m: 1.
man kā sūtaku lobhu hai jihvā sūtaku kūṛu.
akhī sūtaku vekhaṇā par tria par dhan rūpu.
kannī sūtaku kanni pai lāitbārī khāhi.
nānak hansā ādmī badhe jam puri jāhi.2.
man kā sūtaku lobhu hai jihvā sūtaku kūṛu.
akhī sūtaku vekhaṇā par tria par dhan rūpu.
kannī sūtaku kanni pai lāitbārī khāhi.
nānak hansā ādmī badhe jam puri jāhi.2.
m: 1. |
man kā sūtaku lobhu hai jihvā sūtaku kūṛu. |
akhī sūtaku vekhaṇā par tria par dhan rūpu. |
kannī sūtaku kanni pai lāitbārī khāhi. |
nānak hansā ādmī badhe jam puri jāhi.2. |
Guru Nanak then redefines sutak, not as a physical impurity, but as something less physical or tangible. Sutak of the mind is greed, sutak of the tongue is lies, sutak of the eyes is lusting for another, and sutak of the ears is backbiting. Those who have not purified their minds, tongues, eyes, and ears, those people are the real offenders against the idea of sutak. These redefined elements of sutak are the things that have made humans suffer, bound by their vices, and afraid of death. But this kind of sutak is not removed the way we have been thinking, in the confining systems and doctrines and ritual practices given to us. We cannot expect that if we do the right yoga poses, the right cleanses, the right diets, the right rituals, or the right ceremonies, we will be able to rid ourselves of the impurities we carry in our thoughts and our actions. This kind of sutak is removed through Wisdom.
Being greedy is the sutak of mind and telling a lie is the sutak of the tongue. Looking at the beautyof another’s wife and another’s wealth with bad intention is the sutak of the eyes.
Sutak of the ears enters the ears when one listens to gossip. Nanak! These are the real sutak, because of which even graceful humans suffer, bound by their vices.
Sutak of the ears enters the ears when one listens to gossip. Nanak! These are the real sutak, because of which even graceful humans suffer, bound by their vices.
Sutak of mind is greed, (and) sutak of tongue is lie. Sutak of eyes is to look at the beauty of another’s wife and another’s money.
Sutak of the ears, enters the ear, (when) they listen to gossip. Nanak! (Because of these sutaks) swan-like humans, being bound, go to hell.
Sutak of the ears, enters the ear, (when) they listen to gossip. Nanak! (Because of these sutaks) swan-like humans, being bound, go to hell.
Guru Nanak Sahib has transformed and redefined the concept of sutak (a superstitious belief practiced for a few days after the birth of a child) in this salok and added details to it. Thus, meaning subversion becomes the main source of this salok’s poetic beauty. In the first three lines sutak is associated with the greed of the mind, lies of the tongue, seeing others’ wives’ beauty and wealth with the eyes, and listening to slander/gossip with the ears. This new definition of sutak not only contextualizes these negative human tendencies, but also highlights the futility of the belief in sutak.
The fourth line utilizes metaphor and visualizes an individual as a swan; but there is satire even in this representation. The swan is a symbol of purity; but if a swan-like individual, who is a symbol of purity, goes to ‘hell,’ then a swan’s purity also comes into question. This delicate strain also becomes the ground for raising to a higher plane of poetics.
The meter convention of every line of this salok is 13+11. Even though the meter convention of the second and the fourth line is 12+11 and 13+10 respectively, however, on the basis of pronunciation/articulation they also become 13+11. So, this can be categorized under a two line verse/couplet with 13+11 characters each (doharā chand). This salok has been written by combining two doharās.
The fourth line utilizes metaphor and visualizes an individual as a swan; but there is satire even in this representation. The swan is a symbol of purity; but if a swan-like individual, who is a symbol of purity, goes to ‘hell,’ then a swan’s purity also comes into question. This delicate strain also becomes the ground for raising to a higher plane of poetics.
The meter convention of every line of this salok is 13+11. Even though the meter convention of the second and the fourth line is 12+11 and 13+10 respectively, however, on the basis of pronunciation/articulation they also become 13+11. So, this can be categorized under a two line verse/couplet with 13+11 characters each (doharā chand). This salok has been written by combining two doharās.