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rāmkalī    mahalā 9.

prānī   nārāin sudhi lehi.
chinu chinu aüdh ghaṭai nisi bāsur    brithā jātu hai deh.1. rahāu.
tarnāpo bikhian siu khoio    bālpanu agiānā.
biradhi bhaïo ajhū nahī samjhai   kaün kumati urjhānā.1.
mānas janamu dīo jih ṭhākuri    so tai kiu bisrāio.
mukatu hot nar jā kai simrai    nimakh na tā kaü gāio.2.
māiā ko madu kahā karatu hai    saṅgi na kāhū jāī.
nānaku kahatu  ceti cintāmani   hoi hai anti sahāī.3.3.81.
-Guru Granth Sahib 902

rāmkalī    mahalā 9.

prānī   nārāin sudhi lehi.

chinu chinu aüdh ghaṭai nisi bāsur    brithā jātu hai deh.1. rahāu.

tarnāpo bikhian siu khoio    bālpanu agiānā.

biradhi bhaïo ajhū nahī samjhai   kaün kumati urjhānā.1.

mānas janamu dīo jih ṭhākuri    so tai kiu bisrāio.

mukatu hot nar jā kai simrai    nimakh na tā kaü gāio.2.

māiā ko madu kahā karatu hai    saṅgi na kāhū jāī.

nānaku kahatu  ceti cintāmani   hoi hai anti sahāī.3.3.81.

-Guru Granth Sahib 902

Ramkali is a rag (musical mode) used to evoke feelings of triumph regardless of circumstance. In the larger Indic musical tradition, it is about two moods — madhur (sweet) and chakat (startled). There is a level of sweetness and a level of startling that is expressed in these compositions. The way it is explained in many traditions is that Ramkali is usually used to communicate a disciplined and wise teacher explaining something to a disciplined and wise student. They are both very aware that there is pain, but they know that this is what is best. The struggle makes the triumph that much sweeter.

In the third composition, the Guru addresses the human being after addressing the mind and the virtuous beings. The Guru says, O being! Take awareness in the Steady One. Moment by moment, life is passing away, and the body is wasting away in vain. The Guru is alerting us here, waking us up to the reality that time is running out, using almost an imperative tone to gently shake us out of our sleep, like a friend asking us to get a hold of ourselves. 
 
O being! Take awareness in the Steady One. The Guru describes what we have lost as we have been unaware, and time has continued to pass. We lost our youth in sensual pleasures and vices, we spent our childhood in ignorance, and now we are old, and we still don’t seem to understand the gravity of this situation. We have gone through this in all three stages of linear life! The Guru asks us what is preventing us from seeing things as they are, saying, what kind of bad or negative thinking are you caught up in now? 
 
O being! Take awareness in the Steady One. The Guru asks us why we have forgotten IkOankar, the one who gave us this life. Why are we in a state of forgetfulness of That One? This human life is a gift, it is a gift that is meant for connection, and instead, we are using it to walk through the world unaware. If we practice Remembrance of the One who gave us this gift, we can become free, but we have not spent a single moment singing of That One. We have not brought the virtues within us. 
 
O being! Take awareness in the Steady One. The Guru started the first composition with Maya (material attachment) and now ends the third composition with Maya, asking, why are you caught up in the intoxication of Maya? It does not go with anyone. 
This is the time to get rid of the pride and ego of Maya because Maya will not help us in the end. The Guru reminds us of the importance of remembering IkOankar, the Wish-Fulfiller, to bring into our consciousness the greater Consciousness, the One who takes care of all other consciousnesses, the One who takes care of all worries. This higher conscious mind, IkOankar, is what takes care of everything and helps us in the end. 
 
We, human beings, are being lazy. Our time is passing us by. The Guru spends this composition urgently shaking us out of our dead minds and into alertness, encouraging us to use these beautiful lives we have been given for something fruitful. We have forgotten the gift of our lives because of our own deep immersion in ego and consumption. Instead of living in thankfulness, we live in a constant state of wanting more. We are insatiable, and it makes us negative and unaware that nothing will go with us. But the Guru is giving us that triumph at the end of this composition, even after all of that urgency and unsettling. We are still being asked to practice Remembrance, even at the end, because even after all of our sleeping and all of our forgetfulness, there is still time to turn things around. Even with all of the mind’s worries about what we are doing, whether it is enough, whether we will be free, the perfect Mind, IkOankar, will ease these worries and help us in the end. This is the hope the Guru leaves us with: it is not too late, and these struggles are not ones we have to fight on our own. Will we awaken from our slumber and make sure to use our remaining time wisely? Will we triumph through our human struggles and connect with IkOankar? Will we find steadiness in the Steady One? 

In Rag Ramkali, Sabad revealed by Guru Teghbahadar Sahib.

O being! Remember IkOankar.
Night and day, moment by moment, your time is diminishing, and without the contemplation of IkOankar, your life is passing in vain.1. Pause.

You have wasted your youth by indulging in vices, and you have wasted your childhood in ignorance.
You have grown old, but you still do not realize that time is running out; in which flawed understanding are you stuck?1.

Why have you forgotten IkOankar, who gifted you this human life?
You did not remember IkOankar even for a moment, by whose contemplation one becomes free of all shortcomings.2.

Why are you consumed by the pride of your material possessions? They do not go with anyone when this life is over.
Guru Teghbahadar states: O being! Remember IkOankar, the wish-Fulfiller, who will be your support in the end.3.3.81.

(Rag) Ramkali, Ninth Embodiment.

O being! Take in the awareness of Narayan.
Moment by moment, day-night, age is decreasing; the body is passing away in vain.1. rahau.

(You) have lost youth in sensual pleasures, childhood in ignorance.
(You) have become old, still (you) do not understand; in which false thinking are (you) entangled?1.

The Master, who has given (you) human birth, why have you forgotten That (One)?
By Whose remembrance man gets liberated, (you) did not sing of That (One, even) for a moment.2.

Why do (you) take intoxication of Maya? (It) does not go with anyone.
Nanak states: Remember the wish-Fulfiller, (Who) will be helpful in the end.3.3.81.

This Sabad employs natural linguistic expression. Through accessible language, it has been stated: O being! Remember the all-pervading Primal Being. Your age is decreasing moment by moment. Youth has been wasted by indulging in vices and childhood in ignorance. You have grown old, but still, you are stuck in your flawed understanding. You have forgotten the all-pervading Primal Being who has given you this human birth. Renounce the intoxication of material possessions, and remember the wish-Fulfiller, the all-pervading Primal Being, who will be your support in the end.

In this Sabad, commonly used Braj language and its popular proverbial phrases have been used beautifully, such as: ‘sudhi lehi’ (take in the awareness), ‘chinu chinu aüdh ghaṭai’ (moment by moment, age is decreasing), ‘brithā jātu hai’ (passing away in vain), ‘ajhū nahī samjhai’ (still you do not understand), ‘kiu bisrāio’ (why have you forgotten), ‘kahā karatu hai’ (why do you).

In the phrase, ‘tarnāpo bikhian siu khoio bālpanu agiānā’ (you have lost youth in sensual pleasures and childhood in ignorance), the word ‘khoio’ (lost), by connecting with both, the previous phrase ‘tarnāpo bikhian siu’ (you have lost time of youth in sensual pleasures) and the latter phrase ‘bālpanu agiānā’ (childhood in ignorance), is completing their meaning. Therefore, there is a presence of a metaphor known as ‘dehli dipak’ in Indic poetics.

The verb ‘urjhānā’ (entangle) in the phrase ‘kaün kumati urjhānā’ (in which false thinking are you entangled), which is usually used in reference to a thread, has been linked to flawed understanding here. This linguistic technique is called semantic deviation.

In this stanza, the words ‘ṭhākuri’ (the Master), ‘cintāmani’ (wish-Fulfiller) are used for the all-pervading Primal Being, which highlights the unique traits of the all-pervading Primal Being. Therefore, there is a presence of eulogy here.

In the sixth line, the use of the word ‘nimakh’ (instant) is very creative. It means the time taken in the blinking of an eye. Here, it is used to connote a short moment (an instant). In the current context, it has been used to convey that the being who enshrines IkOankar’s Nam in their heart even for a moment, their fear of death is removed, and they make their life fruitful.

This Sabad contains eight lines. The meter of these lines is as follows: first (15), second (16+11), third (16+11), fourth (17+12), fifth (17+12), sixth (16+12), seventh (16+12), and eighth (16+13). This meter is like the verse form known as ‘pad’ in Indic poetics.