ÿþ<HTML><HEAD><TITLE>KABITT-SAVAIYYE</TITLE> <style type="text/css"> .BODY { background-color: #EAF1F7; background-image: url('images/gtbh.jpg'); background-repeat: no-repeat; background-attachment: fixed; background-position: center; color: #0066CC;} .C1{text-align: justify;color: #0066CC;FONT-size: SMALL;FONT-family: Tahoma;} .BIB{text-align: center;color: #000099;FONT-size: SMALL;FONT-family: Tahoma;} .CONT{text-align: right;color: #FF0000;FONT-size: SMALL;FONT-family: Tahoma;} </style><META http-equiv="content-type" content="text/html; charset=UTF-8"></HEAD> <BODY class="BODY" oncontextmenu="return false" ondragstart="return false" onselectstart="return false"> <FONT ALIGN="JUSTIFY" FACE="Tahoma"> <p class="C1">&#65279<i>KABITT-SAVAIYYE</i>, by Bh&#257&#299 Gurd&#257s who had worked with Gur&#363 Arjan on the preparation of the original volume of Sikh scripture, the Gur&#363 Granth S&#257hib, and who is remembered in the Sikh tradition as the first consistent interpreter of the Gur&#363s' word, is a collection of 675 <i>kabitts</i> and <i>savaiyy&#257s</i> composed by the poet in Braj. Of his <i>kabitts</i> and <i>savaiyy&#257s</i>, a total of 556 only were known before 1940 when Bh&#257&#299 V&#299r Si&#7749gh searched out and published another 119 of them, thereby bringing their total to 675. However, nine <i>kabitts</i>, among the later 119, are almost identical with the other nine published earlier. Some scholars, thus, exclude these nine and take the total number of these <i>kabitts</i> and <i>savaiyy&#257s</i> to be 666. It is generally believed that some of the <i>kabitts</i> and <i>savaiyy&#257s</i> are still untraced.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; As regards the time and place of these compositions, opinion varies. It is generally believed that a major part of this work was completed after the poet's more popular work, the <i>V&#257rs</i>, had been written. The more likely venue was K&#257sh&#299 and &#256gr&#257 where the Bh&#257&#299 had lived for some time. The conjecture is strengthened by several factors. One, the theme of the poetry belongs to the poet's maturer years. Second, the language of these compositions is akin to the contemporary religious and literary genius of K&#257sh&#299 and &#256gr&#257. A pang of separation from the Gur&#363 is the running theme of this poetry.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Bh&#257&#299 Gurd&#257s was able clearly to comprehend the meanings of the text and then explain it in the simplest vocabulary. For the Punjabi readers, he has done this in his <i>v&#257rs</i> and for his readers in K&#257sh&#299 and &#256gr&#257 in the <i>kabitts</i> and <i>savaiyy&#257s</i>. To make his works widely comprehensible, Bh&#257&#299 Gurd&#257s has used similes and metaphors from daily life. In the first section the poet has used <i>kabitts</i> and <i>savaiyy&#257s</i> in their simplest form. The thrust is in the fourth and final line in which his meaning is communicated very forcefully. The poetry also symbolizes Bh&#257&#299 Gurd&#257s's deep love for his Gur&#363s. Bh&#257&#299 Gurd&#257s spent long spells in &#256gr&#257 and K&#257sh&#299 spreading the message of the Gur&#363s, but he always longed for a glimpse of the Gur&#363. Compositions dealing with poet's pangs of separation are a fine specimen of his poetic art.</p> </font> <p class="BIB"> BIBLIOGRAPHY<p class="C1"><ol class="C1"><li class="C1"> Kaur Si&#7749gh, Ak&#257l&#299, <i>Tatkar&#257 Bh&#257&#299 Gurd&#257s J&#299 de Kabitt Savaiyye</i>. Amritsar, 1929<BR> <li class="C1"> Jagg&#299, Rattan Si&#7749gh, <i>Bh&#257&#299 Gurd&#257s : J&#299vani te Rachn&#257</i>. Patiala, 1974<BR> <li class="C1"> Darshan Si&#7749gh, <i>Bh&#257&#299 Gurd&#257s</i>. Patiala, 1986<BR> </ol><p class="CONT">Dharam Si&#7749gh<br></p><BR> </font><img src="counter.aspx" width="1px" height="1px" alt=""></HTML></BODY>