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Guru Granth Sahib
Composition, Arrangement & Layout
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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Impressions Of Gurbani - Sohila
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<blockquote data-quote="Original" data-source="post: 202766" data-attributes="member: 14400"><p>Pyere Ishna Ji</p><p></p><p>I welcome your start to "Impressions of Gurbani" and wish you all the wonderful joys n happiness that you will encounter along the journey. It takes a noble mind to undertake a task such as this, and that too, by the grace of God. Consider yourself fortunate and worthy - God bless you.</p><p></p><p>I hope you'll allow me the liberty to add some historical imperatives for the sake of completeness and to give direction to your Impressions. Should this enterprise on my part be in any way injurious or incompatible with your current undertaking, then please let me know and I will, with immediate effect, withdraw. </p><p></p><p>The word Sohila in its literal meaning is, "<strong>song of praise" </strong>and is further derived from the everyday usage of the Punjabi language, "saun or sowan vela" [time for sleep]. Guru Nanak Dev Ji composed Kirtan Sohila hymns towards the end of his physical journey; some commonteators suggest that it was whilst Guru a Ji was on his deathbed and I think in light of the hymn in itself, together with its mystical message, common sense prevails in supporting that view.</p><p></p><p>There are in total 5 hymns, 3 of Gur Nanak, 1 of Gur Ram Das and 1 of Gur Arjun. Kirtan Sohila is recited at bedtime, where as Rehras an evening recitation and Shabd hazara together with Jap Ji Sahib in the morning.</p><p></p><p>The idea that Kirtan Sohila ought to be recited before bedtime was contingent for who knows whether one would wake from sleep or not. This way at least, the separated bride [soul, atman, person going to sleep] will in all eventuality meet her bridegroom [parmatma, God] whatever the outcome. And, hence, forms an important conceptualised doctrinal within Sikh theology. Moreover, at the time of cremation it is Kirtan Sohila which is recited because the departed soul is now ready to go and meet her beloved.</p><p></p><p>The rationale behind calling it "<strong>song of praise"</strong>, meaning "khushi da geet" was derived from the ordinary cultural and customary practice of the day within Indian society. Traditional weddings within Punjabi society were celebrated magnificently where decorations, folklore song n dance, exchanges of various types and formalities galore were considered the real deals for uniting the bride and the groom in a soleminised marriage. Similarly, Guru Nanak chose this particular social event to zeal it connotation-ally religious because of the "union" of the two in becoming one. Song of praise is for He the groom from whom the bride [soul] departed and is now merging. Praise n glory be to He - sing therefore songs of my beloved.</p><p></p><p><span style="color: #ff00ff">Question</span> ! Become one with who ? With God - Anhad Shabd ! Says who ? Says, Guru Amardas Ji :</p><p></p><p>ੴ ਸਤਿਗੁਰ ਪ੍ਰਸਾਦਿ ॥ ਆਸਾ ਮਹਲਾ ੩ ਛੰਤ ਘਰੁ ੧ ॥ ਹਮ ਘਰੇ ਸਾਚਾ <strong>ਸੋਹਿਲਾ</strong> ਸਾਚੈ ਸਬਦਿ ਸੁਹਾਇਆ ਰਾਮ ॥ ਧਨ ਪਿਰ ਮੇਲੁ ਭਇਆ ਪ੍ਰਭਿ ਆਪਿ ਮਿਲਾਇਆ ਰਾਮ ॥ </p><p></p><p><span style="color: #ff00ff">Question</span> ! Where is it to be found ?</p><p></p><p>ਏਹੁ ਸਾਚਾ <strong>ਸੋਹਿਲਾ</strong> ਸਾਚੈ ਘਰਿ ਗਾਵਹੁ ॥ ਗਾਵਹੁ ਤ <strong>ਸੋਹਿਲਾ</strong> <span style="color: #0000ff">ਘਰਿ</span> ਸਾਚੈ ਜਿਥੈ ਸਦਾ ਸਚੁ ਧਿਆਵਹੇ ॥੩੯॥ {ਪੰਨਾ 922}</p><p></p><p><span style="color: #ff00ff">Question</span> ! Where is this house [<span style="color: #0000ff">ਘਰਿ</span>, house] ?</p><p></p><p>ਮਾਝ ਮਹਲਾ ੩ ॥ ਨਉ ਦਰ ਠਾਕੇ ਧਾਵਤੁ ਰਹਾਏ ॥ ਦਸਵੈ ਨਿਜ ਘਰਿ ਵਾਸਾ ਪਾਏ ॥ ਓਥੈ ਅਨਹਦ ਸਬਦ ਵਜਹਿ ਦਿਨੁ ਰਾਤੀ ਗੁਰਮਤੀ ਸਬਦੁ ਸੁਣਾਵਣਿਆ ॥੬॥ {ਪੰਨਾ 124}</p><p></p><p>Hope I've been able to shed some light on what is the B n E of all - Anhad Shabd - atman parmatma. Song of praise, meaning Kirtan Sohila is to that endeavour.</p><p></p><p>Enjoy the day -</p></blockquote><p></p>
[QUOTE="Original, post: 202766, member: 14400"] Pyere Ishna Ji I welcome your start to "Impressions of Gurbani" and wish you all the wonderful joys n happiness that you will encounter along the journey. It takes a noble mind to undertake a task such as this, and that too, by the grace of God. Consider yourself fortunate and worthy - God bless you. I hope you'll allow me the liberty to add some historical imperatives for the sake of completeness and to give direction to your Impressions. Should this enterprise on my part be in any way injurious or incompatible with your current undertaking, then please let me know and I will, with immediate effect, withdraw. The word Sohila in its literal meaning is, "[B]song of praise" [/B]and is further derived from the everyday usage of the Punjabi language, "saun or sowan vela" [time for sleep]. Guru Nanak Dev Ji composed Kirtan Sohila hymns towards the end of his physical journey; some commonteators suggest that it was whilst Guru a Ji was on his deathbed and I think in light of the hymn in itself, together with its mystical message, common sense prevails in supporting that view. There are in total 5 hymns, 3 of Gur Nanak, 1 of Gur Ram Das and 1 of Gur Arjun. Kirtan Sohila is recited at bedtime, where as Rehras an evening recitation and Shabd hazara together with Jap Ji Sahib in the morning. The idea that Kirtan Sohila ought to be recited before bedtime was contingent for who knows whether one would wake from sleep or not. This way at least, the separated bride [soul, atman, person going to sleep] will in all eventuality meet her bridegroom [parmatma, God] whatever the outcome. And, hence, forms an important conceptualised doctrinal within Sikh theology. Moreover, at the time of cremation it is Kirtan Sohila which is recited because the departed soul is now ready to go and meet her beloved. The rationale behind calling it "[B]song of praise"[/B], meaning "khushi da geet" was derived from the ordinary cultural and customary practice of the day within Indian society. Traditional weddings within Punjabi society were celebrated magnificently where decorations, folklore song n dance, exchanges of various types and formalities galore were considered the real deals for uniting the bride and the groom in a soleminised marriage. Similarly, Guru Nanak chose this particular social event to zeal it connotation-ally religious because of the "union" of the two in becoming one. Song of praise is for He the groom from whom the bride [soul] departed and is now merging. Praise n glory be to He - sing therefore songs of my beloved. [COLOR=#ff00ff]Question[/COLOR] ! Become one with who ? With God - Anhad Shabd ! Says who ? Says, Guru Amardas Ji : ੴ ਸਤਿਗੁਰ ਪ੍ਰਸਾਦਿ ॥ ਆਸਾ ਮਹਲਾ ੩ ਛੰਤ ਘਰੁ ੧ ॥ ਹਮ ਘਰੇ ਸਾਚਾ [B]ਸੋਹਿਲਾ[/B] ਸਾਚੈ ਸਬਦਿ ਸੁਹਾਇਆ ਰਾਮ ॥ ਧਨ ਪਿਰ ਮੇਲੁ ਭਇਆ ਪ੍ਰਭਿ ਆਪਿ ਮਿਲਾਇਆ ਰਾਮ ॥ [COLOR=#ff00ff]Question[/COLOR] ! Where is it to be found ? ਏਹੁ ਸਾਚਾ [B]ਸੋਹਿਲਾ[/B] ਸਾਚੈ ਘਰਿ ਗਾਵਹੁ ॥ ਗਾਵਹੁ ਤ [B]ਸੋਹਿਲਾ[/B] [COLOR=#0000ff]ਘਰਿ[/COLOR] ਸਾਚੈ ਜਿਥੈ ਸਦਾ ਸਚੁ ਧਿਆਵਹੇ ॥੩੯॥ {ਪੰਨਾ 922} [COLOR=#ff00ff]Question[/COLOR] ! Where is this house [[COLOR=#0000ff]ਘਰਿ[/COLOR], house] ? ਮਾਝ ਮਹਲਾ ੩ ॥ ਨਉ ਦਰ ਠਾਕੇ ਧਾਵਤੁ ਰਹਾਏ ॥ ਦਸਵੈ ਨਿਜ ਘਰਿ ਵਾਸਾ ਪਾਏ ॥ ਓਥੈ ਅਨਹਦ ਸਬਦ ਵਜਹਿ ਦਿਨੁ ਰਾਤੀ ਗੁਰਮਤੀ ਸਬਦੁ ਸੁਣਾਵਣਿਆ ॥੬॥ {ਪੰਨਾ 124} Hope I've been able to shed some light on what is the B n E of all - Anhad Shabd - atman parmatma. Song of praise, meaning Kirtan Sohila is to that endeavour. Enjoy the day - [/QUOTE]
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