Hume contrasts Diogenes and Pascal

(An Enquiry Concerning The Principles Of Morals, 1751)

The foundation of Diogenes’s conduct was an endeavour to render himself an independent being as much as possible, and to confine all his wants and desires and pleasures within himself and his own mind: The aim of Pascal was to keep a perpetual sense of his dependence before his eyes, and never to forget his numberless wants and infirmities. The ancient supported himself by magnanimity, ostentation, pride, and the idea of his own superiority above his fellow-creatures. The modern made constant profession of humility and abasement, of the contempt and hatred of himself; and endeavoured to attain these supposed virtues, as far as they are attainable. The austerities of the Greek were in order to inure himself to hardships, and prevent his ever suffering: Those of the Frenchman were embraced merely for their own sake, and in order to suffer as much as possible. The philosopher indulged himself in the most beastly pleasures, even in public: The saint refused himself the most innocent, even in private. The former thought it his duty to love his friends, and to rail at them, and reprove them, and scold them: The latter endeavoured to be absolutely indifferent towards his nearest relations, and to love and speak well of his enemies. The great object of Diogenes’s wit was every kind of superstition, that is every kind of religion known in his time. The mortality of the soul was his standard principle; and even his sentiments of a divine providence seem to have been licentious. The most ridiculous superstitions directed Pascal’s faith and practice; and an extreme contempt of this life, in comparison of the future, was the chief foundation of his conduct.

In such a remarkable contrast do these two men stand: Yet both of them have met with general admiration in their different ages, and have been proposed as models of imitation. Where then is the universal standard of morals, which you talk of? And what rule shall we establish for the many different, nay contrary sentiments of mankind?

An experiment, said I, which succeeds in the air, will not always succeed in a vacuum. When men depart from the maxims of common reason, and affect these artificial lives, as you call them, no one can answer for what will please or displease them. They are in a different element from the rest of mankind; and the natural principles of their mind play not with the same regularity, as if left to themselves, free from the illusions of religious superstition or philosophical enthusiasm.

Raag Shankara – Taimur Khan

Raag Shankara - Taimur Khan

Raag Shankara – Taimur Khan

Raag Shankara - Taimur Khan

"Wedding" by Alice Oswald

“Wedding” by Alice Oswald

This Alice Oswald poem is one of my increasingly favorite sonnets. In the three-minute video, Sir Andrew Motion touchingly interprets it as: “rush and change of the poem is its own point. It makes us think, first and foremost, about transformations, about the changes that love creates, and the changes that art creates, as it takes hold of familiar experience, illuminates it and passes it back to…

View On WordPress

A Gama Sennin (toad sage)

A Gama Sennin (toad sage)

sarangi turned nine: Aftab’s Late Winter Collection

Sparrow  - Rajasthan, 19th Century

Sparrow – Rajasthan, 19th Century

sarangi.info‘s ninth birthday was on 28 January 2014. It has been observed that when parents are busy with their work or the kids are in the middle of their exams, birthdays are often postponed to a more convenient day, like a weekend or two later. Nothing of that sort was the case here since Aftab had uploaded all this music in October 2012 and has been…

View On WordPress

Interior of Baba Taher Mausoleum in Hamadan, Iranدلی نازک بسان شیشه ام بیاگر آهی کشم اندیشه ام بیسرشکم گر بوه خونین عجب نیستمو آن دارم که در خون ریشه ام بیباباطاهر

Interior of Baba Taher Mausoleum in Hamadan, Iran

دلی نازک بسان شیشه ام بی
اگر آهی کشم اندیشه ام بی
سرشکم گر بوه خونین عجب نیست
مو آن دارم که در خون ریشه ام بی

باباطاهر

The Auroras of Autumn - Wallace Stevens

I

This is where the serpent lives, the bodiless.
His head is air. Beneath his tip at night
Eyes open and fix on us in every sky.

Or is this another wriggling out of the egg,
Another image at the end of the cave,
Another bodiless for the body’s slough?

This is where the serpent lives. This is his nest,
These fields, these hills, these tinted distances,
And the pines above and along and beside the sea.

This is form gulping after formlessness,
Skin flashing to wished-for disappearances
And the serpent body flashing without the skin.

This is the height emerging and its base
These lights may finally attain a pole
In the midmost midnight and find the serpent there,

In another nest, the master of the maze
Of body and air and forms and images,
Relentlessly in possession of happiness.

This is his poison: that we should disbelieve
Even that. His meditations in the ferns,
When he moved so slightly to make sure of sun,

Made us no less as sure. We saw in his head,
Black beaded on the rock, the flecked animal,
The moving grass, the Indian in his glade.

II

Farewell to an idea … A cabin stands,
Deserted, on a beach. It is white,
As by a custom or according to

An ancestral theme or as a consequence
Of an infinite course. The flowers against the wall
Are white, a little dried, a kind of mark

Reminding, trying to remind, of a white
That was different, something else, last year
Or before, not the white of an aging afternoon,

Whether fresher or duller, whether of winter cloud
Or of winter sky, from horizon to horizon.
The wind is blowing the sand across the floor.

Here, being visible is being white,
Is being of the solid of white, the accomplishment
Of an extremist in an exercise …

The season changes. A cold wind chills the beach.
The long lines of it grow longer, emptier,
A darkness gathers though it does not fall

And the whiteness grows less vivid on the wall.
The man who is walking turns blankly on the sand.
He observes how the north is always enlarging the change,

With its frigid brilliances, its blue-red sweeps
And gusts of great enkindlings, its polar green,
The color of ice and fire and solitude.

III

Farewell to an idea … The mother’s face,
The purpose of the poem, fills the room.
They are together, here, and it is warm,

With none of the prescience of oncoming dreams.
It is evening. The house is evening, half dissolved.
Only the half they can never possess remains,

Still-starred. It is the mother they possess,
Who gives transparence to their present peace.
She makes that gentler that can gentle be.

And yet she too is dissolved, she is destroyed.
She gives transparence. But she has grown old.
The necklace is a carving not a kiss.

The soft hands are a motion not a touch.
The house will crumble and the books will burn.
They are at ease in a shelter of the mind

And the house is of the mind and they and time,
Together, all together. Boreal night
Will look like frost as it approaches them

And to the mother as she falls asleep
And as they say good-night, good-night. Upstairs
The windows will be lighted, not the rooms.

A wind will spread its windy grandeurs round
And knock like a rifle-butt against the door.
The wind will command them with invincible sound.

IV

Farewell to an idea … The cancellings,
The negations are never final. The father sits
In space, wherever he sits, of bleak regard,

As one that is strong in the bushes of his eyes.
He says no to no and yes to yes. He says yes
To no; and in saying yes he says farewell.

He measures the velocities of change.
He leaps from heaven to heaven more rapidly
Than bad angels leap from heaven to hell in flames.

But now he sits in quiet and green-a-day.
He assumes the great speeds of space and flutters them
From cloud to cloudless, cloudless to keen clear

In flights of eye and ear, the highest eye
And the lowest ear, the deep ear that discerns,
At evening, things that attend it until it hears

The supernatural preludes of its own,
At the moment when the angelic eye defines
Its actors approaching, in company, in their masks.

Master O master seated by the fire
And yet in space and motionless and yet
Of motion the ever-brightening origin,

Profound, and yet the king and yet the crown,
Look at this present throne. What company,
In masks, can choir it with the naked wind?

V

The mother invites humanity to her house
And table. The father fetches tellers of tales
And musicians who mute much, muse much, on the tales.

The father fetches negresses to dance,
Among the children, like curious ripenesses
Of pattern in the dance’s ripening.

For these the musicians make insidious tones,
Clawing the sing-song of their instruments.
The children laugh and jangle a tinny time.

The father fetches pageants out of air,
Scenes of the theatre, vistas and blocks of woods
And curtains like a naive pretence of sleep.

Among these the musicians strike the instinctive poem.
The father fetches his unherded herds,
Of barbarous tongue, slavered and panting halves

Of breath, obedient to his trumpet’s touch.
This then is Chatillon or as you please.
We stand in the tumult of a festival.

What festival? This loud, disordered mooch?
These hospitaliers? These brute-like guests?
These musicians dubbing at a tragedy,

A-dub, a-dub, which is made up of this:
That there are no lines to speak? There is no play.
Or, the persons act one merely by being here.

VI

It is a theatre floating through the clouds,
Itself a cloud, although of misted rock
And mountains running like water, wave on wave,

Through waves of light. It is of cloud transformed
To cloud transformed again, idly, the way
A season changes color to no end,

Except the lavishing of itself in change,
As light changes yellow into gold and gold
To its opal elements and fire’s delight,

Splashed wide-wise because it likes magnificence
And the solemn pleasures of magnificent space
The cloud drifts idly through half-thought-of forms.

The theatre is filled with flying birds,
Wild wedges, as of a volcano’s smoke, palm-eyed
And vanishing, a web in a corridor

Or massive portico. A capitol,
It may be, is emerging or has just
Collapsed. The denouement has to be postponed …

This is nothing until in a single man contained,
Nothing until this named thing nameless is
And is destroyed. He opens the door of his house

On flames. The scholar of one candle sees
An Arctic effulgence flaring on the frame
Of everything he is. And he feels afraid.

VII

Is there an imagination that sits enthroned
As grim as it is benevolent, the just
And the unjust, which in the midst of summer stops

To imagine winter? When the leaves are dead,
Does it take its place in the north and enfold itself,
Goat-leaper, crystalled and luminous, sitting

In highest night? And do these heavens adorn
And proclaim it, the white creator of black, jetted
By extinguishings, even of planets as may be,

Even of earth, even of sight, in snow,
Except as needed by way of majesty,
In the sky, as crown and diamond cabala?

It leaps through us, through all our heavens leaps,
Extinguishing our planets, one by one,
Leaving, of where we were and looked, of where

We knew each other and of each other thought,
A shivering residue, chilled and foregone,
Except for that crown and mystical cabala.

But it dare not leap by chance in its own dark.
It must change from destiny to slight caprice.
And thus its jetted tragedy, its stele

And shape and mournful making move to find
What must unmake it and, at last, what can,
Say, a flippant communication under the moon.

VIII

There may be always a time of innocence.
There is never a place. Or if there is no time,
If it is not a thing of time, nor of place,

Existing in the idea of it, alone,
In the sense against calamity, it is not
Less real. For the oldest and coldest philosopher,

There is or may be a time of innocence
As pure principle. Its nature is its end,
That it should be, and yet not be, a thing

That pinches the pity of the pitiful man,
Like a book at evening beautiful but untrue,
Like a book on rising beautiful and true.


It is like a thing of ether that exists
Almost as predicate. But it exists,
It exists, it is visible, it is, it is.

So, then, these lights are not a spell of light,
A saying out of a cloud, but innocence.
An innocence of the earth and no false sign

Or symbol of malice. That we partake thereof,
Lie down like children in this holiness,
As if, awake, we lay in the quiet of sleep,

As if the innocent mother sang in the dark
Of the room and on an accordion, half-heard,
Created the time and place in which we breathed …

IX

And of each other thought—in the idiom
Of the work, in the idiom of an innocent earth,
Not of the enigma of the guilty dream.

We were as Danes in Denmark all day long
And knew each other well, hale-hearted landsmen,
For whom the outlandish was another day

Of the week, queerer than Sunday. We thought alike
And that made brothers of us in a home
In which we fed on being brothers, fed

And fattened as on a decorous honeycomb.
This drama that we live—We lay sticky with sleep.
This sense of the activity of fate—

The rendezvous, when she came alone,
By her coming became a freedom of the two,
An isolation which only the two could share.

Shall we be found hanging in the trees next spring?
Of what disaster in this the imminence:
Bare limbs, bare trees and a wind as sharp as salt?

The stars are putting on their glittering belts.
They throw around their shoulders cloaks that flash
Like a great shadow’s last embellishment.

It may come tomorrow in the simplest word,
Almost as part of innocence, almost,
Almost as the tenderest and the truest part.

X

An unhappy people in a happy world—
Read, rabbi, the phases of this difference.
An unhappy people in an unhappy world—

Here are too many mirrors for misery.
A happy people in an unhappy world—
It cannot be. There’s nothing there to roll

On the expressive tongue, the finding fang.
A happy people in a happy world—
Buffo! A ball, an opera, a bar.

Turn back to where we were when we began:
An unhappy people in a happy world.
Now, solemnize the secretive syllables.

Read to the congregation, for today
And for tomorrow, this extremity,
This contrivance of the spectre of the spheres,

Contriving balance to contrive a whole,
The vital, the never-failing genius,
Fulfilling his meditations, great and small.

In these unhappy he meditates a whole,
The full of fortune and the full of fate,
As if he lived all lives, that he might know,

In hall harridan, not hushful paradise,
To a haggling of wind and weather, by these lights
Like a blaze of summer straw, in winter’s nick.

The Door - Robert Creeley

It is hard going to the door
cut so small in the wall where
the vision which echoes loneliness
brings a scent of wild flowers in a wood.

What I understood, I understand.
My mind is sometime torment,
sometimes good and filled with livelihood,
and feels the ground.

But I see the door,
and knew the wall, and wanted the wood,
and would get there if I could
with my feet and hands and mind.

Lady, do not banish me
for digressions. My nature
is a quagmire of unresolved
confessions. Lady, I follow.

I walked away from myself,
I left the room, I found the garden,
I knew the woman
in it, together we lay down.

Dead night remembers. In December
we change, not multiplied but dispersed,
sneaked out of childhood,
the ritual of dismemberment.

Mighty magic is a mother,
in her there is another issue
of fixture, repeated form, the race renewal,
the charge of the command.

The garden echoes across the room.
It is fixed in the wall like a mirror
that faces a window behind you
and reflects the shadows.

May I go now?
Am I allowed to bow myself down
in the ridiculous posture of renewal,
of the insistence of which I am the virtue?

Nothing for You is untoward.
Inside You would also be tall,
more tall, more beautiful.
Come toward me from the wall, I want to be with You.

So I screamed to You,
who hears as the wind, and changes
multiply, invariably,
changes in the mind.

Running to the door, I ran down
as a clock runs down. Walked backwards,
stumbled, sat down
hard on the floor near the wall.

Where were You.
How absurd, how vicious.
There is nothing to do but get up.
My knees were iron, I rusted in worship, of You.

For that one sings, one
writes the spring poem, one goes on walking.
The Lady has always moved to the next town
and you stumble on after Her.

The door in the wall leads to the garden
where in the sunlight sit
the Graces in long Victorian dresses,
of which my grandmother had spoken.

History sings in their faces.
They are young, they are obtainable,
and you follow after them also
in the service of God and Truth.

But the Lady is indefinable,
she will be the door in the wall
to the garden in sunlight.
I will go on talking forever.

I will never get there.
Oh Lady, remember me
who in Your service grows older
not wiser, no more than before.

How can I die alone.
Where will I be then who am now alone,
what groans so pathetically
in this room where I am alone?

I will go to the garden.
I will be a romantic. I will sell
myself in hell,
in heaven also I will be.

In my mind I see the door,
I see the sunlight before me across the floor
beckon to me, as the Lady’s skirt
moves small beyond it.


Robert Creeley, “The Door” from Selected Poems of Robert Creeley. Copyright © 1991 by the Regents of the University of California. Reprinted with the permission of the University of California Press, www.ucpress.edu.

Mozu-e-Sukhan - Faiz Ahmed Faiz

Khan Abdul Ghaffar KhanView Post

Khan Abdul Ghaffar Khan

View Post

4 - حَسَن کوزہ گر



جہاں زاد، کیسے ہزاروں برس بعد
اِک شہرِ مدفون کی ہر گلی میں
مرے جام و مینا و گُلداں کے ریزے ملے ہیں
کہ جیسے وہ اِس شہرِ برباد کا حافظہ ہوں!
(حَسَن نام کا اِک جواں کوزہ گر ۔۔۔ اِک نئے شہر میں ۔۔۔ ۔
اپنے کوزے بناتا ہوا، عشق کرتا ہوا
اپنے ماضی کے تاروں میں ہم سے پرویا گیا ہے
ہمیں میں (کہ جیسے ہمیں ہوں) سمویا گیا ہے
کہ ہم تم وہ بارش کے قطرے تھے جو رات بھر سے،
(ہزاروں برس رینگتی رات بھر)
اِک دریچے کے شیشوں پہ گرتے ہوئے سانپ لہریں
بناتے رہے ہیں،
اور اب اس جگہ وقت کی صبح ہونے سے پہلے
یہ ہم اور یہ نوجواں کوزہ گر
ایک رویا میں پھر سے پروئے گئے ہیں! )

جہاں زاد ۔۔۔ ۔۔۔ 
یہ کیسا کہنہ پرستوں کا انبوہ
کوزوں کی لاشوں میں اُترا ہے
دیکھو!
یہ وہ لوگ ہیں جن کی آنکھیں
کبھی جام و مینا کی لِم تک نہ پہنچیں
یہی آج اس رنگ و روغن کی مخلوقِ بے جاں
کو پھر سے اُلٹنے پلٹنے لگے ہیں
یہ اِن کے تلے غم کی چنگاریاں پا سکیں گے
جو تاریخ کو کھا گئی تھیں؟
وہ طوفان، وہ آندھیاں پا سکیں گے
جو ہر چیخ کو کھا گئی تھیں؟
انہیں کیا خبر کِس دھنک سے مرے رنگ آئے ۔۔۔ ۔۔۔ ۔۔۔ 
(مرے اور اِس نوجواں کُوزہ گر کے؟)
انہیں کیا خبر کون سی تتلیوں کے پروں سے؟
انہیں کیا خبر کون سے حُسن سے؟
کون سی ذات سے، کس خد و خال سے
میں نے کُوزوں کے چہرے اُتارے؟
یہ سب لوگ اپنے اسیروں میں ہیں
زمانہ، جہاں زاد، افسوں زدہ برج ہے
اور یہ لوگ اُس کے اسیروں میں ہیں ۔۔۔ ۔۔۔ ۔
جواں کوزہ گر ہنس رہا ہے!
یہ معصوم وحشی کہ اپنے ہی قامت سے ژولیدہ دامن
ہیں جویا کسی عظمتِ نارسا کے ۔۔۔ ۔۔۔ ۔
انہیں کیا خبر کیسا آسیبِ مبرم مرے غار سینے پہ تھا
جس نے مجھ سے (اور اِس کوزہ گر سے) کہا:
"اے حَسَن کوزہ گر، جاگ
دردِ رسالت کا روزِ بشارت ترے جام و مینا
کی تشنہ لبی تک پہنچنے لگا ہے!”
یہی وہ ندا، جس کے پیچھے حَسَن نام کا
یہ جواں کوزہ گر بھی
پیا پے رواں ہے زماں سے زماں تک،
خزاں سے خزاں تک!

جہاں زاد میں نے ۔۔۔ ۔۔ حَسَن کوزہ گر نے ۔۔۔ ۔۔۔ ۔۔
بیاباں بیاباں یہ دردِ رسالت سہا ہے
ہزاروں برس بعد یہ لوگ
ریزوں کو چُنتے ہوئے
جان سکتے ہیں کیسے
کہ میرے گِل و خاک کے رنگ و روغن
ترے نازک اعضا کے رنگوں سے مل کر
ابد کی صدا بن گئے تھے؟
میں اپنے مساموں سے، ہر پور سے،
تیری بانہوں کی پنائیاں
جذب کرتا رہا تھا
کہ ہر آنے والے کی آنکھوں کے معبد پہ جا کر چڑھاؤں ۔۔۔ ۔۔
یہ ریزوں کی تہذیب پا لیں تو پا لیں
حَسَن کوزہ گر کو کہاں لا سکیں گے؟
یہ اُس کے پسینے کے قطرے کہاں گن سکیں گے؟
یہ فن کی تجلی کا سایہ کہاں پا سکیں گے؟
جو بڑھتا گیا ہے زماں سے زماں تک
خزاں سے خزاں تک
جو ہر نوجواں کُوزہ گر کی نئی ذات میں
اور بڑھتا چلا جا رہا ہے!
وہ فن کی تجلی کا سایہ کہ جس کی بدولت
ہمہ عشق ہیں ہم
ہمہ کوُزہ گر ہم
ہمہ تن خبر ہم
خُدا کی طرح اپنے فن کے خُدا سر بسر ہم!
(آرزوئیں کبھی پایاب تو سَریاب کبھی،
تیرنے لگتے ہیں بے ہوشی کی آنکھوں میں کئی چہرے
جو دیکھے بھی نہ ہوں
کبھی دیکھے ہوں کسی نے تو سراغ اُن کا
کہاں سے پائے؟
کِس سے ایفا ہوئے اندوہ کے آداب کبھی
آرزوئیں کبھی پایاب تو سَریاب کبھی!)

یہ کوزوں کے لاشے، جو اِن کے لئے ہیں
کسی داستانِ فنا کے وغیرہ وغیرہ
ہماری اذاں ہیں، ہماری طلب کا نشاں ہیں
یہ اپنے سکوتِ اجل میں بھی یہ کہہ رہے ہیں:
"وہ آنکھیں ہمیں ہیں جو اندر کھُلی ہیں
تمہیں دیکھتی ہیں، ہر ایک درد کو بھانپتی ہیں
ہر اِک حُسن کے راز کو جانتی ہیں
کہ ہم ایک سنسان حجرے کی اُس رات کی آرزو ہیں
جہاں ایک چہرہ، درختوں کی شاخوں کے مانند
اِک اور چہرے پہ جھُک کر، ہر انسان کے سینے میں
اِک برگِ گُل رکھ گیا تھا
اُسی شب کا دزدیدہ بوسہ ہمیں ہیں!

(ن م راشد)

Hamada Hogyoku - Bat and Moon, c. 1830

Hamada Hogyoku - Bat and Moon, c. 1830