PRAN SANGLI, which translates to the chain of breath or vital air, is a collection of writings attributed to Guru Nanak, though they are actually considered apocryphal, focusing on yogic practices, especially pranayama or the control of vital air. The original pran Sangli was likely a brief work, but the currently available version—edited by Sant Sampuran Singh and published in 1898 in the Devanagari script across three volumes by Bhai Mohan Singh Vaid, Tarn Taran—exceeds 700 pages and includes around 80 chapters, most of which are loosely connected. Each chapter is presented as an explanation by Guru Nanak in response to a question posed by Raja Shivnabh of Sarigladip (Sri Lanka), where pran Sangli is believed to have been composed.
Traditionally, it is said that Guru Arjan, while compiling the Guru Granth Sahib, sent Bhai Paira Mokha, a knowledgeable Sikh, to Sarigladip to retrieve a manuscript of pran Sangli that was thought to be held by the descendants of Raja Shivnabh. The copy he returned with was examined by Guru Arjan and deemed inauthentic. Consequently, on the first page of the original Kartarpuri Bir of the Guru Granth Sahib, the title pran Sangli is inscribed in Arabic script, but no further content appears. Despite Guru Arjan’s rejection of the text, some individuals continued to regard pran Sangli as an accepted work.
Over time, the text expanded as more dubious compositions were added. It is likely that the original pran Sangli consisted of the first ten chapters found in the first volume of the published edition. The initial six chapters describe the universe’s evolution, numerous earths and skies, the elements, and mankind’s internal structure, originating from the unmanifest state known as sunn (sunya, meaning void or nothingness, which in yogic philosophy represents the Primal Being). The following three chapters delve into the complexities, forms, and ideals of yoga through dialogues between Gorakhnath and Guru Nanak, where Gorakhnath asks questions and Guru Nanak provides answers.
The tenth chapter claims that the Unmanifest, Real Being also engaged in contemplation and concentration on the Vadh Vadh (wonderful). There existed a Transcendent Being who maintained perfect concentration and balance for countless aeons, entirely alone, without any creation of any kind. This was the state of unmani, which transitioned into the onkdr state. As Brahman desired to multiply, the three gunas (qualities of prakriti), five elements, four Vedas, six Sastras, and six Vedarigas emerged.
Among the remaining 70 chapters in the subsequent two volumes, approximately twenty-four primarily interpret yoga. These chapters, which stand alone, are dedicated to the explanation of yoga using its own terminology, as well as the bhakti terminology of Guru Nanak, highlighting the significance of the guru, his sabda, and the ethical and spiritual renewal through meditation on the Name. These yogic texts reiterate and expand upon the concepts introduced in Volume I and claim to elucidate the ideal of yoga from Guru Nanak’s perspective. Chapters XI and XII in this section focus on Udas Bairag and Yog Bairag.
The latter details how the mind transcends itself to reach the Realm of Truth through yoga practice. The composition Sunnte Utpati: Creation out of the Void (Ch. XIV) outlines the process of body formation in the womb. From this point, the narrative shifts, emphasizing how forgetfulness of the Lord occurs after birth and how liberation is found solely in the remembrance of the Name. Chapters XV to XVII highlight the necessity of the guru and meditation on the Name.
The Ratanmalds (Chs. XIX and XX) reference the qualities of an ideal bairagi who, by following the guru’s teachings, transcends the three gunas, combats desires with the sword of jnana (knowledge), bathes at the sixty-eight arthas of the body, and meditates on the Name by churning the curd of sahaj in the milkpot of the body. This individual illuminates the path to the tenth door (dasam dvaar) using effort as the lamp, discrimination as the oil, concentration as the wick, and sahaj as the matchstick. The Yog Garbhavalt Chhutkara (Ch. XXVII) and the Prakriti Vistar (Ch. XXXI) elaborate on Chs. IV–VL. The KriydsdrJog (Ch. XXIX) emphasizes the essential nature of the Guru’s grace in controlling the senses. The Katha Agam Mahal Ki (Ch. XXXII) underscores the guru’s role in guiding one to comprehend the Supreme Being. The Anbhau Pragds (Ch. XXXIII) lists the 84 asanas (postures) of the yogis. As indicated by its name, the Ashtang Yoga (Ch. XXXIV) discusses the eight stages of yogic discipline. The Kalapmala addresses the preparation of medicines from herbs, plants, and metals for various ailments.
All this apocryphal literature appears to have developed in imitation of Guru Nanak’s Sidha Gosti and a significant number of hymns related to yoga as included under Raga Ramkali in the Guru Granth Sahib. When applying Sidha Gosti as a benchmark, these writings in the pran Sangli can easily be shown to be apocryphal, as they lack Guru Nanak’s concise expression, his deeply theistic devotion or bhakti, and his clear endorsement of a household-oriented and piously lived worldly life. In addition to yoga, the compositions in pran Sangli are directed towards Hindu saints. Among these is a Gost, or dialogue, with Ramanand and Kabir (Ch. XIII), which emphasizes devotional bhakti by referencing early Hindu saints such as Shuk, Narada, Dhru, Prahlad, Namdev, Trilochan, and Kabir.
The chapter on Nirjog Bhakti (Ch. XXI) discusses the Sakta (materialist) who remains engaged in wrongdoing and sin, but who can attain honour in the Lord’s court by focusing on the guru’s sabda. Sach Khand ki Jugti (Ch. XXII) states that the guru’s sabda can transform dross into gold, a sinner into a saint. The Sahansarandmd (Ch. XXIV) lists the various names of the Lord, while Dasavtaran di Varta (Ch. XXVIII) recounts the ten ancient incarnations of Vishnu. Dakkham Oankar (Ch. XXXV) is a composition by Guru Nanak, included in the Guru Granth Sahib. The Bhogal Puran (Ch. LIX), a prose work, provides details about creation, universes, and countless earths, skies, stars, etc., all supported on the back of an unimaginably large tortoise, according to mythological astrology and astronomy.
The Pindi Daiv Asur Sangrdm (Ch. LXXII) depicts a battle between the good and evil tendencies within humanity. The Gian Sur Udaya (Ch. LXXV) centers on the concept of time, its understanding, and measurements. The Jugavati (Ch. LXXIX) discusses Hindu theories regarding the yugas (aeons) or cycles of time and their measurements. The third category of apocryphal literature, written in Persianized Punjabi and aimed at Muslim divines and kings, is found in chapters LXXVII and LXXVIII. Chapter LXXVII contains Tilang ki Var Mahalla, which follows the general structure of the vars included in the Guru Granth Sahib but is infused with Islamic thought and terminology.
Beginning with the line “thanantari miharvdn sachu khaliq subhdnu,” it describes the creation or qudrat. All rdgas and raginis are depicted as praising Khuda. Another line states: “duniyad upari dyd bhejiyd dpi Allah” (man enters this world having been sent by Allah). This is followed by another piece titled Raga Ramkali Mahalla, which is partially based on Guru Nanak’s Sodaru.
The hymn expresses how millions of Muhammads, Ramas, Gorakhs, etc., are singing His praises in the grand court of Allah and how everything operates under His command. Other writings in this category include: Nasihat Namah or a letter of admonitions; Hazar Namah or a discourse on the importance of vigilance; Pak Namah or a treatise on pure living; and Kami Namah or a discussion on the significance of good conduct.
Pran Sangli, a vast and intricate apocryphal text that has long fascinated scholars and devotees for its deep engagement with yogic practices and spiritual cosmology—even as it strays from the compact devotional clarity of Guru Nanak’s authentic compositions.
Historical and Literary Context
Pran Sangli—literally “the chain of breath” or “vital air”—is a collection of compositions traditionally, though not authentically, attributed to Guru Nanak. In its present form, the text is recognized as an apocryphal work that evolved over generations through the addition of spurious material. Its early association with yogic practices, particularly pranayama (control of vital air), marks its unique place in the corpus of Sikh literature.
Originally, the composition was likely a small treatise. However, in the recension edited by Sant Sampuran Singh and published in 1898 at Tarn Taran by Bhai Mohan Singh Vaid in the Devanagari script, Pran Sangli expanded into a threevolume work running to over 700 pages and divided into as many as 80 loosely coordinated chapters. The text’s growth over time reflects its transmission through oral traditions, as well as a broader tendency among later adherents to incorporate additional yogic and cosmological material in imitation of Guru Nanak’s reputed discourses on these themes.
Composition and Structure
The structure of Pran Sangli is both sprawling and heterogeneous. Its chapters, rather than being arranged according to any modern, alphabetical, or systematic lexicographic order, are ordered as they appear in the narrative flow. Each chapter is presented as an exposition by Guru Nanak responding to a question—allegedly raised by Raja Shivnabh of Sarigladip (Sri Lanka). This dialogic framework, whether historically faithful or later invented, sets a tone that mimics traditional Sanskrit and yogic treatises in which knowledge is transmitted through a question–answer format.
The First Volume: Cosmology and Yogic Foundations
The original core of Pran Sangli is believed to be contained in the first ten chapters (likely representing the initial, now lost, composition). The first six chapters focus on a grand cosmological narrative:
They explain the evolution of the universe—detailing the emergence of earths, skies, elements, and even the internal organization of man—from a primordial state known as the sunn (from sunya, meaning void or nothingness). In yogic theology, this unmanifest state embodies the concept of the Primal Being.
The next three chapters then transition to explicating the intricacies of yoga. Presented as dialogues between Gorakhnath and Guru Nanak, they address questions about the forms, practices, and ideals of yoga. Here, Guru Nanak is depicted as offering profound explanations on how control of the vital air (pranayama) and disciplined practice can lead to selfrealization.
The tenth chapter shifts the narrative further. It asserts that the Unmanifest—referred to as the Real Being—remains in a state of deep contemplation (concentration on the Vadh Vadh, or the wonderful). This enduring meditative state is described as “unmani” and is said to give rise to subsequent states (referred to ambiguously as the “onkar state”), marking the genesis of creative multiplicity. As Brahman willed birth, the process unfolds with the emergence of the three gunas, the five elements, the four Vedas, and various other traditional categories of sacred knowledge.
Volumes II and III: Expanded Interpretations and Yogic Expositions
The remaining approximately 70 chapters spread over the subsequent two volumes are much more heterogeneous. Roughly 24 chapters are dedicated solely to interpreting yoga—blending yogic techniques with the bhakti (devotional) ethos of Guru Nanak. These chapters elaborate on:
The exclusive importance of the guru and the divine word (sabda) as a means for ethical and spiritual regeneration.
Detailed expositions on the practice of meditation on the Name as the ultimate ideal of selfrealization, with chapters like those on Udas Bairag and Yog Bairag delineating the path of renunciation and discipline.
Subsequent chapters further develop the theme. For instance:
Chapter XIV, Sunnte Utpati (“Creation out of the Void”), describes the process by which a human body is formed in the womb—a metaphorical journey from the unmanifest to the manifest.
Chapters XV to XVII concentrate on the necessity of a guru and continuous meditation as the pathway to liberation.
Additional chapters illustrate a rich, if sometimes labyrinthine, tapestry of yogic symbolism. The Ratanmalds (Chapters XIX and XX) describe an idealized yogic practitioner or bairagi who, under the guidance of the guru, transcends worldly desires by wielding the sword of knowledge and harmonizing bodily energies through mystic metaphors (churning the curd of sahaj in the milkpot of the body). Other chapters (such as XXVII, XXIX, and XXXII) delve into the practical and metaphysical aspects of yogic discipline and the transformative power of the guru’s grace.
Thematic Explorations and Critique
At its core, Pran Sangli represents an elaborate attempt to systematize knowledge about yoga and the metaphysical underpinnings of the universe as seen through an apocryphal Sikh lens. However, in delving deep into its contents, several key points emerge:
- Apocryphal Nature:
Though traditionally attributed to Guru Nanak, the style and content of Pran Sangli diverge sharply from the compact, devotional language of the authentic Janam Sakhis. The expanded discourses, extensive metaphysical speculations, and intricate yogic explanations suggest later interpolations—an evolution that reflects the wishes of subsequent communities to integrate broader yogic and Hindu mystic elements into a Sikh framework. - Intermingling of Traditions:
The text frequently borrows from and mimics classical yogic texts as well as the devotional style of Guru Nanak’s own authentic works like Sidha Gosti. This blending—intended to give the text a canonical aura—has the unfortunate effect of diluting the distinctive, practical spirituality that characterizes Guru Nanak’s teachings. It merges rigorous yogic philosophy with more accessible bhakti messages, yet the result often appears overly elaborate and less theistic than what is traditionally expected from Guru Nanak’s succinct expressions of the divine. - Divergence from Core Sikh Ideals:
One critical evaluation made by later scholars is that while authentic Sikh texts uphold a balanced life that integrates devotion with worldly engagement, Pran Sangli veers into the realm of mystical abstraction. Its extensive focus on controlling vital air, on elaborate metaphysical speculations, and on an overly mystified cosmology does not reflect the pragmatic, allencompassing spirituality that underpins mainstream Sikh thought. - Evolution over Generations:
The text itself is a palimpsest—it originally may have been a brief composition on the essentials of yogic practice, but over time, as additional spurious compositions were appended, it grew into a multivolume encyclopedic work. This developmental history underlines the fluid nature of oral and textual traditions in Sikh literature, where later transmitters felt free to augment and reinterpret earlier material in an attempt to remain relevant to shifting spiritual and cultural contexts. - Dialogue with Other Traditions:
Interestingly, Pran Sangli is not monolithic; it contains sections that engage with Hindu saints (such as dialogues with Ramanand and Kabir) and others that address Muslim divines in a Persianized Punjabi. These sections illustrate the text’s attempt to mediate between diverse religious influences in the region. However, this pluralism also contributes to its eventual rejection by orthodox Sikh scholars who value a more clearly defined doctrinal purity.
