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* '''[[Learn Sukhmani sahib|Learn to read Sukhmani sahib step by step]]'''
[[Image:Sukhmani.jpg|thumb|400px|right|<center>The Salok at the beginning of [[Sukhmani Sahib]]</center>]]
[[Image:Sukhmani.jpg|thumb|400px|right|<center>The Salok at the beginning of [[Sukhmani Sahib]]</center>]]
'''Sukhmani''' or '''Sukhmani Sahib''' is the title given to the [[Bani|Gurbani]] in ''raga Gauri Sukhmani''<ref>[http://www.srigranth.org/servlet/gurbani.gurbani?Action=Page&Param=262&english=t&id=11587#l11587 www.srigranth.org page 262]</ref> in the [[Guru Granth Sahib]] which in turn appears in the major musical measure Raga [[Gauri]] to which it belongs. It is a lengthy composition, written by [[Guru Arjan Dev]], the fifth [[Sikh Guru]]. The sacred prayer spans 35 pages from page 262 to page 296 of the [[Guru Granth Sahib]]. Surprisingly, many ardent Sikhs include the recitation of this [[Bani]] in their daily regimen of [[Nitnem]]. The physical site, where the Guru around AD 1602-03 composed this composition was once enclosed by a dense wood. The location is still marked on the bank of the [[Ramsar]] pool in the city of [[Amritsar]], near the famous [[Golden Temple]] or [[Harimandir Sahib]].
'''Sukhmani''' or '''Sukhmani Sahib''' is the title given to the [[Bani|Gurbani]] in ''raga Gauri Sukhmani''<ref>[http://www.srigranth.org/servlet/gurbani.gurbani?Action=Page&Param=262&english=t&id=11587#l11587 www.srigranth.org page 262]</ref> in the [[Guru Granth Sahib]] which in turn appears in the major musical measure Raga [[Gauri]]. It is a lengthy composition, written by [[Guru Arjan Dev]], the fifth [[Sikh Guru]]. The sacred prayer is 35 pages long from page {{sggs-page|262|11586}} to page {{sggs-page|296|13612}} of the [[Guru Granth Sahib]]. Surprisingly, many ardent Sikhs include the recitation of this [[Bani]] in their daily regimen of [[Nitnem]]. The physical site, where the Guru, around AD 1602-03, composed this composition was once enclosed by a dense wood. The location is still marked on the bank of the [[Ramsar]] pool in the city of [[Amritsar]], near the famous [[Golden Temple]], the [[Harimandir Sahib]].


It is said that [[Baba Sri Chand]], elder son of [[Guru Nanak]] and founder of the [[Udasi]] order, came to [[Amritsar]] to meet [[Guru Arjan]], then engaged in composing this [[Bani]].  The Guru who had by that time completed sixteen [[astpadi]]s, or cantos, requested him to continue the composition. [[Baba Sri Chand]], out of humility, only recited the [[salok]] of [[Guru Nanak]] following the [[Mool Mantra]] in the [[Japji]] — ''“adi sachu, jugadi sachu; hai bhi sachu, Nanak hosi bhi sachu”'' — ''"True in the beginning, True through the ages; True even now; Nanak say, Shall remain ever True"'' (SGGS p285). This [[salok]] was thereupon repeated by [[Guru Arjan]] at the head of the seventeenth astpadi.
It is said that [[Baba Sri Chand]], elder son of [[Guru Nanak]] and founder of the [[Udasi]] order, came to [[Amritsar]] to meet [[Guru Arjan]], then engaged in composing this [[Bani]].  The Guru who had by that time completed sixteen [[astpadi]]s, or cantos, requested that he continue the composition. [[Baba Sri Chand]], out of humility, only recited the [[salok]] of [[Guru Nanak]] following the [[Mool Mantra]] in the [[Japji]] — ''“aaad sach, jugad sach; hai bhi sach, Nanak hosee bhi sach”'' — ''"True in the beginning, True through the ages; True even now; Nanak say, Shall remain ever True"'' (SGGS p285). This [[salok]] was thereupon repeated by [[Guru Arjan]] at the head of the seventeenth astpadi.


The word '''Sukhmani''' 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, '''"[[Jewel of peace]]"''', '''“Psalm of peace”''' or '''“Song of peace”''', signifying the soothing effect it has on the mind of the reader. '''Sukh''' literally means ''peace or comfort'' and '''mani''' means ''mind or heart'' also ''jewel'' (<big> ਮਣੀ </big> in Gurmukhi can mean ''jewel, gem, precious stone''<ref>[http://www.srigranth.org/servlet/gurbani.dictionary Mahan Kosh Encyclopedia, Gurbani Dictionaries and Punjabi/English Dictionaries]</ref>).
The word '''Sukhmani''' is rendered into English as '''“consoler of the mind.”''' The entire poem has been translated into English more than once under some commonly preferred titles, '''"[[Jewel of peace]]"''', '''“Psalm of peace”''' or '''“Song of peace”''', signifying the soothing effect it has on the mind of the reader. '''Sukh''' literally means ''peace or comfort'' and '''mani''' means ''mind or heart''. (<big> ਮਣੀ </big> Sukh in Gurmukhi can also mean ''jewel, gem, precious stone''. <ref>[http://www.srigranth.org/servlet/gurbani.dictionary Mahan Kosh Encyclopedia, Gurbani Dictionaries and Punjabi/English Dictionaries]</ref>).


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The couplet, "Sukẖmanī sukẖ amriṯ parabẖ nĝm. Bẖagaṯ janĝ kai man bisrĝm. Rahĝ­o." which translates to ''"Sukhmani: Peace & pure ambrosial Nectar are in God's Name. The devotees mind abide in bliss and calm peace. ||Pause||"''  constituting [[rahau]], the only one in the composition, which means pause or rest and which is an equivalent of the Hebrew word selah occurring in the Psalms, sums up the most characteristic feature of this [[bani]]. According to this couplet, '''Sukhmani''' is the bringer of the bliss of the Lord’s name; it dwells in the '''hearts of those who love Him'''.   
The couplet, "Sukẖmanī sukẖ amriṯ parabẖ nĝm. Bẖagaṯ janĝ kai man bisrĝm. Rahĝ­o" translates to, ''"Sukhmani: Peace & pure ambrosial Nectar are in God's Name. The devotees' mind abide in bliss and calm peace. ||Pause||"''  constituting [[rahau]], the only one in the composition, which means pause or rest and which is an equivalent of the Hebrew word selah occurring in the Psalms, sums up the most characteristic feature of this [[bani]]. According to this couplet, '''Sukhmani''' is the bringer of the bliss of the Lord’s name; it dwells in the '''hearts of those who love Him'''.   


The Sukhmani Sahib has structural unity.  The composition consists of 24 [[Astpadi]]s each of which begins with a [[Salok]] and is followed by 8 [[Pauri]]s or stanzas. Each stanza has ten lines, which consist of five couplets. There is also the unity of theme: the perfection of man mentally. morally and spiritually. The Salok at the beginning of each [[Astpadi]] (canto) gives the gist of the 8 [[Pauri]]s (stanzas) that follow this salok.  
The Sukhmani Sahib has structural unity.  The composition consists of 24 [[Astpadi]]s each of which begins with a [[Salok]] and is followed by 8 [[Pauri]]s or stanzas. Each stanza has ten lines, which consist of five couplets. There is also the unity of theme: the perfection of man mentally. morally and spiritually. The Salok at the beginning of each [[Astpadi]] (canto) gives the gist of the 8 [[Pauri]]s (stanzas) that follow this salok.  
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One of the fundamental texts of the Sikh faith, the [[Sukhmani]] presents a complete scheme of the teachings of the Sikh faith. While each [[astpadi]] 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.
One of the fundamental texts of the Sikh faith, the [[Sukhmani]] presents a complete scheme of the teachings of the Sikh faith. While each [[astpadi]] 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.


==Analysis==
[[Image:Guru Granth Sahib By Bhai Pratap Singh Giani.jpg|290px|thumb|right|<small>A page from the handwritten bir of [[Guru Granth Sahib]] by [[Pratap Singh Giani]], located on the first floor of [[Sri Harimandir Sahib]], [[Amritsar]].</small>]]


==Structure of Sukhmani==
[[Sukhmani]] is a theological statement of the major tenets of [[Sikhism]] expressed in a devotional poetic form. Recited by the [[Sikh]]s as a part of their morning prayer, it is one of the easier texts to learn, in the [[Guru Granth Sahib]]. It is similar in syntax and structure, though its essential meaning will elude one not attuned to the spiritual experience and the idiom and phraseology of gurbani. The language character is close to Khari Boli, 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 Bhakha 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 Surdas, who flourished around the same period as [[Guru Arjan]]. To indicate the differences of the language of [[Sukhmani]] from Braj even Bhakha, a few examples may be given:
[[Image:Dictation of the Guru Granth Saheb.jpg|thumb|300px|left|[[Bhai Gurdas]] scribes [[Gurbani]] as [[Guru Arjan]] narrates it]]


The [[Sukhmani]] comprises '''twenty-four [[astpadi]]s or cantos''', each comprising of '''eight [[Pauri]]s or stanzas'''. They are composed in the '''metre [[chaupai]]'''. A [[salok]] or '''couplet''' precedes each [[astpadi]]. Also each Pauri consists of 5 couplets consisting of 10 [[Tuk]]s or lines. The first seven stanzas of the astpadi explore the theme stated in the preceding saloks and the eighth sometimes sums up the astpadi 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 the composition, from Astpadi to Astpadi. The theme of the Astpadi may give the impression that no traceable progression of thought is taking place as in a philosophical work, but there is a continuing unity of spiritual and ethical tone througout the text.  
Thivai (3.2) is [[Punjabi]], so is ditha (7.7). Khate (12.5) is pure Punjabi. In niki kiri (17.5), niki (small) is Punjabi. Ohi (23.4)) is Punjabi, of which the Braj equivalent would be vehi, Hoi (past verbal form) is Punjabi. Bhau (18.7) for bhaya (fear) is an especial form given in gurbani and occurring frequently. The Punjabi character of language is especially decipherable in the forms of verb ending in the past tense. Kathia (8.7), pachhata (17.8), jata (19.8), in the sense of jania, japia (20.2), rahia (20.3), aradhia (salok 24) are some of the examples.  Other verb forms to illustrate this point are utarasi (19.7) which, however, is also Rajasthani; bahai (15.2); lae (13.5) and laini (15.5). Here and there pure [[Hindi]] forms may be seen: hovat (21.1), tumari (20.7) and biapat (21.1).  Japat rhyming with it in the same stanza is Punjabi with a Hindi ending.


The [[Sukhmani]] opens with a manglacharan or invocation to the Supreme Being. In this four-line [[salok]], the Supreme Being is remembered as '''adi gure''' (Primal Preceptor), '''jugadi gure''' (Preceptor from the beginning of time existing), '''sati gure''' (the Truth Preceptor) and '''sri gurdeve''' (Preceptor Divine). The following six astpadis 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.
The language of the [[Sukhmani]] can be best described as a synthesis of the Bhakha and Punjabi. In the more philosophical and meditative of their compositions, the holy Gurus are inclined to use a variety of [[Hindi]] with [[Punjabi]] overtones, while in the more deeply intimate pieces such as the chhants and pauris of Vars, [[]]Punjabi, in its dialectical variations, has been employed. This principle, by no means absolute, is only broadly applicable.


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|five evils]]. Forgetful of God, man remains attached to maya 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.
==Structure of Sukhmani==
 
Astpadis '''seven to eleven''' deal with the '''concept of perfect man, and ideal man, a man of God'''. He is '''jivanmukta''', 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, amrit (nectar) and poison, pauper and prince, worldly honour and dishonour are alike. The '''company of the holy''' — [[sadh sangat]] — 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 triguna, i.e. the three attributes of [[maya]]. 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-giani. 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 nirankar, the formless Supreme Being. God’s hukam 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.


Astpadis '''twelve to twenty''' stress the significance of '''sadhna, 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.
{{Main|Structure of sukhmani}}


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.
[[Image:Dictation of the Guru Granth Saheb.jpg|thumb|200px|left|[[Bhai Gurdas]] scribes [[Gurbani]] as [[Guru Arjan]] narrates it]]


The last four astpadis, 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, triguna maya 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 hukam 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 astpadi 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 Guru, 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).
The [[Sukhmani]] comprises '''twenty-four [[astpadi]]s or cantos''', each comprising of '''eight [[Pauri]]s or stanzas'''. They are composed in the '''metre [[chaupai]]'''. A [[salok]] or '''couplet''' precedes each [[astpadi]]. Also each Pauri consists of 5 couplets consisting of 10 [[Tuk]]s or lines. The first seven stanzas of the astpadi explore the theme stated in the preceding saloks and the eighth sometimes sums up the astpadi 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 the composition, from Astpadi to Astpadi. The theme of the Astpadi may give the impression that no traceable progression of thought is taking place as in a philosophical work, but there is a continuing unity of spiritual and ethical tone througout the text.
 
==Analysis==
[[Image:Guru Granth Sahib By Bhai Pratap Singh Giani.jpg|290px|thumb|right|<small>A page from the handwritten bir of [[Guru Granth Sahib]] by [[Pratap Singh Giani]], located on the first floor of [[Sri Harimandir Sahib]], [[Amritsar]].</small>]]
 
[[Sukhmani]] is a theological statement of the major tenets of [[Sikhism]] expressed in a devotional poetic form. Recited by the [[Sikh]]s as a part of their morning prayer, it is one of the easier texts in the [[Guru Granth Sahib]]. It is similar in syntax and structure, though its essential meaning will elude one not attuned to the spiritual experience and the idiom and phraseology of gurbani. The language character is close to Khari Boli, 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 Bhakha 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 Surdas, who flourished around the same period as [[Guru Arjan]]. To indicate the differences of the language of [[Sukhmani]] from Braj even Bhakha, a few examples may be given:
 
Thivai (3.2) is [[Punjabi]], so is ditha (7.7). Khate (12.5) is pure Punjabi. In niki kiri (17.5), niki (small) is Punjabi. Ohi (23.4)) is Punjabi, of which the Braj equivalent would be vehi, Hoi (past verbal form) is Punjabi. Bhau (18.7) for bhaya (fear) is an especial form given in gurbani and occurring frequently. The Punjabi character of language is especially decipherable in the forms of verb ending in the past tense. Kathia (8.7), pachhata (17.8), jata (19.8), in the sense of jania, japia (20.2), rahia (20.3), aradhia (salok 24) are some of the examples.  Other verb forms to illustrate this point are utarasi (19.7) which, however, is also Rajasthani; bahai (15.2); lae (13.5) and laini (15.5). Here and there pure [[Hindi]] forms may be seen: hovat (21.1), tumari (20.7) and biapat (21.1).  Japat rhyming with it in the same stanza is Punjabi with a Hindi ending.
 
The language of the [[Sukhmani]] can be best described as a synthesis of the Bhakha and Punjabi. In the more philosophical and meditative of their compositions, the holy Gurus are inclined to use a variety of [[Hindi]] with [[Punjabi]] overtones, while in the more deeply intimate pieces such as the chhants and pauris of Vars, [[]]Punjabi, in its dialectical variations, has been employed. This principle, by no means absolute, is only broadly applicable.


==Summary of the message==
==Summary of the message==
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==See also==
==See also==


* [[Sukhmani sahib]]
* [[Learn Sukhmani sahib]]
* [[Structure of sukhmani]]
* [[Message of sukhmani]]
* [[Message of sukhmani]]
* [[Importance of sukhmani]]
* [[Importance of sukhmani]]
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* [[Bhai Vir Singh]]
* [[Bhai Vir Singh]]
* [[Brahm Giani]]
* [[Brahm Giani]]
* [[Nitnem]]
* [[Learn Gurbani]]
* [[Gurbani]]


==External Links==
==External Links==
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* [http://fateh.sikhnet.com/sikhnet/Register.nsf/Files/PDABanis/$file/Sukhmani%20Sahib%20-%20Eng-Rom-Gurm.doc sikhnet.com] download doc file
* [http://fateh.sikhnet.com/sikhnet/Register.nsf/Files/PDABanis/$file/Sukhmani%20Sahib%20-%20Eng-Rom-Gurm.doc sikhnet.com] download doc file


* [http://www.gurbanifiles.org/special_bani/Sukhmanee%20Sahib%20(GDRE).pdf gurbanifiles.org] Download pdf file - Gurmukhi, Hindi and English
* [http://www.gurbanifiles.net/special_bani/Sukhmanee%20Sahib%20(GDRE).pdf gurbanifiles.net] Download pdf file - Gurmukhi, Hindi and English


== Video ==
== Video ==
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*6. Macauliffe, Max Arthur, The Sikh Religion: Its Gurus, Sacred Writings and Authors.  
*6. Macauliffe, Max Arthur, The Sikh Religion: Its Gurus, Sacred Writings and Authors.  
Oxford, 1909
Oxford, 1909
*7. Teja Singh, The Psalm of Peace.
 
'''*7. [http://sikhdigitallibrary.blogspot.com/2013/11/the-perfect-man-and-peace-eternal-bhai.html The Perfect Man and Peace-Eternal by Bhai Sher Singh (MSc) Kashmir]'''
*8. Teja Singh, The Psalm of Peace.




Latest revision as of 10:10, 26 July 2019

The Salok at the beginning of Sukhmani Sahib

Sukhmani or Sukhmani Sahib is the title given to the Gurbani in raga Gauri Sukhmani[1] in the Guru Granth Sahib which in turn appears in the major musical measure Raga Gauri. It is a lengthy composition, written by Guru Arjan Dev, the fifth Sikh Guru. The sacred prayer is 35 pages long from page 262 to page 296 of the Guru Granth Sahib. Surprisingly, many ardent Sikhs include the recitation of this Bani in their daily regimen of Nitnem. The physical site, where the Guru, around AD 1602-03, composed this composition was once enclosed by a dense wood. The location is still marked on the bank of the Ramsar pool in the city of Amritsar, near the famous Golden Temple, the Harimandir Sahib.

It is said that Baba Sri Chand, elder son of Guru Nanak and founder of the Udasi order, came to Amritsar to meet Guru Arjan, then engaged in composing this Bani. The Guru who had by that time completed sixteen astpadis, or cantos, requested that he continue the composition. Baba Sri Chand, out of humility, only recited the salok of Guru Nanak following the Mool Mantra in the Japji — “aaad sach, jugad sach; hai bhi sach, Nanak hosee bhi sach” — "True in the beginning, True through the ages; True even now; Nanak say, Shall remain ever True" (SGGS p285). This salok was thereupon repeated by Guru Arjan at the head of the seventeenth astpadi.

The word Sukhmani is rendered into English as “consoler of the mind.” The entire poem has been translated into English more than once under some commonly preferred titles, "Jewel of peace", “Psalm of peace” or “Song of peace”, signifying the soothing effect it has on the mind of the reader. Sukh literally means peace or comfort and mani means mind or heart. ( ਮਣੀ Sukh in Gurmukhi can also mean jewel, gem, precious stone. [2]).

The couplet, "Sukẖmanī sukẖ amriṯ parabẖ nĝm. Bẖagaṯ janĝ kai man bisrĝm. Rahĝ­o" translates to, "Sukhmani: Peace & pure ambrosial Nectar are in God's Name. The devotees' mind abide in bliss and calm peace. ||Pause||" constituting rahau, the only one in the composition, which means pause or rest and which is an equivalent of the Hebrew word selah occurring in the Psalms, sums up the most characteristic feature of this bani. According to this couplet, Sukhmani is the bringer of the bliss of the Lord’s name; it dwells in the hearts of those who love Him.

The Sukhmani Sahib has structural unity. The composition consists of 24 Astpadis each of which begins with a Salok and is followed by 8 Pauris or stanzas. Each stanza has ten lines, which consist of five couplets. There is also the unity of theme: the perfection of man mentally. morally and spiritually. The Salok at the beginning of each Astpadi (canto) gives the gist of the 8 Pauris (stanzas) that follow this salok.

One of the fundamental texts of the Sikh faith, the Sukhmani presents a complete scheme of the teachings of the Sikh faith. While each astpadi 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.

Analysis

A page from the handwritten bir of Guru Granth Sahib by Pratap Singh Giani, located on the first floor of Sri Harimandir Sahib, Amritsar.

Sukhmani 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 to learn, in the Guru Granth Sahib. It is similar in syntax and structure, though its essential meaning will elude one not attuned to the spiritual experience and the idiom and phraseology of gurbani. The language character is close to Khari Boli, 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 Bhakha 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 Surdas, who flourished around the same period as Guru Arjan. To indicate the differences of the language of Sukhmani from Braj even Bhakha, a few examples may be given:

Thivai (3.2) is Punjabi, so is ditha (7.7). Khate (12.5) is pure Punjabi. In niki kiri (17.5), niki (small) is Punjabi. Ohi (23.4)) is Punjabi, of which the Braj equivalent would be vehi, Hoi (past verbal form) is Punjabi. Bhau (18.7) for bhaya (fear) is an especial form given in gurbani and occurring frequently. The Punjabi character of language is especially decipherable in the forms of verb ending in the past tense. Kathia (8.7), pachhata (17.8), jata (19.8), in the sense of jania, japia (20.2), rahia (20.3), aradhia (salok 24) are some of the examples. Other verb forms to illustrate this point are utarasi (19.7) which, however, is also Rajasthani; bahai (15.2); lae (13.5) and laini (15.5). Here and there pure Hindi forms may be seen: hovat (21.1), tumari (20.7) and biapat (21.1). Japat rhyming with it in the same stanza is Punjabi with a Hindi ending.

The language of the Sukhmani can be best described as a synthesis of the Bhakha and Punjabi. In the more philosophical and meditative of their compositions, the holy Gurus are inclined to use a variety of Hindi with Punjabi overtones, while in the more deeply intimate pieces such as the chhants and pauris of Vars, [[]]Punjabi, in its dialectical variations, has been employed. This principle, by no means absolute, is only broadly applicable.

Structure of Sukhmani

Main article: Structure of sukhmani
Bhai Gurdas scribes Gurbani as Guru Arjan narrates it

The Sukhmani comprises twenty-four astpadis or cantos, each comprising of eight Pauris or stanzas. They are composed in the metre chaupai. A salok or couplet precedes each astpadi. Also each Pauri consists of 5 couplets consisting of 10 Tuks or lines. The first seven stanzas of the astpadi explore the theme stated in the preceding saloks and the eighth sometimes sums up the astpadi 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 the composition, from Astpadi to Astpadi. The theme of the Astpadi may give the impression that no traceable progression of thought is taking place as in a philosophical work, but there is a continuing unity of spiritual and ethical tone througout the text.

Summary of the message

Main article: Message of sukhmani

Below is a table summarising the message of the 24 Astpadis in the Sukhmani Sahib. The table is broken down Astpadi by Astpadi:

Astpadi Message of the Bani in this Astpadi
1 sums up the benefits of contemplation and meditation.
2

tells us that "practising holiness" reduces man's propensity to sin.

3

the Guru states that any study of holy texts, the performance of austerities. etc cannot compare with reading or listening to the Sacred Word.

4

stresses the need for good behaviour.

5

we learn to thank God for all his various gifts and treasures which He gives us.

6

examples God's gifts to man: a healthy body, delicacies to eat, silks and jewels to wear and pleasant music to hear.

7

dwells on the attributes of the saints:

8

Similarly to 7, an appreciation of the God-oriented man- the Brahm-giani -is found here.

9

Guru Arjan defines the various types of holy persons like the Pandit, Vaishnav, Bhagwati, etc

10

This deals with the various types of people and substances, both good and bad.

11

The Guru tells us that the meek and the humble win God's love, while the haughty and the vain find no peace or joy.

12

dwells on the lot of the boastful and the arrogant.

13

tells us of the need to associate with saintly people and of avoiding their slander.

14

points out that mortals, by their very nature, are fickle and way-ward; so no reliance can be placed on them.

15

just as darkness is dispelled by light, and wilderness is illuminated by lightning, the Guru's instruction opens up the mind.

16

the Guru refers to God as the Director, Playwright and Actor in His own plays.

17

the Guru emphasizes the qualities of a true servant of God, namely obedience and humility.

18

stresses the characteristics of a Seeker of Truth.

19

Guru Arjan warns of the distractions of life. Why waste one's life amassing wealth?

20

deals with the need of efforts for spiritual progress.

21

the Guru tells of the pre-creation state. Before creation, there was a great void.

22

there is a short list of God's attributes. He is the fountain of generosity and goodness.

23

tells us of the omnipotence of God. He created the fabric of the universe; He controls the stellar bodies.

24

the benefits of the Sukhmani are expounded. The true devotee will be rewarded with health, culture, wisdom, peace, etc.

Significance, Contents and Theme

Main article: Importance of sukhmani

There is a great significance of Sukhmani in the Sikh way of life and also enjoys reverence among the devotees of the Sikh faith. They used to recite it in the early hours of morning. Generally it takes more than half an hour to recite it. Any one who reads it with love, faith and devotion opens the doors of the treasure of eternal bliss and the very spring of peace, the reason being that the author (Sri Guru Arjan Dev ji) has poured into this composition his very spirit which was peace itself. This peace he had got from his constant communication with God. It is a treasure of all kind of happiness and pleasure.

See also

External Links

Text

Video

Audio

References

  1. ^ www.srigranth.org page 262
  2. ^ Mahan Kosh Encyclopedia, Gurbani Dictionaries and Punjabi/English Dictionaries

Bibliography

  • 1. Sabadarth Sri Guru Granth Sahib. Amritsar, 1975
  • 2. Sahib Singh, Sukhmani Sahib Satik. Amritsar, 1939
  • 3. Narain Singh, Giani, Sukhmani Sahib. Amritsar, n. d.
  • 4. Sodhi, Teja Singh, Katha Dip Sagar (Sukhmani Sahib) Satik. Amritsar, 1959
  • 5. Arshi, Sahib Singh, Sukhmani da Alochanatmak Adhyan. Jind, 1973
  • 6. Macauliffe, Max Arthur, The Sikh Religion: Its Gurus, Sacred Writings and Authors.

Oxford, 1909

*7. The Perfect Man and Peace-Eternal by Bhai Sher Singh (MSc) Kashmir

  • 8. Teja Singh, The Psalm of Peace.


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