JAITSAIRI MAHALA 5 VAR SLOKANNALI, by Guru Arjan, is one of the twenty-two vars—compositions in this folk form but molded to a spiritual theme—included in the Guru Granth Sahib. It has been named Jaitsari because of the musical measure it belongs to. While the philosophical standpoint in the entire system of teaching and belief in gurbani is the same, as flowing from the revelation embodied in Guru Nanak’s vision, in the compositions of the Gurus certain individual characteristics are perceptible. These might be in those points of spiritual experience or imagery that most appealed to each Guru, or in the dominant nuance or emphasis of a particular composition.
Typical of the bani compositions of Guru Arjan himself is the large variety of languages and dialects used by him. While the dialect of central Punjab is the principal tone of the language used in this composition, there is a considerable mixture of the Lahndi idiom in this poem. The reason may have been the larger influx of Lahndi speakers during Guru Arjan’s time. The ethnic character of the Guru’s disciples, who now dominated the Sikh population, may have been responsible for this. The dominant Lahndi element is Guru Arjan’s characteristic stylistic contribution.
This var, consisting of twenty stanzas, is uniformly patterned in three language layers. Each one of these parts, for convenience to be called a stanza, opens with a sloka in an adaptation of Prakrit called, because of its popular form, Sahaskriti or Gatha. This form of speech was the common element in the language then spoken by saints and sadhus in most parts of India. This language must have been the common denominator in which the adepts from different language areas conversed and which was intelligible to people living in diverse parts.
Otherwise, a hermit or sannyasi from Bengal, for example, could hardly have conversed with one, say, from Rajasthan, Gujarat, Maharashtra, or any other region of India. This adopted language provides the opening couplet for each of the stanzas in the composition. This is followed by a restatement of the theme of the sloka clothed in this form of the Prakrit in the Lahndi dialect for the benefit of the common people. As new trade channels were being opened up in the wake of the development of a major center on the northwest frontier, Kabul became a flourishing center of trade.
As Guru Arjan encouraged trade in the new township of Amritsar, large numbers of trading people from Western Punjab, who had commercial links with Kabul and Central Asia, must have settled there or visited the new town on missions of devotion and trade. After these two slokas comes the pauri, or the stanza proper, in the standard variety of spoken Punjabi of central Punjab, which has all along been considered to be the principal form of Punjabi and which, since the modern period of cultural renaissance in Punjab, became the language of literary expression. The var opens with a mantra or enunciation, in the classical Indian style, of Sikh faith or belief, of which the pillars are the eternity of the Creator and His grace in annulling evil in those that are devoted to Him. This is, so to say, paraphrased in the style of Punjabiized Braj, the spoken language of the masses.
Then follows a pauri (stanza), culminating in the affirmation: realization of Him comes by His own will and grace. The next stanza (2) traces the filth-covered path of birth from the fetus. Never shall one escape from suffering should one fail to bear God ever in mind. In stanza 3 are recounted the pleasures and satisfactions of life valued by man spiritually unawakened. Wherein does real joy lie? In meditating on the Divine attributes in holy company.
The fourth stanza expresses the might of the Divine Law of Retribution, whereby the individual self is judged according to its merits. Herein is an echo of one line from Guru Arjan’s Barah Maha. There the world is called karma sandra khetu. Here, in almost the same phraseology, is affirmed: “Jaisa bijai so lunai karam ehu khetu—one reaps what one sows; this is the field of actions” (GG, 706). Stanza 5 expresses, in words echoing Guru Nanak’s couplets on the same theme and employing similar imagery, the doctrine of grace.
This follows also as a sequel and complement to the foregoing doctrine about the inevitability of retribution, leading to unending transmigration. One act of sincere devotion, like a tiny spark of fire burning away huge piles of wood, cancels the evil effects of karma. Thus is annulled the terror of transmigration. This bliss, however, comes to those bearing the Divine writ on their forehead. This is to be interpreted, as in numerous other places in gurbani, as the impenetrable Divine mystery that inclines some to devotion and thus to win the fruit of grace.
In stanza 7 is the expression of bliss despite worldly poverty, should one’s mind be dyed in God’s Name (i.e., devotion). One, though poor, forlorn, and condemned, but devoted, is to be reckoned a true king, and even to touch the dust of his feet shall bring liberation. In stanza 8 the imagery is that of a dream, which the world in its unreality is. In stanza 10 worldly joys are seen to be the bitter gourd—pleasing to the eye, yet poisonous to the tongue. Stanza 11 confirms: to God’s devotee nothing is sweet (joyful) except devotion to Him.
Examples of devotion are given from classical Indian imagery in the twelfth stanza. These are the devotion of the fish to water, of the chatirik to the mystic drop, of the hummingbee to the flower, and such others. Stanza 13 presents the statement: “Never does sorrow come to him who to the Lord is united. The dust of God’s feet is purifying, and to such is He ever present by their side.” Then follows stanza 14 in praise of God’s devotees, in ecstatic language: “Inexpressibly beautiful are the hands that record God’s praise; Holy are the feet that traverse the way of God.”
What hour is auspicious? That is the theme of stanza 15. Auspicious is the hour (mahurat) in which the self is united with the Lord, i.e., the hour of realization. In the next (16) is supplication to God: “Save me, I have fallen for succor at Thy Portal. Save me, I have whirled endlessly in sequestration from Thee. Lift me with Thy mighty arm from the ocean of worldliness.”
Not the appliances of various orders, such as sandalwood paste, bring cooling joy in the fire of suffering, but meditation on God’s Name (17). In 18 is the continuation of the same imagery: by grace of the Lord, the Preserver, is extinguished the fire of suffering. Nanak, meditate thou on Him who the world has created. Thus comes poise to the self and to all associated (kutamb) with the devoted self. In 19 are three successive images: the Lord as Purifier of the fallen, as the ship to carry sinners across the ocean of worldliness, and He who snaps asunder the hard knots tying those gripped by the lure of the world.
In this stanza, homage is also paid to the holy preceptor, whose company has inspired the seeker with devotion and meditation. This last is a constant theme in gurbani, since without the true spiritual guide (Guru) the path to the highest life may not be found. The preceptor is not, however, an intercessor, but as described herein, “the guide to meditation.” This implies that, according to the teaching of the Sikh faith, the seeker has to strive under guidance for his liberation.
This blessing cannot be conferred on him by anyone; only Divine grace, called forth by devotion, may lead him to such bliss. In the closing stanza 20 is reiterated, at all three “layers,” the uncompromising principle of the unicity of the faith: (a) all creation is subject to birth and death; God (herein apostrophized as Thou) alone is immutable; (b) the only boon begged of Him is devotion, worldly objects, of course, excluded; (c) even liberation is not begged, which must come as a reward for devotion (nam). In this var, in the Sahaskriti slokas (though not so designated here), classical attributive names for the Supreme Being are employed; for example, jagadisvara (Lord of the Universe), Gopal (Preserver), Prabhu (Lord), Gobind (Lord of the Universe), Paramesvara (the Supreme Lord), Narayana (Vishnu, i.e., the Supreme Being), Narhari (the Puissant Lord), and such others. The classical atmosphere would help to instruct in the fundamentals of the Guru’s teaching even those whose orientation had been in the various philosophies and ritualistic creeds of India.
References :
- Bishan Singh, Giani, Bai Varan Satik. Amritsar, n.d.
- Arshi, Sahib Singh, Jaitsari di Var. Jind, 1974.
- Sahadrishat Sri Guru Granth Sahib. Amritsar, 1964.
- Kohli, Surinder Singh, A Critical Study of Adi Granth. Delhi, 1961.
Jaitsairi Mahala 5 Var Slokan Nali, exploring its historical roots, composite structure, linguistic layering, and spiritual significance in the context of the Guru Granth Sahib.
Historical and Contextual Background
Jaitsairi Mahala 5 Var Slokan Nali is one of the twenty-two vars—compositions in the folk ballad form molded to express a spiritual theme—attributed to Guru Arjan. Named after the Jaitsari musical measure, this composition reflects not only a unique aesthetic drawn from Punjabi folk traditions but also the universal teachings that emerged with Guru Nanak’s vision. Although the core philosophical tenets remain unified across the corpus of Gurbani, the distinct literary style of each Guru can be perceived in the nuanced imagery and spiritual experiences embedded in each composition. In this case, Guru Arjan’s distinctive stylistic flair is evident in his incorporation of multiple dialects and language layers.
Historically, the emergence of this var is intertwined with the socio-cultural dynamics of the time. As trade expanded in regions like the new township of Amritsar—with commercial links reaching into Kabul and Central Asia—a diverse mixture of linguistic influences found its way into the sacred compositions. The increasing presence of Lahndi speakers among Guru Arjan’s devotees contributed to a deliberate and innovative blending of the central Punjabi dialect with Lahndi. This multicultural linguistic synthesis helped reinforce a shared spiritual language, enabling adherents from various regions—whether they hailed from Rajasthan, Gujarat, or Bengal—to participate in and understand the central message of Sikh spirituality.
Structure and Linguistic Layers
A notable feature of Jaitsairi Mahala 5 Var Slokan Nali is its intricate structuring into three distinct language layers, which not only enriches its poetic resonance but also served a very practical, unifying function in a linguistically diverse society. The composition is organized as follows:
- Opening with Sahaskriti or Gatha:
Each stanza begins with a sloka rendered in an adaptation of Prakrit, popularly known as Sahaskriti (or Gatha). This form was widely employed by saints and sadhus across India, serving as a lingua franca among spiritual adepts. Such a choice ensured that the opening lines were accessible to and understood by devotees from various linguistic backgrounds. - Restatement in Lahndi Dialect:
Following the initial couplet, the thematic essence of the sloka is restated in the Lahndi dialect. This mid-layer reflects the influx of Lahndi speakers during Guru Arjan’s time. By employing the Lahndi idiom, the composition resonated with the practical, everyday speech of a significant portion of the Sikh community, harmonizing spiritual instruction with colloquial familiarity. - Final Expression in Standard Punjabi:
The primary body of each stanza is then rendered in the standard, spoken Punjabi of central Punjab—the principal form that later became the literary standard. This final layer delivers the message in a familiar tone that has historically contributed to Punjabi’s evolution as the language of literary and devotional expression.
This deliberate tripartite construction does more than reinforce linguistic inclusivity; it also mirrors a deeper spiritual truth, signifying that divine revelation is accessible across different realms of language and culture. The adjusted cadence—from the lofty, meditative tone of Sahaskriti, through the familiar warmth of Lahndi, to the directness of central Punjabi—adds a musical and rhythmic dynamism that mirrors the journey of the soul toward divine union.
Thematic Content and Spiritual Nuances
Guru Arjan’s var serves a multifaceted spiritual and didactic purpose. Some key themes interwoven into Jaitsairi Mahala 5 Var Slokan Nali include:
- Divine Order and Retribution:
The composition affirms that the entire universe stands as a reflection of the Creator’s truth. It explains the immutable law that one “reaps what one sows” (echoing themes found elsewhere in Sikh scripture such as in Guru Arjan’s Barah Maha). This verbal illustration of karma—where actions lead to corresponding consequences—underlines the importance of living in accordance with divine will. - The Role of Devotion and Grace:
Despite the inevitability of retribution and the burdens of worldly existence, the text underscores that a life devoted to God, even if marred by material poverty or suffering, holds the promise of liberation. It is through sincere, constant remembrance (simran) and the guidance of the True Guru that one may ultimately dissolve the bonds of transmigration and experience divine grace. - Inclusivity in the Spiritual Journey:
The layered linguistic approach itself is symbolic of the universal message of Sikhism: the path to spiritual righteousness and liberation transcends regional, linguistic, and cultural barriers. Whether through the refined language of the mystic or the everyday language of the common folk, the aim remains the same—to help the devotee orient themselves toward the eternal. - Imagery and Allegory:
Each stanza deploys rich imagery drawn from nature and everyday life. Parallels are drawn between the devotion of a fish to water, the loyalty of a hummingbird to a flower, and the transformative power of even a small spark that can consume vast amounts of wood. Such allegorical expressions serve to reinforce the notion that the smallest act of heartfelt devotion can annul the weighty effects of one’s karma.
Cultural Impact and Legacy
The classical yet dynamic fusion of language styles in this var is testament to Guru Arjan’s innovative literary and spiritual approach. By merging the elevated tone of Sahaskriti with the accessibility of Lahndi and the direct emotional appeal of central Punjabi, Jaitsairi Mahala 5 Var Slokan Nali stands as an exemplar of:
- Cultural Synthesis:
The composition not only bridges disparate linguistic traditions but also reflects the demographic shifts of its time. It embodies an inclusive ethos that enables communication of deep spiritual truths to a wide audience. - A Model for Devotional Expression:
Its elegant structure and resonant imagery have influenced subsequent generations of Sikh devotional poetry and literature, ensuring that these themes remain accessible, relatable, and enduring within the community. - Liturgical Significance:
Recited during devotional gatherings and kirtan sessions, the work continues to inspire listeners to internalize its messages of unwavering devotion, humility, and the transformative power of divine grace.
Concluding Reflections
Jaitsairi Mahala 5 Var Slokan Nali is much more than a folk ballad—it is a layered narrative that encapsulates the essence of Sikh spirituality. Through its tripartite linguistic structure and rich, allegorical imagery, it invites the devotee to embark on a journey of internal transformation. By underscoring the interplay of divine grace, karmic retribution, and the universal accessibility of spirituality, Guru Arjan creates a work that not only reflects the spiritual principles set forth by Guru Nanak but also addresses the aspirational, lived experience of his diverse disciple community.
