Anjuli

Anjuli
The word ‘anjuli’ is a modification of the word ‘अञ्जलिः’ (anjalih) in Sanskrit. It refers to the cupping of hands. ‘Anjuli’ also refers to the act of praying or supplicating while folding both hands, the act of bringing both hands together in order to seek blessings from a deity, or the act of folding hands in acceptance of the Divine will. ‘Anjuli’ is also associated with the gesture made during salutation. The palmful of water offered to ancestors and deities is also known as ‘anjuli.’ Additionally, ‘anjuli’ is considered a meter of a verse form in Indic poetics. The plural form of ‘anjuli’ is ‘anjulian/anjulia.’ ’

Some terms similar to ‘anjuli’ are ‘pushpanjali,’ ‘tilanjali,’ ‘jalanjali,’ and ‘shardhanjali.’ The act of offering a handful of flowers to someone is called ‘pushpanjali.’ The act of offering a handful of sesame seeds with some water is called ‘tilanjali.’ Similarly, the act of offering a palmful of water is called ‘jalanjali,’ such as, during the ritual of ‘tarpan’ in Hinduism, when palmfuls of water are offered while reciting the names of deities or ancestors. Apart from this, there is also a tradition of offering ‘tilanjali’ after the cremation of the deceased, which is believed to benefit the deceased in their next life. Similarly, delivering a eulogy for the deceased is referred to as ‘shardhanjali.’

Anjuli: A Poetic Form
Although no specific theoretical framework has been established to determine the figurative structure of ‘Anjuli’ as a poetic form, scholars have nonetheless defined it, on the basis of its subject matter, as a distinct poetic form or poetic sub‐genre. Dr. Charan Singh and Piara Singh Padam have considered it a poetic form that emerged in relation to the rituals of ‘tarpan,’ performed during a funeral ceremony. According to Dr. Rattan Singh Jaggi, a composition that comments on the ritual of offering water to deities or ancestors is referred to as ‘anjuli.’ Dr. Mahinder Kaur Gill has categorized ‘anjuli’ or ‘anjulian’ as a poetic form based on a ritual observance.

In the Guru Granth Sahib, four Sabads are recorded under the titles ‘Anjuli’ and ‘Anjulia.’ These Sabads describe the all-pervasiveness of IkOankar (the Divine), the all-Capable Creator. They convey that instead of engaging in outward rituals, one ought to surrender to IkOankar, enshrine IkOankar within their consciousness, and remain content with the will of IkOankar. Similar to the composition ‘Arti,’ where Guru Nanak Sahib portrayed the ritual of Arti in the context of a vast expanse, in ‘Anjuli,’ instead of performing rituals or relying on worldly support, the feeling of utmost surrender while pleading before IkOankar is expressed.

Apart from the Guru Granth Sahib, no other composition titled ‘Anjuli/Anjulia’ is found in Panjabi literature. In this sense, it can be considered a unique poetic form of the Guru Granth Sahib. Within the Guru Granth Sahib, it appears as a poetic form that expresses the sentiments of supplication and surrender before IkOankar.

‘Anjuli/Anjulia’
In the Guru Granth Sahib, under the title Anjuli/Anjulia, four Sabads revealed by Guru Arjan Sahib in rag Maru are recorded:

1. sanjogu vijogu dhurahu… āiā so parvāṇu thiā.4.1.31. - Guru Granth Sahib 1007
2. vaido na vāī bhaiṇo na bhāī… nānaku tisu kurbānu he.5.2.32. - Guru Granth Sahib 1008
3. jisu grihi bahutu tisai grihi cintā… tū dehi ta nāmu samālīai.8.1.7. - Guru Granth Sahib 1019
4. birkhai heṭhi sabhi jant ikaṭhe… guṇ gītā nit vakhāṇīā.8.2.8.12.20. - Guru Granth Sahib 1020

Of the four Sabads, the first and second are in the form of chaupadas (four-stanza Sabad), while the third and fourth are astpadis (eight-stanza Sabads). The first Sabad comprises four stanzas, each consisting of three lines. The second Sabad contains five stanzas: the first four are single-line stanzas, and the fifth comprises two lines. The third and fourth Sabads each contain eight single-line stanzas.

The first Sabad conveys that IkOankar creates the being and protects them. However, the being forgets IkOankar after coming into the world. Despite this, IkOankar continues to protect them. The being who remembers IkOankar and lives content in the will of IkOankar makes their life fruitful.

In the second Sabad, the all-pervasiveness of IkOankar is described. Guru Arjan Sahib says that IkOankar dwells with the being at every moment. The being believes that during times of illness or other difficulties, a physician or relative may help them. However, this is merely an illusion. In reality, the all-pervading IkOankar alone protects them.

The third Sabad conveys that those who have excess wealth fear losing it. Those who have little wander around in its pursuit. This Sabad explains that both abundance and scarcity of anything are causes of suffering. Therefore, a person can be happy only by living a life of contentment and gratitude with the necessary means.

The fourth Sabad describes the transient nature of the world and encourages the being to stay away from bad deeds. The wealth accumulated through the oppression of others keeps them entangled in the web of material attachment. When, through the Wisdom (Guru), IkOankar bestows grace upon a being, they come to understand that true happiness lies in accepting the will of IkOankar.

Thus, it can be stated that in this composition, instead of offering water, sesame seeds, or flowers to IkOankar, the being is encouraged to surrender in devotion before IkOankar. This is why these Sabads are referred to as ‘Anjuli.’