VAR MAJH KI, by Guru Nanak occurs in the musical measure Majh, in the Guru Granth Sahib. The word majh, in Punjabi, means “in the middle” or “midway,” and the raga which goes by this name was a folk tune of Majha, the central country of the Punjab, which attained literary form at the hands of Guru Nanak. This raga is meant to be sung in the evening. At the head of the Var is recorded the direction by Guru Arjan as to 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 Murid and Chandrahara.
The pauris, or stanzas, in this Var are preceded by slokas or couplets, which were not part of it originally but were added by Guru Arjan at the time of the compilation of the Holy Book with a view to supplementing the theme presented in the pauns. The Var comprises a total of twenty-seven pauns of eight lines each. Of a total of 63 slokas—which vary in length as well as in authorship—46 are by Guru Nanak, 12 by Guru Angad, three by Guru Amar Das, and two by Guru Ram Das. Each paun is preceded by two slokas except the first and the seventh, which are preceded by three slokas each, and the ninth and the thirteenth, which are preceded by four and seven slokas, respectively.
Although the Var is cast in the mould of a ballad, it is not a ballad in theme but, in common with other vars in the Guru Granth Sahib, a devotional and spiritual composition. Praise of the ideal Guru—the perfect preceptor to whom our implicit obedience is due and without whom “all is pitch darkness”—marks the beginning of the Var. The Guru, 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 severed not by the performance of prescribed rituals but by our earnest acceptance of the Guru’s instruction.
The true spiritual guide, i.e., the Guru—who is called a great holy river in contrast with the hypocrite who sets himself up as such, being no more than a filthy pond—is the one who liberates himself and brings liberation to others. This material world has been called “a mountain of smoke.” Man is enthralled by various worldly temptations.
This attachment to maya makes man forget God, who has not only created it but also permeates it. Passages rich in poetic imagery and possessing 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 infallible, and none can deceive him — karta api abhulu hai, na bhulai kaisai da bhulaia (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 (sabda) that the highest objective of life can be achieved — sacha sabadu vichari sachi samania (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. Guru Nanak says in one of the slokas, “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, for “the two paths are indeed one; one thinking otherwise must fall into hellfire” (9). Apart from the condemnation of hypocrisy, orthodox rituals, and caste pride, the Var 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 Var decries manmukhs—self-willed, unregenerate ones—as persons who are full of ego and who render no gratitude to God for His blessings. They are bitter like the bitter fruit and poisonous like dhatura and such others.
They are as far away from His grace as akk (another one of the latter variety) is from sandalwood. 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 early morning meditation is stressed.
In highly poetic terms, the Guru calls such devotees 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). The texture of life comprises both joy and sorrow. To seek a life of only 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. The Var 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 he found his bliss” (27). The pauris of the Var are, for the most part, in praise of God—who is described in all His grandeur and transcendental marvel—whereas the slokas are full of ethical content, scrutinizing human character from various angles. The Var, 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 are much quoted. The close interrelationship of various passages composed by the Gurus shows the integrated mind behind the work.
Passage after passage unfolds the nuances of the theme, summoning a coherent vision of a holy yet active life proceeding from the insight of Guru Nanak and His spiritual successors. The language of the pauns is literary Punjabi, but not so of the slokas—most of which are in Sadh Bhakha, a few in a form of Prakrit and in Persian mixed with Indian vocabulary, following the Punjabi grammatical pattern. The reason for this variation of language and style between the pauns and the slokas is that the latter were composed at different times and were addressed to audiences in different locales.
References:
- Bishan Singh, Giani, BaJ Varan Satik. Amritsar, n. d.
- Sahib Singh, Sri Guru Granth Sahib Darpan. Jalandhar, 1962–64
- Kohli, Surindar Singh, A Critical Study of Adi Granth. Delhi, 1961
Guru Nanak’s Var Majh in the Guru Granth Sahib is a profound spiritual tapestry woven with intricate verse, music, and philosophy. Rooted in the raga Majh, which translates as “in the middle” or “midway”—an evocation of balance and introspection—this composition transcends a mere ballad form. Instead, it acts as a soulful guide on the inner journey, urging a deep transformation that shifts focus from ritualistic practice to heartfelt spiritual realization .
At the structural level, Var Majh is composed of 27 pauns—each an eight-line stanza—and enriched by 63 slokas (couplets). These slokas, added during the curation of the Guru Granth Sahib, are not mere decorative elements; they serve to amplify the narrative of the pauns and highlight the pivotal role of the Guru. Within these verses, Guru Nanak, along with contributions from Guru Angad, Guru Amar Das, and Guru Ram Das, presents the Guru not just as a teacher but as the “lamp of the three worlds.” This metaphor signifies a radiant beacon that dispels the darkness of ignorance and reveals the path to divine union. Such structural complexity reveals a layering of thought, where each poetic segment invites the devotee to pause and explore the delicate interplay between divine truth and human experience .
Diving into the thematic depths, Var Majh is a meditation on the transient nature of worldly attachments. Vivid imagery—like likening the material realm to a “mountain of smoke”—asserts that the external temptations of life are ephemeral and insubstantial. Instead, the composition calls upon the seeker to transcend the illusions of pleasure and pain by internalizing the timeless wisdom of the Guru. This journey is not solitary; it is a communal call to recognize that liberation, achieved through inner transformation rather than outward rituals, is accessible to all who dare to look beyond the surface .
Musically, the use of raga Majh intensifies the meditative quality of the Var. Traditionally performed in the evening, the raga’s tonal balance mirrors the equilibrium the devotee seeks to attain. As the notes rise and fall, they echo the fluctuations of the soul—a reminder that while the physical world is in constant change, the spiritual essence remains unmoved. This interplay of sound and word creates an immersive environment where deep reflection becomes not only possible, but inevitable .
Ultimately, Guru Nanak’s Var Majh is both an invitation and a roadmap. It invites the listener to embark on an introspective journey where each stanza is a step toward overcoming the illusions of material existence. It provides a roadmap that replaces rigmarole with a sincere, experiential understanding of the divine. Deep within its verses lies a timeless teaching: that true liberation is born from the acceptance of the Guru’s guidance, which awakens the inner light that has always been present .
