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ਜਪੁ | Jup
ਸੋ ਦਰੁ | So Dar
ਸੋਹਿਲਾ | Sohilaa
ਰਾਗੁ ਸਿਰੀਰਾਗੁ | Raag Siree-Raag
Gurbani (14-53)
Ashtpadiyan (53-71)
Gurbani (71-74)
Pahre (74-78)
Chhant (78-81)
Vanjara (81-82)
Vaar Siri Raag (83-91)
Bhagat Bani (91-93)
ਰਾਗੁ ਮਾਝ | Raag Maajh
Gurbani (94-109)
Ashtpadi (109)
Ashtpadiyan (110-129)
Ashtpadi (129-130)
Ashtpadiyan (130-133)
Bara Maha (133-136)
Din Raen (136-137)
Vaar Maajh Ki (137-150)
ਰਾਗੁ ਗਉੜੀ | Raag Gauree
Gurbani (151-185)
Quartets/Couplets (185-220)
Ashtpadiyan (220-234)
Karhalei (234-235)
Ashtpadiyan (235-242)
Chhant (242-249)
Baavan Akhari (250-262)
Sukhmani (262-296)
Thittee (296-300)
Gauree kii Vaar (300-323)
Gurbani (323-330)
Ashtpadiyan (330-340)
Baavan Akhari (340-343)
Thintteen (343-344)
Vaar Kabir (344-345)
Bhagat Bani (345-346)
ਰਾਗੁ ਆਸਾ | Raag Aasaa
Gurbani (347-348)
Chaupaday (348-364)
Panchpadde (364-365)
Kaafee (365-409)
Aasaavaree (409-411)
Ashtpadiyan (411-432)
Patee (432-435)
Chhant (435-462)
Vaar Aasaa (462-475)
Bhagat Bani (475-488)
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)
ਰਾਗੁ ਬਿਹਾਗੜਾ | Raag Bihaagraa
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)
Gunvantee (763)
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)
Ashtpadiyan (869)
Bhagat Bani (870-875)
ਰਾਗੁ ਰਾਮਕਲੀ | Raag Ramkalee
Ashtpadiyan (902-916)
Gurbani (876-902)
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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Baba Bolte Thhey Kahan Gaiyeh
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<blockquote data-quote="Gyani Jarnail Singh" data-source="post: 4539" data-attributes="member: 189"><p>WAHEGURU JI KA KHALSA WAHEGURU JI KI FATEH.</p><p> </p><p> A commentary by my dear friend sardar Satnam Singh Ji on aShabad in gurbani.</p><p> </p><p><span style="font-family: 'Verdana'">Sadh Sangat jio,</span></p><p></p><p> </p><p></p><p><span style="font-family: 'Verdana'">Waheguru ji ka khalsa Waheguru ji ki fateh,</span></p><p></p><p> </p><p></p><p><span style="font-family: 'Verdana'">Few days ago some veer jis on these forums had asked me to translate the hymn as mentioned in the subject above. </span></p><p></p><p> </p><p></p><p><span style="font-family: 'Verdana'">So, let us try to understand the meaning of the hymn, by Bhagat Kabir Ji, the lines of the "rahaao" of which are : <strong>Baba Bolte te Kaha Gaye, Dehi ke sung rehte</strong>, ( Guru Granth Sahib ji, Page : 480).</span></p><p></p><p> </p><p></p><p><span style="font-family: 'Verdana'">Many exegetes have created much confusion and the matters have been made worst by our ignorant and illiterate Ragis and Kathawachaks. It appears that they are not interested in the serious study of Gurbani and, as a consequence of it, they do not understand the underlying philosophy of the Gurbani. That is why they are found reciting it at the bhog ceremonies performed in memories of the deceased persons.</span></p><p></p><p> </p><p></p><p><span style="font-family: 'Verdana'">Some well educated persons have also helped create and perpetuate this situation. For instance if one looks at the translation done by Dr. Sant Singh Khalsa one is bound to get confused. He gives literal meanings and many a time the meanings given by him are not in consonance with the Gurmat philosophy. One can refer to the translation of this hymn from the said version. The said translation reqires to be immediately recensed because it is readily available and majority of the people who use it are not fully conversant with the Gurmat philosophy and, therefore, unimaginable damage is being done to the propagation and undestanding of the Gurmat philosophy.</span></p><p></p><p> </p><p></p><p> </p><p></p><p><span style="font-family: 'Verdana'">The "rahaao" of this hymn goes like this:</span></p><p></p><p> </p><p></p><p><strong><span style="font-family: 'Verdana'">Baba Bolte te Kaha Gaye, Dehi ke sung rehte, </span></strong><strong><span style="font-family: 'Verdana'">surat</span></strong><strong><span style="font-family: 'Verdana'"> maahi </span></strong></p><p></p><p><strong><span style="font-family: 'Verdana'"> jo nirtay kartay kathaa baartaa kahtay</span></strong><span style="font-family: 'Verdana'">. [ggs p 480]</span></p><p></p><p> </p><p></p><p><span style="font-family: 'Verdana'">Baba = it is a common form of address and may be translated as, Dear sir, Brother, gentleman.etc ; Bolte = is the plural of Bolta which is a noun and, inter alia,means 'a thought'. Thus Bolte means the thoughts (that keep on rising in the whirlpool of our conciousness); Te = is not the Hindi word "the" and ,therefore, it does not mean 'were'. In fact it is the plural of the pronoun 'oh' (he or she) and it means 'they or those'. Incidently, in Sanskrit also this word 'te' is used as the third personal pronoun ; Dehi = the human body; Dehi ke sung rehte, means: which bided or remained with the body ,that is, which remained concerned with the body only; Surati Maahi= in your mind or consciousness; Niratey Kartey = used to dance, that is, used to rise and gyrate in the mind; Kathaa Barta kehtey= prompted conversation (centered round or related to the human body).</span></p><p></p><p> </p><p></p><p><span style="font-family: 'Verdana'">O Brother (or dear sir), where have those thoughts vanished which hitherto bided with the body and used to keep on dancing (i.e. whirling in the mind) and, consequently, prompting conversation (i.e. making noise )about or centered round the body only? </span></p><p></p><p> </p><p></p><p><span style="font-family: 'Verdana'"> In fact, in this Shabad, Bhagat Kabir Ji depicts the mental condition of a person whose psyche has been edified and who is now living in the world and, being conscious of the ultimate concern of human existence, is no more enmoured of or distracted by the worldly attractions. When such a person casts a hindsight on his past, he is taken aback at the radical change that has taken place in his outlook.</span></p><p></p><p> </p><p></p><p><span style="font-family: 'Verdana'">There was a time when he was so attached to the worldly desires that all the ideas that rose in his mind and his talks were related to the body only. That is, his mind was totally under the influence Maya (that is,the illusion superimposed upon the true being) ,and he regarded all external things as his own and he was totally involved in the worldly things and pursuits only. But now when, by the grace of the Amighty God, he is become dead to the mundane attractions, all those previous ideas and talks about body have taken wings to which place he does not know.</span></p><p></p><p> </p><p></p><p><span style="font-family: 'Verdana'">Please remember that TOO MUCH attachment with the body is also form of Maya. Once a person is absorbed in Naam Simran ( remembrance of the Almighty God) all attachments with the body and the influence of Maya vanish.</span></p><p></p><p> </p><p></p><p><span style="font-family: 'Verdana'">We must keep in our mind that Bhagat Kabir ji laid stress only on total self-surrender to and ceaseless remembrance of One God. He sedulously preached against withdrawal from the world. </span></p><p></p><p> </p><p></p><p><span style="font-family: 'Verdana'">Pause.</span></p><p></p><p> </p><p></p><p><span style="font-family: 'Verdana'">The central message conveyed through the above hymn becomes even more clear when we try to understand what Bhagat ji is telling us in following lines:</span></p><p></p><p> </p><p></p><p><strong><span style="font-family: 'Verdana'">"Keheh Kabir suno re santoh Meri meri jhoothi,</span></strong></p><p></p><p><strong><span style="font-family: 'Verdana'">Chigat Phar Charata ley gayo , tari Tagri Chooti</span></strong></p><p></p><p><strong><span style="font-family: 'Verdana'">" </span></strong><span style="font-family: 'Verdana'">[ggs p 480]</span></p><p></p><p> </p><p></p><p><span style="font-family: 'Verdana'">Chigat= Cage ; Charata= Male Sparrow (Parrot); </span></p><p></p><p><span style="font-family: 'Verdana'">Santoh = saints, Gurbani-oriented holy men.</span></p><p></p><p> </p><p></p><p><span style="font-family: 'Verdana'">Says Kabir, listen O saints, false is to indulge in egoism (I-am-ness). Breaking the bird's cage, the death (cat / male cat ) takes away the bird (parrot) and the threads and yarns, are shorn.</span></p><p></p><p> </p><p></p><p><span style="font-family: 'Verdana'">Here Bhagat ji has tried to convey that this body of which we are so proud of is destructible and is sure to perish one day. That is why Bhagat ji has given us a very simple example from daily life when he says <strong>Chigat Phar Charata ley gayo , tari Tagri Chooti</strong>. And he has tried to give us a message that it is useless to have egoism (I-am-ness) when we definitely will die one day. That is why he has given an example of Cat coming and breaking into the cage of Parrot and killing it and destroying the cage.</span></p><p></p><p></p><p></p><p> </p><p></p><p><span style="font-family: 'Verdana'">I happen to see this in old towns where people used to keep Parrots in Cage, in their homes. There was always fear that cat will come and kill the parrot. And many a times cats were successful in catching their prey. </span></p><p></p><p> </p><p></p><p><span style="font-family: 'Verdana'">Since Rahao conveys the central theme, I have tried to concentrate on <strong>Baba Bolte te Kaha Gaye, Dehi ke sung rehte</strong>. In Sri Guru Granth Sahib Rahao is used because here we are required to pause and spend some time to concentrate and contemplate on the central idea conveyed in the concerned Shabad. </span></p><p></p><p> </p><p></p><p><span style="font-family: 'Verdana'">Rest of the lines can also be translated and explained in a similar way and those lines only expatiate the central theme (Rahao) or explain it with the help of some imagery or examples. </span></p><p></p><p> </p><p></p><p><span style="font-family: 'Verdana'">Bhul Chuk Muaf,</span></p><p></p><p> </p><p></p><p><span style="font-family: 'Verdana'">Satnam Singh</span></p><p> </p><p><span style="font-family: 'Verdana'">Posted By:<img src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" class="smilie smilie--sprite smilie--sprite1" alt=":)" title="Smile :)" loading="lazy" data-shortname=":)" /> Jarnail singh</span></p></blockquote><p></p>
[QUOTE="Gyani Jarnail Singh, post: 4539, member: 189"] WAHEGURU JI KA KHALSA WAHEGURU JI KI FATEH. A commentary by my dear friend sardar Satnam Singh Ji on aShabad in gurbani. [font=Verdana]Sadh Sangat jio,[/font] [font=Verdana] [/font] [font=Verdana]Waheguru ji ka khalsa Waheguru ji ki fateh,[/font] [font=Verdana][/font] [font=Verdana]Few days ago some veer jis on these forums had asked me to translate the hymn as mentioned in the subject above. [/font] [font=Verdana] [/font] [font=Verdana]So, let us try to understand the meaning of the hymn, by Bhagat Kabir Ji, the lines of the "rahaao" of which are : [b]Baba Bolte te Kaha Gaye, Dehi ke sung rehte[/b], ( Guru Granth Sahib ji, Page : 480).[/font] [font=Verdana] [/font] [font=Verdana]Many exegetes have created much confusion and the matters have been made worst by our ignorant and illiterate Ragis and Kathawachaks. It appears that they are not interested in the serious study of Gurbani and, as a consequence of it, they do not understand the underlying philosophy of the Gurbani. That is why they are found reciting it at the bhog ceremonies performed in memories of the deceased persons.[/font] [font=Verdana] [/font] [font=Verdana]Some well educated persons have also helped create and perpetuate this situation. For instance if one looks at the translation done by Dr. Sant Singh Khalsa one is bound to get confused. He gives literal meanings and many a time the meanings given by him are not in consonance with the Gurmat philosophy. One can refer to the translation of this hymn from the said version. The said translation reqires to be immediately recensed because it is readily available and majority of the people who use it are not fully conversant with the Gurmat philosophy and, therefore, unimaginable damage is being done to the propagation and undestanding of the Gurmat philosophy.[/font] [font=Verdana] [/font] [font=Verdana] [/font] [font=Verdana]The "rahaao" of this hymn goes like this:[/font] [font=Verdana] [/font] [b][font=Verdana]Baba Bolte te Kaha Gaye, Dehi ke sung rehte, [/font][/b][b][font=Verdana]surat[/font][/b][b][font=Verdana] maahi [/font][/b] [b][font=Verdana] jo nirtay kartay kathaa baartaa kahtay[/font][/b][font=Verdana]. [ggs p 480][/font] [font=Verdana] [/font] [font=Verdana]Baba = it is a common form of address and may be translated as, Dear sir, Brother, gentleman.etc ; Bolte = is the plural of Bolta which is a noun and, inter alia,means 'a thought'. Thus Bolte means the thoughts (that keep on rising in the whirlpool of our conciousness); Te = is not the Hindi word "the" and ,therefore, it does not mean 'were'. In fact it is the plural of the pronoun 'oh' (he or she) and it means 'they or those'. Incidently, in Sanskrit also this word 'te' is used as the third personal pronoun ; Dehi = the human body; Dehi ke sung rehte, means: which bided or remained with the body ,that is, which remained concerned with the body only; Surati Maahi= in your mind or consciousness; Niratey Kartey = used to dance, that is, used to rise and gyrate in the mind; Kathaa Barta kehtey= prompted conversation (centered round or related to the human body).[/font] [font=Verdana] [/font] [font=Verdana]O Brother (or dear sir), where have those thoughts vanished which hitherto bided with the body and used to keep on dancing (i.e. whirling in the mind) and, consequently, prompting conversation (i.e. making noise )about or centered round the body only? [/font] [font=Verdana] [/font] [font=Verdana] In fact, in this Shabad, Bhagat Kabir Ji depicts the mental condition of a person whose psyche has been edified and who is now living in the world and, being conscious of the ultimate concern of human existence, is no more enmoured of or distracted by the worldly attractions. When such a person casts a hindsight on his past, he is taken aback at the radical change that has taken place in his outlook.[/font] [font=Verdana] [/font] [font=Verdana]There was a time when he was so attached to the worldly desires that all the ideas that rose in his mind and his talks were related to the body only. That is, his mind was totally under the influence Maya (that is,the illusion superimposed upon the true being) ,and he regarded all external things as his own and he was totally involved in the worldly things and pursuits only. But now when, by the grace of the Amighty God, he is become dead to the mundane attractions, all those previous ideas and talks about body have taken wings to which place he does not know.[/font] [font=Verdana] [/font] [font=Verdana]Please remember that TOO MUCH attachment with the body is also form of Maya. Once a person is absorbed in Naam Simran ( remembrance of the Almighty God) all attachments with the body and the influence of Maya vanish.[/font] [font=Verdana] [/font] [font=Verdana]We must keep in our mind that Bhagat Kabir ji laid stress only on total self-surrender to and ceaseless remembrance of One God. He sedulously preached against withdrawal from the world. [/font] [font=Verdana] [/font] [font=Verdana]Pause.[/font] [font=Verdana] [/font] [font=Verdana]The central message conveyed through the above hymn becomes even more clear when we try to understand what Bhagat ji is telling us in following lines:[/font] [font=Verdana] [/font] [b][font=Verdana]"Keheh Kabir suno re santoh Meri meri jhoothi,[/font][/b] [b][font=Verdana]Chigat Phar Charata ley gayo , tari Tagri Chooti[/font][/b] [b][font=Verdana]" [/font][/b][font=Verdana][ggs p 480][/font] [font=Verdana] [/font] [font=Verdana]Chigat= Cage ; Charata= Male Sparrow (Parrot); [/font] [font=Verdana]Santoh = saints, Gurbani-oriented holy men.[/font] [font=Verdana] [/font] [font=Verdana]Says Kabir, listen O saints, false is to indulge in egoism (I-am-ness). Breaking the bird's cage, the death (cat / male cat ) takes away the bird (parrot) and the threads and yarns, are shorn.[/font] [font=Verdana] [/font] [font=Verdana]Here Bhagat ji has tried to convey that this body of which we are so proud of is destructible and is sure to perish one day. That is why Bhagat ji has given us a very simple example from daily life when he says [b]Chigat Phar Charata ley gayo , tari Tagri Chooti[/b]. And he has tried to give us a message that it is useless to have egoism (I-am-ness) when we definitely will die one day. That is why he has given an example of Cat coming and breaking into the cage of Parrot and killing it and destroying the cage.[/font] [font=Verdana][/font] [font=Verdana] [/font] [font=Verdana]I happen to see this in old towns where people used to keep Parrots in Cage, in their homes. There was always fear that cat will come and kill the parrot. And many a times cats were successful in catching their prey. [/font] [font=Verdana] [/font] [font=Verdana]Since Rahao conveys the central theme, I have tried to concentrate on [b]Baba Bolte te Kaha Gaye, Dehi ke sung rehte[/b]. In Sri Guru Granth Sahib Rahao is used because here we are required to pause and spend some time to concentrate and contemplate on the central idea conveyed in the concerned Shabad. [/font] [font=Verdana] [/font] [font=Verdana]Rest of the lines can also be translated and explained in a similar way and those lines only expatiate the central theme (Rahao) or explain it with the help of some imagery or examples. [/font] [font=Verdana] [/font] [font=Verdana]Bhul Chuk Muaf,[/font] [font=Verdana] [/font] [font=Verdana]Satnam Singh[/font] [font=Verdana][/font] [font=Verdana]Posted By::-) Jarnail singh[/font] [/QUOTE]
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