Talk:Kahai Vajid Pukar (कहै वाजिद पुकार): Difference between revisions

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Revision as of 22:51, 18 June 2018

A few things:

About the title, the old-format wiki pages -- there were two -- rendered the first word differently, one as Kahai and one as Kahe. The Kahe page, the antecedent to the current page, also provided a Devanagari version of कहै, in the subtitle-like format of the day. This is correct according to what's on the cover (more readable in the higher-res Divyansh edition) but Kahai is the (more) correct transliteration of कहै. So what to make of all this?

A survey of the net shows that in fact, there is only one site, osho.com, which uses कहै in its Devanagari text version of the title. And only osho.com uses Kahai. Thus they are "correct," but alone. FWIW, no site at all uses कहे in its representation of this book's title, perhaps to avoid the conflict with the cover but we find many sites using Kahe, and quite a few instances of the whole phrase कहे वाजिद पुकार popping up in the text of lots of Osho's other books (seen via G**gle Books). Hmmm.

So i have rendered the title as above. It's "wrong" but the book is findable using either the Roman or Devanagari versions. How bad can that be? And ya never know ... maybe it's the कहै thing on the covers that's wrong. The Kahe phrase popping up in Osho's books hints that that may at least be a possibility. As does the near-total absence of Devanagari text versions of the title.

About Vajid himself, the more usual spelling of the name is Wajid, based on one of the 99 Islamic Names of God, Wajd, but search engines are not confused or misled by this. There are a couple of candidates but obscure, and i think only a Hindi speaker who has read the book might say. Inspired researchers can dig deeper.

About the editions, the ISBN 81-7621-033-5 is the same for both Rebel editions and is unsupported by ISBN finders. And although the img for those editions is so small, one can see that, as in the higher-res Divyansh cover, some fancy design has been done with the title, grafting an Arabic-like calligraphy onto the Devanagari characters. The text-title part may even be the exact same design. The cover design-wallahs must have had a good time with that one. -- Sarlo (talk) 23:56, 24 April 2014 (PDT)


प्रवचन (TOC):
1. पंछी एक संदेस कहो उस पीव सूं
2. प्रार्थना के पंख-यात्रा शून्य-शिखरों की
3. पीव बस्या परदेस
4. सहज-सोपान मुक्ति-मंदिर का
5. साधां सेती नेह लगे तो लाइए
6. उतर आए अग्निपंखी सत्संग-सर के तीन
7. हंसा जाय अकेला
8. कुछ और ही मुकाम मेरी बंदगी का है
9. सतगुरु शरणे आयक तामस त्यागिए
10. चांदनी को छू लिया है

Still waiting on "Who was Vajid?" but with the 1979 edition info in, we learn that this same Devanagari / faux Arabic lettering design seems to have been used for all the editions, from Rajneesh Foundation to Divyansh. And though the colour schemes vary, they're all almost unreadable. Compare the cover images above right. The original designer, we have also learned, was Ma Prem Sarva. -- doofus-9 07:40, 12 August 2017 (UTC)

Who Was Vajid?

To start the process of answering "Who was Vajid?", we can offer a rough translation of some of Osho's introductory words from the first discourse:

Vajid -- This name has always been dear to me -- the name of a simple man, a non-educated man, whose voice is filled with love. Such a love, a kind of prayer, can only come in the voice of a simple man. There is finer expression in the voice of the Pandit; there is subtlety, there is theory, argument and thought, but not the love. Love is a flower blooming in a simple-minded heart.
Vajid is a very simple man. He was a Pathan, a Muslim. He must have been really sensitive person - simple, straight. Pathans are simple and straightforward.

Osho tells a story of Vajid going hunting one day and being overcome by the beauty and spirit of the stag he was going to shoot, so he broke his bow and arrows. He went to many gurus and learned from them but did not meet his master until he met Dadu. He continues:

A straight man, his poetry is also straightforward, rural. There is the sweet fragrance of the village in it, like the aroma of rain newly fallen on parched land, there is such a sweet scent in the poetry of Vajid! And it is unadorned. When beauty is lacking, decoration is needed, jewelry is needed. When beauty is perfect, then neither jewelry nor decoration is needed, ornaments become obstacles. An unpolished simplicity is very beautiful; in its natural plainness, Prasad happens.

Osho comments on a poem of Raghodas about Vajid for a large part of the discourse:

छाड़िकै पठान-कुल रामनाम कीन्हों पाठ,
भजन प्रताप सूं वाजिद बाजी जीत्यो है।
हिरणी हनन उर डर भयो भयकारी,
सीलभाव उपज्यो दुसीलभाव बीत्यो है।
तोरे हैं कवांणतीर चाणक दियो शरीर,
दादूजी दयाल गुरु अंतर उदीत्यो है।
राघो रति रात दिन देह दिल मालिक सूं,
खालिक सूं खेल्यो जैसे खेलण की रीत्यो है।

-- doofus-9 07:14, 4 September 2017 (UTC)