Gurū Gobiṅd Siṅgh's Revival Of The Kṣatriya Race & Culture
In this article I hope to cover the Kṣatriya element of Gurū Gobiṅd Siṅgh and it's presence within his founded Khālsā Paṅth by observing Gurbānī, Sikh History & Scholarly observations.
ਬਹੁ ਮਹਿਂ ਅਪਨੋ ਰੂਪ ਬਨਾਯਹੁ। ਸ਼ਸਤ੍ਰ ਧਰਨਿ ਉਪਦੇਸ਼ ਦ੍ਰਿੜਾਯਹੁ।
ਸਭਿ ਮਹਿ ਬੀਰ ਸੁ ਰਸ ਬਿਰਧਾਯਹੁ। ਧਰਮ ਦ੍ਰਿੜਾਯਹੁ ਨਾਮ ਜਪਾਯਹੁ ॥ 42 ॥
Bahu mahi apno rūp banāyahu | Ṣastra dharan upadesh drirhāyahu ||
Sabh mahi bīr su ras birdhāyahu | Dharam drirhāyahu nām japāyahu || 42 ||
The Gurū (Gurū Gobiṅd Siṅgh) has created the Khālsā based off of his rūp or form by doing so the Gurū has expanded himself into many (The Khālsā). The Gurū has firmly established his command of adorning weapons and has further increased Bīr Rasa or warrior-spirit within his Khālsā along with instilling Righteousness and the chanting of Nām or Divine Name within his Khālsā!
(Srī Gurpratāp Sūraj Graṅth, Mahākavī Saṅtokh Siṅgh)
Within this short couplet it is clearly explained that the Khālsā of Gurū Gobiṅd Siṅgh is in one sense the expansion of Gurū Gobiṅd Siṅgh which can be understood to be the expansion Gurū Gobiṅd Siṅghs attitude and form that has taken place through the initiation of the Khālsā fold. In this article I hope to expand upon the Kṣatriya element within Gurū Gobiṅd Siṅgh and his Khālsā via analysing the form, attitude and practices of the tenth-master, Gurū Gobiṅd Siṅgh.
Firstly, Let us come unto the form of the Khālsā and observe the tenth-master’s appearance! Within the previously sited text we find a description of the great Gurū Gobiṅd Siṇgh-
ਦੋਹਰਾ- ਖੜਗ ਧਰਹਿ ਨਿਜ ਗਰ ਬਿਖੈ ਜ੍ਵਾਲਾ ਬਮਣੀ ਹਾਥ।
Dohrā/Couplet - Kharag dharhi nij gur bikhai jvālā bamaṇī hāth
The Gurū adorns a sword strapped on his neck, In his hands, he holds a Jvālā Bamaṇī/Gun.
Here we find the Gurū being displayed as an Ṣastradhārī or a wielder-of-weapons which doesn’t seem surprising when we are to glance upon the compilation of the master’s poetical works understood as the Dasam Graṅth in which he states the following-
ਛਤ੍ਰੀ ਕੋ ਪੂਤ ਹੌ ਬਾਮਨ ਕੋ ਨਹਿ ॥
Chatrī ko pūt hao bāhman ko nahi |
I am a son of a Kṣatrīya (Chatrī/Khatrī) not that of a Brahmin!
Here the Gurū clarifies he is not a Brahmin who may perform various penances and rituals and that he is in-fact a son of a Kṣatrīya. It also becomes clear that the Gurū has rejected Brāhmaṇical authority/superiority and has proudly remarked that he is a son of a Kṣatriya and not that of a Brāhmaṇa. This expression of being a son of a Kṣatrīya, In other words being a Kṣatriya is still visible from the form of the Khālsā through many Kṣatriya practices such as the adornment of Keṣa or Uncut/Long-Hair, therefore, Gurū Gobiṇd Siṅgh we see great reverence and respect for Keṣa or Uncut hair which in many ways invokes the spirit of ancient Kṣatriya culture of maintaining uncut hair which can be observed by studying the lives of great Kṣatriyas such as Srī Rāma and the Vrātya-Kṣatriya-Ruler Kṛṣṇa as we find Srī Rāma adorning uncut hair or Keṣa within the many versions of the Rāmāyaṇa (Texts which cover the life of Srī Rāma) and find the same in regards to Kṛṣnā by observing texts such as the Bhagavad Gītā which concern Kṛṣṇā.
In the Rāmāyaṇa of Sage Vālmīkī we find Srī Rāma utilising the milk-like liquid found within Banyan Trees to create Jaṭṭās or Locks out of his long hair -
(Rāma Says) “I as such, wishing well of my father, Sita as well as Lakshmana and having taken up a discipline to be followed by ascetics, want to proceed further, wearing matted hair. Please bring the latex of a banyan tree.”
Guha immediately brought that latex to the prince. With that, Rama made matted hair to himself and to Lakshmana.
-Vālmikī Rāmāyana, Ayodhya Kānda, Sarga 52, Ṣloka 68-69
Not only do we find such refrence just within the Vālmīkī Rāmāyaṇa, We find further references to such within the ‘Hanūmān Nātak’ of the poet Hṛde Rāma. This text is said to be one of the most-loved pieces of poetry in the Tenth-Master collection as it is said to awake the Kṣatriya-Warrior Spirit known as Bīra-Rasa -
ਲੈ ਬਟ ਦੂਧ ਬਨਾਇ ਜਟਾ ਸਿਰ ਬੀਰਹਿ ਭ੍ਰਾਤ ਬਨਾਵਤ ਨੀਕੋ ॥
Lai baṭ dūdh banae jaṭā sir bīrahi bhrāt banāvat nīkó ||
Here it is mentioned again how Srī Rāma using the Milk-like Latex of the Banyan Tree (ਲੈ ਬਟ ਦੂਧ) created locks out of his and his brother’s long and uncut hair (as one is unable to forge locks out of short-cut hair) (ਸਿਰ ਬੀਰਹਿ ਭ੍ਰਾਤ ਬਨਾਵਤ ਨੀਕੋ)
Among the many names of Kṛṣṇa we find the name ‘Kéṣava’ in other words ‘The Long-Haired’ This name can be found in many places within the Bhagavad Gītā!
This claim of Kéṣa asserting importance into the Khālsā due to Influences of Kṣatriya Culture can be ignored by simply labelling it as a mere coincidence but this theory becomes a reality when we are to observe Sikh History as documented by eminent Sikh Historians such as Bhāī Rattan Siṅgh Bhāṅgū, Bhaṅgū suggests the practice of adorning uncut-hair or Kéṣa, The tying of the turban and adoption of the surname Siṅgh all derive from Kṣatriya culture -
ਛਤ੍ਰੀ ਰੂਪ ਸੁੰਦਰ ਅਤਿ ਲਾਗੈ ॥ ਕੇਸ ਸੀਸ ਸਿਰ ਬਾਂਧੈ ਪਾਗੈ ॥ 22 ॥ ਨਾਮ ਸਿੰਘ ਹੁਤੋ ਛਤ੍ਰਨ ਕੇਰੋ ॥
So uddam kīo gurū bichār || Chatrī rūp suṅdar ati lāgai
Kes sīs sir baṅdhai pāgai || 22 || Nām siṅgh huto chatran kero ||
(Deciding The Form of the Khālsā) The Gurū found the Kingly-Kṣatriya form exceedingly beauteous, subsequently, taking inspiration and blessing the Khālsā with Kṣatriya practice of preserving Kéṣa and the tradition of adorning the turban along with blessing the Khālsā the surname of Siṇgh a practice prevalent within the Kṣatriya Kings.
In the Nihaṅg Siṅghs which can be understood as the most nearest representations of the early Khālsā Sikhs we find the adornment and reverence of weapons or Ṣastrapūjā which is a practice blessed to the Khālsā by the Tenth-Master! Ṣastras or weapons have been bestowed such a high stature that the Tenth-Master, namely, Gurū Gobiṅd Siṅgh has dedicated whole prayers towards Ṣastras (Weapons) like the ‘Srī-Ṣastra-nāma-māla’. In Ṣastranāmamālā we find -
ਅਸਿ ਕ੍ਰਿਪਾਨ ਖੰਡੋ ਖੜਗ ਤੁਪਕ ਤਬਰ ਅਰੁ ਤੀਰ ॥ ਸੈਫ ਸਰੋਹੀ ਸੈਹਥੀ ਯਹੈ ਹਮਾਰੈ ਪੀਰ ॥੩॥
As kripān khaṅdo kharhag tupak tabar ar tīr || Saif saróhī saihathī yahai hamārai pīr ||
The Talwar (Type of Indian Sword), Kirpan (Umbrella Term For Swords), Khaṅdā (Double-Edged Indian Sword), Kharag (Another umbrella term for swords) Tupak (Gun), Tabar (Axe), Tīr (Arrow), Saif (Straigh-tish Arabian Sword), Saróhī (Type of Talwar created in a town named Sirohī), Saihathī (Spear) all these weapons are my Pīrs in other words Gurūs.
(For a detailed commentary upon the above verse do check my friends article - Link)
The practice of Ṣastrapūjā is again a practice of Kṣatriya-Kings, The practice of Ṣastrapūja being a practice adopted from Kṣatriya-Kings has been accepted by some of the greatest scholars ever known to the Khālsā Paṅth such as Giānī Giān Siṅgh
ਜਿਤਿਕ ਭੂਪ ਜਗ ਮੈਂ ਭਏ, ਪੂਜਤ ਸਭਿਨਿ ਕ੍ਰਿਪਾਨ
Jitik bhūp jag maiṅ bhae pūjat sabhin kripān ||
All the great Kings/Kṣatriyas which have come to roam the earth have all worshiped the sword!
Again one may argue that the term used ‘Bhūp’ is just reffering towards Kings and not Kṣatriyas but again this argument can easily be refuted as historically only Kṣatriya-Kings have worshiped the sword. This argument in regards to Bhūp can also be settled if we are to read further as Giānī Giān Siṅgh within the next page states -
ਪਰਮ ਧਰਮ ਛੱਤ੍ਰੀਨ ਕੋ ਪੂਜਤ ਭਲੇ ਕ੍ਰਿਪਾਨ
Param dharam chhatrīn kó pūjat bhale kripān ||
The greatest tradition is that of the Kṣatriyas who worship the great sword!
It is noteworthy that Giānī Giān Siṅgh mentions the Gurū describing the Kṣatriyas as the greatest which acts against the idea of the Brāhmaṇa holding the greatest stature so central to Brāhmaṇical belief, Therefore, I argue the Tenth-Master’s (Gurū Gobiṅd Siṅgh) idea of a Kṣatriya does not fit within the Ideal Vedic-Kṣatriya Persay but more of the Vrātya-Kṣatriya which are historically known to be Non-Vedic therefore have many negative connotations imposed upon them by those adhering to the Brāhmaṇical belief system. This argument of mine can be understood more clearly through verses such as -
ਇਸ਼ਟ ਤੱਗ ਛੱਤ੍ਰੀਨ ਕਾ, ਅਹੇ ਸਦਾ ਕ੍ਰਿਪਾਨ |
Iṣṭa ttag chhatrīn kā, Ahé sadā kripān |
The Iṣṭa (Most Cherished Diety Of Worship) of Vedic-Kṣatriyas is the sacred thread, likewise, The Iṣṭa of the (Non-Vedic Kṣtriya-)Khālsā is the sword!
(Navnīn Paṅth Parkāṣa, Purbāradh Bisrām 61, Page 1576, Giānī Giān Siṅgh)
These above references illustrate the Kṣatriya form and practices of Gurū Gobiṅd embedded within the Khālsā, In the Gurpartāp Sūraj Graṅth better known as Sūraj Prakaṣa we find a verse in regards to the Khālsā in which we find the Khālsā to be attributed as the revival of the Ancient Kṣatriyas and their culture -
ਪੰਥ ਖਾਲਸਾ ਬਧਨੇ ਲਾਗਯੋ। ਜਨੁ ਛੱਤ੍ਰੀ ਧਰ੍ਮ ਸੂਤੋ ਜਾਗਯੋ । ਗਰਜਿ ਗਰਜਿ ਕਰਿ ਫ਼ਤੇ ਬੁਲਾਵੈਂ। ਕੇਸ ਕੱਛ ਆਯੁਧ ਉਰ ਭਾਵੈ॥੪੨॥
Paṅth khālsā badhane lāgyo jan chhatrī dhram sūto jāgyó | Garaj garaj kar fateh bulāvai | kesa kacha āyudh ur bhāvai
Day by day more and more would be initiated into the Khālsā, It was as if the Kṣatriya Religion/Tradition, lost in deep-sleep had suddenly awoken! The Khālsā Sikhs would roar Fateh and adorn Kachha (Sikh Undergarment that is also prevalent within Kṣatriya-Kings), Kéṣa (Uncut Hair) and Āyudha (Weapons/Ṣastras) which would please one’s heart.
(Srī Gurpratāp Sūraj Graṅth, Mahākavī Saṅtokh Siṅgh)
Having discussed the form and practises of the Khālsā and elaborating upon its undoubtedly Kṣatriya-ness or Kṣatriya form inherited from the Tenth-Master (Gurū Gobiṅd Siṅgh), The founder of the Khālsā, let us come unto the revolutionary attitude of the Tenth-Master to further plant another pillar in support of this argument.
In Navnīn Paṅth Prakaṣa Giānī Giān Siṅgh states -
ਸਿੰਘ ਜਿਤਿਕ ਗੁਰੁ ਦਸਮ ਕੇ, ਸੂਦ ਬੈਸ ਦਿਜ ਨਾਹਿ।ਯਹਿ ਸਭਿ ਕ੍ਰਿਤਮ ਛੱਤ੍ਰੀ ਬਰਣ ॥
Siṅgh jitik guru dasam ke sūd bais dij nāhi yahi sabh kritam chhatrī baraṇ |
All the Singhs of the Tenth-Master (Gurū) are not Ṣudras, Vaiṣyas and Brāhmaṇas (Three Of The Four) as they have been transformed into Kṣatriyas!
This above raises the question ‘How have these Sikhs become Kṣatriyas?’ which is answered by Giān Siṅgh in the next verses -
ਜਾਂ ਦਿਨ ਅੰਮ੍ਰਿਤ ਛਕਤ ਯਹਿ, ਰਹਤ ਨ ਪਿਛਲੀ ਜਾਤਿ । ਜਯੋ ਭ੍ਰਿੰਗੀ ਹੈ ਕੀਟ ਤੈ, ਤਯੋਂ ਸਿੱਖ ਹੈ ਗੁਰੁ ਜਾਤਿ ॥੨੪॥
Jāṅ din aṅmṛt chakar yah rahat na pichalī jāt | Jayó bhṛiṅgī hai kīṭ tai tayó sikh hai gur jāt || 24|| Sūraj baṅsī dasam gur chatrī bhae prassidh yāhī té sabh khālsā chhatrī baraṇ abbidh || 25 ||
Upon the day one takes Amrit or Khaṅdé dī pāhul (Becomes initiated within the Khālsā Fold) one’s previously caste does not hold any significance, Just as a caterpillar transforms into an butterfly, Upon initiation within the Khālsā one adopts the Kṣatriya lineage of the Gurū.
The above titbit selected from Giānī Giān Siṅgh’s Navnīn Paṅth Parkāṣa again proves the previous claim of Gurū Gobiṅd Siṅgh being a revolutionary who spoke against the oppressive Brāmaṇical ideas which bounded people by splitting them into unjust castes and classes or Varṇāṣramadharma The Gurū arrived to a firm resolution, to dissolve all these castes into one community alias Khālsā. Bhāī Naṅd lāl a contemporaneous Sikh of the Tenth-Master states -
ਚਾਰ ਬਰਨ ਇਕ ਬਰਨ ਕਰਾਉਂ | ਵਾਹਿਗੁਰੂ ਕਾ ਜਾਪ ਜਪਾਉਂ | 57 |
Chār baran ik baran karāoṅ | vāhigurū siṅgh ko nām japāo | 57 |
(Gurū Gobiṅd speaks to Bhāī Naṅd Lāl) I blend the four castes or varṇas into one Varṇa/Caste and propagate the worship of Vahegurū.
Leaving form and genealogy aside, coming unto the attitude of the Tenth Master we find a great desire for Dharma-Yudha or War in favour of righteousness, therefore, The Khālsā -
ਅਬ ਰੀਝਿ ਕੈ ਦੇਹੁ ਵਹੈ ਹਮ ਕਉ ਜੋਊ ਹਉ ਬਿਨਤੀ ਕਰ ਜੋਰਿ ਕਰੋ ॥
ਜਬ ਆਉ ਕੀ ਅਉਧ ਨਿਦਾਨ ਬਨੈ ਅਤਿ ਹੀ ਰਨ ਮੈ ਤਬ ਜੂਝਿ ਮਰੋ ॥੨੪੮੯॥
Ab rījh kai dehu vahai ham kao jou hao binti kar jor karo ||
Jab āo kī aud nidān banai at hī ran mai tab jūjh maró ||
O’ Lord, So now happily bestow to me that for which I plea with my folded hands, That near the end of my life I renounce this body in a great terrific war for righteousness!
It can be said without hesitation that this idea of leaving one’s body in the battlefield soaked with blood is the attitude of a Kṣatriya which has been elucidated throughout the Tenth-Master’s Dasam Granth -
ਜੂਝਬੋ ਜੂਝ ਕੈ ਪ੍ਰਾਨ ਤਜੈ ਜੁਝਾਇਬੋ ਛਤ੍ਰਨ ਕੋ ਬਨ ਆਯੋ ॥
Jūjhbo jūjh kai prān tajai jujhāibó chatran ko ban āyo ||
To wage war, to fight in war and leave one’s breath (die) in war is the sole duty of a Kṣatriya!
(Kṛṣṇa Avtār, Dasam Graṅth, Gurū Gobiṅd Siṅgh)
We find further mention within the Tenth-Master’s Gobiṅd Gītā or Translation and Commentary upon the Bhagavad Gītā in Braja found within early copies of the Dasam Graṅth -
ਖਤਰੀ ਦੇਹ ਜੁਧ ਹੈ ਧਰਮ॥
Khatrī deh judh hai dharam ||
The duty or Dharma of a Kṣatriya is solely Yudha or War!
further reading leads us to the consequences of a Kṣatriya not engaging in war -
ਜੋ ਜੋਧਾ ਤੁਝ ਜਾਨੈ ਸੂਰ ॥ ਸੋ ਤੁਝ ਜਾਨੈ ਕਾਇਰ ਮੂੜ ॥
ਬੁਰੋ ਬਚਨ ਕਹੇ ਤੁਝ ਮਾਹਿ ॥ ਇਸ ਨਿੰਦਿਆ ਤੇਂ ਤੂੰ ਦੁਖ ਪਾਹਿਂ ॥ ੬੨ ॥
Jo jodhā tujh jānai sūr || so tujh jānai kāir mūrh ||
bure bachan kahe tujh māhi || Is niṅdiā te tūṅ dukh pāhiṅ | 62 |
O’ Arjuna if you are to run from this battle as a Kṣatriya says Kṛṣṇa, That warrior who may perceive you as a great-brave-warrior shall understand you to be a foolish coward. You shall be slandered and made derogatory comments at and due to this slander you shall bear much sorrow!
The above verses also provide an understanding of the importance of fighting in war for a Kṣatriya and the consequences of not following one’s Kṣatriya duty of waging war for Dharma. In Gurū Gobiṅd Siṅgh’s Dasam Granth we find him stating clearly his purpose being to protect dharma or righteousness -
ਯਾਹੀ ਕਾਜ ਧਰਾ ਹਮ ਜਨਮੰ ॥ਸਮਝ ਲੇਹੁ ਸਾਧੂ ਸਭ ਮਨ ਮੰ ॥ ਧਰਮ ਚਲਾਵਨ ਸੰਤ ਉਬਾਰਨ ॥ ਦੁਸਟ ਸਭਨ ਕੋ ਮੂਲ ਉਪਾਰਨ ॥੪੩॥
Yāhī Kāj dharā ham janamaṅ || Samajh lehu sādhū sabh man maṅ || dharam chalāvan saṅt ubāran || dusṭ sahan ko mūl upāran || 43 ||
It is for this purpose I have taken birth, Should all the Sadhus/Sages understand well within their minds, I have manifested within this world for the propagation of Dharma, for the protection of Saints and to annihilate evil tyrants at their roots!
(Srī Dasam Graṅth)
Similarly, Koer Siṅgh within his ‘Gurbilās Pātiṣāhī Dasvīṅ states -
ਧਰਮ ਹੇਤ ਗੁਰੂ ਨਾਨਕ ਰੂਪਾ ।
Dharam het gurū nānak rūpā |
For the sole reason of Dharma (Righteousness) (The Lord) manifested in the form of Guru Nanak Dev Ji.
The above references permit us to state without hesitation that the Gurūs understood their purpose of life to be the protection of Dharma or Righteousness, therefore, For the protection of Dharma, The Gurūs waged Dharma-Yudha or War-for-righteousness following their duty as Kṣatriyas! The Gurūs not only fought in war but awoke the Kṣatriya Tradition which was once lost in sleep by initiating thousands into the Khālsā fold, We find the Gurū stating that he has no other desire other than invoking the desire for Dharma-Yudha in Sikhs! -
ਅਵਰ ਬਾਸਨਾ ਨਾਹਿ ਪ੍ਰਭ ਧਰਮ ਜੁਧ ਕੇ ਚਾਇ ॥੨੪੯੧॥
Avar bāsanā nāhi prabh dharam judh ke chāe || 2481 ||
O’ Lord, I have no other desire than to incite the desire of Dharma-Yudha into others!
This verse in many ways displays the reasoning for the creation of the Srī Dasam Granth, to invoke Dharma-Yudha via writing Bīra-Rasa Bāṇī or writing which awakens the Kṣatriya-Martial Spirit. Guninder Kaur notes such within her book upon the Srī Dasam Graṅth (But here she replaces Bīra-Rasa with Raudra-Rasa which are essentially the same) -
One is repetition of sounds. It seems as if Guru Gobind Singh had woven raudra rasa into the warp and woof of the language itself, into the very texture of the words! His frequent use of alliteration, assonance, and consonance lends a stimulating rhythm and music to the narrative. The constant repetition of sounds like bha, gha, jha, dha, and ra reproduces the heavy sounds of combat. In 'durga sabhe sanghäre räkhaś kharag lai,... for instance the use of bha, gha, and ya makes the verse throb with excitement. Here, the sounds themselves suggest that the goddess is felling the giant-like demons. In another verse, 'bhaka bhunk bheri dhah duh dankam...dhaka dhukk dhalam,' the martial rhythm is ringingly audible. The readers become saturated with the frenzy of battle and are carried away with it, feeling it flow turbulently in their own blood and nerves. In another line, tani tani fir calãe durga dhanukh lai' the sound alone-a combination of the alliteration of and the consonance of lai reproduces the speed of action in actual fighting. Durga is pictured here shooting arrows (tir calde) with all her might (tani tani). These devices are very appropriate to the description of battle-scenes. Another favorite device is the use of onomatopoeia. Guru Gobind Singh subtly chooses words whose sound suggests their meaning. He reinforces raudra rasa by the aural effect of his diction. The different names used for Durga like Candi, Bhavani, and Durgshäh have a heroic ring. Furthermore, polysyllabic words or compound epithets aurally very resonant-enrich the poetry.... In such instances a multiplicity of characteristics are brought together, heightening both sound and sense (Kaur 1993: 138).
In the above scholarly observation by Guninder Kaur it becomes clear in which method the Gurū has invoked the Kṣatriya-Martial ‘Raudra-Rasa/Bīra-Rasa‘ within his Bāṇī. Furhtermore, If we are to re-observe the initial verse founding this article from the precolonial text ‘Srī Gurpratāp Sūraj Graṅth’ of Kavī Saṅtokh Siṅgh in which he states -
The Gurū (Gurū Gobiṅd Siṅgh) has created the Khālsā based off of his rūp or form by doing so the Gurū has expanded himself into many (The Khālsā). The Gurū has firmly established his command of adorning weapons and has further increased Bīr Rasa or warrior-spirit within his Khālsā along with instilling Righteousness and the chanting of Nām or Divine Name within his Khālsā!
(Srī Gurpratāp Sūraj Graṅth, Mahākavī Saṅtokh Siṅgh)
Kavī Saṅtokh Siṅgh again mentions that the Gurū by expanding into the Khālsā has in many ways woven his Kṣatriya-Martial atittude or thinking (Bīra-Rasa) within the Khālsā! and by doing so he has revived the age old Kṣatriya Dharam!
In conclusion, It can be remarked that Gurū Gobiṅd Siṅgh has revived or at least influenced his Kṣatriya element within the Khālsā through means of writing the Srī Dasam Graṅth in which he has woven Raudra-Rasa and Bīra-Rasa to evoke the Kṣatriya Spirit in the Khālsā, bestowing great Kṣatriya practices such as the adornment of weapons, worship or weapons, keeping uncut hair etc.. along with the great thirst for battle and blood!
Salutations to Gurū Nānak! -
Svastī Srī Gurū Nānakó Vijayaté, Vande Guruṃ Nānakaṃ, Gopyóhaṃ GurūNanakena Stattaṃ ṢrīNānakāyóṃ Namaḥ | Dasaḥ Sadgurunānaké Mam Ratis-Trāyasva Māṃ Nānak |