ÿþ<HTML><HEAD><TITLE>PR&#256&#7750 SA&#7748GLI</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 NAME="keywords" CONTENT="PRF,SADGLI"> <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">&#65279PR&#256&#7750 SA&#7748GLI, lit. the chain of breath or vital air, is a collection of compositions, attributed to Gur&#363 N&#257nak but in reality apocryphal, dealing with yogic practices, particularly <i>pr&#257n&#257y&#257ma</i> or control of vital air. The original <i>Para&#7751 Sa&#7749gl&#299</i>, was, in all probability, a small composition, though the now available recension, edited by Sant Samp&#363ran Si&#7749gh and published in 1898 in the Devan&#257gr&#299 script, in three volumes by Bh&#257&#299 Mohan Si&#7749gh Vaid, Tarn T&#257ran, runs into more than 700 pages and contains as many as 80 chapter which, with the exception of the first few, are not closely related or co-ordinated. Each of these chapters is presented as an exposition by Gur&#363 N&#257nak of a question raised by R&#257j&#257 Shivn&#257bh of Sangl&#257d&#299p (Sr&#299 Lank&#257) where <i>Pr&#257&#7751 Sa&#7749gl&#299</i> is said to have been composed. Tradition goes that Gur&#363 Arjan, when compiling the Gur&#363 Granth S&#257hib, despatched Bh&#257&#299 Pai&#7771&#257 Mokh&#257, a learned Sikh, to Sangl&#257d&#299p to bring a copy of the manuscript of <i>Pr&#257&#7749 Sa&#7749gl&#299</i> believed to be in the possession of the descendant of R&#257j&#257 Shivn&#257bh. The copy he brought was scrutinized by Gur&#363 Arjan and adjudged spurious. Thus, on page one of the original <i>Kart&#257rpur&#299 B&#299&#7771</i> of the Gur&#363 Granth S&#257hib the title <i>Pran Sa&#7749gl&#299</i> has been inscribed in Arabic characters, but nothing else. The rest of the page remains blank. In spite of the text having been rejected by Gur&#363 Arjan some people continued to treat <i>Pr&#257&#7751 Sa&#7749gl&#299</i> as an approved text. Over the generations it grew in size through the addition of more spurious compositions.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Probably the original <i>Pr&#257&#7751 Sa&#7749gl&#299</i> consisted of the first ten chapters which comprise the first volume of the published version. The first six of these ten chapters explain the evolution of the universe, myriads of earths and skies, the elements, man with all his internal organism, etc., from the state of the unmanifest termed as <i>su&#7749n (&#347&#363nya</i>, literally meaning void or nothingness and in <i>yogic</i> theology representing the Primal Being). The next three chapters explain the intricacies, forms and ideals of <i>yoga</i>, through dialogues between Gorakhn&#257th and Gur&#363 N&#257nak &#8212 Gorakhn&#257th posing questions and Gur&#363 N&#257nak providing answers. The tenth chapter asserts that the Unmanifest, Real Being also remained in contemplation and concentration on the <i>V&#257h-V&#257h</i> (wonderful). There was the Transcendent Being who remained in perfect concentration and equilibrium for myriads of aeons, all alone, without any creation of any form or name. This was the state of <i>unmani</i>. This state gave place to the <i>o&#7749k&#257r</i> state. As Br&#257hma&#7751 willed to Multiply, there emerged the three <i>gu&#7751as</i> (qualities of <i>prakriti</i>), five elements, four Vedas, six &#346astras, six Ved&#257&#7749gas, etc.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Of the remaining 70 chapters in the following two volumes, around twenty-four are by and large an interpretation of <i>yoga</i>. These chapters, complete in themselves, are devoted exclusively to the exposition of <i>yoga</i> in its own terminology, and also in the <i>bhakti</i> terminology of Gur&#363 N&#257nak, emphasizing the importance of <i>gur&#363</i>, his <i>&#347abda</i> and the ethical and spiritual regeneration through meditation on the Name.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; These <i>yogic</i> texts repeat and elaborate what has been said in Volume I and claim to explain the ideal of <i>yoga</i> according to Gur&#363 N&#257nak's views. Chapters XI and XII in this section deal with Ud&#257s Bair&#257g and Yog Bair&#257g. The latter gives details of the mind as it transcends it self to reach the Realm of Truth by practising <i>yoga</i>. The composition <i>Su&#7749n te Utpat&#299</i> or Creation out of the Void (Ch. XIV) describes the process of the formation of the body in the womb. From here onward, the theme takes a new course emphasizing how forgetfulness of the Lord ensues after birth and how liberation lies in the remembrance of the Name alone. Chapters XV to XVII stress the need of <i>Gur&#363</i> and meditation on the Name. The <i>Ratanm&#257l&#257s</i> (Chs. XIX and XX) advert to the qualities of an ideal <i>bair&#257g&#299</i> who, following the teaching of the <i>gur&#363</i>, transcends the three <i>gu&#7751as</i>, fights against desires with the sword of <i>jñ&#257na</i> (knowledge), bathes at the sixty-eight <i>t&#299rthas</i> of the body and mediates on the Name by churning the curd of <i>sahaj</i> in the milk-pot of the body. He is the one who lights the path leading to the tenth door (<i>dasam dv&#257r</i>) with effort as the lamp, discrimination as the oil, concentration as the wick and <i>sahaj</i> as the matchstick. The <i>Yog</i> Garbh&#257v&#257l&#299 Chhu&#7789k&#257r&#257 (Ch. XXVII) and the <i>Pr&#257krit&#299 Vist&#257r</i> (Ch. XXXI) are elaborations of Chs. IV-VI. The <i>Kriy&#257s&#257r Jog</i> (Ch. XXIX) stresses how vital the Gur&#363's grace is to controlling the senses. The <i>Kath&#257 Agam Mahal K&#299</i> (Ch. XXXII) emphasizes the role of the <i>gur&#363</i> in helping one to apprehend the Supreme Being. The <i>Anbhau Prag&#257s</i> (Ch. XXXIII) counts the 84 <i>&#257sanas</i> (postures) of the <i>yog&#299s</i>. As the name indicates, the <i>A&#7779t&#257&#7749g Yoga</i> (Ch. XXXIV) speaks of the eight stages of the <i>yogic</i> discipline. The <i>Kal&#257pm&#257l&#257</i> deals with the preparation of medicines from herbs, plants and metals for various maladies. All this apocryphal literature seems to have grown up in imitation of Gur&#363 N&#257nak's <i>Sidha Go&#7779&#7789i</i> and a large number of hymns about the theme of <i>yoga</i> as incorporated under R&#257ga R&#257mkal&#299 in the Gur&#363 Granth S&#257hib. Applying <i>Sidha Go&#7779&#7789i</i> as the touchstone, these compositions in the <i>Pr&#257&#7751 Sa&#7749gl&#299</i> are easily proved apocryphal, for they do not have Gur&#363 N&#257nak's compact expression, his intensely theistic devotion or <i>bhakt&#299</i> and his clear verdict in favour of the household and a piously-lived worldly life.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Apart from <i>yoga</i>, the <i>Pr&#257&#7751 Sa&#7749gl&#299</i> has compositions addressed to Hindu saints. Among them is a <i>Gho&#7779&#7789</i>, i.e. a dialogue, with R&#257m&#257nand and Kab&#299r (Ch. XIII) which stresses devotional <i>bhakti</i> by referring to the example of some early Hindu saints such as Shuk, N&#257rada, Dhr&#363, Prahl&#257d, N&#257mdev, Trilochan and Kab&#299r. The chapter on <i>Nirjog Bhakti</i> (Ch. XXI) refers to the &#346&#257kta (materialist) who remains involved in evil and sin, but who can by concentrating on the <i>&#347abda</i> of the <i>gur&#363</i> win honour in the court of the Lord. <i>Sach Kha&#7751&#7693 K&#299 Jugti</i> (Ch.XXII) says that the <i>gur&#363's &#346abda</i> can change dross into gold, a sinner into a saint. The <i>Saha&#7749saran&#257m&#257</i> (Ch. XXIV) enlists the different names of the Lord and <i>D&#257s Avt&#257r&#257&#7749 d&#299 V&#257rt&#257</i> (Ch. XXVIII) tells of the ten ancient incarnations of <i>Vi&#7779&#7751u. Dakkha&#7751&#299 Oa&#7749k&#257r</i> (Ch. XXXV) is Gur&#363 N&#257nak's own composition as incorporated in the Gur&#363 Granth S&#257hib. The <i>Bhogal Pur&#257n</i> (Ch. LIX), a prose work, gives, according to mythological astrology and astronomy, details about the creation, universes and myriads upon myriads of earths, skies, stars, etc., all supported on the back of a tortoise of unimaginable magnitude. The <i>Pi&#7751&#7693&#299 Daiv Asur Sa&#7749gr&#257m</i> (Ch. LXXII) is the description of a battle between the good and evil tendencies of man. The <i>Gi&#257n Sur Udaya</i> (Ch. LXXV) has for its theme the time, its concept and measures. The <i>Jug&#257val&#299</i> (Ch. LXXIX) recounts the Hindu theories about the <i>yugas</i> (aeons), or time cycles and measurements.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The third category of apocryphal literature, written in Persianized Punjabi and addressed to the Muslim divines and kings, is contained in chapters LXXVII and LXXVIII. Chapter LXXVII comprises <i>Tila&#7749g K&#299 V&#257r Mahall&#257</i> I which follows the general pattern of the <i>v&#257rs</i> included in the Gur&#363 Granth S&#257hib but is suffused with Islamic thought and terminology. Opening with the line <i>than thanantari miharv&#257n sachu kh&#257liq subh&#257nu</i>, a description of the creation or <i>qudrat</i> follows. All <i>r&#257gas</i> and <i>r&#257gin&#299s</i> are shown singing the praises of <u>Kh</u>ud&#257. Says another line : <i>dun&#299y&#257 upari &#257y&#257 bhejiy&#257 &#257pi Allah</i> (man comes into this world having been sent by Allah). The <i>v&#257r</i> is followed by another composition, entitled <i>R&#257ga</i> Rdmkal&#299 Mahall&#257 I</i>, partially composed on the pattern of Gur&#363 N&#257nak's <i>Sodaru</i>. The hymn states how millions of Muhammads, R&#257mas, Gorakhs, etc. are singing His praises in the grand court of Allah and how everything moves under His command only. Other compositions in this category include : <i>Nas&#299hat Namah</i> or an epistle of admonitions; <i>H&#257zar N&#257mah</i> or a discourse on the importance of being alert; <i>P&#257k N&#257mah</i> or an address on pure living and <i>Karn&#299 N&#257mah</i> or an address on the importance of good conduct.</p> </ol><p class="CONT">T&#257ran Si&#7749gh<br></p><BR> </font><img src="counter.aspx" width="1px" height="1px" alt=""></HTML></BODY>