Harta itu daki duniawi

Kita hidup mengumpul harta, kadang gagal kadang berjaya. Orang berharta biasanya dipandang mulia oleh golongan yang cintakan harta. Malangnya harta tempatnya hanya di dunia sahaja. Bila mati, automatiknya hilanglah semua keinginan selama menjadi manusia di sini.

Jadi harta sepatutnya bukanlah tujuan selama kita di sini. Harta itu cuma keperluan selagi hidup. Berlebihan tahap maksimum pun sampai kemanalah kita boleh pergi sebab bukannya boleh di hantar ke alam barzakh sana.
Cuma bolehlah kita bermegah-megah dengan pencapaian hidup kita, samada kita kaya dengan menipu atau kerja keras. Kita megah dan datang satu kepuasan dalam hati kerana kita berjaya duduk dikalangan orang yang berharta.

Tapi kepuasan yang hadir di hati itu datangnya dari kehendak nafsu cuma. Kehendak nafsu tidak pernah mencukupi, dia mahu dan mahu lagi? Itu sebab kalau seseorang itu sedang menghadapi sakratul, masih lagi dia mahu bertanya tentang hartanya, ayam dan itek di rebannya.

Tuntutan untuk sebuah kematian itu boleh kita penuhi secara perlahan-lahan selama hidup kita dengan memahami makna kehilangan. Kehilangan nikmat atau kita tanggalkan nikmat hidup satu persatu. Dan apabila segalanya telah kita pulangkan, jiwa kita akan merasa lapang dan dari situ kita telahpun bersedia sebenarnya untuk meninggalkan dunia dan ceritanya.

Saya katakan harta itu adalah daki duniawi kerana disebabkan harta anak cucu bergaduh kerana berebutkan harta. Jadi secara fitrahnya menjadi orang yang berharta itu bukanlah satu pencapaian cemerlang dari segi batinnya. Jiwa kita mungkin akan sepi kerananya, dan kita mungkin akan lupa kerana akal fikir asyik menghitung untung rugi kehidupan sampaikan agama pun kita sanggup gadaikan.

Harta yang paling bernilai di dunia ini adalah ilmu dan kasih sayang. Yang itu sebenarnya yang dituntut agama. Apabila ada kasih sayang antara sesama kita, insyaallah kita akan sedar akan kehadiran manusia lain di sekeliling kita yang mungkin nasib mereka tidak begitu baik.

Jadi kita buatlah apa yang dituntut agama. Agama tidak suka kita menjadi manusia yang rakus dan tamak. Ada ke agama yang mahukan kita begitu? Agama sangat menuntut agar kita mencari dan memahami makna agama itu sendiri.

Semuanya di tangan kita. Kita boleh memilih untuk menjadi manusia yang buta atau celik matahatinya. Semuanya di tangan kita.

The turn of a friendly card- Alan Parson Project

There are unsmiling faces and bright plastic chains
And a wheel in perpetual motion
And they follow the races and pay out the gains
With no show of outward emotion

And they think it will make their lives easier
For god knows up till now it’s been hard
But the game never ends when your whole world depends
On the turn of a friendly card
No the game never ends when your whole world depends
On the turn of a friendly card

There’s a sign in the desert that lies to the west
Where you can’t tell the night from the sunrise
And not all’s the king’s horse and all the king’s men
Have prevented the fall of the unwise

For they think it will make their lives easier
And god knows it’s been hard
But the game never ends when your whole world depends
On the turn of a friendly card
No the game never ends when your whole world depends
On the turn of a friendly card

But a pilgrim must follow in search of a shrine
As he enters inside the cathedral…

Part One & Two of one of the best classic songs from the Alan Parsons Project. The Turn Of A Friendly Card with beautiful pictures of nature.

Alan Parsons (b. 20 December 1948 in London) is a British audio engineer, musician, and record producer. He was involved in the production of several successful albums, including The Beatles’ Abbey Road and The Dark Side of the Moon, for which Pink Floyd credit him as an important contributor. Parsons’ own group, The Alan Parsons Project, as well as his subsequent solo recordings have also been commercially successful.

In October 1967, at age 18, Parsons went to work as an assistant engineer at Abbey Road Studios, where he earned his first credit on the LP, Abbey Road. He became a fixture there, engineering such projects as Paul McCartney’s Wild Life and Red Rose Speedway, five albums by The Hollies, and Pink Floyd’s The Dark Side of the Moon, for which he received his first Grammy Award nomination. He was known for going beyond what would normally be considered the scope of a recording engineer’s duties. He considered himself to be a recording director, likening his contribution to recordings to what Stanley Kubrick contributed to film. This is apparent in his work with Al Stewart’s Year of the Cat, where Parsons added the saxophone part and transformed the original folk concept into the jazz-influenced ballad that put Al Stewart onto the charts. It is also heard in Parsons’ influence on the Hollies’ He Ain’t Heavy, He’s My Brother and The Air That I Breathe, sharp departures from their 1960s pop Stay, Just One Look, Stop! Stop! Stop! or Bus Stop. Parsons was also known to have swapped shifts during the engineering of The Dark Side of the Moon so he could work entirely on the project.

Source: http://en.wikipedia.org/wiki/Alan_Parsons