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ਜਪੁ | Jup
ਸੋ ਦਰੁ | So Dar
ਸੋਹਿਲਾ | Sohilaa
ਰਾਗੁ ਸਿਰੀਰਾਗੁ | Raag Siree-Raag
Gurbani (14-53)
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Pahre (74-78)
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Gurbani (94-109)
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ਰਾਗੁ ਗਉੜੀ | Raag Gauree
Gurbani (151-185)
Quartets/Couplets (185-220)
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Gurbani (347-348)
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Kaafee (365-409)
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ਰਾਗੁ ਗੂਜਰੀ | Raag Goojaree
Gurbani (489-503)
Ashtpadiyan (503-508)
Vaar Gujari (508-517)
Vaar Gujari (517-526)
ਰਾਗੁ ਦੇਵਗੰਧਾਰੀ | Raag Dayv-Gandhaaree
Gurbani (527-536)
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Gurbani (537-556)
Chhant (538-548)
Vaar Bihaagraa (548-556)
ਰਾਗੁ ਵਡਹੰਸ | Raag Wadhans
Gurbani (557-564)
Ashtpadiyan (564-565)
Chhant (565-575)
Ghoriaan (575-578)
Alaahaniiaa (578-582)
Vaar Wadhans (582-594)
ਰਾਗੁ ਸੋਰਠਿ | Raag Sorath
Gurbani (595-634)
Asatpadhiya (634-642)
Vaar Sorath (642-659)
ਰਾਗੁ ਧਨਾਸਰੀ | Raag Dhanasaree
Gurbani (660-685)
Astpadhiya (685-687)
Chhant (687-691)
Bhagat Bani (691-695)
ਰਾਗੁ ਜੈਤਸਰੀ | Raag Jaitsree
Gurbani (696-703)
Chhant (703-705)
Vaar Jaitsaree (705-710)
Bhagat Bani (710)
ਰਾਗੁ ਟੋਡੀ | Raag Todee
ਰਾਗੁ ਬੈਰਾੜੀ | Raag Bairaaree
ਰਾਗੁ ਤਿਲੰਗ | Raag Tilang
Gurbani (721-727)
Bhagat Bani (727)
ਰਾਗੁ ਸੂਹੀ | Raag Suhi
Gurbani (728-750)
Ashtpadiyan (750-761)
Kaafee (761-762)
Suchajee (762)
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Chhant (763-785)
Vaar Soohee (785-792)
Bhagat Bani (792-794)
ਰਾਗੁ ਬਿਲਾਵਲੁ | Raag Bilaaval
Gurbani (795-831)
Ashtpadiyan (831-838)
Thitteen (838-840)
Vaar Sat (841-843)
Chhant (843-848)
Vaar Bilaaval (849-855)
Bhagat Bani (855-858)
ਰਾਗੁ ਗੋਂਡ | Raag Gond
Gurbani (859-869)
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ਰਾਗੁ ਰਾਮਕਲੀ | Raag Ramkalee
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Anand (917-922)
Sadd (923-924)
Chhant (924-929)
Dakhnee (929-938)
Sidh Gosat (938-946)
Vaar Ramkalee (947-968)
ਰਾਗੁ ਨਟ ਨਾਰਾਇਨ | Raag Nat Narayan
Gurbani (975-980)
Ashtpadiyan (980-983)
ਰਾਗੁ ਮਾਲੀ ਗਉੜਾ | Raag Maalee Gauraa
Gurbani (984-988)
Bhagat Bani (988)
ਰਾਗੁ ਮਾਰੂ | Raag Maaroo
Gurbani (889-1008)
Ashtpadiyan (1008-1014)
Kaafee (1014-1016)
Ashtpadiyan (1016-1019)
Anjulian (1019-1020)
Solhe (1020-1033)
Dakhni (1033-1043)
ਰਾਗੁ ਤੁਖਾਰੀ | Raag Tukhaari
Bara Maha (1107-1110)
Chhant (1110-1117)
ਰਾਗੁ ਕੇਦਾਰਾ | Raag Kedara
Gurbani (1118-1123)
Bhagat Bani (1123-1124)
ਰਾਗੁ ਭੈਰਉ | Raag Bhairo
Gurbani (1125-1152)
Partaal (1153)
Ashtpadiyan (1153-1167)
ਰਾਗੁ ਬਸੰਤੁ | Raag Basant
Gurbani (1168-1187)
Ashtpadiyan (1187-1193)
Vaar Basant (1193-1196)
ਰਾਗੁ ਸਾਰਗ | Raag Saarag
Gurbani (1197-1200)
Partaal (1200-1231)
Ashtpadiyan (1232-1236)
Chhant (1236-1237)
Vaar Saarang (1237-1253)
ਰਾਗੁ ਮਲਾਰ | Raag Malaar
Gurbani (1254-1293)
Partaal (1265-1273)
Ashtpadiyan (1273-1278)
Chhant (1278)
Vaar Malaar (1278-91)
Bhagat Bani (1292-93)
ਰਾਗੁ ਕਾਨੜਾ | Raag Kaanraa
Gurbani (1294-96)
Partaal (1296-1318)
Ashtpadiyan (1308-1312)
Chhant (1312)
Vaar Kaanraa
Bhagat Bani (1318)
ਰਾਗੁ ਕਲਿਆਨ | Raag Kalyaan
Gurbani (1319-23)
Ashtpadiyan (1323-26)
ਰਾਗੁ ਪ੍ਰਭਾਤੀ | Raag Prabhaatee
Gurbani (1327-1341)
Ashtpadiyan (1342-51)
ਰਾਗੁ ਜੈਜਾਵੰਤੀ | Raag Jaijaiwanti
Gurbani (1352-53)
Salok | Gatha | Phunahe | Chaubole | Swayiye
Sehskritee Mahala 1
Sehskritee Mahala 5
Gaathaa Mahala 5
Phunhay Mahala 5
Chaubolae Mahala 5
Shaloks Bhagat Kabir
Shaloks Sheikh Farid
Swaiyyae Mahala 5
Swaiyyae in Praise of Gurus
Shaloks in Addition To Vaars
Shalok Ninth Mehl
Mundavanee Mehl 5
ਰਾਗ ਮਾਲਾ, Raag Maalaa
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Guru Granth Sahib
Aasaa Di Vaar
Aasaa Di Vaar To Second Pauri: Nānak Jī▫a Upā▫e Kai / ਨਾਨਕ ਜੀਅ ਉਪਾਇ ਕੈ
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<blockquote data-quote="spnadmin" data-source="post: 181424" data-attributes="member: 35"><p>What do I know? Nonetheless, I want to share my own perspective on the discussion. Last night reading Tejwant's posts I became truly intrigued because it was obvious that the verse ਜੋ ਮਰਿ ਜੰਮੇ ਸੁ ਕਚੁ ਨਿਕਚੁ could be, <strong>and has been</strong>, translated in many ways... many contradictory ways. </p><p></p><p>It is Dr. Sant Singh Khalsa, author of the "consensus" translation, which abounds on the internet, who uses the translation "subject to" death and rebirth, but nothing is there to justify his choice of words. I think whenever <strong>mar and jamme</strong> are used together, a reflex kicks in. What else could it mean but death and rebirth? Reincarnation! And in this case death even precedes birth in word order! So it has to be about reincarnation!</p><p></p><p>I don't think so. I want to look at the verse in a few different ways. First thing, is to consider that all of gurbani is poetry and is meant to be sung out loud and sung with expression, not merely read. Just a read can contribute to misunderstanding.</p><p></p><p>Because Asa di Vaar is poetry, <strong>ਜੋ ਮਰਿ ਜੰਮੇ ਸੁ ਕਚੁ ਨਿਕਚੁ </strong> has to be understood along with the verse just before it,<strong> ਨਾਨਕ ਸਚੁ ਧਿਆਇਨਿ ਸਚੁ </strong>They work poetically as a couplet... an indivisible pair of thoughts and words bound together by sound, tempo and meaning. </p><p></p><p>Guru Nanak is making great use of contrast between those two lines. Because they are a pair, coupling limits possible meanings. The pairing also emphasizes internal rhyme, holds onto tempo, and preserves rhythm. I think that is why mar comes before jamme. There is more here than death followed by birth. Try this out!</p><p></p><p><strong>Nānak sacẖ ḏẖi▫ā▫in sacẖ. Jo mar jamme so kacẖ nikacẖ.</strong> Say it out loud! <strong>Nānak sacẖ ḏẖi▫ā▫in sacẖ</strong>... stop a little and then <strong>Jo mar jamme so</strong>...stop a moment... and then <strong>kacẖ nikacẖ.</strong>. You might hear this. <strong>dhian and jamme</strong> share an inner vowel sound which binds the two lines. To bind the sounds in each line using rhythm, jamme is placed where it is, after mar. It has nothing to do with being born again after you die. Then if you do take that slight pause before kach, nikach you can hear the conversation between the 2 verses. One line is saying Nanak says the ones (who) remember truth are true. And the second line answers back and says, The one who passes between death and life......stop a little..... is false, utterly false.</p><p></p><p>Sant Singh Khalsa translates "dhian" as meditate. Here I also disagree. "Dhian" in this couplet means remember but not in the sense of "recall" or "retrieve a thought." Dhian means "keep always in your mind." This is consistent with many other verses in Gurbani where we are to savor the sat. Whoever does this is true to the truth. Whoever simply passes time between life and death is utterly false. By the choice of "dhian" we are given a mental image of how to remember, how some do, and others do not. Two contrasting images in a couplet of the true versus the false. </p><p></p><p>Please forgive me if I am making much ado about nothing. But reciting the couplet with expression was what convinced me. It was possible to hear the underlying meaning. And here is something interesting, Bhai Manmohan Singh translates as does Tejwant Singh ji </p><p></p><p>They who are born and die, are the falsest of the false. Nada about reincarnation. <strong>ਜੋ ਮਰਿ ਜੰਮੇ ਸੁ ਕਚੁ ਨਿਕਚੁ ॥੧॥</strong> is about living a superficial life.</p></blockquote><p></p>
[QUOTE="spnadmin, post: 181424, member: 35"] What do I know? Nonetheless, I want to share my own perspective on the discussion. Last night reading Tejwant's posts I became truly intrigued because it was obvious that the verse ਜੋ ਮਰਿ ਜੰਮੇ ਸੁ ਕਚੁ ਨਿਕਚੁ could be, [B]and has been[/B], translated in many ways... many contradictory ways. It is Dr. Sant Singh Khalsa, author of the "consensus" translation, which abounds on the internet, who uses the translation "subject to" death and rebirth, but nothing is there to justify his choice of words. I think whenever [B]mar and jamme[/B] are used together, a reflex kicks in. What else could it mean but death and rebirth? Reincarnation! And in this case death even precedes birth in word order! So it has to be about reincarnation! I don't think so. I want to look at the verse in a few different ways. First thing, is to consider that all of gurbani is poetry and is meant to be sung out loud and sung with expression, not merely read. Just a read can contribute to misunderstanding. Because Asa di Vaar is poetry, [B]ਜੋ ਮਰਿ ਜੰਮੇ ਸੁ ਕਚੁ ਨਿਕਚੁ [/B] has to be understood along with the verse just before it,[B] ਨਾਨਕ ਸਚੁ ਧਿਆਇਨਿ ਸਚੁ [/B]They work poetically as a couplet... an indivisible pair of thoughts and words bound together by sound, tempo and meaning. Guru Nanak is making great use of contrast between those two lines. Because they are a pair, coupling limits possible meanings. The pairing also emphasizes internal rhyme, holds onto tempo, and preserves rhythm. I think that is why mar comes before jamme. There is more here than death followed by birth. Try this out! [B]Nānak sacẖ ḏẖi▫ā▫in sacẖ. Jo mar jamme so kacẖ nikacẖ.[/B] Say it out loud! [B]Nānak sacẖ ḏẖi▫ā▫in sacẖ[/B]... stop a little and then [B]Jo mar jamme so[/B]...stop a moment... and then [B]kacẖ nikacẖ.[/B]. You might hear this. [B]dhian and jamme[/B] share an inner vowel sound which binds the two lines. To bind the sounds in each line using rhythm, jamme is placed where it is, after mar. It has nothing to do with being born again after you die. Then if you do take that slight pause before kach, nikach you can hear the conversation between the 2 verses. One line is saying Nanak says the ones (who) remember truth are true. And the second line answers back and says, The one who passes between death and life......stop a little..... is false, utterly false. Sant Singh Khalsa translates "dhian" as meditate. Here I also disagree. "Dhian" in this couplet means remember but not in the sense of "recall" or "retrieve a thought." Dhian means "keep always in your mind." This is consistent with many other verses in Gurbani where we are to savor the sat. Whoever does this is true to the truth. Whoever simply passes time between life and death is utterly false. By the choice of "dhian" we are given a mental image of how to remember, how some do, and others do not. Two contrasting images in a couplet of the true versus the false. Please forgive me if I am making much ado about nothing. But reciting the couplet with expression was what convinced me. It was possible to hear the underlying meaning. And here is something interesting, Bhai Manmohan Singh translates as does Tejwant Singh ji They who are born and die, are the falsest of the false. Nada about reincarnation. [B]ਜੋ ਮਰਿ ਜੰਮੇ ਸੁ ਕਚੁ ਨਿਕਚੁ ॥੧॥[/B] is about living a superficial life. [/QUOTE]
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Guru Granth Sahib
Aasaa Di Vaar
Aasaa Di Vaar To Second Pauri: Nānak Jī▫a Upā▫e Kai / ਨਾਨਕ ਜੀਅ ਉਪਾਇ ਕੈ
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