whether they are) done
deliberately or
undeliberately. Oh My Lord, I humbly hail thy glory.
Sri Satchidananada Sadguru Sainath Maharj Ki Jai
65
ARATI SAI BABA
CHAPTER V
DHUP ARATI
(EVENING ARATI)
I. ABHANG
(Same as Psalm No. II of the Noon Arati)
II. ARATI
(Same as Psalm No. IV of the Noon Arati)
III. ARATI
(Same as Psalm No. V of the Noon Arati)
IV. NAMAN (Same as Psalm No. VI of the Noon Arati)
V. NAMASKARASTAK
(Same as Psalm No. VIII of the Noon Arati)
VI. PRARTHANA
(Same as Psalm No. IX of the Noon Arati)
(Same as Psalm No. X of the Noon Arati)
VIII. SRI
GURUPRASADA YACHANAASTAKAM
(Composed by : Sri B. V. Dev alias Babanche Bal)
Ruso mama
priyaambikaa majavaree pitahee ruso
Ruso mama
priyanganaa priyasutaatmajaahee ruso Ruso
bhagini bandhuhee
swasura saasubayee ruso
Na dattaguru
Saayima majavaree kadheenhee ruso
Puso na sunabayee
tyaa maja
na bhratrujaayaa
puso
Puso na priya
soyare priya sage na gnateen puso
Puso suhrida naa
sakhaa
swajana
naapta'bandhu puso
Paree na guru
Saayima
majavaree
kadheenhee ruso
Puso na aba/aa
mulen tarun vriddhahee naa puso
66
ARATI SAI BABA
Puso na guru
dhakute maja na thor saane puso
Puso nacha bhale
bure sujan sadhuheen naa puso
Paree na guru
Saayima majavaree kadheenhee ruso
Ruso chatura tatwavit
vibudha praanajnaanee ruso
Rushohi vidushee striyaa kushal panditaahee ruso
Ruso mahipatee yatee bhajak taapaseehee ruso
Na dattaguru Saayima majavaree kadheenhee ruso
Ruso kavi rishee munee anagha siddha yogee ruso
Ruso hi
grihadevata ni kula graama devee ruso
Ruso khala
pishaascahee malm dakineehee ruso
Na dattaguru
Saayima majavari kadheenhee ruso
Ruso mriga khaga
krimi akhila jeeva jantu ruso
Ruso vitap
prastaraa achal aapagaabdhee ruso
Ruso kha pavan
naagni vaar
avani panchatatwe
ruso
Na dattaguru
Saayima majavaree kadheenhee ruso
Ruso vimal
kinnaraa amala yakshineehee ruso
Ruso shashi
khagaadihee gagani taarakaahee ruso
Ruso
amararaajahee ac/aya dharmaraa ruso
Na dattaguru
Saayima majavari kadheenhee ruso
Ruso mana
saraswatee chapa!a chitta tehee ruso
Ruso vapu
dishaakhilaa kattina kaa! tohee ruso
Ruso sakal
vishwahee mayi tu brahma golaa ruso
Na dattaguru
Saayima majavaree kadheenhee ruso
Vimoodha hmanunee
haso
majana
matsaraahee daso
Padaabhi ruchi
ulhasohjanan kardamee naa phaso
Na durga
dhriticha ahaso ashivbhaav maage khaso
Prapanchi mana he
ruso dridda virakti chittee ttaso
Kunaachihi grinaa
naso na
cha sprihaa
kashaachee aso
67
ARATI SAI BABA
sadaiva hridyeen
vaso manasi dhyani Sayee vaso
Padee pranaya varaso
nikhila drishya baabaa diso
Na dattaguru
Saayima upari yaachanelaa ruso
Translation
Let it be, even if my beloved mother and father, my darling
wife and dear children,
my sisters, brothers, mother-in-law and father-in-law are
all cross with me. I care not!
But, Oh my Motherly Sai the Datta Guru, pray never be cross
with me!
Let it be, even if my daughter-in-law, sister-in-law, my
near and dear relatives, kith
and kin, well-wishers, and bosom friends forsake me in
neglect, I never mind! But,
Oh my Motherly Sai the Datta Guru, pray never be cross with
me!
Even if women, boys, girls, aged, youngsters, elders, good,
bad, pious and holy all
neglect me. I mind not in the least! But, Oh Sai, my
Motherly Guru, never be cross
with me!
Even the wizards in philosophy, intelligent, clever, wise
men, enlightened women,
erudite scholars, kings, monks, mystics, all may be
indignant with me. I do not
bother! But, Oh Sai, Motherly Guru, never be cross with me!
Poets, sages, saints, great godmen, yogis, tutelary gods,
clan and village deities,
evil spirits, malicious devils and grungy goblins, all may
be piqued with me. I care
not in the least! But, my Motherly Sai, the Datta Guru,
never get displeased with me!
Animals, birds, insects, all the sentient beings, stones,
mountains, rivers, oceans,
earth and the five elements all may turn unfriendly against
me, I care not! But, Oh
my Motherly Sai, the Datta Guru, never be ungracious to me!
Even if pious Kinnaras, Yakshas, the moon, the sun, and the
stars in the firmament,
Indra the king of the gods, Yama Dharma Raja the implacable
god of Death, all may
turn ungraceful to me. I am least bothered! But Oh my
Motherly Sai the Datta guru,
never turn me down in displeasure!
My own body and mind, Saraswati the goddess of learning,
Lakshmi the capricious
goddess of wealth, the gods presiding over all the cardinal
directions, the ruthless
(god of) Time, the whole universe and the three spheres of
creation may turn
unfavourable to me. But, Oh Sai, the Datta Guru, do not look
upon me with
disfavour!
68
ARATI SAI BABA
Even if the whole world laughs at me with ridicule or my own
kith and kin gibe and
jeer in my face taking me as a block headed dolt, make me
undaunted with
unswerving faith and devotion to thy feet. Let ignoble
thoughts never enter my mind,
and let me not get entangled in the mire of births and
rebirths. Let strong emotions
borne of dispassion towards worldly attachments be implanted
deep in my heart, Oh
Sainath!
Bless me, Oh Sai, that I cherish no ill will to anyone nor
any yearning for anything.
Pray, constantly dwell in my heart and make my mind
constantly dwell upon thee.
Inspire in me loving passion to thy even feet and bless me
to look upon the whole
world only as thy blessed form. Oh my Motherly Sai the Datta
Guru, I beg thee to
dole out the said boons upon me without getting irritated!
Commentary
This alluring piece of tuneful devotion is composed by Sri
Balakrishna Vishwanath
Dev, who served as a Mamaltadar at Dahanu. Sri Dev composed
the psalm in 1940
and it was added to the Book of Shirdi Aratis about twenty
two years after Baba's
Maha Samadhi. Sri B. V. Dev rendered memorable services to
Shri Sai Baba
Sansthan as one of its founding members/trustees and,
contributed a number of
articles to Shri Sai Leela Masik (Marathi).
'Babanche Bal' is his chosen pen-name, which means, 'Baba's
Child'. When Sri
Annasaheb Dabholkar, the author of Sri Sai Satcharitra,
passed away in 1929
leaving his magnum opus unfinished, the task of penning the
finale was entrusted to
Sri B. V. Dev, who then composed the concluding chapters
(Chs. 52 and 53) of the
book.
Even though the express motif of the psalm is an impassioned
plea, nay, begging
(=yachana) for the favour (=prasad) of the Guru to the
exclusion of all other
concerns and attachments in life, it hints and hits at the
subtle clogs in our
consciousness (ego) which hold us back from an all out bid
for an undaunted
encounter with our essential Self. The lilting rhythm of the
song aired with the
cadence of euphonic alliterations and onomatopoeic diction
leaves in the hearts of
69
ARATI SAI BABA
the singers and the listeners a lingering ring of rhapsodic
ecstasy -even if one
knows not the language!
Sri Satchidananada Sadguru Sainath Maharj Ki Jai
70
ARATI SAI BABA
CHAPTER -VI
(SEJ ARATI)
(NIGHT ARATI)
I. ARATI
(Composed by : Sant Tukaram Maharaj)
Owaaloo aaratee mazhaa sadgurunaathaa
maazhaa sainaathaa
Paanchaahee tatwaanche deep iaawila aataan
Nirgunaachee sthitee kaisee aakaaraa aalee
-Baba aakaraa aalee
Satvaa ghatee bharooni vuralee Sayee maawoolee
> Owaaloo >
Rajatamasathwa tighe maayaa prasawaiee
Baba maayaa prasawaiee
Mayecheeye potee kaisee maayaa udbhavalee
> Owaaloo >
Saptasaagaree
kaisaa khel maandeelaa
Baba khel
maandeelaa
Khelooniyaa
khelawagha visthaar kelaa
> Owaaloo >
Brahmandeeche
rachanaa daakhavHee dolaa
-Baba daakhavilee
dolaa
Tuka hmane
maazhaa Swaamee kripaaioo bholaa
> Owaloo >
Translation
Oh my Sadgurunath, I adore thee (with arati) by hailing thy
glories. The five essential
categories (tattwas) of my being are the five wicks in the
quintuple lamp waved
before thee in arati;
71
ARATI SAI BABA
How hast thou assumed this form (as Sai Baba) out of thy
primal formless nature?
How doth thou, though pervading the whole universe, prevail
as a loving mother
confined to this form as Sai Baba?
How hast maya emerged from the three gunas (ultimate reals
or qualities) viz,
sattwa (intelligence-stuff), rajas (dynamic energy) and
Tamas (mass or static
inertia)? Again how hast another may a (the manifold
creation) sprung from the
womb of that primal Maya?
How hast thou turned the seven seas as thy playground? And,
thus revelling in thy
.sport, how hast thou extended thy recreation in the form of
the vast multiplicity of
this creation?
In what manner wilt thou lay hare for us the process in
which this vast expanse of
creation sprang from thee? Oh my Lord Sainath, lauds
Tukaram, thou art the
embodiment of guileless grace!
COMMENTARY
This is one of the popular abhangs of Sant Tukaram adapted
into the Book of Shirdi
Aaratis. The psalm is rather cosmogonic in purport inquiring
into the origin and
evolution of the universe. A blend of Sankhya-Yoga philosophy
with the teachings of
Chaitanyaites, to whose order he principally belongs, forms
the basic background for
the cosmological ideas of Sant Tukaram. In common Vedantic
parlanee maya
means illusion superimposed upon the Reality (i.e. Brahman)
due to ignorance. Like
many other great saints of Maharashtra ,
esp., of the Sant Tradition, Tukaram too
does not subscribe fully to the doctrine of Maya. He says in
one of his abhangs that
"(to say) the world is Maya is a half-truth." In
the present abhang Tukaram employs
the term maya as synonymous with prakriti (=primal matter}.
Such a usage is, of
course, not an anomaly to the tenets of Vedanta. Setaswatara
Upanishad, for
instance, says, "mayanthu prakritim vidwa... ",
i.e., 'know that maya means prakriti
and the upholder of this maya is the great Lord.'
According to the Sankhya Philosophy, the Primal Prakriti
{First Cause} is
characterised by an equilibrium of the three gunas
(qualities or ultimate reals); in
conjunction with the Purusha (Pure intelligence, the Final
Cause). When the original
equilibrium of the three gunas is disturbed it becomes the
relative or embryonic
72
ARATI SAI BABA
prakriti (or mahat) which in turn unfolds itself into this
vast expanse of manifold
creation. While referring to this, Tukaram adds a
teleological motive to the whole
cosmogenetic process by envisaging that it is all only a
part of the Divine Sport
{leela}!
In spiritual symbolism, ocean or water stand for
consciousness. However, the seven
seas -in the present context -connote the seven stages in
cosmic evolution, which
form the extended playground for the Divine Sport. The
extension of the Divine Play
from the basic playground (Primal Prakriti} runs through
seven stages [according to
Sankhya Cosmology], viz., mahat {the great substance}
-ahankara {ego} jnanendrias
& manas {the five cognitive senses and the mind}
-Karmendriayas {the
five conative senses} tanmatras {the five subtle genetic
elements} -stulabhutas
{gross elements}-vriksha-sarira {vegetable & animal
organisms} 'How and why has
this vast expanse of creation with names and forms (saguna)
emanated from the
altributcless absolute?' -Tukaram intrigues at the enigma of
the creation and,
envisions the whole process as the Divine Sport! Besides, he
tries to evoke in our
hearts a spirit of enquiry coupled with a numinous awe at
the profound mysteries of
the universe and, concludes that the recondite mysteries can
only be unravelled by
the compassionate and guileless grace of God!
II. JNANESWAR ARATI
(Composed by : Shri Rama Janardhani Swami)
Aaratee jnaanaraaja -mahaa kaivailya tejaa
sevitee saadhusanta -hmanu vedhalaa maazha
> Arati >
Lopalejnaane
jagin -hita nenatee konee
Avataara
panduranga -nam ttevile jnanee
> Arati >
Kanakaache tat
kareen -ubhyaa gopikaa naaree
Naarada tumbaraho
-saamgaayan karee
> Arati >
73
ARATI SAI BABA
Pragata guhya
bole -vishwa bramachi kele
Rama janardhanee
-paayee masthak ttevile
> Arati >
Translation
Oh King of the realm of Knowledge, Jnanaraja, thou art
haloed with surpassing
splendour of Kaivalya. Saints and sages adore thee with
their minds fully absorbed
in thee (i.e. being one with thy exalted state).
This world is wanting in wisdom and no one wants wisdom in
this world. Hence, Lord
Panduranga has incarnated as Jnaneswar Maharaj to impart
wisdom to the world.
The milk-maids of Brindavan are standing by to offer thee
Arati with lamps placed in
golden trays (i.e., with their golden hearts kindled with
the fire of love);
Celestial minstrels such as Narada and Tumburu are singing
thy glories in
melodious Sama Vedic chants.
Verily, to reveal the secrets of the Universe and the Self,
thou hast incarnated in this
world, Oh Jnanadeva! I, Rama Janardhani (the composer),
humblv lay my head at
thy holy feet.
COMMENTARY
Sant Jnaneswar Maharaj (1275-1296) is, perhaps, the most
revered of all the saints
in Maharashtra . He is
hailed as the Adiguru of the glorious Varkari movement in
homage. As the devotees sang these aaratis to Sri Jnaneswar
Maharaj and Sri
Tukaram Maharaj, while offering Sej Arati to Sri Sai Baba,
Baba used to sit
attentively with folded hands as a gesture of reverence to
these great saints.
The composer of this aarati-song, Sri Rama Janardhani, is
one of the three chief
disciples of Sant Janardhana Swami (1504-1575) of Devgiri
(Daulatabad). The other
two are Sri Eka Janardhani (the famous Eknath Maharaj) and
Sri Jani Janardhani.
All the three devoutly suffix their beloved Guru's name to
their own, declaring that
the real author of their compositions is their Guru and,
they are just mere pliant tools
in the hands of their Guru.
74
ARATI SAI BABA
III. TUKARAM
ARATI
(Composed by : Shri Rameswar Bhat)
Aaratee tukaraamaa -swamee sadguru dhaamaa
Satchidaananda murtee-paaya daakhavee aamhaa
> Aarati
tukaraamaa >
Raaaghave
saagaraat -jaise paashaan taarile
Taise he tuko baache -abhang (udaki) rakshile
> Aarati tukaraamaa >
Tukitaa tulanesee -brahma tukaasee aale Hmanonee
raamesware
-charanee mastak ttevUe
> Aarati
tukaraamaa >
Translation
Oh Tukaram Maharaj, Master of the Abode of sadgurus, I adore
thee by offering
draft Oh embodiment of pure Being-Awareness-Bliss, grant us
the sight of thy
blessed feet.
Just as Sri Rama made boulders miraculously float on the
ocean to build a
causeway (across to Lanka), thou hast saved thy abhangs by
making them float on
the river.
Oh Tukarama, on weighing well thy greatness in the balance
(of wisdom), the truth
has come out that Tukaram is verily the Brahman. I, Rameswar
Bhat, lay my head at
thy holy feel in humble obeisance.
COMMENTARY
This arati-psalm on Sant Tukaram is composed by Sri Rameswar
Bhat, a disciple of
Tukaram Maharaj. His forefathers migrated from Karnataka to
Maharastra and
settled at Vagholi near Pune. Rameswar Bhat was an erudite
Vedic scholar and
renowned as an austere worshipper (upasaka) of his tutelary
deity, Vyaghreswara.
In the days of Tukaram caste regulations and restrictions
were strong in the Hindu
society. Imparting spiritual instruction was considered a
prerogative of the brahmins
and, to the canon of the orthodoxy it would be a sacrilege
if a shudra took up the
privilege. Tukaram, though a shudra by birth, composed
abhangs (sermonic poetry)
and shot up to eminence as a star preacher. On that account
he elicited strong
75
ARATI SAI BABA
opposition and hostility from the orthodox brahmin circles.
Even that could have
been put up with. But, when he began accepting brahmins also
as his disciples, the
brahmin orthodoxy flared up in rage. For instance, Bahuni
Bai, a brahmin disciple of
Tukaram, writes, "Tukoba's keertan is the meaning of
the Vedas. Even brahmins fall
at his feet." At one stage, the matter was brought to
the Brahmin Tribunal (Sabha) at
Pune. As a die-hard old-liner, Rameswar Bhat too shared the
orthodox ill towards
Tukaram and, said to have taken active part in the
persecutive proceedings. The
Brahmin Sabha passed a resolution to the effect that
Tukaram's writings were
inimical to the tenets of the Vedas and, Tukaram himself
should fling his abhang manuscripts
into the nearby river or, should suffer grievous ostracism.
That was
almost a canonical verdict in those days. Tukaram had to
submit to the atrocious
dictate but with a broken heart. He hung on to the banks of
the River Indrayani,
where his manuscripts were scrappily drowned, refusing all
food and aliment and,
remained fervently meditating on God. On the thirteenth day,
to the utter amazement
of many spectators, the submerged manuscripts miraculously
floated up dry on the
waters! This and many other experiences opened Rameswar
Bhat's eyes to the
greatness of Tukaram, converting the hostile rival into an
ardent aficionado. It was to
that miracle of the floating manuscripts that Rameswar Bhat
refers in the present
arati-psalm.
Though the psalm seems very simple on the surface, it
displays beautiful shades of
meanings the deeper we dive into it. Tukaram principally
belongs to a spiritual order
which flourished in Maharashtra ,
whose (ascetic) adherents suffix 'Chaitanya' to their
names. Most ascetic orders in India try to trace their origin to
Dattatreya and these
chaitanyas also claim Dattatreya as their Adi Guru. The
traditional account of the
preceptorial line (guruparainpara) of this order runs thus:
Dattatreya -Siva
Chaitanya -Raghava Chaitanya -Kesava or Babaji Chaitanya
-Sant Tukaram
Maharaj. Even though Tukaram's Guru belongs to the order of
Chaitanyas,
Tukaram's main arena was within the Varkari Tradition. The
traditional Varkari
account of Tukaram's guruparampara (though somewhat
anachronistic) is
Jnaneswar Maharaj -Satchidananda Baba-Vishwambhar -Raghava
Chaitanya -
Kesava Chaitanya -Babaji Chaitanya and Tukaram Maharaj.
76
ARATI SAI BABA
A devotee is enjoined by the Tradition to remember with
reverence not only his Guru
but all the gurus of his preceptorial line (guru parampara)
'Gurubhyas tatgurubhyas
cha namovakam aheemahe...' {'To the gurus and to their gurus
we bow..'} The poet
of the present psalm tries to achieve this end by a
dexterous employment of
paranomasia, presenting rich riddles of meanings. First, the
poet enters the abode of
the Sadgurus ('sadguru dhama') to call on his guru, Sant
Tukaram, to offer worship.
There in the abode of the Sadgurus he beholds not only his
own guru, but also many
great personages of his preceptorial line. He pays homage to
them also, and
presents them to us by a suggestive pun on their names and
epithets. First he bows
down to Lord Dattatreya who is hailed by Indian spiritual
traditions at large as the
Master of the Abode of the Sadgurus. In essence the name
Datta has become
synonymous with a Perfect Master. Especially in Maharashtra , all Sadgurus are
looked upon, in one way or other, as either complete
(poorna) or partial (amsa)
incarnations (avatars) of Lord Datta. Sometimes the epithet,
'sadguru dhama' is also
applied to Sri Jnaneswar Maharaj by common convention in the
Sant (Varkari)
hagiographical poetry. Then, the poet sees, Sri Jnaneswar
Maharaj's disciple, Sri
Satchidananda Baba (in satchidananda murthy') and next the
latter's grand-disciple
Sri Raghava
Chaitanya (in 'raghava sagaraate). Then he pays respect to his Parama
Guru, Babaji Chaitanya (in 'baehe') who the Guru of Sant
Tukaram (Tuka).
According to the epic story of Ramayana, huge boulders
floated miraculously on the
sea, forming as a causeway .and, enabling Sri Rama and his
army to cross over to
the Island to Ravana to
redeem his wife Sita who had been abducted by Ravana. In
the same way, the psalmist suggests, Tukaramss abhangs too
floated, as if forming
a causeway (bridge) across the ocean of samsara, enabling
Man to get through to
the island (‘I’-land) of his own self (surrounded by the
waters of ignorance), to
destroy the forces of delusion and to redeem or liberate his
own real Self (which is
his self's better-halt"). In one of his abhangs,
Tukaram himself declares to people in
a prophetic vein, "Come here, come here, great and
small, women and men. Take
no thought and have no anxiety. I shall carry all of you to
the other shore. I come as
the sole bearer of the stamp of God to carry you over in
God's name."
77
ARATI SAI BABA
Tukaram's abhangs were condemned to be drowned in the river
because he was not
a brahmin by caste. The very Rameswar Bhatt who had
condemned Tukaram with
contempt, now declares, upon thorough examination, balancing
wisdom and
experience, that Tukaram is not only a true brahmin (in the
true sense of the word),
but verily one with the Absolute Brahman!
As one literary critic has aptly staled, "Prose that
conveys more than one meaning is
bad prose; poetry that fails to imply a hundred meanings is
bad poetry." Certainly,
Sri Rameswar Bhat is not a poet of mean order!
IV. SEJ ARATI
(Composed by : Shri Krishna
Jageshwar Bhishma)
Jai jai Sainatha
aataa pahudaave mandiree
ho Aalavito
sapreme tuzhala aaratee
ghevuni kareeho
> Jai jai >
Ranjavisee too madhura bolunee maaya
jashi nija mulaa ho
Bhogisi vyaadhee tunch haruniyaa nijasevak
dukhaalaa ho
Dhavuni bhakta
vyasana harisi darshan
deshee tyaalaa ho
Jzhaale asatil
kasta ateesaya tumache yaa
dehaalaa ho
> Jai jai >
Skhamaa shayana
sundara hee shobhaa
-suwan shej
tyaavareen ho
Gdhyaavee todee
bhakta janaanchee
-pujan archan kareen ho
Owaalito panchaprana jyotee
sumatee kareen ho
Sevaa kinkara
bhakta preetee attar
parimala vaaree
ho
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ARATI SAI BABA
> Jai jai >
Soduni jaayaa
dukha waatate -sayee tava
charanaansee ho
Agnesthavah aasi
prasaada
ghevuni
nijasadanaasee ho
Jaato aata
yevunpunarapi
twatcharanaache
paashee ho
Uttavoon tujala
Saimaavule
nijahitasaadhaa
yaasee ho
> Jai jai >
Translation
Hailing thy glories, Oh Sainath, I invoke thee to accept thy
bed in the Mandir. I offer
Arati (by singing lullabies) to thee with a heart
overflowing with love.
Just as a mother dandles and 'recreates' her (importunate)
children with fond
caresses, thou delight us with thy mellifluous words and,
take delight in removing the
diseases and the distresses of thy devotees. Thou show up in
prompt presto to ward
off the worries of thy devotees when they are in trouble.
Alas! Thy body might be
wearied by the task of constantly guarding thy devotees!
So, come and repose for a while on the beauteous bed
bedecked with flowers of
forgiveness. Thy devotees offer thee worship and devout
services. Making five
pranas (vital forces) as the five wicks in the
quintuple-lamp lit by the fire of wisdom,
we perform arati to thee. The redolent aroma emanating from
the sweet love and
devotion in the hearts of thy devotees and servants is the
perfume proffered to thee.
Distressed we feel to go home leaving thy holy feet. Yet, by
thy leave, we go home
on taking thy blessings and prasad but, only to return by
morn to adore thy holy feet.
Oh Motherly Sai, we shall wake thee up at dawn to make
lasting weal for our own
selves.
V. SEJ ARATI
(Composed By : Shri Krishna
Jageshwar Bhishma)
Aataa swaamee sukhe nidraa karaa
avadhutaa -baba karaa sayinaathaa
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ARATI SAI BABA
Chinmaya he sukhadhaama jaawuni
pahudaa ekaantaa
Vairaagyaachaa kunchaa ghewuni chowk
jhadeelaa -baba
chowk jhadeela
Tayaawaree supremaachaa shidakaavaa
didhalaa
> Aataa swaamee >
Paayaghadyaa ghatalyaa sundar
navavidhaa bhakti -baba
navavidhaabhaktee
Jnaanaachyaa samayaa Jaawuni ujalayaa
jyotee
> Aataa swaamee >
Bhaavaarthaanchaa manchaka
hridayakaashee taangilaa -baba
kaashee taangilaa
Manaachee sumane
karunee kele Baba
shejelaa
> Aataa
swaamee >
Dwaitaache kapaat
laavuni ekatra kele baba
ekatra kele
Durbuddheechyaa
gattee soduni padade
sodeele
> Aataa
swaamee >
Aashaatrishnaa
kalpanechaa saanduni
galabala -baba
saanduni galabala
dayaakshamaa
shaantee daasee ubhyaa
sewelaa
> Aataa
swaamee >
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ARATI SAI BABA
Alakshya unmanee
ghevunee baba naajuk
duhsshaalaa
baba naajuk
duhsshalaa
Niranjana sadguru
swaamee nijavile shejelaa
> Aataa swaamee >
Translation
I invoke thee, my Lord Sai Avadhut, to retire to bed calm
and sequestered in the
blissful abode of pure consciousness. I swept thy
bed-chamber with the broom of
dispassion, and cleansed it with the pure waters of loving
devotion.
A foot-rest made of nine kinds of devotion is bedecked at
thy cozy couch. A radiant
ruby of knowledge is kept as a bed-lamp. Baba, now retire to
bed in peace!
In the chamber of our heart, the cot of devotion bedecked
with flowers of pure
thoughts is neatly arranged. Baba retire to bed in peace!
A bed-spread of pure consciousness is unfurled over the bed,
removing from it all
the wrinkles of duality. Removing the knots of wickedness,
the canopy of faith is set
up intact.
The termagant and troublesome maids of craving and
covetousness are banished
from service and, now the maids of compassion, peace and
patience are standing
by attend upon thee.
The beauteous blanket of boundless bliss is spread as a
cover. Oh Sadguru
Sainath, the Niranjan (one who is free from the eye-unguent
of ignorance), now
retire to bed in grace!
VI. ABHANG
(Composed by: Sant Tukaram Maharaj)
Paahe
prasaadachee vaat
Ghyaave
dhuwoniaan taat
Sesh ghewunee
jaayeen
Tumche jhaliyaan
bhojan
Jhaalo aata
eksavaa
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ARATI SAI BABA
Tumha aadu niyaa
devaa
Tukaa hmane aatan
chitt
Karoo/i/ raahilo nischint
Translation
Oh God, keeping ready our dishes (our hearts) which are
thoroughly cleansed, we
are eagerly looking forward to our share of the sacred
leftovers (prasad) of Thy
meal. After Thou hast finished partaking of Thy meal, we
shall share the hallowed
leftovers among ourselves equally. Tukaram says, fixing my
mind on Thee, now I
rest in peace.
(Composed by : Sant Tukaram Maharaj)
Paawalaa prasaad aataa vitto nijaave
Apulaa to shrama kalo yetase bhaave
Aataan swaamee sukhe nidraa karaa
gopalaa
Purale manorath jato aapule sthalaa
Tumhaasee jaagawoo aamhi aapulyaa
chadaa
Shubashub karme dosh haraavayaa peedaa
Tuka hmane didhale utchistaache bhojan
Naahi nivadile aamha apulyaa bhinn
Translation
Oh Lord Vittal, we have received Thy prasad. Now we give
thought to the hardships
Thou hast borne for us. Oh Sai Gopal, the merciful, retire
to bed in peace! All our
hearts' desires are fulfilled and we go home contented. We
shall call on Thee in the
morning again to pour out our petitions. Bless us,
nullifying the effects of all our pure
and impure actions and annual all evil influences from us.
Tukaram says, I partake
of Thy sacred lefeovers in the contemplation that I and Thou
are not different but
One!
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ARATI SAI BABA
VIII. ABHANG
(Composed by: Shri Krishna
Jageshwar Bhishma)
Sainaath mahaaraaja aatan
Kripaa karaa gururaaja
Trividha taap haa paattee iaagalaa
Kaa nhee na shuche kaaja aataa
Mano vrittee hya kiteetaree usalatee
Utaree yaamchaa majza aataa
Harisee jaisaa
deen janaache
Vyasan kasunee
maaja aataa
Krishnadaas
twatcharanee jhaalaa
Leen tyejuni
janlaaj aataa
Translation
Oh Sainath Maharaj, always be gracious to us. Oh Lord of all
gurus, we are
miserably at bay being engulfed by the three kinds of
sufferings, {viz, adibhoutika
(physical), adidaivika (providential) and adhyatmika
(psychosomatic) and, are
gasping for a respite. Pray, uplift us who are swept away by
the gales of passions.
Thou art verily the saviour of the miserable folk like me
who are drowned in distress.
I, Krishna Das, lay my head humbly at thy holy feet in rapt
absorption, bereft of all
bashfulness (i.e. free from being self-conscious of any
public scrutiny)!
Shri Rajadhiraja Yogiraja Parabrahma Shree Satchidananda
Sadguru Sainath
Maharaj KiJai
End of Sej Arati
and
End of 'Arati Saibaba' Serial
83
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