It was a dark moonless night; the clouds were heavy with rain because it was the monsoon season. Suddenly thunder sounded and lightning flashed as a few rain drops started to fall. The village was asleep. Only Nanak was awake and the echo of his song filled the air.
Nanak’s mother was worried because the night was more than half over and the lamp in his room was still burning. She could hear his voice as he sang. She could restrain herself no longer and knocked at his door, “Go to sleep now, my son. Soon it will be dawn.” Nanak became silent. From the darkness sounded the call of the sparrow hawk. “Piyu, piyu, piyu!” it called.
“Listen mother!” Nanak called out. ”The sparrow hawk is calling to his beloved; how can I be silent, because I am competing with him? I will call my beloved as long as he calls his – even longer, because his beloved is nearby, perhaps in the next tree! My beloved is so far away. I will have to sing for lives upon lives before my voice reaches him.” Nanak resumed his song.
Nanak attained God by singing to him; Nanak’s quest is very unusual – his path was decorated with songs. The first thing to be realized is that Nanak practiced no austerities or meditation or yoga; he only sang, and singing, he arrived. He sang with all his heart and soul, so much so that his singing became meditation; his singing became his purification and his yoga.
Whenever a person performs any act with all his heart and soul, that act becomes the path. Endless meditation, if halfhearted, will take you nowhere; whereas just singing a simple song with all your being merged in it, or dance a dance with the same total absorption and you will reach God. The question is not what you do, but how much of yourself you involved in the act.
Nanak’s path to supreme realization, to godliness is scattered with song and flowers. Whatever he has said was said in verse. His path was full of melody and soft, filled with the flavor of ambrosia.
Kabir says: “My enchanted mind was so intoxicated that it drained the filled cup without caring to measure the quantity.” So it was with Nanak: he drank without caring how much he drank; then he sang, and sang, and sang. And his songs are not those of an ordinary singer. They have sprung from within one who had known. There is the ring of truth, the reflection of God within them.
Now another thing about the japuji. The moonless night described at the beginning was an incident from Nanak’s life when he was about sixteen or seventeen years of age. When the Japuji was conceived, Nanak was thirty years, six months and fifteen days old. The first incident refers to the days when he was still a seeker in quest of the beloved. The call to the beloved, the refrain, “Piyu, Piyu, Piyu …” was still the sparrow hawk calling; he had not yet met the beloved.
The Japuji was his first proclamation after the union with the beloved. The sparrowhawk had found his beloved; the call of “Piyu, Piyu,” was now over. The Japuji are the very first words uttered by Nanak after self-realization; therefore they hold a very special place in the sayings of Nanak. They are the latest news brought back from the kingdom of heaven.
The incident preceding the birth of the Japuji needs to be understood also. Nanak sat on the bank of the river in total darkness with his friend and follower, Mardana. Suddenly, without saying a word, he removed his clothes and walked into the river. Mardana called after him, “Where are you going? The night is so dark and cold!” Nanak went further and further; he plunged into the depths of the river. Mardana waited, thinking he would be out soon, but Nanak did not return.
Mardana waited for five minutes; when ten minutes had passed he became anxious. Where could he be? There was no sign of him. Mardana began to run along the shore calling to him, “Where are you? Answer me! Where are you?” He felt he heard a voice saying, “Be patient, be patient!” but there was no sign of Nanak.
Mardana ran back to the village and woke up everyone. It was the middle of the night, but a crowd collected at the riverside because everyone in the village loved Nanak. They all had some sense, a glimpse, of what Nanak was going to be. They had felt the fragrance of his presence, just as the bud gives off its fragrance before the flower has opened. All the village wept. They ran back and forth the whole length of the river bank but to no avail.
Three days passed. By now it was certain that Nanak had drowned. The people imagined that his body must have been carried away by the swift current and perhaps eaten by wild animals.
The village was drowned in sorrow. Though everyone thought him dead, on the third night Nanak appeared from the river. The first words he spoke became the Japuji.
So goes the story – and a story means that which is true and yet not true. It is true because it gives the essential truth; it is false in the sense that it is only symbolic. And it is evident that the more profound the subject matter, the greater the need for symbols.
When Nanak disappeared in the river, the story goes that he stood before the gate of God. He experienced God. There before his eyes stood the beloved he pined for, for whom he sang night and day. He who had become the thirst of his every heartbeat stood revealed before Nanak! All his desires were fulfilled. Then God spoke to him, “Now go back and give unto others what I have given unto you.” The Japuji is Nanak’s first offering after he returned from God.
Now, this is a story; what it symbolizes must be understood. First, unless you lose yourself completely, until you die, you cannot hope to meet God. Whether you lose yourself in a river or on a mountaintop is of little consequence; but you must die. Your annihilation becomes his being. As long as you are, he cannot be. You are the obstacle, the wall that separates you. This is the symbolic meaning of drowning in the river.
You too will have to lose yourself; you too will have to drown. Death is only completed after three days, because the ego does not give up easily. The three days in Nanak’s story represent the time required for his ego to dissolve completely. Since the people could only see the ego and not the soul, they thought Nanak was dead.
Whenever a person becomes a sannyasin and sets out on the quest for God, the family members understand and give him up for dead. Now he is no longer the same person; the old links are broken, the past is no more, and the new has dawned. Between the old and the new is a vast gap; hence this symbol of three days before Nanak’s reappearance.
The one who is lost invariably returns, but he returns as new. He who treads the path most certainly returns. While he was on the path he was thirsty, but when he returns he is a benefactor; he has left a beggar, he returns a king. Whoever follows the path carries his begging bowl; when he comes back he possesses infinite treasures.
The Japuji is the first gift from Nanak to the world.
To appear before God, to attain the beloved, are purely symbolic terms and not to be taken literally. There is no God sitting somewhere on high before whom you appear. But to speak of it, how else can it be expressed? When the ego is eradicated, when you disappear, whatever is before your eyes is God himself. God is not a person – God is an energy beyond form.
To stand before this formless energy means to see Him wherever you look, whatever you see. When the eyes open, everything is He. It only requires that you should cease to be and that your eyes be opened. Ego is like the mote in your eye; the minute it is removed, God stands revealed before you. And no sooner does God manifest, than you also become God, because there is nothing besides Him.
Nanak returned, but the Nanak who returned was also God Himself. Then each word uttered became so invaluable as to be beyond price, each word equal to the words of the Vedas.
Excerpt from The True Name, Vol. 1, Discourse #1
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