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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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Discussions
Hard Talk
Bachittar Natak
[Part I] Charitropakhyan – Introduction And Analysis Of Chandi Charitar Khojeee (Bhai Prabjot Singh)
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<blockquote data-quote="sunsingh" data-source="post: 124645" data-attributes="member: 6546"><p><strong>re: Charitropakhyan: English translation and Analysis (from Khojee.com)</strong></p><p></p><p><span style="color: Blue">Source: <a href="http://khojee.wordpress.com/2010/04/14/part-i-charitropakhyan-introduction-and-analysis-of-chandi-charitar/" target="_blank">http://khojee.wordpress.com/2010/04/14/part-i-charitropakhyan-introduction-and-analysis-of-chandi-charitar/</a></span></p><p></p><p>Similar expressions can be seen in the beginning of Raas-Leela (dance and celebration) episode of ‘Krishnavtar’. It is important to explain here that progression and social development of women was Sri Guruji’s first priority. At the end of ‘Bachitter Natak’, Guruji gives hint of writing about tales associated with Avtars; however, he also states that he will write ‘Chandi Charitar’ before ‘Avtar-Leela’. In ‘Raas-Leela’ of ‘Krishnavtar’, the amorous portrayal of Gopis was an inseparable part in traditional puranic texts, and as such, its mention was crucial for the poet. Before that description however, Guruji writes about ‘Devi Di Ustat’ (eulogy to woman). The real puporse of this narrative is to clarify that, although mention of sexuality of Gopis was crucial, it is not the only facet of woman; rather, her true form is that of a virtuous, brave, fierce (like edge of a sword), and pure Devi. In the above narrative, Guruji, by saying ‘Only Thou! Only Thou!’ creates such a majestic impression; it’s almost as if he is praising Akal Purakh with each description of female form. In concluding verses of ‘Devi Ustat’ in ‘Krishnavtar’, Guruji makes Akal Purakh and Devi indistinguishable, just like in Gurbani, where all the Avtars and their names point towards that one and only Akal Purakh Waheguru:</p><p></p><p></p><p>In Charitropakhyan, majority of the charitars written in dialogues of ministers “Bhoop” present an amorous picture of females. The only motive of writing ‘Chandi Charitar’ in the beginning of this composition is to state that the real image of females in the mind of the poet is not of a sexual nature. That form is only created by wealthy people and pleasure-seeking libertines like King Chitr Singh. In her true form, she adopts that active force which is fully capable of eradicating all crimes and evils from this world. On one hand, there is a social structure that gladly hands her the sword for the destruction of tyrants, and also gives her equal opportunities to excel and touch the peaks of success in all walks of life. On the other hand however, there is that primitive male-dominated social order which treats her like an object of sexual desire and keeps her confined to the parameters of the house. Such social structure pushes her towards destructive activities. Her extremely sharp intellect and limitless strength is capable of breaching walls of the house; even in that confinement, she has the capacity to destroy the biggest of kings, wealthy and powerful people without using even a single weapon. Therefore, it is up to the male society to decide whether it wants to choose destruction or progression. The path of equality of men and women leads to progression, while inequality will most certainly bring about destruction and chaos. If male society chooses the road of progression and gives her equal opportunities in constructive tasks, evils, oppressions, and immorality will be destroyed. But, if she is sidelined and forced to live under shadow of males, she will keep reminding male society of her limitless force even while treading on the path forced upon her. Male writes at length about her characters, yet he is the one responsible for her destructive form. When male society is aware of the fact that female intellect is capable of transforming any impossibility into plausible situation, then why does it look down on women? Why does it not use her peerless strength for growth and betterment of humanity? In Charitropakhyan, she, with her sharp intellectuality and limitless capability, destroys the enemies of Faith with her fierce tigress bites; she also eradicates fears from the minds of meek and oppressed Brahmins. Dasam Guru Pita Ji tells us that this Devi, this force, has appeared in the form of Sri Krishna, Lord Buddha and avatars like ‘Machh’ and ‘Kachh’. He describes some of her capabilities in Charitropakhyan:</p><p></p><p>Meaning – The demons were as radiant as the Sun, and their bodies were mighty as the mountains. They were so full of ego that they could not place their feet on the ground. They roared like big, grizzly bears and fearlessly played horrific sounds on the war-drums and Nagaras. These demons fell down spinning when Bhawani attacked them with her arrows.</p><p></p><p>In reality, with Sri Dasam Granth Sahib Ji as base, an effort has been made to inform the whole world that no other religion or philosophy can match the praise and respect given to women in Sikh faith. In Sri Dasam Granth Sahib Ji, the battlefields, in which even king of men ‘Indra’ becomes unsuccessful in defeating the enemy, woman comes out victorious. We get to see an exquisite descriptive example of this in ‘Chandi Di Vaar’. The following appears in Charitropakhyan:</p><p></p><p></p><p>Meaning – The horrible warriors could not be destroyed; even ‘Indra’ could not manage to push them back. When they roared in the battlefield, everyone except ‘Kali’ fled the scene. Kali (whose form is stigmatised by society) got enraged and chopped the warriors down; like forest of bananas trees chopped and spread on ground. Their clothes got drench with blood; it’s as if everyone is merrily dancing during Holi.</p><p></p><p>This is how woman’s valiant (constructive) form is depicted in the parable of ‘Chandi’ in the first Ang of ‘Charitropakhyan’.</p></blockquote><p></p>
[QUOTE="sunsingh, post: 124645, member: 6546"] [b]re: Charitropakhyan: English translation and Analysis (from Khojee.com)[/b] [COLOR=Blue]Source: [url]http://khojee.wordpress.com/2010/04/14/part-i-charitropakhyan-introduction-and-analysis-of-chandi-charitar/[/url][/COLOR] Similar expressions can be seen in the beginning of Raas-Leela (dance and celebration) episode of ‘Krishnavtar’. It is important to explain here that progression and social development of women was Sri Guruji’s first priority. At the end of ‘Bachitter Natak’, Guruji gives hint of writing about tales associated with Avtars; however, he also states that he will write ‘Chandi Charitar’ before ‘Avtar-Leela’. In ‘Raas-Leela’ of ‘Krishnavtar’, the amorous portrayal of Gopis was an inseparable part in traditional puranic texts, and as such, its mention was crucial for the poet. Before that description however, Guruji writes about ‘Devi Di Ustat’ (eulogy to woman). The real puporse of this narrative is to clarify that, although mention of sexuality of Gopis was crucial, it is not the only facet of woman; rather, her true form is that of a virtuous, brave, fierce (like edge of a sword), and pure Devi. In the above narrative, Guruji, by saying ‘Only Thou! Only Thou!’ creates such a majestic impression; it’s almost as if he is praising Akal Purakh with each description of female form. In concluding verses of ‘Devi Ustat’ in ‘Krishnavtar’, Guruji makes Akal Purakh and Devi indistinguishable, just like in Gurbani, where all the Avtars and their names point towards that one and only Akal Purakh Waheguru: In Charitropakhyan, majority of the charitars written in dialogues of ministers “Bhoop” present an amorous picture of females. The only motive of writing ‘Chandi Charitar’ in the beginning of this composition is to state that the real image of females in the mind of the poet is not of a sexual nature. That form is only created by wealthy people and pleasure-seeking libertines like King Chitr Singh. In her true form, she adopts that active force which is fully capable of eradicating all crimes and evils from this world. On one hand, there is a social structure that gladly hands her the sword for the destruction of tyrants, and also gives her equal opportunities to excel and touch the peaks of success in all walks of life. On the other hand however, there is that primitive male-dominated social order which treats her like an object of sexual desire and keeps her confined to the parameters of the house. Such social structure pushes her towards destructive activities. Her extremely sharp intellect and limitless strength is capable of breaching walls of the house; even in that confinement, she has the capacity to destroy the biggest of kings, wealthy and powerful people without using even a single weapon. Therefore, it is up to the male society to decide whether it wants to choose destruction or progression. The path of equality of men and women leads to progression, while inequality will most certainly bring about destruction and chaos. If male society chooses the road of progression and gives her equal opportunities in constructive tasks, evils, oppressions, and immorality will be destroyed. But, if she is sidelined and forced to live under shadow of males, she will keep reminding male society of her limitless force even while treading on the path forced upon her. Male writes at length about her characters, yet he is the one responsible for her destructive form. When male society is aware of the fact that female intellect is capable of transforming any impossibility into plausible situation, then why does it look down on women? Why does it not use her peerless strength for growth and betterment of humanity? In Charitropakhyan, she, with her sharp intellectuality and limitless capability, destroys the enemies of Faith with her fierce tigress bites; she also eradicates fears from the minds of meek and oppressed Brahmins. Dasam Guru Pita Ji tells us that this Devi, this force, has appeared in the form of Sri Krishna, Lord Buddha and avatars like ‘Machh’ and ‘Kachh’. He describes some of her capabilities in Charitropakhyan: Meaning – The demons were as radiant as the Sun, and their bodies were mighty as the mountains. They were so full of ego that they could not place their feet on the ground. They roared like big, grizzly bears and fearlessly played horrific sounds on the war-drums and Nagaras. These demons fell down spinning when Bhawani attacked them with her arrows. In reality, with Sri Dasam Granth Sahib Ji as base, an effort has been made to inform the whole world that no other religion or philosophy can match the praise and respect given to women in Sikh faith. In Sri Dasam Granth Sahib Ji, the battlefields, in which even king of men ‘Indra’ becomes unsuccessful in defeating the enemy, woman comes out victorious. We get to see an exquisite descriptive example of this in ‘Chandi Di Vaar’. The following appears in Charitropakhyan: Meaning – The horrible warriors could not be destroyed; even ‘Indra’ could not manage to push them back. When they roared in the battlefield, everyone except ‘Kali’ fled the scene. Kali (whose form is stigmatised by society) got enraged and chopped the warriors down; like forest of bananas trees chopped and spread on ground. Their clothes got drench with blood; it’s as if everyone is merrily dancing during Holi. This is how woman’s valiant (constructive) form is depicted in the parable of ‘Chandi’ in the first Ang of ‘Charitropakhyan’. [/QUOTE]
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Bachittar Natak
[Part I] Charitropakhyan – Introduction And Analysis Of Chandi Charitar Khojeee (Bhai Prabjot Singh)
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