VAR MALAR KI MAHALLA I, composition of the first Guru (i.e. Guru Nanak), is one of the twenty-two vars appearing in the Guru Granth Sahib under different ragas. A var is a folk poem of war and chivalry, celebrating a hero and his gallantry. In the Guru Granth Sahib this form is adapted to spiritual ends and to bring to man’s attention the eternal truths of life. Var Malar Ki is cast in the malar raga or musical measure (hence the title).
Malhar is associated with the rains and is best sung in the rainy season. At the head of the composition is recorded the direction regarding the tune in which it is to be sung in the tune of Rana Kailas and Maldeo. It ends with the word sudhu, which attests to the fact that the text has been checked and found to be correct. As the title declares, this is a poem of the rainy season.
Images of the rainy season abound. Flashes of lightning stab the darkness of the clouds. Babiha (the bird that revels best in the rains) breaks out into song at the sight of the clouds. The rain signifies God’s plenty.
It will fill the granaries of the people. It will clothe the earth in lush greenery. The language of the poem is Sant Bhasha or Eastern Punjabi. As is common with the vocabulary of the Guru Granth Sahib, words in it come from all sources.
Besides words of Sanskrit origin, the Guru Granth Sahib freely accepts words from Arabic and Persian. In this poem we have Arabic words such as hikmat and muqaddam and Persian words such as bisiar and kamtrin. The poem comprises twenty-eight pauns or stanzas and fifty-eight slokas. All the pauns except the twenty-seventh are of the composition of Guru Nanak; five of the slokas are by Guru Angad, twenty-seven by Guru Amar Das, and two by Guru Arjan.
Each paun has two slokas preceding it except the twenty-first, which is preceded by four slokas. Paun 27 is from the pen of Guru Arjan. The var is believed to be the first one written by Guru Nanak, and the date of composition is reckoned to be the year of the sack of Eminabad by Babar, i.e. AD 1521. The var can be broadly divided into four parts.
The first part (Paun 17) proclaims that God alone is the creator of this universe. Everything happens by His will. In this arena of the world, the gurmukh (i.e. he whose face is turned towards the Guru, the Guru-conscious) and the manmukh (guided by his own self, the self-willed) are wrestling with each other (4); the former will come out victorious, for He is on the side of those who are truthful, who have conquered their ego, and who live. This var has withstood two centuries and was published by Piara Singh Padam in 1967 in his collection Varan Sri Guru Gobind Singh Ji Dian.
References:
- Padam, Piara Singh, Varan Sri Guru Gobind Singh Ji Dian. Patiala, 1967
- Ganda Singh, ed., Pahjab dian Varan. Amritsar, 1946
VAR MALAR Kl MAHALLA I, a work attributed to Guru Nanak that exemplifies how a traditional form—a folk poem of war and chivalry—transcends into a spiritual masterpiece within the Guru Granth Sahib. This var not only harnesses the energy of martial folk expression but also channels it into an exploration of eternal truths and the intimate workings of the divine.
Context and Transformation
In its original milieu, a var was a folk ballad celebrating heroic exploits and chivalry. Here, however, Guru Nanak reimagines the form to emphasize spiritual ideals. Rather than extolling feats of physical bravery, the verses elevate the timeless battle between inner virtues—where the guru-conscious (gurmukh) stands in contrast to the self-willed (manmukh). The transformation of the genre mirrors a larger shift: the external glories of war are set aside in favor of an inner spiritual conquest that champions truth, the overcoming of ego, and alignment with divine will.
Musical and Seasonal Imagery
The var is cast in the malar raga (or musical measure), a choice that is deeply evocative of the rainy season. In the context of Guru Nanak’s verse, the rains are not just natural phenomena; they become a rich metaphor for God’s abundance and benevolence.
- Nature as Symbol:
- Lightning penetrating the clouded darkness suggests moments of divine illumination amid human confusion.
- Babiha, the bird that delights in the rains, symbolizes the joyous response of nature when touched by the divine.
- Rainfall itself signifies a bountiful outpouring from God, filling granaries and cladding the earth in lush greenery.
This vivid imagery invites the devotee to see beyond the literal weather and to recognize the spiritual nourishment that follows the cleansing rains, much like the inner renewal that comes from truth and divine love.
Structural Composition and Authorship
VAR MALAR Kl MAHALLA I is both a musical and poetic composition marked by a sophisticated internal structure:
- Stanzas and Slokas:
- The poem is composed of twenty-eight pauns (stanzas) interwoven with fifty-eight slokas (couplets).
- Each paun (except the twenty-seventh) is Guru Nanak’s own, while additional slokas feature contributions from Guru Angad, Guru Amar Das, and Guru Arjan. Notably, paun 27 is entirely the work of Guru Arjan.
- Intertextual Layers:
- In most cases, each paun is preceded by two slokas, except for one instance where four slokas set the tone.
- This arrangement is not merely decorative; it serves to build a layered narrative where the supporting verses amplify the core message, deepening the reader’s understanding of the spiritual struggle and triumph.
This intricate structure reflects the multifaceted nature of spiritual experience—where guidance comes from a succession of enlightened voices, each contributing to the overarching message of the Guru’s illumination.
Linguistic Fusion and Cultural Richness
The language of the var is primarily Sant Bhasha (Eastern Punjabi) and exhibits a remarkable openness toward diverse linguistic traditions:
- Sanskrit, Arabic, and Persian:
- Words like hikmat (wisdom) and muqaddam (esteemed or venerable) from Arabic, along with Persian terms such as bisiar and kamtrin, intermingle with traditional Sanskrit vocabulary, creating a linguistically rich tapestry.
- Implications:
- This synthesis of languages not only mirrors the multicultural milieu of the time but also reinforces the universality of the divine message. It underscores the idea that spiritual truth is not confined to any single linguistic or cultural form. Historical Resonance
Dating back to around AD 1521—coinciding with turbulent times such as the sack of Eminabad by Babur—the var carries a historical weight:
- Temporal Marker:
- Its creation during a period of upheaval further intensifies its message: even in times of chaos, there is an unyielding divine order.
- Divine Order:
- The opening verses proclaim God as the ultimate creator and sustainer, reinforcing that every event in the cosmos happens by His will. This assertion offers solace and a call to align with a higher purpose amid worldly conflicts.
Spiritual and Poetic Insights
The var’s four-part division—and particularly the portion that elaborates on the cosmic battle between the gurmukh and manmukh—serves as both a reminder and a guide:
- Moral Dichotomy:
- It contrasts the path of the spiritually awakened with that of the self-centered, urging a surrender of the ego in order to embrace divine grace.
- Invitation to Inner Transformation:
- Through this poetic narrative, devotees are invited to partake in an inner transformation—a journey that mirrors the cleansing rains which leave the earth renewed and verdant. Concluding Thoughts
VAR MALAR Kl MAHALLA I is much more than a seasonal ballad. It is an artistic expression that marries the sensory impact of rain with the metaphorical portrayal of divine sustenance and truth. In using traditional musical forms as a vehicle for spiritual instruction, Guru Nanak transforms what might have been a heroic saga into an enduring spiritual guide—a call to recognize the eternal in the ephemeral, the divine in the natural, and the truth in every drop of rain.
