| (251) Question:- |
What is meant by a Shabad and a Pauri? Name some of the compositions wherein the word Pauri has been used? |
| Answer:- |
The Shabad means a hymn as contained in Guru Granth Sahib, which is considred to be a Divine revelation. It is because of the spiritual meaning of the word that it is never used for ordinary speech or human words. This term has been independently used in Guru Granth Sahib 1271 times and has been linked 572 times with the term Gurus. Every Shabad in Guru Granth Sahib being linked with the veneration of God transports the recitor to the Divine Word. To this concept of the remembrance of God through a Shabad, a Shabad also emphasizes the importance of virtuous living. However, it is His grace only which enables a person to discover the truth through the Shabad contained in Guru Granth Sahib.
Word Pauri has been used in Guru Granth Sahib for a stanza. As one climbs one step and then another step to reach the height, similarly the thought in one pauri is further elaborated in the next pauri as to complete the idea. For example, in Japuji Sahib, there are 38 Pauries. Each Pauri carries the idea further and ultimately the reader after passing through various realms reaches Sach Khand (the realm of the Divine). Pauries have also been used in various Vaars. Bhai Kahan Singh of Nabha has opined that a pauri is also called Nishani Chhand. However, S. Surinder Singh Kohli, the Learned Author of “A Critical Study of Adi Granth” does not agree with this view, as according to him, Pauri means the Rung of the ladder and represents a pada of a poem. It is not a particular stanza form but merely a Para (stanza) to carry forward the idea. Some of the other compositions of the Adi Granth, wherein the word pauri has been used, include Anand in Raag Ramkali with 40 Pauries. It may also be made clear that Pauries in a longer poem may not be uniform and as such may differ in metre and in the number of verses. For example, in Japuji, Pauri No. 8, 9, 10, 15 being the same metre contain same number of verses i.e. six short verses each, whereas there are 24 short verses in Pauri No. 16 and 22 long verses in Para No. 27. Similarly, in Anand Para No. 10, 11, 24, 29, 34 and 40, there are six verses in each of them whereas there are five verses in each of the other pauries. So far as Vaars are concerned, the pauries used therein have the same metre and the same scheme of versification. |
| (252) Question:- |
What is meant by slokas and pads? |
| Answer:- |
A pad is a part of a hymn. Each hymn contained in Guru Granth Sahib is divided into certain parts and each part is called a Pad. Each Pad consists of one or more verses. Paddas of 1, 2, 3, and 4 verses are known as Ik-Tuke, Do-Tuke, Tin-Tuke and Char-Tuke respectively. Sardar Surinder Singh Kohli in his book “A Critical Study on Adi Granth” has given examples of these paddas, some of which are reproduced here under:-
ਇਕ ਤੁਕਾ (Ek Tuka)
ਜੀਵਤ ਦੀਸੈ ਤਿਸੁ ਸਰਪਰ ਮਰਣਾ ॥ ਮੁਆ ਹੋਵੈ ਤਿਸੁ ਨਿਹਚਲੁ ਰਹਣਾ ॥1॥ (ਅੰਗ 374)
Jeevat Deesai Tis Sarpar Marna, Muaa Hovai Tis Nihchal Rahna.
He who’s seen alive will surely die,
But, a dead in life shall remain eternal, (Page 374)
ਦੋ ਤੁਕਾ (Do Tuka)
ਉਨ ਕੈ ਸੰਗਿ ਤੂ ਕਰਤੀ ਕੇਲ ॥ ਉਨ ਕੈ ਸੰਗਿ ਹਮ ਤੁਮ ਸੰਗਿ ਮੇਲ ॥
ਉਨ੍ ਕੈ ਸੰਗਿ ਤੁਮ ਸਭੁ ਕੋਊ ਲੋਰੈ ॥ ਓਸੁ ਬਿਨਾ ਕੋਊ ਮੁਖੁ ਨਹੀ ਜੋਰੈ ॥1॥ (ਅੰਗ 390)
Un Kai Sang Too Karti Kel, Unkai Sang Ham Tum Sang Mel.
Un Kai Sang Tum Sabh Kauu Lorai Us Bin Kouu Mukh Nahi Jorai.
O Body, thou play with the soul,
In her company thou came in contact with everyone.
In her company everyone desire you,
Without her none wishes to see you. (Page 390)
ਤਿਤੁਕੇ (Ti Tuka)
ਕਿਸ ਹਉ ਜਾਚੀ ਕਿਸ ਆਰਾਧੀ ਜਾ ਸਭੁ ਕੋ ਕੀਤਾ ਹੋਸੀ ॥
ਜੋ ਜੋ ਦੀਸੈ ਵਡਾ ਵਡੇਰਾ ਸੋ ਸੋ ਖਾਕੂ ਰਲਸੀ ॥
ਨਿਰਭਉ ਨਿਰੰਕਾਰੁ ਭਵ ਖੰਡਨੁ ਸਭਿ ਸੁਖ ਨਵ ਨਿਧਿ ਦੇਸੀ ॥1॥ (ਅੰਗ 608)
Kis Hau Jaachi Kis Aaraadhi Ja Sabh Ko Keeta Hosi.
Jo Jo Deesai Vada Vadera So So Khaak Ralsi.
Nirbhau Nirankaar Bhav Khandan Sabh Sukh Navnidh Desi.
Whom to worship and from whom to beg.
When all are creations of God
Howsoever great one may be, everybody will go to the Dust
It is the fearless and formless God, who banishes fearless
Who gives all comforts and nine treasures (Page 608)
ਚਉਤੁਕੇ (Chau Tuka)
ਮਾਇ ਬਾਪ ਕੋ ਬੇਟਾ ਨੀਕਾ ਸਸੁਰੈ ਚਤੁਰੁ ਜਵਾਈ ॥
ਬਾਲ ਕੰਨਿਆ ਕੌ ਬਾਪੁ ਪਿਆਰਾ ਭਾਈ ਕੌ ਅਤਿ ਭਾਈ ॥
ਹੁਕਮੁ ਭਇਆ ਬਾਹਰੁ ਘਰੁ ਛੋਡਿਆ ਖਿਨ ਮਹਿ ਭਈ ਪਰਾਈ ॥
ਨਾਮੁ ਦਾਨੁ ਇਸਨਾਨੁ ਨ ਮਨਮੁਖਿ ਤਿਤੁ ਤਨਿ ਧੂੜਿ ਧੁਮਾਈ ॥1॥ (ਅੰਗ 596)
Maae Baap Ko Beta Neeka Sasure Chatur Jawaaee.
Baal Kaniaa Ko Baap Piaara Bhaaee Ko Att Bhaaee.
Hukam Bhaiaa Baahar Ghar Chhodiaa Khin Meh Bha-ee Praaee.
Naam Daan Isnaan Na Manmukh Tit Tan Dhoor Dhumai.
For Mother and Father, son is dear, Father-in-law, the Son-in-law, is wise
For children dear is father and a brother is dear to a brother.
But when under the command of Lord one leaves the world, everything becomes alien.
Without remember of Name, charity & holy Bath.
The body rolls in dust. (Page 596)
For clarifications, it may be mentioned that there are two long verses, three long verses and four long verses in the examples of Do-Tuke, Tin-Tuke and Char Tuke, as mentioned above. It may further be made clear that two verses of the short metre though rhyming together are considered as one verse.
For example, it may be noted that in the example of Do-Tuke given above there are four short verses.
In Gurbaani, the Gurus have also used Paddas of five verses e.g. as in Sukhmani, six and seven verses (as in Raag Tilang), eight verses and sixteen verses which are called Ashtpadi and Solah respectively.
A sloke is not a stanza form like a Pauri. It is, in fact, a smaller poem complete in itself. The thought is expressed in a sloke very briefly. In guru Granth Sahib, several types of Slokes have been used named as Doha, Dakhne, Sloke Sehaskriti Gatha, Phunhe and Chaubole. Those slokes where the vocabulary of Sindhi is used are Dakhne, which in Sindhi means South. As Sindhi was used in South of Punjab, such slokes came to be known as Dakhne. For example, Guru Arjan has used this type of sloke in the following verses:-
ਜਿਨਾ ਪਿਛੈ ਹਉ ਗਈ ਸੇ ਮੈ ਪਿਛੈ ਭੀ ਰਵਿਆਸੁ ॥
ਜਿਨਾ ਕੀ ਮੈ ਆਸੜੀ ਤਿਨਾ ਮਹਿਜੀ ਆਸ ॥1॥ (ਅੰਗ 1097)
Jina Pichheai Hau gaee So Mai Piche Bhi Ravias.
Jina Ki Main Aasari Tina Mahji Aas.
Whom I followed no follow me in my foot steps.
On whom I had hoped, now rest their hope on me. (Page 1097)
Similarly, in Sehaskriti slokes, the language form used is a mixture of Sanskrit, Pali and Prakrit. Gatha is another word used for sehaskriti. Most of the Saheskriti slokes are the compositions of Guru Arjan. In Phunhe, there are four verses. As the word Phune means the repetition, the word is repeated in the 4th verse of each stanza in this stanza form. The word Chaubole, although carries the sense of stanza of 4 verses but in Guru Granth Sahib such slokes contain only 2 verses. The examples of Phunhe and Chaubole as given by S. Surinder Singh Kohli on page 77 of his book are reproduced here as under:-
ਮੂਸਨ ਮਰਮੁ ਨ ਜਾਨਈ ਮਰਤ ਹਿਰਤ ਸੰਸਾਰ ॥
ਪ੍ਰੇਮ ਪਿਰੰਮ ਨ ਬੇਧਿਓ ਉਰਝਿਓ ਮਿਥ ਬਿਉਹਾਰ ॥6॥ (ਅੰਗ 1363)
Moosan Maram Na Janaee Marat Hirat Sansaar.
Prem Piram Na Bandhio Urjhio Mith Biohaar.
Oh, Musan, the world dying and being plundered
Does not realize the mystery of the Lord
It is not filled with the love of the Lord,
But is engaged in false persuits (Page 1363)
ਸਖੀ ਕਾਜਲ ਹਾਰ ਤੰਬੋਲ ਸਭੈ ਕਿਛੁ ਸਾਜਿਆ ॥
ਸੋਲਹ ਕੀਏ ਸੀਗਾਰ ਕਿ ਅੰਜਨੁ ਪਾਜਿਆ ॥
ਜੇ ਘਰਿ ਆਵੈ ਕੰਤੁ ਤ ਸਭੁ ਕਿਛੁ ਪਾਈਐ ॥
ਹਰਿਹਾਂ ਕੰਤੈ ਬਾਝੁ ਸੀਗਾਰੁ ਸਭੁ ਬਿਰਥਾ ਜਾਈਐ ॥3॥ (ਅੰਗ 1361)
Sakhi Kaajal Haar Tambol Sabhai Kichh Saajiaa.
Solha Kee-e Seegaar Ki Anjan Paajiaa.
Je Ghar Aavai Kant Ta Sabh Kich Paaee-ai.
Harhaan Kantai Baajh Sigaar Sabh Birtha Jaaee-ai.
My friend, I’m ready with garlands, collyrium and betel leaf
I have done sixteen decorations, and put antimony in my eyes.
Now if my spouse comes, I gain everything
O Harhan, without His arrival, all embellishments are in vain. (Page 1361)
Before closing, it may be mentioned that the most widely known slokes of Saints Kabir and Farid are in the form of couplets. The slokes are also found in the vaars contained in Guru Granth Sahib where the same are added before each pauri in order to clarify the idea contained in the Pauri. There are only two vaars, Ramkali Ki Vaar of Satta Balwand and Basant Ki Vaar wherein slokes have not been attached to the Pauri. |
| (253) Question:- |
Show you acquaintance with Ashtpadi and Solha respectively? |
| Answer:- |
Ashtpadi literally means a composition of 8 verses, each verse may be of 6 to 10 lines. It also means a hymn consisting of 8 parts. The first, third, fourth, and fifth Gurus have written Ashtpadis under different Raagas. Sukhmani Sahib is the most popular composition wherein Ashtpadis have been used. There are 24 Ashtpadis in this composition and each verse contains 10 lines.
Solha literally means a composition of 16 verse. It is found in Raag Maru only. |
| (254) Question:- |
What is meant by a ‘Vaar’? How many Vaars are there in Guru Granth Sahib? |
| Answer:- |
The Vaar is a poetic composition in praise of a benefactor or warrior. In older days the Vaars were sung to eulogise a king or a leader or a prominent person. That is why, there is an idiom in Punjabi ‘Vaar gauna’, which means the singing of praises. The Vaars written by the Gurus are in praise of God. Unlike many other earlier Vars, the same do not narrate anecdotes and events of a hero’s life but dwell upon various attributes of the Supreme Being. There are 22 Vaars in Guru Granth Sahib the details of which are given hereunder:-
Name of the Author No. of Vaars Title of Vars Page No. of Serial-wise
Granth Sahib
Vaars of Guru Nanak Dev Ji 3 Vaar Maajh, 137
Vaar Aasa, 462
Vaar Malaar. 1278
Vaars of Guru Amar Das Ji 4 Vaar Goojri, 508
Vaar Soohi, 786
Vaar Ramkali, 947
Vaar Maaru. 1087
Vaars Guru Ram Dass Ji 8 Vaar Sri Raaga, 82
Vaar Gauri, 318
Vaar Bihaagra, 549
Vaar Vadhans, 585
Vaar Sorath, 642
Vaar Bilaawal, 853
Vaar Saarang, 1237
Vaar Kaanra. 1312
Vaars Guru Arjan Dev Ji 6 Vaar Gauri, 318
Vaar Goojri, 518
Vaar Jaisri, 706
Vaar Ramkali, 959
Vaar Maaru, 1094
Vaar Basant. 1193
Vaar of Satta Balwand 1 Tikke Di Vaar 968
In Raag Ramkali
Total 22 Vars
The special feature of 20 out of the 22 vaars given above, is that before each pauri in these vaars, a sloka has been added by the same Guru or written by some other Guru. For example, in Aasa-Di-Vaar the slokas of guru Angad were added by Guru Arjan. The name of the composer of the sloka is mentioned before each sloka. It may also be mentioned that although the Vaars included in Guru Granth Sahib are different in content and style from that of the earlier Vaars, some of these have been directed to be sung on the tunes of some popular ancient vaars. These tunes are known as dhunies. |
| (255) Question:- |
What is meant by Dhunies? Which are the Dhunies that have been mentioned in Guru Granth Sahib? |
| Answer:- |
The word dhuni is derived from a Sanskrit word dhvani which means sound, echo, noise, voice etc. As mentioned above, this word occurs in Guru Granth Sahib in respect of 9 Vaars out of 22 Vaars as included therein. The same suggest the tunes as per which a particular Vaar is to be sung. These were the tunes of certain ancient popular Vaars. For example Aasa Di Vaaar by the first Guru, appearing on page 462 of Guru Granth Sahib is to be sung on the tune of Tunde Asraajai. The hero in the Tunde Asraajai Vaar was Asraajai son of Sarang. As per the story, his step mother had become interested in him, but whenshe failed to get a response from the noble prince. Who considered her as his mother, she instigated the king. King was so enraged that he got his hands cut and sent him to exile. However, Asraj (Tunda is Punjabi word which means a person without hands) with his qualities of head and heart became so popular that his fame and truth also became known to his father. His father wanted to invite and restore him the throne, but his step brothers resisted such a move. The result was a battle. Asraaj won the victory in the battle and got back his throne. Story of his noble and his brave deeds was often sung by the Bards. The tune on which this Vaar was sung in olden times was adopted for singing Aasa di Vaar. Similarly, there are stories of valour of olden times and the tunes of singing those stories have been approved for singing the vaars in Guru Granth Sahib. The said 9 Vaars with corresponding dhunies are as under:-
1. Vaar Maajh by Nanak I – Malak Murid Tatha Chandrahanra Sohia Ki Dhuni (page 137)
2. Gauri Ki Vaar by Nanak V – Rai Kamaaldi Mojdi Ki Vaar Ki Dhuni (page 318)
3. Aasa Di Vaar by Nanak I – Tunde Asraajai Ki Dhuni (page 462)
4. Gujri Ki Vaar by Nanak III – Sikandar Birahim Ki Vaar Ki Dhuni (page 508)
5. Vadhans Ki Vaar by Nanak IV – Lalan Bahalima Ki Vaar Ki Dhuni (page 585)
6. Ramkali Ki Vaar by Nanak III – Jodhai Virai Purabani Ki Dhuni (page 947)
7. Saarang Ki Vaar by Nanak IV – Rai Mahme Hasane Ki Dhuni (page 1237)
8. Vaar Malaar Ki by Nanak I – Rane Kailaas tatha Mal de Ki Dhuni (1278)
9. Kaanare Ki Vaar by Nanak IV – Muse Ki Vaar Ki Dhuni (1312)
Gurbilas Patshahi Chhevi makes a mention that Dhunies were added in the Holy Book by the Sixth Master. But the latest researchers have not agreed with this view and have opined that it was Bhai Gurdas only in whose hand the Dhunnies had been mentioned and as such the same were prescribed by the Fifth Master at the time of dictating the compositions. In case the readers are interested to know about the other ancient Vaars, they may refer to page 670 of Mahan Kosh by Bhai Kahan Singh Nabha. For further details in English, S. Surinder Singh Kohli’s book “A Critical Study of Adi Granth”and Encyclopaedia of Sikhism edited by S. Harbans Singh may be referred to. |
| (256) Question:- |
Give a brief description of the imagery used in Guru Granth Sahib? |
| Answer:- |
Imagery means the use of similes and metaphors with a view to clarify the idea. Since, Guru Granth Sahib enshrines the compositions of poets from various fields, places and periods, the imagery used by them is highly diverse. There are image from nature and also from daily indoor life. Images from nature are so Vast as to cover the sunrise and the dawn, clouds and lightening, the rain and wind, the sky and the seasonal changes. The same also include the word pictures of the garden, flowers and the trees. There are references to animals, birds and insects and also to water reservoirs like pools, rivers and sea. The most beautiful compositions with natural imaginary are the Barah Mahas written by Guru Nanak Dev and Guru Arjan Dev. The Gurus in such compositions have shown the position of a woman whose husband is not at home, and who is frightened at the very glare of lightening as to bring out the position of a human being separated from the Divine soul. Even for emphasizing the human qualities, examples from nature have been given. For example as to emphasize the importance of humility the Guru has shown that simmal tree devoid of humility is not useful in any way. A person has been advised in Gurbani to lead the life of a house-holder like Lotus flower which remains in mud, but keeps itself above it. Guru Angad Dev, while describing the state of mind in the absence of the Guru has said that despite the light of sun and moon, there is absolute darkness without the Guru.
Apart from nature, the daily human life has also been used for images at various places. The human being has been shown as a woman, whereas God her husband. In various hymns, the man has been required to please her husband with love and veneration. This simile of the married life has been used to show the spiritual relationship between the human soul and Divine soul. Similarly, a person has been shown as asleep and even dead if he fails to remember God. The really awakened person is the one who utters God’s Name and remains attuned to it. The evil of ego has been shown as a disease and the remembrance of Name as a cure for the same. In fact, The Guru says: Sansaar Rogi Naam Daaru, Malu Laage Sach Bina (Dhanasari Mahalla-1). The life and death have been shwon as a bride and bridegroom respectively. Even while describing a political event like Babar’s invasion; The Guru has described his army as a marriage party of sins.
ਪਾਪ ਕੀ ਜੰਞ ਲੈ ਕਾਬਲਹੁ ਧਾਇਆ ਜੋਰੀ ਮੰਗੈ ਦਾਨੁ ਵੇ ਲਾਲੋ ॥ (ਅੰਗ 722)
Pap Ki Janj Lai Kaabalo Dhaaiaa Jori Mangai Daan Ve Laalo.
Hath descended from Kabul, and Demanded by force the bride, O Lalo (page 722)
(Translated adopted from Encyclopaedia of Sikhism Ed. By Harbans Singh)
|
| (257) Question:- |
Explain the words Mahalla and Ghar as used in Guru Granth Sahib at various places. |
| Answer:- |
In the present form of Guru Granth Sahib, which is a living Guru of Sikhs, there are hymns of First Five Sikh Gurus and that of the 9th Guru. All these Gurus wrote their Bani under a common name Nanak. Thus, with a view to find out as whose Shabad is being recited, a method has been adopted in this regard. The word Mahalla followed by a number shows the authorship of the composition. For example. If on the top of a hymn, it is mentioned as Mahalla I, it means that the composition is that of the First guru.
The word ‘Ghar’ used in the title of many of the hymns in Guru Granth Sahib indicates a variant or style of a Raaga corresponding to variation in metre, pitch, rhythm and Lai (Lai means speed, it may be fast, moderate and slow). Ghar appears after the name of Raaga and the indication with regard to the author (i.e. Mahala). There are Ghars numbered as 1 to 17. With a view to explain, an illustration may be given. For example, the first hymn in the Sri Raag is entitled as “Raagu Sri Raagu Mahala Pahila 1 Gharu 1. In this example, Ghar 1 (In Punjabi Pahila) indicates that it is to be sung in the first Tal (Rhythm Pattern). It may be mentioned here that as the term Ghar has been interpreted differently, there may be some confusion in this regard. Although, it is admitted by all that it is connected with the singing pattern, the scholars differ as whether it is a rhythm pattern for drumming or it means the number of beats or it represents a particular style or tradition. Some of the scholars in musc consider it the main note (sonant). According to them the 17 notes are : 2 pure notes i.e. Sa and Pa, 3 Komal (flat) notes of each Re, Ga, Dha, Ne (12 in number) and then there are three notes of Ma. A number of books have been written on the musical aspects/ragas in Guru Granth Sahib e.g. Indian Classical Music and Sikh Kirtan by Doctor G.S. Mansukhani, Gurbani Sangeet by Avtar Singh and Gurcharan Singh. Gurmat Sangeet by Sundar Singh and so on. In some books on Indian Music also this aspect of Gurbani has been discussed e.g. Indian Music by BC Deva |
| (258) Question:- |
What is meant by the word Rahao as it is used in Guru Granth Sahib? |
| Answer:- |
Rahao means a pause. Wherever it is used in a hymn, it means that there is a pause at the place. The line following the use of the word rahao, generally sums up the central idea of the hymn. This line is highly significant and those who sing the hymns may start with central verse. It is also the Aasthai i.e. the repetitive verse of the hymn. |
| (259) Question:- |
Does the Bani contained in Guru Granth Sahib reflect the period in which it was written? |
| Answer:- |
Every writer is influenced by the times in which he writes. Mot of the compositions reflect the period in one or the other way in which the same are composed. Bani contained in Guru Granth Sahib although spiritual and metaphysical also takes note of the social, political and religious condition of the times in which it was composed. The domination of caste system among the Hindus and the feelings of pride and supremacy among the ruling Muslims are among the prominent subjects dealt with in a number of hymns. Many social customs like Sati, Pardah, and widow remarriage have also been considered at length. Religious degradation & political development have also found a mention at several places. (e.g. Baabarbaani) |
| (260) Question:- |
Give a brief introduction of Aasa-Di-Vaar? |
| Answer:- |
It is the most well known Vaar included in Guru Granth Sahib under Raag Aasa. Aasa being the Raaga of small hours of the morning, this vaar is sung in the early hours of the day. It was sung even in the days of Guru Angad, when it was comprised of 24 pauries (stanzas) and some slokes. The present form, as is generally sung consists of 24 stanzas and 59 slokes, out of which 45 are of the first guru and 14 by the Second guru. At the time of recitation, the singers prefix each of the stanzas by a quatrain from the series by guru Ram Dass entered separately under the same Raaga. They also punctuate the singing with illustrative Hymns from guru Granth Sahib and passages from Bhai Gurdas and Bhai Nand Lal. As explained, in another question, the Vaar is sung according to an old folk tune called Tunde Asraj tune.
The central theme of this Vaar is the liberation of a man from the bondage of self with a view to achieve the Divine union. A very striking feature of the Vaar is the mention of the ills of contemporary life indicating the moral decay. There is a clear indication that the people had forgotten religion and had adopted, hypocrisy and superstition in the garb of religion. Some of the slokes by Guru Angad show his deep-rooted devotion for the Guru. These slokes have already been mentioned in the Chapter relating to the Second Guru.
Since this Vaar condemns many of the evils, customs and vices, a good number of verses there from have become quotations for the guidance for a noble life. For example, the following verses are generally cited:-
ਆਪੀਨੈ ਭੋਗ ਭੋਗਿ ਕੈ ਹੋਇ ਭਸਮੜਿ ਭਉਰੁ ਸਿਧਾਇਆ ॥ (ਅੰਗ 464)
Aapeenai Bhog Bhog Kai Hoe Bhasmar Bhaur Sidaaia.
After enjoying the worldly pleasures.
The man, turns into ashes and the soul departs. (page 464)
ਸਤਿਗੁਰ ਜੇਵਡੁ ਦਾਤਾ ਕੋ ਨਹੀ ਸਭਿ ਸੁਣਿਅਹੁ ਲੋਕ ਸਬਾਇਆ ॥ (ਅੰਗ 465)
Satgur Jewad Daata Ko Nahee Sabha Suneeaho Lok Sabaaiaa.
Listen, this all people that there is no benefactor as great at the true Guru. (page 465)
ਅੰਨੁ ਨ ਖਾਇਆ ਸਾਦੁ ਗਵਾਇਆ ॥ (ਅੰਗ 467)
Ann Na Khaiaa Saad Gavaaiaa.
A man, who discards food, loses the taste of the tongue. (page 467)
ਸਚੁ ਤਾ ਪਰੁ ਜਾਣੀਐ ਜਾ ਰਿਦੈ ਸਚਾ ਹੋਇ ॥ (ਅੰਗ 468)
Sach Ta Par Jaaneeai Ja Ridai Sacha Hoe.
Such a man should be known as true, If he is devoted in love to the True one. (page 468)
In conclusion, it can be said that this composition of Guru Nanak guides us to give up greed, lie, lust and slander as all these things make our mind impure. The Guru says that the real impurity does not exist in food but in one’s ego, in neglect of our fellow-men and forgetfulness of God. While discussing the equality of all human beings, the role of women has been emphasized. The Guru has also made it clear that there is no spiritual import in the activities like fasting, pilgrimage and penance. The caste distinctions, the tyranny of the rulers and that of the priestly class have also been assailed. A person has been advised to surrender to the Divine Will as to win the favour of the Creator. All these wonderful thoughts set to a musical tone. When sung in the early dawn, create a calm environment bringing a sense of peace and joy to those who recite and the listeners. |
