Ginan: Saahebjee tu(n) more man bhaave – O Imam! You are dear to my heart (mind)

The Ginan Gist – By Karim Maherali. Brief note about the raag (tune) by Aly Sunderji.

Ginan: Saahebjee tu(n) more man bhaave - O Imam! You are dear to my heart (mind)This Ginan expresses the highest attainment and aspiration of a murid in the context of his relationship with his Murshid – the Imam of the time. His mind and heart are constantly preoccupied by thoughts and feelings for his Beloved. Nothing else  in the world pleases him as the Beloved fulfills him in every respect. In the culmination of his quest for the truth through many repeated cycles spanning many ages, Sayyed Mohammed Shah concludes that the institution of Imamat is indeed unique and there is no other person in comparison to the Imam. Having attained the Imam thus,  he asserts that there is no need to go elsewhere and invites his fellow murids to join in the quest for the Light which is the essential purpose of this existence.

Saahebjee tu(n) more man bhaave

 

Without music:
Shabnam Merali
With music:
Anaar Kanji
With music:
Khursheed Nurali &
Taufiq Karmali

 

Transliteration & Translation:

 

saaheb jee tu(n) more man bhaave, avar more chi(n)t na aave
dujaa more man na bhaave, saaheb jee tu(n) more man bhaave........1

O Imam! You are dear to my heart (mind),  nothing else cometh to my mind except You. My heart does not desire anyone else, O Imam! You alone are my heart’s desire.

 

je je maagu(n) te tu(n)hee deve, evaa evaa laadd laddaave.........2

Whatever I ask You, is granted by their favors.  This is the manner in which You caressth me.

 

ejee chaare chaare jug maa(n)he fari fari joyu(n)
tere tole koi na aave, saheeb ji tu..........................3

O Imam! I have repeatedly passed through the four ages but none did  I meet who would stand in comparison to You.

 

ejee chaalo saahelee var jovaa jai-e, so peeyaa mene paayaa.......4

Come, O friends! let us go in quest for the Master (Husband),  He is indeed the Beloved whom I have found (attained).

 

ejee jees re vinaa ghaddee dohelee jaave,
so peeyaa mere ma(n)dir aave.................................5

O momins! The one without whom my time passes in misery,  is the Beloved who visits my heart.

 

ejee jees kaa re saaheb aysaa hove
so dukheeyaa keeyu(n) kar kahaave, .......................6

O momins! Those who have such an Imam, how could they be called miserable and unhappy?

 

ejee dosh dayaal jee ne kee-u(n) kar deeje
karam leekheeyaa sohee paave.................................7

O momins! Why should we blame our Merciful Lord for our misfortunes?  Only such things come to pass which our own actions bring forth.

Comment: This verse inspires us not to be despondent in the face of adversity and blame the Merciful for the apparent misfortunes but rather to renew our efforts and to reap the fruits thereof.

 

ejee raam rahemaan donu ek gusaa(n)heeyaa
murakh maram na paave........................................8

O momins! Ram and Rahemaan are both from the same Light. The foolish do not grasp the secret of all this.

Comments: The names Ram and Raheman are used to refer to the Imam in different contexts. However they represent the same light of Imamat. Only the foolish consider them as different and hence cause discord in community.

 

ejee bolyaa sayyed mahammed shaah sharann tamaare
tuje chhoddee duje duvaare kahaa(n) jaave....................9

O momins! Sayyed Muhammadshah says: “(O Imam!) I surrender myself to You. How can one forsake (your protection and care) and seek another abode?

 

A Brief Note on the Raag (Tune) Aspect by Aly Sunderji

The above ginan most commonly sung in Raag Yaman, this is an evening raag that is very commonly used in ghazals and light music. The notations are NRGM’DNS – SNDPM’GRS, all shuddh (pure) notes other than the Tivr (sharp) Madhyam that is used in both aaroh and avroh. During my childhood I learned this ginan in Raag Shuddh Kalyaañ from Anaar Kanji, the notations of Shuddh Kalyaañ borrow its aaroh from raag Bhoopali – SRGPDS and its avroh from Yaman – SNDPM’GRS. Although both variations of the ginan sound quite similar, the notes used are much different. You can listen to the above links to hear the difference between the two raags in applications and in their ang, overall mood and feel.

 

Ginan Translation Series

 

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