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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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Gurmat Vichaar
Gurmat Vichar - Discussions
Need Of True Guru
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<blockquote data-quote="Astroboy" data-source="post: 71602" data-attributes="member: 4990"><p>The Spiritual Practice of Naam</p><p> </p><p>Truth never gets old nor rusty</p><p>GURU AMAR DAS</p><p> </p><p>It is so natural and so easy that one can take to it as a</p><p>matter of routine. It involves no intricacies and mysterious</p><p>practices and one can safely go ahead on the path with</p><p>ease and comfort. It is a Grand Trunk Road to God. One</p><p>may with a little labor gather a rich harvest. What the</p><p>Rishis of old achieved with much labor extending over</p><p>centuries can now be gained easily with sincere devotion</p><p>from day to day, without any physical penances of tortu-</p><p>ous practices.</p><p> </p><p>To start with one has to take care to devote time regu-</p><p>larly at fixed hours in some solitary place. But as soon as</p><p>inner experience becomes a regular feature with the aspir-</p><p>ant, then all restrictions as to time and place drop off and</p><p>one can hear the Divine Symphony all day long, even in</p><p>the midst of most strenuous work, without any effort on</p><p>his part.</p><p> </p><p>Sleeping or awake, sitting or standing, Kabir remains</p><p>ever at his post within.</p><p>KABIR</p><p> </p><p>(Article by Late Sant Kirpal Singh)</p><p> </p><p>................................................................................................................................</p><p> </p><p>Hope by Emily Dickinson </p><p></p><p>As a literary woman of the nineteenth century, Emily Dickinson wrote, ? ?Hope? is a things with feathers- that perches in the soul- and sings a tune without the words- and never stops- at all.? Are you listening? Does your soul too sing a melody, an ongoing tune to which you delicately move, and never stop? Here Dickinson suggests an aspect of life, a struggle for spiritual freedom, that applies to many women within the nineteenth century, as well as the women of today. My consciousness speaks to me; a spark of hope rests inside my soul, hoping to emerge into the sunlight of each new day. I am a woman; I am a delicate woman who listens to Dickinson?s fine words. I listen to the tune that never ends, in a constant search for achieving my own ?space.? Everyday, I struggle to free my feathered bird from its cage. Dickinson has identified with her internal struggle as a woman, to achieve an outer space, and as the bird, she freed herself from the cage that held her spiritual soul. </p><p> </p><p>(Source: <a href="http://www.123helpme.com/preview.asp?id=134565" target="_blank">Papers Emily Dickinson Hope Essays -- Hope by Emily Dickinson</a>)</p></blockquote><p></p>
[QUOTE="Astroboy, post: 71602, member: 4990"] The Spiritual Practice of Naam Truth never gets old nor rusty GURU AMAR DAS It is so natural and so easy that one can take to it as a matter of routine. It involves no intricacies and mysterious practices and one can safely go ahead on the path with ease and comfort. It is a Grand Trunk Road to God. One may with a little labor gather a rich harvest. What the Rishis of old achieved with much labor extending over centuries can now be gained easily with sincere devotion from day to day, without any physical penances of tortu- ous practices. To start with one has to take care to devote time regu- larly at fixed hours in some solitary place. But as soon as inner experience becomes a regular feature with the aspir- ant, then all restrictions as to time and place drop off and one can hear the Divine Symphony all day long, even in the midst of most strenuous work, without any effort on his part. Sleeping or awake, sitting or standing, Kabir remains ever at his post within. KABIR (Article by Late Sant Kirpal Singh) ................................................................................................................................ Hope by Emily Dickinson As a literary woman of the nineteenth century, Emily Dickinson wrote, ? ?Hope? is a things with feathers- that perches in the soul- and sings a tune without the words- and never stops- at all.? Are you listening? Does your soul too sing a melody, an ongoing tune to which you delicately move, and never stop? Here Dickinson suggests an aspect of life, a struggle for spiritual freedom, that applies to many women within the nineteenth century, as well as the women of today. My consciousness speaks to me; a spark of hope rests inside my soul, hoping to emerge into the sunlight of each new day. I am a woman; I am a delicate woman who listens to Dickinson?s fine words. I listen to the tune that never ends, in a constant search for achieving my own ?space.? Everyday, I struggle to free my feathered bird from its cage. Dickinson has identified with her internal struggle as a woman, to achieve an outer space, and as the bird, she freed herself from the cage that held her spiritual soul. (Source: [url=http://www.123helpme.com/preview.asp?id=134565]Papers Emily Dickinson Hope Essays -- Hope by Emily Dickinson[/url]) [/QUOTE]
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Gurmat Vichaar
Gurmat Vichar - Discussions
Need Of True Guru
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