The Urz-ul-alfâz (exposition of terms) is the lengthiest yet least known composition of Bhai Nand Lal. As the title reveals, it is written in Persian, yet employs heavily from the Arabic vocabulary. It consists of a long discussion on various terms and concepts from the Islamic, Hindu and Sikh tradition.

The composition begins with a short eulogy of God with the poet giving his thanks for the many bounties bestowed by God. The theme of the composition begins in the following words “Each word [in the upcoming composition] has several meanings and interpretations as can be seen in both old and newer dictionaries.” (Zî har lafaj shud chand mânî padîd. Zî kutib lugâti kadimai jadîd). As seen in the Ganjnama where the poet creates a play of letters with each letter of the Gurus names, the author in this composition begins to praise each letter of the Persian alphabet and the many manifestations each letter can take as well as the etymology of various Persian and Arabic words. It is a philosophical and mystical document with each line containing many hidden and inner meanings:

Thousands are praises and thanksgivings owed to the court of that Holy and Fearless Judge, who blessed the composition of these words with completion and illuminated the thoughts enshrined therein like the Sun. Each word has many meanings found in old and new dictionaries. These are the disciplines spread by scholars of intellect and vision.

What are the kinds of "k" and "y", which are the particles and prepositions and which are the nouns related to "t"? Such words of spiritual, mathematical and physical content are given in this book with discriminative care. What are the six kinds of knowledge and two kinds of wisdom from either of which there grow three names for each? Then there are plural words and plurals of plurals; for the purpose of this work they are free from extraneous consideration. Description of this kind is a virtuous task, but every task and capability to perform it is from Him. Therefore, it is proper to commence this book in the name of God, the Creator of the universe.

It then begins to discuss different concepts and notions as seen above. Towards the end of the composition it again reverts to praises of God in meters and rhythms very similar to those seen in the Jaap Sahib such as the following verse Vahîd-ul-Ahad lâ sharîk-ul-samad, amîm-ul-karam lam-yalad munfarad (He is One and has no equal; He is not dependent on anyone. He is the most generous of all and there is none like Him) and Hû al-fardiâto hû taksîrnâ, hû al-tankîhô hû tanvîrnâ (He is one yet many; He is the king of Contemplation and Light) and continues with many Persian and Arabic epithets of God. The entire composition is concluded in a Sikh context with epithets common in the Guru Granth Sahib: Hû al-Râm Gobind Gopâlna (He is Ram, Gobind and Gopal) and Hû al-Satguru val-nirankârna (He is the Satguru and the formless), Hû al-sâdh sangat hu al-yârna (He is the friend of the sadh sangat).

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