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In which tune to sing this Shabad?

Discussion in 'Intellectual Translations by SPNers' started by aristotle, Sep 11, 2013.

  1. aristotle

    aristotle
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    This Shabad presents a peculiar instruction in the beginning,
    Most of the Shabads are either instructed to be sung in 'Raags'(ਰਾਗ) , 'Ghar-u(ਘਰੁ), or in some specific 'Dhun'(ਧੁਨ)(like ਕਾਨੜੇ ਕੀ ਵਾਰ ਮਹਲਾ ੪ ਮੂਸੇ ਕੀ ਵਾਰ ਕੀ ਧੁਨੀ, ਵਾਰ ਮਾਝ ਕੀ ਤਥਾ ਸਲੋਕ ਮਹਲਾ ੧. ਮਲਕ ਮੁਰੀਦ ਤਥਾ ਚੰਦ੍ਰਹੜਾ ਸੋਹੀਆ ਕੀ ਧੁਨੀ ਗਾਵਣੀ॥ etc.), but the instruction in this Shabad is slightly unique than the others.

    * What is the tune Of "Ayk Su-Aan"(ਏਕੁ ਸੁਆਨੁ)?

    * Incidentally (or intentionally) there happens to be another Shabad in Siree Raag itself,
    Is there any intended connection between the two Shabads?
    If there is a connection, what than is the tune to which these Shabads are to be sung?
     
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  3. spnadmin

    spnadmin United States
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    This is an excellent topic to reboot our discussions and study of Gurbani.
     
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  4. Gyani Jarnail Singh

    Gyani Jarnail Singh Malaysia
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    You are supposed to Sing the Bhagat Kabir Jis Shabad to the tune of the Shabad by Guru nanak ji. The Shabad title is given as reference as to how to sing it.
     
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  5. aristotle

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    Why of all Shabads is this single Shabad selected to serve as the tune guide for Bhagat Kabeer's Shabad? There are other Shabads with Siree Raag Ghar 4 too.
    Also, what is the tune of the original Shabad? Has any Raagi attempted to sing the Shabad on the tune of Ayk Su Aan?
     
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  6. aristotle

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    From the commentary provided by Professor Sahib Singh Ji in his book 'ਗੁਰੂ ਗ੍ਰੰਥ ਦਰਪਣ'(Guru Granth Darpan):
    (roughly translated)

    Kabir Ji has opined in this Shabad,
    Which are the 'pleasures of sin' in whose 'association' one 'surely dies'? Kabir Ji has used the words ਮਾਇਆ(Maya) and ਬਿਖਿਆ ਰਸ(evil nectar/poison) for them. What is the embodiment of 'Maya'? Which are the 'pleasures of sin'. Kabir Ji has not explained in detail regarding them. ਸੁਆਨ(dog, a metaphor for greed), ਸੁਆਨੀ(she-dog, metaphors for craving and expectation), ਨਿੰਦਾ(slandering), ਪਰ ਘਰੁ(spy of others' house), association with them is surely death, beacuse the human in such a way remains 'ਧਾਣਕ ਰੂਪਿ'(a huntsman of evils). The philosophical discourse Kabir Ji started with mere metaphors, Guru Nanak Sahib explained them in great detail.
    The heading and sharing of subject matter indicates Guru Nanak Sahib presented this Shabad as a possible explanation for Kabir Ji's Shabad.
    The heading can be by Guru Nanak Sahib or Guru Arjan Sahib, but in no case by Kabir Ji.
     
  7. Gyani Jarnail Singh

    Gyani Jarnail Singh Malaysia
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    Prof sahib Singh ji explains this mystery in His darpan.

    He says Guru nanak ji had a copy of Bhagat Kabir Jis Shabad with him and He composed His Shabad to ELABORATE and expand on what Kabir Ji is saying.

    The instruction to SING in GHAR 4 ( Ek suan shabad of Mh 1 in which the GHAR is already specified.

    And the EK suan _ doa swannee Naal is Not Dogs of Greed..there are 3 different animals here..One is a Dog and the other 2 are *******...!!
     
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  8. aristotle

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    True Gyaniji,
    I agree that the English translations have oversimplified this a bit too much. Specific mentions should be preserved in the translations, especially in the case of Gurbani, where every single metaphor carries a meaning of its own.
     
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  9. spnadmin

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    Kabir says he is the slave dog Moti who goes wherever his master takes him.

    I still don't get how this fits "to the tune of one dog" except in the sense - to be of the mind of only one dog, the slave dog, when singing the shabad.
     
  10. japjisahib04

    japjisahib04 Kuwait
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    Spnadmin Jee

    In this sabd 'mutiya' does not stand for moti but stray or orphaned. It is not necessary that dog has only moti name, some are called by puppy.

    best regards
    sahni
     
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  11. spnadmin

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    japsahibji

    Yes... I do agree with all you have said.
    The reason I added my thoughts about Moti (in a different shabad by Kabir ji) comes from the uncertainty regarding the meaning of "tune of one dog." This particular "dog" may not be the dog of uncontrollable greed we usually find in Gurbani metaphors, because that metaphor does not fit with the shabad. The image of Moti does not fit with the dog of uncontrollable greed either. In Gurbani, "dog" does not always point to greed. There are 2 exceptions.

    The tune of one dog may be a musical expression or an idea of unifying two minds in one house. No one seems to be certain about this. My advice to aristotle ji is to write to the Gurmat Sangeet Project in Patiala to get a musicologist opinion on this.
     
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  12. spnadmin

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    aristotle ji

    According to Dr. Gurcharan Singh Talib ਏਕੁ ਸੁਆਨੁ ਕੈ ਘਰਿ ਗਾਵਣਾ can be explained as follows:
    I should have thought to check Dr. Talib sooner. He is using a transliteration that is unusual, but Suwan is ਸੁਆਨੁ .

    This is the second tuk for comparison

    Full shabad is in mehla1, ghar 4 on Ang 24 (which btw you had already noted).



    ਏਕੁ ਸੁਆਨੁ ਕੈ ਘਰਿ ਗਾਵਣਾ
    (sing to the tune of one dog) appears on Ang 91. The shabad by Bhagat Kabir ji is also in sri Raag, as we have noted. However, it has no 'ghar.' Thus, we are told go back to ਏਕੁ ਸੁਆਨੁ ਦੁਇ ਸੁਆਨੀ ਨਾਲਿ ॥ Ėk su▫ān ḏu▫e su▫ānī nāl. on Ang 24 which is in ghar 4. That means Char Taal (or 4 Taalees and 12 Maatraas). Now the raagi will know how to play it. Gyani ji said this earlier, but now we have the specifics. Both the shabad by Guru Nanak ji and the shabad by Bhagat Kabir ji will be played in Char Taal. And one shabad will echo the other. You had all the clues.
     
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  13. aristotle

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    @spnadmin Ji,
    I think that explains it comprehensively.
    :happymunda:
     
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  14. Gyani Jarnail Singh

    Gyani Jarnail Singh Malaysia
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    BUT.....why the length to go an write the whole TUK from the Shabad..instead of simply writing "GHAR 4" ??? Imho, Guru Jis intends us to KEEP THAT SHABAD IN MIND...while reading this one..and thus Guru Arjun Ji emphasizes that BOTH Bhagat Kabir Ji and Guru nanak Ji SHARE their thoughts on the subject tackled by these two SHABADS. Elsewhere Guru Nanak ji sahib and Sheikh farid ji share another shbad..About the time needed to make a BOAT to cross the Ocean...where Guru nanak ji elaborates on shabad by Farid Ji..

    I think THAT is the reason for the instruction of singing via quote of entire TUK rather than just Ghar 4. IF Not for this instruction..the two shabads would remain far apart becasue the Bani is arranged such that Guru Nanak jis compositions come at the beginning whle Bhagat bani comes at the End..in this way Guru Arjun ji LINKS the two sections !!!..a sort of CROSS REFERENCE.

    2. Second point to note is HOW Guru Arjun Ji has also ADDED shabads and Sloks by Guru Amardass Ji, and His own..to Sloks of Kabir Ji and Sheikh farid Ji. These sloks/shabds by the Guru Sahibs serve to Explain or elaborate on the ideas expressed by the Sheikh sahib or Kabir sahib Ji. AS per the USUAL Arrangement followed by Guru Arjun Ji..sloks/shbads by the GURUs should be at the Beginning and bahgat bani should be at the conclusion.

    These are two examples of Linking/cross references provided by Guru Arjun ji in SGGS.
     
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  15. spnadmin

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    Gyani ji

    What you are saying makes sense because most of the shabads throughout Sri Raag do not have a ghar mentioned. Therefore, for Guru ji to make a point of giving the ghar and making the point of naming the tuk of a particular shabad that comes ante (or before) has to be deliberate. He is saying these are a set, a pair, that belong together musically and conceptually. It is too striking to be otherwise.
     
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