ÿþ<HTML><HEAD><TITLE>SOHIL&#256</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>SOHIL&#256</i> or <i>K&#298RTAN SOHIL&#256</i> is, in sequence, the fourth <i>b&#257&#7751&#299</i> or composition entered in the Gur&#363 Granth S&#257hib. <i>Sohil&#257</i> is the caption given in the scripture, though it is popularly known as <i>K&#299rtan Sohil&#257</i>, and is also sometimes so captioned in the <i>gu&#7789k&#257s</i> or breviaries. The <i>Sohil&#257</i> comprises five hymns-- first three contributed by Gur&#363 N&#257nak and the last two one each by Gur&#363 R&#257m D&#257s and Gur&#363 Arjan. Gur&#363 N&#257nak&#8217s hymns have been selected from <i>r&#257gas, Gau&#7771&#299 D&#299pak&#299, &#256s&#257</i> and <i>Dhan&#257sr&#299</i> while the remaining two hymns have been taken from <i>Gau&#7771&#299 P&#363r&#257bi</i>. The selection of hymns for the <i>Sohil&#257</i> was made in two or three phases. Bh&#257&#299 Gurd&#257s, <i>V&#257r&#257&#7749</i>, 1.38, states that, in Gur&#363 N&#257nak&#8217s time, <i>Sodaru</i> and <i>&#256rat&#299</i> were sung in the evening while <i>Japu</i> was recited in the early hours of the morning. Then, evidently, the first and the second hymns only of the present text were called <i>Sohil&#257</i>, while the third hymn, also of Gur&#363 N&#257nak, was called <i>&#256rat&#299</i> as it has been so captioned in the Gur&#363 Granth S&#257hib. These two were treated as distinct <i>b&#257&#7751&#299s</i>. Gur&#363 Arjan added two more hymns and entered all the five in the Gur&#363 Granth S&#257hib in 1604 as one <i>b&#257&#7751&#299</i> under the title of <i>Sohil&#257</i>. Later, more exactly and authoritatively, this <i>b&#257&#7751&#299</i> was prescribed as the bedtime prayer when, in 1699, Gur&#363 Gobind Si&#7749gh inaugurated the <i><u>Kh</u>&#257ls&#257</i> administering to it the vows of <i>amrit</i> and laying down for it a specific code. Legend has grown, that if one goes to bed after reciting the <i>Sohil&#257</i>, one's house will be immune from burglars or that Gur&#363 N&#257nak stands by the side of one who recites the <i>Sohil&#257</i>. These sayings metaphorically convey the truth that burglars, i.e. <i>k&#257ma</i> (lust), <i>krodha</i> (anger), <i>lobha</i> (avarice), <i>moha</i> (attachment) and <i>aha&#7749k&#257ra</i> (egoism) will not enter, even in dream or sleep, the mind of one who reads the <i>Sohil&#257</i>, with concentration. The Gur&#363 will himself watch over him, so ennobling is the effect of this <i>ba&#7751&#299</i>. Again by association between the states of sleep and death, which is considered to be the final and eternal sleep, the <i>Sohil&#257</i> began to be recited as the cremation prayer after the pyre had been lit, to put the deceased to peaceful sleep. The text praises the Creator as Nirbhau or fearless. Eradication of fear, the fear of death, is central to its theme. As the <i>ba&#7751&#299</i> is short and rich in symbolic meaning, it is suitable to the time and occasions prescribed for its recitation.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<i>Sohil&#257</i> literally means a song of praise or eulogy; <i>k&#299rtan</i> also signifies singing of praise. The title for the <i>b&#257&#7751&#299</i> was evidently suggested by the first hymn of it wherein the word <i>Sohil&#257</i> occurs thrice. The word <i>k&#299rtan</i> might have been added to the title later as the word <i>k&#299rati (kirt&#299) </i> which is the equivalent of <i>sohil&#257</i>, also occurs in the very first verse of the first hymn of the <i>b&#257&#7751&#299</i>. The <i>Sohil&#257</i> is one of the most pictorial basis meant for daily recitation.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Psychologically, such a composition is best suited to bedtime when a tired mind can enter the land or sleep through a sequence of pictures and symbols. There is the symbol of the newly wedded bride being escorted into the house of her parents-in-law, the ladies pouring, as is the Punjabi custom, oil on the threshold which she is to cross ; of the sun which is the cause of seconds and minutes, day and night, months and seasons ; of the star-studded sky, with the lamps of the sun and the moon burning brightly reflecting the light of the Supreme Brilliance; of the man, crippled by the thorn of <i>haumai</i> (ego or self-concern) -- thorn which can be removed only if he were to join the holy fellowship under the aegis of the Gur&#363, and, finally, of the caravan of the Brahmgi&#257n&#299s (men of enlightenment) moving onward to the region of Truth and Eternal Bliss.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Man is advised to maintain a state of mind which conduces to constant remembrance of God. He is reminded that death must one day strike, but death, according to Gur&#363 N&#257nak, could be a passage to the blissful condition of union with the Creator. There are many different schools of religious philosophy, but the one which teaches the praise of God is the truest. The third hymn of Gur&#363 N&#257nak, which is one of the finest specimens of Punjabi poetry, in addition to being a devotional song of profound charm and appeal is believed to have been sung extempore in the historic temple of Jagann&#257th at Pur&#299. The transcendence and immanence of the Creator, and the awe inspiring expanse and multifariousness of the creation are depicted through telling images. The music of the lines is captivating. The fourth hymn contrasts self-oriented men with those who are turned towards God. The fifth and the final hymn adjures man to save himself. He is reminded that, with every passing moment, life is ebbing away. Finally, it is proclaimed that only through God's grace can one apprehend the Reality.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The <i>Sohil&#257</i> adverts to the fundamental doctrines of Sikhism--theological, religious, and social. The Supreme Being is unique and without a second. All scriptures of religious systems are equal and worthy of reverence for each one of them manifests some facet of the Reality. All men are equal as the light of the Eternal One pervades each one of them. Of the two paths of egoistic materialism and devotional <i>bhakti</i>, the latter alone helps one to achieve liberation, the supreme goal of life. One who adheres to the principle of loving devotion is <i>nirbhau</i> (fearless). He conquers even the fear of death.</p> </font> <p class="BIB"> BIBLIOGRAPHY<p class="C1"><ol class="C1"><li class="C1"><i>&#346abad&#257rth Sr&#299 Gur&#363 Granth S&#257hib</i>. Amritsar, 1975<BR> <li class="C1"> Amole, S.S., <i>K&#299rtan Sohil&#257</i>. Amritsar, 1945<BR> </ol><p class="CONT">T&#257ran Si&#7749gh<br></p><BR> </font><img src="counter.aspx" width="1px" height="1px" alt=""></HTML></BODY>