ÿþ<HTML><HEAD><TITLE>VAR M&#256JH K&#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>VAR M&#256JH K&#298</i>, by Gur&#363 N&#257nak occurs in the musical measure M&#257jh, in the Gur&#363 Granth S&#257hib. The word <i>m&#257jh</i>, in Punjabi, means in the middle or midway, and the <i>r&#257ga</i> which goes by this name was a folk tune of M&#257jh&#257, the central country of the Punjab, which attained literary form at the hands of Gur&#363 N&#257nak. This <i>r&#257ga</i> is meant to be sung is the evening. At the head of the <i>V&#257r</i> is recorded the direction by Gur&#363 Arjan, N&#257nak V, as the tune to which it should most appropriately be sung, i.e. the tune of a well-known ballad about a battle between the two chiefs of Emperor Akbar, namely Malak Mur&#299d and Chandraha&#7771&#257. The <i>pau&#7771&#299s</i>, or stanzas, in this <i>V&#257r</i> are preceded by <i>&#347lokas</i> or couplets, which were not part of it originally but were added by Gur&#363 Arjan at the time of the compilation of the Holy Book with a view to supplementing the theme presented in the <i>pau&#7771&#299s</i>. The <i>V&#257r</i> comprises a total of twenty-seven <i>pau&#7771&#299s</i> of eight lines each.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Of a total of 63 <i>&#347lokas</i> which vary in length as well as in authorship, 46 are by Gur&#363 N&#257nak, 12 by Gur&#363 A&#7749gad, three by Gur&#363 Amar D&#257s and two by Gur&#363 R&#257m D&#257s. Each <i>pau&#7771&#299</i> is preceded by two <i>&#347lokas</i> except the first and the seventh which are preceded by three <i>&#347lokas</i> each and the ninth and thirteenth which are preceded by four and seven <i>&#347lok&#257s</i>, respectively.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Although the <i>V&#257r</i> is cast in the mould of a ballad, it is not a ballad in theme but, in common with other <i>v&#257rs</i> in the Gur&#363 Granth S&#257hib, a devotional and spiritual composition. Praise of the ideal Gur&#363, the perfect preceptor, to whom our implicit obedience is due and without whom "all is pitch darkness" marks the beginning of the <i>v&#257r</i>. The Gur&#363, who is called the "lamp of the three worlds" is the only means to achieve absorption with God without which human life is a poor and sorry thing. Attachment and illusion which hinder man's march towards his ultimate end can be sundered not by the performance of prescribed rituals, but by our earnest acceptance of the Gur&#363's instruction. The true spiritual guide, i.e. the Gur&#363, who is called a great holy river in comparison with the hypocrite setting himself up as such being no more than a filthy pond, A Gur&#363-oriented person liberates himself and brings liberation to others.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;This material world has been called "a mountain of smoke." Man is enthralled by various worldly temptations. This attachment to <i>m&#257y&#257</i> makes man forget God, who has not only created it but also permeates it. Passages rich in poetic imagery and having a classical finish of form recount the pleasures of life which ensnare man. Neither pleasure nor suffering which is likely to embitter man's mind must make him deflect from the path of devotion to God, who is all-pervasive and omnipotent. He is the only ever-lasting reality while all else vanishes (8). He is infallible and none can deceive him---<i>kart&#257 ap&#299 abhulu hai na bhulai kisai d&#257 bhul&#257i&#257</i> (16). Neither the study of scriptures (Vedas) nor empty rituals can help man realize God. Performance of such rituals without having overcome one's ego is called "folly and unsoundness of mind." It is only through meditation on the holy word (<i>&#347abda</i>) that the highest objective of life can be achieved---<i>sach&#257 sabadu v&#299ch&#257ri sachi sam&#257&#7751i&#257</i> (13). A synthesis is commended between devotion and a working life of full social and moral responsibility (5). Justice and equality must be the guiding principles. Says Gur&#363 N&#257nak in one of the <i>&#347lokas</i>, "If blood stains the cloth, that dress becomes soiled, how may then the practice of such as suck the blood of others be reckoned pure?" He asks both Hindus and Muslims to cultivate tolerance as "the two paths are indeed one; one thinking otherwise must fall into hell-fire" (9).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Apart from the condemnation of hypocrisy, orthodox rituals and caste pride, the <i>V&#257r</i> rejects occult and miraculous powers as futile and unspiritual. It also discounts the feelings of avarice and ambition. "In the body burns the fire of desire which can be assuaged only through the holy Word." The <i>V&#257r</i> decries <i>manmukhs</i>, self-willed, unregenerate ones as persons who are full of ego and who render not gratitude to God for His blessings. They are bitter like the bitter fruit and poisonous like <i>dhat&#363r&#257, n&#299m</i> and such others. They are as far away from His grace as <i>akk</i> (another one of the latter variety) is from sandalwood.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Little good can come to man unless he sheds ego, constantly meditates on His Name and earns, through devotion, the divine grace. All else is fruitless ritual. The spiritual value of the early morning meditation is stressed. In highly poetic terms, the Gur&#363 calls them true lords among men who, in the early hour of dawn, meditate on God with minds concentrated. Such devotees of God are His loving spouses happily lodged in their Lord's Mansion (22).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The texture of life comprises both joy and sorrow. To seek a life all of joy is to forget the Divine Will. In fact, joy and sorrow have been designated as the vestures which man must wear by turns. The blessing of Divine grace can alone annul the sorrow and haunting fears of life.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The <i>V&#257r</i> closes with an ecstatic delineation of the Divine bard, expressive of deep fervour of devotion. "The bard was called by the Master into His mansion. He lauded Him and was honoured with a robe. God's eternal Name was his food on which satiated he found His bliss" (27).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The <i>pau&#7771&#299s</i> of the <i>V&#257r</i> are, for the most part, in Praise of God who is described in all his grandeur and transcendental marvel, whereas the <i>&#347lokas</i> are full of ethical content, scrutinizing human character from various angles. The <i>V&#257r</i> which embodies a deep spiritual experience and the ultimate ethical vision does not form part of the daily Sikh service, but its affirmations are in no way less celebrated and oft-quoted. Close interrelationship of various passages composed by the Gur&#363s shows the one an integrated mind behind the work. Passage after passage unfolds the nuances of the theme, summoning a coherent vision of holy, but active, life proceeding from the insight of Gur&#363 N&#257nak and his spiritual successors.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The language of the <i>pau&#7771&#299s</i> is literary Punjabi, but not so of the <i>&#347lokas</i> most of which are in S&#257dh Bh&#257kh&#257, a few in a form of Pr&#257krit and in Persian mixed with Indian vocabulary, following the Punjabi grammatical pattern. The reason for this variation of language and style between the <i>pau&#7771&#299s</i> and the <i>&#347lokas</i> is that the latter were composed at different times and were addressed to audiences in different locales.</p> </font> <p class="BIB"> BIBLIOGRAPHY<p class="C1"><ol class="C1"><li class="C1"> Bishan Si&#7749gh, Gi&#257n&#299, <i>B&#257&#299 V&#257r&#257&#7749 Sa&#7789ik</i>. Amritsar, n.d.<BR> <li class="C1"> S&#257hib Si&#7749gh, <i>Sr&#299 Gur&#363 Granth S&#257hib Darpa&#7751</i>. Jalandhar, 1962-64<BR> <li class="C1"> Kohli, Surindar Singh, <i>A Critical Study of Adi Granth</i>. Delhi, 1961<BR> </ol><p class="CONT">Kishan Si&#7749gh<br></p><BR> </font> <img src="counter.aspx" width="1px" height="1px" alt=""> </HTML></BODY>