P J Singh
SPNer
- Oct 7, 2022
- 96
- 10
Bhagat Trolochan Ji ( Raag Gujri; Ang 526, GGS)
ਗੂਜਰੀ ॥ ਅੰਤਿ ਕਾਲਿ ਜੋ ਲਛਮੀ ਸਿਮਰੈ ਐਸੀ ਚਿੰਤਾ ਮਹਿ ਜੇ ਮਰੈ ॥ ਸਰਪ ਜੋਨਿ ਵਲਿ ਵਲਿ ਅਉਤਰੈ ॥੧॥ ਅਰੀ ਬਾਈ ਗੋਬਿਦ ਨਾਮੁ ਮਤਿ ਬੀਸਰੈ ॥ ਰਹਾਉ ॥ ਅੰਤਿ ਕਾਲਿ ਜੋ ਇਸਤ੍ਰੀ ਸਿਮਰੈ ਐਸੀ ਚਿੰਤਾ ਮਹਿ ਜੇ ਮਰੈ ॥ ਬੇਸਵਾ ਜੋਨਿ ਵਲਿ ਵਲਿ ਅਉਤਰੈ ॥੨॥ ਅੰਤਿ ਕਾਲਿ ਜੋ ਲੜਿਕੇ ਸਿਮਰੈ ਐਸੀ ਚਿੰਤਾ ਮਹਿ ਜੇ ਮਰੈ ॥ ਸੂਕਰ ਜੋਨਿ ਵਲਿ ਵਲਿ ਅਉਤਰੈ ॥੩॥ ਅੰਤਿ ਕਾਲਿ ਜੋ ਮੰਦਰ ਸਿਮਰੈ ਐਸੀ ਚਿੰਤਾ ਮਹਿ ਜੇ ਮਰੈ ॥ ਪ੍ਰੇਤ ਜੋਨਿ ਵਲਿ ਵਲਿ ਅਉਤਰੈ ॥੪॥ ਅੰਤਿ ਕਾਲਿ ਨਾਰਾਇਣੁ ਸਿਮਰੈ ਐਸੀ ਚਿੰਤਾ ਮਹਿ ਜੇ ਮਰੈ ॥ ਬਦਤਿ ਤਿਲੋਚਨੁ ਤੇ ਨਰ ਮੁਕਤਾ ਪੀਤੰਬਰੁ ਵਾ ਕੇ ਰਿਦੈ ਬਸੈ ॥੫॥੨॥
There are two prevalent interpretations of this Gurbani Sabad that are most often presented to the Sikh Sangat. One draws attention to reincarnation and transmigration of soul. Many Sikhs subscribe to this perspective; however, there are many others who vigorously reject this perspective and suggest that Bhagat ji’s use of the expression ਅੰਤਿ ਕਾਲਿ ( “Anant Kal”) refers to the “spiritual death” that many of us endure due to our indulgence in Vikars. They suggest it is during the bouts of this “spiritual death” (“Janam-Maran”) that we display patterns of behaviour that Bhagat Trilochan Ji has outlined in the Sabad.
I humbly submit through this post that neither of these two perspectives truly align with what Bhagat Trilochan Ji has tried to convey through this Sabad. In support of my position, I present the following argument and an alternate interpretation for collective perusal of Sikh Sangat. I also apologize to all those who may find my argument insensitive to their entrenched belief.
Supporting Argument and Alternate Interpretation of the Sabad:
1) Supporting Argument:
In GGS there are writings of six Gurus, 15 Bhagats, 4 Sikhs, and 11 Bhats; as such there are words and dialects in GGS with various linguistic roots. Although Punjabi is the core and foundational language in GGS, there are also words from Braj Bhasha, Sanskrit, Persian/Farsi, Marathi, Bangali, Sindhi, Bhojpuri, Marwari et.al.
Bhagat Trilochan Ji was from Maharashtra, where he spent most of his life; it is therefore incomprehensible to assume that his compositions and renditions would be void of Marathi words, expressions and Marathi cultural underpinnings. The two interpretations that are currently in circulation in the Sikh world do not appear to give sufficient weight to the fact that this Sabad contains several Marathi words/expressions that Bhagat Ji is using to convey his divine message. It is this oversight that has led to misinterpretation of Bhagat ji’s divine message which Guru Arjun Sahib decided to include in GGS because it fully aligns with our Gurus’ message. The key Marathi words/expressions that define the deeper and embedded meaning of the Sabad are as follows:
ਵਲਿ ਵਲਿ – It is a Marathi word for extreme restlessness, wriggling or state of being anxious/fidgeting
ਅਉਤਰੈ – It is a Marathi word for Day and Night; 24 hours or constantly or continuously.
ਪੀਤੰਬਰੁ ਵਾ ਕੇ ਰਿਦੈ ਬਸੈ – A Marathi expression meaning “The one who wears a yellow silken garment and resides or plays gracefully”. The meaning of each word in this expression is as follows:
ਪੀਤੰਬਰੁ - Derived from Sanskrit, Pita (yellow) and Ambar (cloth). It refers to the sacred, yellow attire traditionally worn during worship or by Hindu deities.
ਵਾ - on – referring to garment draped on body
ਕੇ ਰਿਦੈ (it is a single [not two words]-- Marathi word is kridha ) – Divine play or action
ਬਸੈ - To sit, reside, or establish a presence
2) Alternate Interpretation of the Sabad:
Rahoo Pankti (ਅਰੀ ਬਾਈ ਗੋਬਿਦ ਨਾਮੁ ਮਤਿ ਬੀਸਰੈ ॥ ਰਹਾਉ ॥): Bhagat ji is calling out (ਅਰੀ ਬਾਈ ) and imploring that he should not forget Akalpurkh’s name (ਗੋਬਿਦ ਨਾਮੁ ਮਤਿ ਬੀਸਰੈ). This is exactly the same message that Gurus have repeatedly underscored in GGS (ਨਾਨਕ ਨਾਮੁ ਨ ਵੀਸਰੈ).
In the rest of the Sabad, Bhagat ji describes the mental and physical state of person who is physically dying and is on his death bed (ਅੰਤਿ ਕਾਲਿ ) based on his anxieties and worries about his material possessions and passions that he is leaving behind.
If when a person who is dying and is thinking and worried about his money and material wealth, he will be be mentally restless and physically fidgety on his death bed (ਵਲਿ ਵਲਿ ਅਉਤਰੈ ) like a serpent.
And if, his mind is preoccupied with lust, he will be mentally restless and physically fidgety on his death bed (ਵਲਿ ਵਲਿ ਅਉਤਰੈ ) like a prostitute ( who is restlessly waiting for her next encounter).
And if, he is worried about his sons while on death bed; he will mentally restless and physically fidgety (ਵਲਿ ਵਲਿ ਅਉਤਰੈ ) like a pig (who is wondering around with its piglets).
And if, he is worried about his house and mansions, he will be mentally restless and physically fidgety while on death bed (ਵਲਿ ਵਲਿ ਅਉਤਰੈ ) like a cursed spirit ( that is hounding and hiding in deserted and derelict places).
In the end, Bhagat ji is saying, if during the last hours of his physical death (ਅੰਤਿ ਕਾਲਿ ), a person is absorbed in divine thoughts/Gurbani (ਨਾਰਾਇਣੁ ਸਿਮਰੈ ), he will be calm, peaceful and experience the divine presence (ਪੀਤੰਬਰੁ ਵਾ ਕੇ ਰਿਦੈ ਬਸੈ ) around him during the final moment of his physical death.
ਗੂਜਰੀ ॥ ਅੰਤਿ ਕਾਲਿ ਜੋ ਲਛਮੀ ਸਿਮਰੈ ਐਸੀ ਚਿੰਤਾ ਮਹਿ ਜੇ ਮਰੈ ॥ ਸਰਪ ਜੋਨਿ ਵਲਿ ਵਲਿ ਅਉਤਰੈ ॥੧॥ ਅਰੀ ਬਾਈ ਗੋਬਿਦ ਨਾਮੁ ਮਤਿ ਬੀਸਰੈ ॥ ਰਹਾਉ ॥ ਅੰਤਿ ਕਾਲਿ ਜੋ ਇਸਤ੍ਰੀ ਸਿਮਰੈ ਐਸੀ ਚਿੰਤਾ ਮਹਿ ਜੇ ਮਰੈ ॥ ਬੇਸਵਾ ਜੋਨਿ ਵਲਿ ਵਲਿ ਅਉਤਰੈ ॥੨॥ ਅੰਤਿ ਕਾਲਿ ਜੋ ਲੜਿਕੇ ਸਿਮਰੈ ਐਸੀ ਚਿੰਤਾ ਮਹਿ ਜੇ ਮਰੈ ॥ ਸੂਕਰ ਜੋਨਿ ਵਲਿ ਵਲਿ ਅਉਤਰੈ ॥੩॥ ਅੰਤਿ ਕਾਲਿ ਜੋ ਮੰਦਰ ਸਿਮਰੈ ਐਸੀ ਚਿੰਤਾ ਮਹਿ ਜੇ ਮਰੈ ॥ ਪ੍ਰੇਤ ਜੋਨਿ ਵਲਿ ਵਲਿ ਅਉਤਰੈ ॥੪॥ ਅੰਤਿ ਕਾਲਿ ਨਾਰਾਇਣੁ ਸਿਮਰੈ ਐਸੀ ਚਿੰਤਾ ਮਹਿ ਜੇ ਮਰੈ ॥ ਬਦਤਿ ਤਿਲੋਚਨੁ ਤੇ ਨਰ ਮੁਕਤਾ ਪੀਤੰਬਰੁ ਵਾ ਕੇ ਰਿਦੈ ਬਸੈ ॥੫॥੨॥
There are two prevalent interpretations of this Gurbani Sabad that are most often presented to the Sikh Sangat. One draws attention to reincarnation and transmigration of soul. Many Sikhs subscribe to this perspective; however, there are many others who vigorously reject this perspective and suggest that Bhagat ji’s use of the expression ਅੰਤਿ ਕਾਲਿ ( “Anant Kal”) refers to the “spiritual death” that many of us endure due to our indulgence in Vikars. They suggest it is during the bouts of this “spiritual death” (“Janam-Maran”) that we display patterns of behaviour that Bhagat Trilochan Ji has outlined in the Sabad.
I humbly submit through this post that neither of these two perspectives truly align with what Bhagat Trilochan Ji has tried to convey through this Sabad. In support of my position, I present the following argument and an alternate interpretation for collective perusal of Sikh Sangat. I also apologize to all those who may find my argument insensitive to their entrenched belief.
Supporting Argument and Alternate Interpretation of the Sabad:
1) Supporting Argument:
In GGS there are writings of six Gurus, 15 Bhagats, 4 Sikhs, and 11 Bhats; as such there are words and dialects in GGS with various linguistic roots. Although Punjabi is the core and foundational language in GGS, there are also words from Braj Bhasha, Sanskrit, Persian/Farsi, Marathi, Bangali, Sindhi, Bhojpuri, Marwari et.al.
Bhagat Trilochan Ji was from Maharashtra, where he spent most of his life; it is therefore incomprehensible to assume that his compositions and renditions would be void of Marathi words, expressions and Marathi cultural underpinnings. The two interpretations that are currently in circulation in the Sikh world do not appear to give sufficient weight to the fact that this Sabad contains several Marathi words/expressions that Bhagat Ji is using to convey his divine message. It is this oversight that has led to misinterpretation of Bhagat ji’s divine message which Guru Arjun Sahib decided to include in GGS because it fully aligns with our Gurus’ message. The key Marathi words/expressions that define the deeper and embedded meaning of the Sabad are as follows:
ਵਲਿ ਵਲਿ – It is a Marathi word for extreme restlessness, wriggling or state of being anxious/fidgeting
ਅਉਤਰੈ – It is a Marathi word for Day and Night; 24 hours or constantly or continuously.
ਪੀਤੰਬਰੁ ਵਾ ਕੇ ਰਿਦੈ ਬਸੈ – A Marathi expression meaning “The one who wears a yellow silken garment and resides or plays gracefully”. The meaning of each word in this expression is as follows:
ਪੀਤੰਬਰੁ - Derived from Sanskrit, Pita (yellow) and Ambar (cloth). It refers to the sacred, yellow attire traditionally worn during worship or by Hindu deities.
ਵਾ - on – referring to garment draped on body
ਕੇ ਰਿਦੈ (it is a single [not two words]-- Marathi word is kridha ) – Divine play or action
ਬਸੈ - To sit, reside, or establish a presence
2) Alternate Interpretation of the Sabad:
Rahoo Pankti (ਅਰੀ ਬਾਈ ਗੋਬਿਦ ਨਾਮੁ ਮਤਿ ਬੀਸਰੈ ॥ ਰਹਾਉ ॥): Bhagat ji is calling out (ਅਰੀ ਬਾਈ ) and imploring that he should not forget Akalpurkh’s name (ਗੋਬਿਦ ਨਾਮੁ ਮਤਿ ਬੀਸਰੈ). This is exactly the same message that Gurus have repeatedly underscored in GGS (ਨਾਨਕ ਨਾਮੁ ਨ ਵੀਸਰੈ).
In the rest of the Sabad, Bhagat ji describes the mental and physical state of person who is physically dying and is on his death bed (ਅੰਤਿ ਕਾਲਿ ) based on his anxieties and worries about his material possessions and passions that he is leaving behind.
If when a person who is dying and is thinking and worried about his money and material wealth, he will be be mentally restless and physically fidgety on his death bed (ਵਲਿ ਵਲਿ ਅਉਤਰੈ ) like a serpent.
And if, his mind is preoccupied with lust, he will be mentally restless and physically fidgety on his death bed (ਵਲਿ ਵਲਿ ਅਉਤਰੈ ) like a prostitute ( who is restlessly waiting for her next encounter).
And if, he is worried about his sons while on death bed; he will mentally restless and physically fidgety (ਵਲਿ ਵਲਿ ਅਉਤਰੈ ) like a pig (who is wondering around with its piglets).
And if, he is worried about his house and mansions, he will be mentally restless and physically fidgety while on death bed (ਵਲਿ ਵਲਿ ਅਉਤਰੈ ) like a cursed spirit ( that is hounding and hiding in deserted and derelict places).
In the end, Bhagat ji is saying, if during the last hours of his physical death (ਅੰਤਿ ਕਾਲਿ ), a person is absorbed in divine thoughts/Gurbani (ਨਾਰਾਇਣੁ ਸਿਮਰੈ ), he will be calm, peaceful and experience the divine presence (ਪੀਤੰਬਰੁ ਵਾ ਕੇ ਰਿਦੈ ਬਸੈ ) around him during the final moment of his physical death.
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