ÿþ<HTML><HEAD><TITLE>SUKHMAN&#298</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>SUKHMAN&#298</i>, titled <i>Gau&#7771&#299 Sukhman&#299</i> in the Gur&#363 Granth S&#257hib after the musical measure Gau&#7771&#299 to which it belongs, is a lengthy composition by Gur&#363 Arjan which many include in their daily regimen of prayers. The site, once enclosed by a dense wood, where it was composed around AD 1602-03, is still marked on the bank of the R&#257msar pool in the city of Amritsar. It is said that B&#257b&#257 Sr&#299 Chand, elder son of Gur&#363 N&#257nak and founder of the Ud&#257s&#299 order, came to Amritsar to meet Gur&#363 Arjan, then engaged in composing the poem. The Gur&#363 who had by that time completed sixteen <i>as&#7789pad&#299s</i>, or cantos, requested him to continue the composition. B&#257b&#257 Sr&#299 Chand, out of humility, only recited the <i>&#347loka</i> of Gur&#363 N&#257nak following the M&#363l Mantra in the <i>Japu-- "&#257di sachu jug&#257di sachu hai bhi sachu N&#257nak hos&#299 bhi sachu&#8221</i>-- In the beginning, in the primal time was He the Eternal Reality; in the present is He the Eternal Reality. To eternity shall He the Reality abide (GG, 285). This <i>&#347loka</i> was thereupon repeated by Gur&#363 Arjan at the head of the seventeenth <i>as&#7789pad&#299</i>.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The word <i>sukhman&#299</i> is rendered into English as "consoler of the mind." The entire poem has been translated into English more than once under the commonly preferred title, "Psalm of Peace" or "Song of Peace," signifying the soothing effect it has on the mind of the reader. <i>Sukh</i> literally means peace or comfort and <i>man&#299</i> mind or heart. The couplet, constituting <i>rah&#257u</i>, the only one in the composition, which means pause or rest and which is an equivalent of the Hebrew word <i>selah</i> occurring in the Psalms, sums up the most characteristic feature of this <i>b&#257&#7751&#299</i>. According to this couplet, <i>Sukhman&#299</i> is the bringer of the bliss of the Lord's name; it dwells in the hearts of those who love Him.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The <i>Sukhman&#299</i> comprises twenty-four <i>as&#7789pad&#299s</i> or cantos, each comprising eight stanzas. They are composed in the metre <i>chaupa&#299</i>. A <i>&#347loka</i> or couplet precedes each <i>as&#7789pad&#299</i>. The first seven stanzas of the <i>as&#7789pad&#299</i> explore the theme stated in the preceding <i>&#347loka</i> and the eighth sometimes sums up the <i>as&#7789pad&#299</i> but, more often, becomes a paean of praise placing the theme in the context of an overall vision of Eternal Reality. This structure is maintained throughout and though, from canto to canto, there may not be traceable progression of thought as in a philosophical work, there is a continuing unity of spiritual and ethical tone. One of the fundamental texts of the Sikh faith, the <i>Sukhman&#299</i> presents a complete scheme of the teachings of the Sikh faith. While each <i>as&#7789pad&#299</i> has a fresh vision to impart, a particular aspect of Truth to unfold, the whole text may be regarded as the reiteration of basic themes such as Divine immanence, Divine compassion, abundance of grace, God's succouring hand, the merit of devotion, of holy company and humility. With such reiteration, the composition as a whole has a remarkable gripping quality reinforced by the striking imagery which in stanza after stanza brings home to the seeker the truths he must own.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The <i>Sukhman&#299</i> opens with a <i>ma&#7749gl&#257charan</i> or invocation to the Supreme Being. In this four line <i>&#347loka</i>, the Supreme Being is remembered as <i>&#257di gure</i> (Primal Preceptor), <i>jug&#257di gure</i> (Preceptor from the beginning of time existing), <i>sati gure</i> (the Truth Preceptor) and <i>sr&#299 gurdeve</i> (Preceptor Divine). The following six <i>a&#7779&#7789pad&#299s</i> dwell on the advantages of remembrance, in a spirit of love, devotion and surrender, of the Holy Name which results in linking up one's consciousness with the Divine. This brings bliss, peace and approval at the Divine Court.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Name Divine is man's true helper and friend, the true conferrer of joy and bliss as against the trust in yogic austerities, ascetic practices and ritual worship which are of no avail in liberating him from the cycle of birth and death. Ineffective in the same way are intellectual feats and membership of religious orders. Remembrance of the Divine Name is the most exalted of all religious practices and the purest of all ritual actions. Ungrateful to God and indifferent to devotion, humanity is in bondage to lust, wrath, avarice, attachment and pride--the five evils. Forgetful of God, man remains attached to <i>m&#257y&#257</i> which is compared to rejecting a jewel and chasing a cowrie. Man is warned of those drawbacks and is exhorted constantly to meditate on the Divine Name which becomes possible only when he overcomes his ego and cultivates humility which, in turn, is attained only through the Lord's grace.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<i>As&#7789pad&#299s</i> seven to eleven deal with the concept of perfect man, and ideal man, a man of God. He is <i>J&#299vanmukta</i>, i.e. one who has become liberated while still living in the mortal body. Such a person is detached from grief and joy. To him gold and dust, <i>amrit</i> (nectar) and poison, pauper and prince, worldly honour and dishonour are alike. The company of the holy-<i>s&#257dh sa&#7749gat</i> which confers on the disciple manifold spiritual benefits is a necessary prerequisite to achieving this ideal, though access to this association is also dependent upon Divine grace. People so sanctified have a wisdom even greater than that imparted by the Vedas and live beyond the <i>trigu&#7751a</i>, i.e. the three attributes of <i>m&#257y&#257</i>. Remembrance of God's Name in the company of these saintly people is preferable to all rituals and creeds. These verses also endorse access of all humanity, irrespective of colour, caste and creed, to divine knowledge, and to emancipation through meditation on His Name. Anyone who, with the Divine favour, keeps the company of the holy and repeats the Name becomes God-enlightened, the Brahm-gi&#257n&#299. He is free from all dubiety and worldly entanglements, and his mind is always at peace. In the spirit of the God enlightened may be beheld God who is otherwise <i>nira&#7749k&#257r</i>, the formless Supreme Being. God's <i>hukam</i> is the sole source of the vast and variegated creation. Far from being indifferent to the infinitude of creation, He responds to the love of the devout who are the crown of His creation. Such persons are always blessed with joy and spontaneous bliss and they transcend the pleasures and passions of this material world.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<i>As&#7789pad&#299s</i> twelve to twenty stress the significance of <i>s&#257dhn&#257</i>, or discipline, for the spiritual progress of man. Self-conceit and slander against the saints are deadly sins which must be totally avoided. The one who slanders the saints is considered to be the worst evil-doer, bereft of all spiritual blessing. He perishes, writhing like a fish out of water ; hopeless and unfulfilled, he leaves the world.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;However, this kind of evil-doing is traced to the consequences of deeds in a previous birth. This endless cycle of coming and going can be broken only with the help of the Divine Preceptor who is like a lamp in the darkness, a guide in the pathless forest. His word helps man as a pillar supports an edifice. Like a boat carrying a stone across the water, he enables his disciple to pass over the worldly ocean and end the torments of transmigration. However, such a Preceptor one meets only by God's grace. The eradication of pride and inculcation of humility are two other stepping-stones which lead to the Divine portal. Pride in such things as royal authority, beauty, ritual acts, austere practices, wealth and estates is condemned. Besides being humble and contented, one must repose life's hope solely in God. Man is exhorted to recite the glory of God which will bring him true blessing.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The last four <i>as&#7789pad&#299s</i>, i.e. from twenty-one to twenty-four, contain an exposition of God's absolute powers. He is the sole creator of this world and none can fathom His greatness. He is the creator of, but free from, <i>trigu&#7751a m&#257y&#257</i> and is infinite and eternal. There was utter emptiness before the creation which is the result of His Will. Here the monist aspect of the Lord as the Sole Existence is emphasized. He is the Supreme comforter, compassionate, controller of the inner faculties and cherisher of all. He is without rancour and it is through His <i>hukam</i> and grace that man acquires true wisdom. The path to this ideal is shown by the Preceptor, who applies the collyrium of enlightenment by banishing the darkness of ignorance. By such enlightenment, man seeks company of the saintly and sees the Lord within himself and in all the external creation as well. God abides within all yet remains unattached. The last <i>as&#7789pad&#299</i> sums up the teachings of the earlier cantos. The one who wants to find God is exhorted to dwell on the Divine Name, as taught by the Gur&#363, in the company of the saints which alone will help him shed ego and inculcate humility. Thus will he discard worldly desire and cross the ocean of fire (i.e. of sin and suffering).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<i>Sukhman&#299</i> is a theological statement of the major tenets of Sikhism expressed in a devotional poetic form. Recited by the Sikhs as a part of their morning prayer, it is one of the easier texts in the Gur&#363 Granth S&#257hib. It is simple in syntax and structure, though its essential meaning will elude one not attuned to the spiritual experience and the idiom and phraseology of <i>gurb&#257&#7751&#299</i>. The language character is close to Kha&#7771&#299 Bol&#299, the Hindi that had evolved in the areas lying northwest of Delhi, with a distinct inclination towards Punjabi. The expression here, however, is poetic in its overtones and shares a common character with the variety of Hindi or Bh&#257kh&#257 that was used by religious teachers all over northern India. While this language has evolved out of Braj, it is closer to Punjabi in its grammatical form. This will be substantiated by comparing it with the language of a poet writing in pure Braj, such as S&#363rd&#257s, who flourished around the same period as Gur&#363 Arjan. To indicate the differences of the language of <i>Sukhman&#299</i> from Braj even Bh&#257kh&#257, a few examples may be given :</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<i>Thivai</i> (3.2) is Punjabi, so is <i>&#7693i&#7789h&#257</i> (7.7). <i>Kha&#7789e</i> (12.5) is pure Punjabi. In <i>n&#299k&#299 k&#299r&#299</i> (17.5), <i>n&#299k&#299</i> (small) is Punjabi. <i>Oh&#299</i> (23.4)) is Punjabi, of which the Braj equivalent would be <i>veh&#299, Ho&#299</i> (past verbal form) is Punjabi. <i>Bhau</i> (18.7) for <i>bhaya</i> (fear) is an especial form given in <i>gurb&#257&#7751&#299</i> and occurring frequently. The Punjabi character of language is especially decipherable in the forms of verb ending in the past tense. <i>Kathi&#257</i> (8.7), <i>pachh&#257t&#257</i> (17.8), <i>j&#257t&#257</i> (19.8), in the sense of <i>j&#257ni&#257, japi&#257</i> (20.2), <i>rahi&#257</i> (20.3), <i>&#257r&#257dhi&#257 (salok</i> 24) are some of the examples. Other verb forms to illustrate this point are <i>utarasi</i> (19.7) which, however, is also R&#257jasth&#257ni; <i>bahai</i> (15.2) ; <i>lae</i> (13.5) and <i>laini</i> (15.5). Here and there pure Hindi forms may be seen : <i>hovat</i> (21.1), <i>tumar&#299</i> (20.7) and <i>bi&#257pat</i> (21.1). <i>J&#257pat</i> rhyming with it in the same stanza is Punabi with a Hindi ending.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The language of the <i>Sukhman&#299</i> can be best described as a synthesis of the Bh&#257kh&#257 and Punjabi. In the more philosophical and meditative of their compositions, the holy Gur&#363s are inclined to use a variety of Hindi with Punjabi overtones, while in the more deeply intimate pieces such as the <i>chhants</i> and <i>pau&#7771&#299s</i> of <i>V&#257rs</i>, Punjabi, in its dialectical variations, has been employed. This principle, by no means absolute, is only broadly applicable.</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"> S&#257hib Si&#7749gh, <i>Sukhman&#299 S&#257hib Sa&#7789&#299k</i>. Amritsar, 1939<BR> <li class="C1"> Narai&#7751 Si&#7749gh, Gi&#257n&#299, <i>Sukhman&#299 S&#257hib</i>. Amritsar, n.d<BR> <li class="C1"> So&#7693h&#299, Tej&#257 Si&#7749gh, <i>Kath&#257 D&#299p S&#257gar (Sukhman&#299 S&#257hib) Sa&#7789&#299k</i>. Amritsar, 1959<BR> <li class="C1"> Arshi, S&#257hib Si&#7749gh, <i>Sukhman&#299 d&#257 Alochan&#257tmak Adhya&#7751</i>. Jind, 1973<BR> <li class="C1"> Macauliffe, Max Arthur, <i>The Sikh Religion : Its Gurus, Sacred Writings and Authors</i>. Oxford, 1909<BR> <li class="C1"> Tej&#257 Si&#7749gh, <i>The Psalm of Peace</i>.<BR> </ol><p class="CONT">Gurbachan Si&#7749gh T&#257lib<br></p><BR> </font><img src="counter.aspx" width="1px" height="1px" alt=""></HTML></BODY>