ANJULIA (N), by Guru Arjan, is a short composition comprising two hymns entered in the Guru Granth Sahib under Maru musical measure (GG, 1019). This word anjulia (n) is the plural form of Sanskrit anjuli which means the joining together of palms in supplication, reverence or salutation. The word anjulian in its plural sense has been used in the title perhaps because the composition comprises two hymns. It contains prayer to God seeking from Him the gift of nam, i.e meditation on His Name or constant remembrance or repetition of His Name. Everything in this world happens by His Will and those who are favoured by Him practise nam in holy company (sangat). The tragedy of man is that he seeks happiness in material life sans any spiritual reference. That is why he is ever in misery: when he has material possessions in plenty, he fears he might not lose them, and when he lacks these, he pines for them. In fact, this misery is owed neither to the excess of nor to the meagreness of material possessions, but to man`s egoistic pursuits that guide his life in the world. Human life in this phenomenal world is transitory. Anujfis also the title of another of Guru Arjan`s hymns in measure Maru (GG, 1007-08).
The hymn rejects the ritual of anjuli as libation to the manes and teaches man willingly to accept God`s bhana or His Will. The word anjuli also occurs in a hymn by Guru Ram Das in measure Gauri (GG, 171) repeated in the Sohila (GG, 1213). One is adjured to offer anjuli or salutation to the Lord which counts as an act of virtue. Although the Faridkot Tika describes anjuli as a chhand or a prosodic form, it is employed in the Guru Granth Sahib generally as a synonym for salutation or supplication.
References :
1. Shabdarth Sri Guru Granth SahibJi, vol. III. Amritsar, 1964
2. Adi Sri Guru Granth Sahib Ji Satik (Faridkot Vala Tika) [Reprint]. Patiala, 1970
ANJULIA (N), by Guru Arjan is a short devotional composition included in the Guru Granth Sahib under the Maru musical measure. Its title derives from the Sanskrit word anjuli, meaning the joining together of palms—as an expression of supplication, reverence, or salutation. Notably, the plural form in the title suggests its composition of two hymns.
Key Aspects
Devotional Purpose:
The composition is essentially a prayer addressed to the Divine, seeking the gift of nam—that is, the ability to constantly meditate on and remember the Name of God. Guru Arjan underscores that everything in the world occurs by the Will of the One Creator and that those who remain focused on this remembrance (through association in the holy company, or sangat) are truly favored.
Spiritual Message:
Guru Arjan contrasts the ephemeral nature of material pursuits with the enduring joy attained through spiritual devotion. He critiques the tendency of man to seek happiness in worldly possessions—a pursuit that, driven by ego, inevitably results in misery. By emphasizing the transient nature of material life, the hymn guides the devotee to look beyond superficial indulgences and focus instead on the deeper, transformative power of divine remembrance.
Cultural and Liturgical Resonance:
Drawing from a familiar form of expression, the term anjuli evokes the traditional image of joining one’s hands in prayer. However, in this context, it is repurposed from merely an act of ritualistic salutation to a profound reminder that ultimate contentment lies in surrendering to God’s will. This reorientation transforms a common cultural gesture into a vehicle for conveying a timeless spiritual truth. Broader Context
The themes expressed in ANJULIA (N) resonate with several other passages within the Sikh sacred canon. Similar sentiments appear in other hymns—such as those by Guru Ram Das—reinforcing the idea that a truly fulfilled life emerges not from material accumulation but from an inner communion with the Divine. The composition, by rejecting the superficiality of purely ritualistic acts, calls for a heartfelt and consistent engagement with the eternal truth.
