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<p class="C1">&#65279<i>AL&#256H&#7750&#298&#256&#7748</i>, Gur&#363 N&#257nak's composition in measure Va&#7693aha&#7749s in the Gur&#363 Granth S&#257hib. <i>&#256l&#257h&#7751&#299, </i> generally used in its plural form al&#257h&#7751&#299&#257&#7749, is a dirge wailingly sung in chorus by women mourning the death of a relation. Etymologically, the word means an utterance in praise (of the departed person). The sorrowful singing of al&#257h&#7751&#299&#257&#7749 is part of the mourning custom of <i>si&#257p&#257</i>. The women assemble at the house of the dead person and cry aloud beating their breasts while standing, or sit together and bewail. They weep bitterly and sing <i>al&#257h&#7751&#299&#257&#7749</i> in most pathetic tones. The village barbress (<i>nai&#7751</i>) or <i>mir&#257s&#257&#7751</i> starts the <i>al&#257h&#7751i</i> by singing aloud the first line of the dirge eulogizing the dead person, followed by the group in chorus. The <i>si&#257p&#257</i> goes on continually for a number of days until the last ceremonies are held; and the relatives of the deceased keep coming from far and near, the women joining in the heart-rending wail from day to day.</p>

<p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<i>Al&#257h&#7751&#299</i> is also a poetic form in Punjabi in the style of this mourning song. The strain may alter with the subject. Gur&#363 N&#257nak employed this mode in his <i>b&#257&#7751&#299</i>, as he adopted several other popular and folk forms. Five of his <i>&#347abdas</i> (hymns) included in the Gur&#363 Granth S&#257hib in R&#257ga Va&#7693aha&#7749s (pp. 578 to 582) are entitled <i>Al&#257h&#7751&#299&#257&#7749</i>. In these hymns, the sovereignty of God's Will is proclaimed. By implication, the customs of <i>si&#257p&#257</i> and <i>al&#257h&#7751&#299&#257&#7749</i> are deprecated. One must not give way to idle wailing, but learn to accept what has been ordained by the Almighty. The reality of death is brought home to man. "As man hath come into this world, so must he depart?" The recitation of <i>Al&#257hn&#299&#257&#7749</i> brings solace to the grief-afflicted soul and leads it to seek shelter in God. Surrender to His Will is the burden of this verse. "None ever die with the dead, " says Gur&#363 N&#257nak. "Blessed is he who praises the Lord's merits and weeps in fear of Him. They who bewail by remembering Him are through the ages acknowledged wise. "</p>

<p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Death is inevitable. But death is for the <i>manmukh</i>; one who is ruled by his own ego, one who has turned away from God. Death is not for the <i>gurmukh</i> who is turned towards God. By <i>n&#257m simran</i>, i. e. constant remembrance of the Name of God, one discards the fear of death. This is the way to achieving the state of fearlessness, the state of liberation and everlastingness. He is truly triumphant in the world who absorbs himself in <i>n&#257m</i> and is firm in his faith, who performs his worldly duty and yet remains unattached, always ready to leave the world without sorrow. One, who submits to the Will of the Lord and leads a pious life, lives in peace and tranquillity and dreads not the call of death. Death for such virtuous persons is a victory. All have to reach the same destination, says Gur&#363 N&#257nak. Instead of crying and wailing at the death of a relation, men should sit together and sing the praise of God.</p>

<p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The poetic metre used in <i>Al&#257h&#7751&#299&#257&#7749</i> corresponds the tune in which this folk form is cast. It is a kind of <i>duvaiy&#257 chhand</i>, in which last line of each <i>&#347abda</i> echoes the burden of the in the first part of <i>Al&#257h&#7751&#299&#257&#7749</i>. The language is S&#257dh Bh&#257kh&#257 with a strong flavour of Lahnd&#299 dialect. Alliteration has been used and new compounds formed to make the lines musical. Some of the verses convey the eternal truths in such homely yet terse language that they have become part of Punjabi speech. For instance: "<i>jeh&#257 likh&#299&#257 teh&#257 p&#257i&#257</i>" as is it foreordained for one, so does one receive, and "<i>ko mara n&#257 moi&#257 n&#257le&#8221 </i> - none ever die with the dead.</p>

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BIBLIOGRAPHY<p class="C1"><ol class="C1"><li class="C1"> Kohli, Surindar Si&#7749gh, <i>A Critical Study of Adi Granth</i>. Delhi, 1961<BR>

<li class="C1"> T&#257ran Si&#7749gh <i>Sr&#299 Gur&#363 Granth S&#257hib J&#299 d&#257 S&#257hitak Itih&#257s</i>. Amritsar, n. d.<BR>

</ol><p class="CONT">Harcharan Si&#7749gh<br></p><BR>

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