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Salok Sheikh Farid ji 13-25 / ਸਲੋਕ ਸੇਖ ਫਰੀਦ ਕੇ ੧੩ - ੨੫

Discussion in 'Bani Sheikh Farid' started by Ambarsaria, Apr 16, 2012.

  1. Ambarsaria

    Ambarsaria Canada
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    ਮਃ
    Mėhlā 3.
    Guru Amardas ji (Farid ji Salok per Guru Amar Das ji)

    ਫਰੀਦਾ ਕਾਲੀ ਧਉਲੀ ਸਾਹਿਬੁ ਸਦਾ ਹੈ ਜੇ ਕੋ ਚਿਤਿ ਕਰੇ
    Farīḏā kālī ḏẖa▫ulī sāhib saḏā hai je ko cẖiṯ kare.
    Farid black or grey hair the creator is around if heart so desires

    ਆਪਣਾ ਲਾਇਆ ਪਿਰਮੁ ਲਗਈ ਜੇ ਲੋਚੈ ਸਭੁ ਕੋਇ ਏਹੁ ਪਿਰਮੁ ਪਿਆਲਾ ਖਸਮ ਕਾ ਜੈ ਭਾਵੈ ਤੈ ਦੇਇ ੧੩॥
    Āpṇā lā▫i▫ā piram na lag▫ī je locẖai sabẖ ko▫e. Ėhu piram pi▫ālā kẖasam kā jai bẖāvai ṯai ḏe▫e. ||13||
    Love cannot be gotten by self, even if one so tries. Such cup of love is of creator, who so liked is given.

    ਫਰੀਦਾ ਜਿਨ੍ਹ੍ਹ ਲੋਇਣ ਜਗੁ ਮੋਹਿਆ ਸੇ ਲੋਇਣ ਮੈ ਡਿਠੁ ਕਜਲ ਰੇਖ ਸਹਦਿਆ ਸੇ ਪੰਖੀ ਸੂਇ ਬਹਿਠੁ ੧੪॥
    Farīḏā jinĥ lo▫iṇ jag mohi▫ā se lo▫iṇ mai diṯẖ. Kajal rekẖ na sėhḏi▫ā se pankẖī sū▫e bahiṯẖ. ||14||
    Farid, I have seen the eyes that enchanted the world. Ones that could not tolerate eye liner, now birds so sit and hatch there.

    ਫਰੀਦਾ ਕੂਕੇਦਿਆ ਚਾਂਗੇਦਿਆ ਮਤੀ ਦੇਦਿਆ ਨਿਤ ਜੋ ਸੈਤਾਨਿ ਵੰਞਾਇਆ ਸੇ ਕਿਤ ਫੇਰਹਿ ਚਿਤ ੧੫॥
    Farīḏā kūkeḏi▫ā cẖāʼngeḏi▫ā maṯī ḏeḏi▫ā niṯ. Jo saiṯān vañā▫i▫ā se kiṯ ferėh cẖiṯ. ||15||
    Farid, calling out and shouting giving so advice. Such as spoiled by the trouble maker, how can such turn their heart away.

    ਫਰੀਦਾ ਥੀਉ ਪਵਾਹੀ ਦਭੁ ਜੇ ਸਾਂਈ ਲੋੜਹਿ ਸਭੁ
    Farīḏā thī▫o pavāhī ḏabẖ. Je sāʼn▫ī loṛėh sabẖ.
    Farid become grass on a dirt path. If looking for creator everywhere.

    ਇਕੁ ਛਿਜਹਿ ਬਿਆ ਲਤਾੜੀਅਹਿ ਤਾਂ ਸਾਈ ਦੈ ਦਰਿ ਵਾੜੀਅਹਿ ੧੬॥
    Ik cẖẖijėh bi▫ā laṯāṛī▫ah. Ŧāʼn sā▫ī ḏai ḏar vāṛī▫ah. ||16||
    Ones will cut, many others trample. Then you will enter creator’s abode.

    ਫਰੀਦਾ ਖਾਕੁ ਨਿੰਦੀਐ ਖਾਕੂ ਜੇਡੁ ਕੋਇ ਜੀਵਦਿਆ ਪੈਰਾ ਤਲੈ ਮੁਇਆ ਉਪਰਿ ਹੋਇ ੧੭॥
    Farīḏā kẖāk na ninḏī▫ai kẖākū jed na ko▫e. Jīvḏi▫ā pairā ṯalai mu▫i▫ā upar ho▫e. ||17||
    Farid, do not defame dirt, nothing as like dirt. While living under the feet, on dying it is above.

    ਫਰੀਦਾ ਜਾ ਲਬੁ ਤਾ ਨੇਹੁ ਕਿਆ ਲਬੁ ਕੂੜਾ ਨੇਹੁ ਕਿਚਰੁ ਝਤਿ ਲਘਾਈਐ ਛਪਰਿ ਤੁਟੈ ਮੇਹੁ ੧੮॥
    Farīḏā jā lab ṯā nehu ki▫ā lab ṯa kūṛā nehu. Kicẖar jẖaṯ lagẖā▫ī▫ai cẖẖapar ṯutai mehu. ||18||
    Farid, if greed then what love, if greed then false love. How long the time will pass under broken thatched roof.

    ਫਰੀਦਾ ਜੰਗਲੁ ਜੰਗਲੁ ਕਿਆ ਭਵਹਿ ਵਣਿ ਕੰਡਾ ਮੋੜੇਹਿ ਵਸੀ ਰਬੁ ਹਿਆਲੀਐ ਜੰਗਲੁ ਕਿਆ ਢੂਢੇਹਿ ੧੯॥
    Farīḏā jangal jangal ki▫ā bẖavėh vaṇ kandā moṛehi. vasī rab hi▫ālī▫ai jangal ki▫ā dẖūdẖehi. ||19||
    Farid, why wander jungle to jungle, trampling thorns in the forest. Creator resides in the heart, what you looking for in the jungle.

    ਫਰੀਦਾ ਇਨੀ ਨਿਕੀ ਜੰਘੀਐ ਥਲ ਡੂੰਗਰ ਭਵਿਓਮ੍ਹ੍ਹਿ ਅਜੁ ਫਰੀਦੈ ਕੂਜੜਾ ਸੈ ਕੋਹਾਂ ਥੀਓਮਿ ੨੦॥
    Farīḏā inī nikī jangẖī▫ai thal dūngar bẖavi▫omiĥ. Aj Farīḏai kūjṛā sai kohāʼn thī▫om. ||20||
    Farid with these little legs traversed the desert and mountain. Today Farid sees the water jug as hundreds of miles away.

    ਫਰੀਦਾ ਰਾਤੀ ਵਡੀਆਂ ਧੁਖਿ ਧੁਖਿ ਉਠਨਿ ਪਾਸ ਧਿਗੁ ਤਿਨ੍ਹ੍ਹਾ ਦਾ ਜੀਵਿਆ ਜਿਨਾ ਵਿਡਾਣੀ ਆਸ ੨੧॥
    Farīḏā rāṯī vadī▫āʼn ḏẖukẖ ḏẖukẖ uṯẖan pās. Ḏẖig ṯinĥā ḏā jīvi▫ā jinā vidāṇī ās. ||21||
    Farid the nights so long and my sides hurt and hurt. Regretful is the living, who so expecting of others.

    ਫਰੀਦਾ ਜੇ ਮੈ ਹੋਦਾ ਵਾਰਿਆ ਮਿਤਾ ਆਇੜਿਆਂ ਹੇੜਾ ਜਲੈ ਮਜੀਠ ਜਿਉ ਉਪਰਿ ਅੰਗਾਰਾ ੨੨॥
    Farīḏā je mai hoḏā vāri▫ā miṯā ā▫iṛi▫āʼn. Heṛā jalai majīṯẖ ji▫o upar angārā. ||22||
    Farid, if I hide things from my friends. Body burns as like a coloring vat on fire.

    ਫਰੀਦਾ ਲੋੜੈ ਦਾਖ ਬਿਜਉਰੀਆਂ ਕਿਕਰਿ ਬੀਜੈ ਜਟੁ ਹੰਢੈ ਉਂਨ ਕਤਾਇਦਾ ਪੈਧਾ ਲੋੜੈ ਪਟੁ ੨੩॥
    Farīḏā loṛai ḏākẖ bij▫urī▫āʼn kikar bījai jat. Handẖai unn kaṯā▫iḏā paiḏẖā loṛai pat. ||23||
    Farid, farmer plants acacia tree expecting to get small grapes of Bijuar. Goes and gets wool spun, wants to wear silk.

    ਫਰੀਦਾ ਗਲੀਏ ਚਿਕੜੁ ਦੂਰਿ ਘਰੁ ਨਾਲਿ ਪਿਆਰੇ ਨੇਹੁ ਚਲਾ ਭਿਜੈ ਕੰਬਲੀ ਰਹਾਂ ਤੁਟੈ ਨੇਹੁ ੨੪॥
    Farīḏā galī▫e cẖikaṛ ḏūr gẖar nāl pi▫āre nehu. Cẖalā ṯa bẖijai kamblī rahāʼn ṯa ṯutai nehu. ||24||
    Farid, lane is muddy, house is far, love with the so lovely. Walk and the blanket gets wet, stay then the love is broken.

    ਭਿਜਉਸਿਜਉਕੰਬਲੀਅਲਹਵਰਸਉਮੇਹੁ ਜਾਇ ਮਿਲਾ ਤਿਨਾ ਸਜਣਾ ਤੁਟਉ ਨਾਹੀ ਨੇਹੁ ੨੫॥
    Bẖija▫o sija▫o kamblī alah varsa▫o mehu. Jā▫e milā ṯinā sajṇā ṯuta▫o nāhī nehu. ||25||
    So let the blanket be so wetted, creator let it rain. Will go to meet such friend, so love may not broken.
    Please note all errors are mine and I stand corrected.

    Sat Sri Akal.

    PS: Sloaks 13-25 at about 3:40 to 6:58 of the following video,

    www.youtube.com/watch?v=pBv7a1QWxu0&feature=player_embedded#t=220s
     
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    #1 Ambarsaria, Apr 16, 2012
    Last edited: Apr 16, 2012
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  3. Seeker9

    Seeker9 United Kingdom
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    Great video Great voice - crystal clear.. Who is it?
     
  4. Gyani Jarnail Singh

    Gyani Jarnail Singh Malaysia
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    I thought that Farid Ji is warning....IF one FAILED to...look for the CREATOR while strong and healthy (black hair)....what hope of SUCCESS when the body is weak and old...(White Hair)....and Guru Amardass Ji CLARIFIES..that the CREATOR Can be FOUND..no matter what ones age..or body condition...becasue He is ALWAYS Present..all we need is LOVE..

    In the Sloks of Bhagat Kabir Ji and Farid Ji we find interspersed sloks that have markers indicating they were penned by Guru Amardass Ji or Guru Arjun ji....and those sloks clarify the Gurmatt Viewpoint even more clearly and emphatically than the original writer. IN thise sloks even though penned by GURU ji..the NANAK chhaap is not used becasue they are merely Clarifications/emphasis of points expressed by Bhagat Kabir J/Farid Ji.
     
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  5. Ambarsaria

    Ambarsaria Canada
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    Veer Jarnail Singh ji thanks for your comments. How do you flag marker sloks? I can see the absence of Farid ji in the last lines and in this it definitely appears as an answer to previous slok with Farid ji's name in it. How many sloks are such in a given series? I arbitrarily made the selection from 113-25 for posting reasons.

    Sat Sri Akal.
     
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  6. japjisahib04

    japjisahib04 Kuwait
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    Literal interpretation and interpretation of most of the senior scholars (including those who are recognized by universities and have presented various proceedings and articles) of panki farida khak n nidhiya... reveal that Gurbani is advising us not to slander the dust, as while living it is under our feet and after death it is on top of us.

    Now the first question comes to my mind, do anyone really slander dust. We use dust for construction of our houses, crockery, idols, grow plants/food for our survival etc. Is there anything in dust to be slandered? Further when I am driving is dust really under my feet, or those who by profession have to remain on air/sea, is it really under their feet. Moreover, everyone does not buries their dead that dust needs to cover their body after death when gurbani is for everyone and or is universal. Is gurbani referring to physical death or spiritual death? Then what is the divine message behind quoting above sloke?

    Therefore, as per my understanding, Gurbani is not referring to dust in above sloke. When I go through the context by contemplating four slokes before this sloke and after, I realized that the subject is not about dust. What is 'khakh' then and why word 'khakh has been used twice - is second 'khakh' used as humility? When we delve a bit deeper we will realize what we understand from 'sach da gian', its essence which changes my thought process and turns me into 'khakh' is called 'khakh' and the one who ignores 'sach da gian' is slandering it. When we look at sukhmani sahib it advises there, 'sant ka nidhak maha hatiara' the slanderer of divine message is a brutal butcher. Sant saran jo jan parai so jan udhranharr- the one who surrenders to divine message lives in bliss and the one who ignores wanders. Nowhere gurbani talks after death.

    Further 'jeevdiay pairon taleh' is not addressed under the foot but means while living I achieved 'right path of truth'. The one who has achieved right path then does not suffer or 'maneh jamm kai sath na jaey' - does not move on the path of 'manh ki matt or jamm ki matt'. And 'muen uppar hoey' - is not being referred to physical death but 'jeevatia mar rehia' with this my mind's paradigm turned into ashes - khakh nall khakh ho ja.

    Best regards
    Mohinder Singh Sahni
    Kuwait
     
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    #5 japjisahib04, Apr 17, 2012
    Last edited: Apr 17, 2012
  7. Gyani Jarnail Singh

    Gyani Jarnail Singh Malaysia
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    ambarsariah veer Ji,
    as per my understanding the markers are clearly labelled....MH 3...Mh 5......BUT the poetry doesnt break sequence..IF in the farid sloks the author (farid Ji) addresses HIMSELF...so does Guru Amardass Ji and Guru Arjun ji...as you cna see form the sloks you have provided. The MH 3 heading tells us that THIS "FARID" slok is not authored by farid Ji..but BY Guru Amardass ji as a commentary on the previous Farid Ji slok..
    In certain Bhagat Bani also there are comments by Guur Arjun Ji as Mh 5 BUT not ending with Nanak Chhaap but similar to Bhagat bani endings.
    SGGS follows a very strict order of bani...First by Guru nanak ji..in various metres, dupdas, chaupaddas, chhands etc etc...and then by Guru Angad ji..until Guru teg bahadur jis Bani..then NEXT section will be Bhagat Bani..first form Bhagat Kabir ji as Shiromani Bhagat..then the other bhagats.
    So IF in the very last section of a Raag, where Bani is BHAGAT BANI..and compositions of various Bhagats are entered..a random shabd/tuks under heading Mahalla Pehla/Teeja/Panjvaan means that particular shabd tuk is by the GURU whose Mehalla is stated. But since that shabad is a commentary on the Bhagat bani..no nanak chhap is used at the conclusion.
     
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  8. Gyani Jarnail Singh

    Gyani Jarnail Singh Malaysia
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    Sahni veer ji,
    you have hit the nail square on its head.
    For too long and by too many misguided folks..Gurbani has been too LITERALLY taken....we never tire of comparing the SGGS to a DEEP OCEAN...yet we take much comfort in just swimming on the surface...( forgetting that dead fish float on the surface...BAGLAH DADDAN KHAVEH.....while the Genuine SEWAKS..Dive DEEP...and gather the PEARLS from the depths..Hans chunn chunn MOTI heereh jwahar KHAVEH !!

    When we are "ALIVE"..meaning we are in Full haumai..hankaar...egocentric...the "PATH"..the dust..the khaak....is UNDER OUR FEET..becasue we are so full of hankaar thta we NEGLECT the True PATH..and follow our own Mann !!....BUT once we "die"..meaning we KILL the EGO..the hankaar..the haumai disappears..the TRUE PATH..is ON OUR HEAD (MIND..Mann )..and we walk the true path !!
    What we are SUPPOSEDLY DOING Daily ...many many times..in fact each time we pass a Gurdwara and see a SGGS..we "MATHA TEK"....we bow the head symbolically..ritually..almost forced....without a THOUGHT as to what this MEANS !! matha tek is meant to convey that we are ...LEAVING OUR HEAD (Mann..matt..) at GURUS FEET..and Taking back HIS MATT..GURMATT...But how many SIKHS actually DO THINK of Matha tek that way ??? almost NIL...101 % Sikhs Matha tek...... mothers even FORCEFULLY hold their small babies heads to the Ground.....But NONE..know the SIGNIFICANCE..or what its for ?? End result..MANMATT flourishes..GURMATT ??? dies a slow death....Thats why SIKHS who ostensibly already viisted a Gurdwara and offered their head to the GURU..then offer the same head to the pandit at the mandir to place a Hanuman Tilak..Kali maa tilak ashes etc....yet others fold hands and bow towards dead man graves..pir dargahs....yet others at the feet of dehdharee babas, sants..holy trees, pipals..and throw drops of sarovar water over their heads... These types eat the DEAD FISH floating on the ocean surface as Baglleh....daddan khaveh...
     
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  9. japjisahib04

    japjisahib04 Kuwait
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    Thanks veerji
    Similarly other sloke also needs to be explored, ''Fareeda kaali jini na raavia dhauli ravai koe kar saien seo peerhadi rang navela hoey - Fareed those who did not enjoy their spouse when their hair was black - hardly any of them enjoy Him when their hair turn grey. So be in love with the Lord, so that your color may ever be new.'

    ------------------------

    Interpretation of seniors scholars of above pankti reveals who didn't serve God
    while had black hairs, will not be able to merge with God, when their hair gets
    grey. What type of dictate is this? First thing comes to my mind, is this 'dhur
    ki baani' or a loose statement, as with the advent of sophisticated coloring
    chemicals , one can dye his hair till last date of life. Secondly millions of
    people are bald - so does this command not apply to them. In addition, millions
    of people have only brown hair or white hair in their youth - does this not
    apply to them. Thirdly in next sabd, Guru Amardas contradicts interpretation of
    this sabd. This makes me to contemplate whether Bhagat Freed is referring to
    black hair or something else.

    When I looked serialwise theme, I found sabd is not referring to Hairs but is
    flashing upon black chapter of my life and 'dhauli' is not only grey hair but divine
    wisdom. I even checked the sabd , 'naino neer bahai tan kheena bhai kes
    dhudhwani .. Sri Guru Granth Sahib Ji.659.12 of Bhagat Bheekhan and noticed he is not elobrating the
    helpless state of old age but is trying to say in positive tone that my body
    which used to run after demons karma has now 'tan kheena' distanced itself from
    it as it 'bhai kes dhudhwani - has obtained the divine wisdom now'. 'Rudha kanth
    sabd nahi uchrai - my tongue which used to speak only harsh words is changed and
    does not speak the harsh now but sweet words. Whenever symbolic growth of 'white
    hair' is explained, it is said 'bhai kes dhudhwani'. 'Dhudh' is the symbol of divine wisdom in gurbani as it appears Bhagat Namdev is trying to feed milk to idol but in fact is requesting to his mind 'dudh peo mere gobind rai - O my mind, please listen to the inner voice and live and is not trying to feed milk to dead idol'.Sri Guru Granth Sahib Ji.1163.

    Instead of using Gurbani to learn to live, how many get enamored with it in old age to die, and reach Him thereafter. Dying is natural, needs no knowledge, yet many are craving and even propagating Naam as an appropriate path to Him instead of serving as art of living. These ancient human approaches have not changed much over time, remain attractive like a wine with a new label, and our thirst is likely to continue regardless of advances in knowledge; scientific, humanities or Divinity.

    Best regards
    Mohinder Singh Sahni
    Kuwait
     
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  10. Ambarsaria

    Ambarsaria Canada
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    Veers Japjisahib04 and Gyani Jarnail Singh ji thanks for your comments.

    I appreciate if you can comment on my "Essence" statements. I try to do two things. Be particularly balanced about the lines and words in specific translation without coloring it with Simran, Naam, meditations, etc., concepts. I use this as step1 to then go forward to the more important aspect of describing my understanding in a more liberal way without keeping the literals in repetition. At times it is not 100% as I find using the literals as "phraseology" so wonderfully stated.

    I would really appreciate your on the spot comments about my essence statements as then I can improve these so all may find better use out of our discourse.

    Sat Sri Akal.

    PS: Seeker9 ji regarding the question about the video,

    I do not know and others asked at Youtube and the poster did not give an answer. I agree great voice. I tried to find others but I realized that many skip sloks haphazardly while not saying so in the post and at times are misleading. I do not know if these are by design or an error so I did not refer to those.
     
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  11. japjisahib04

    japjisahib04 Kuwait
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    Giani Veer Ji

    Since as per rule chaudpadai has four stanza, dupada has two and ashtpadhi has eight stanza. I would be obliged if you could kindly go from page 220 to 229 and see ashtapadhi No.5, , 8th and 9th have 9 stanzas and 9th Astpadi has 12 stanzas. If it is ashtpadhi why this inconsistency? Would be obliged.

    Best regard
    Mohinder Singh Sahni
    Kuwait
     
  12. Ambarsaria

    Ambarsaria Canada
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    japjisahib04 ji the limits you flagged are incorrect to be assigned Astpadi structure as it is not so flagged or written in Sri Guru Granth Sahib Ji.

    Instead note the following,
    I believe you are assuming a structure in the region 220-229 that is not so stated in Sri Guru Granth Sahib Ji or so implied.

    Sat Sri Akal.
     
  13. japjisahib04

    japjisahib04 Kuwait
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    Thank you S. Ambarsaria Ji. But at the end of sixteen ashtpadhi it is written in word sixteen ashtpadhies. Can you recheck and confirm back.

    Best regards
    Mohinder Singh Sahni
    Kuwait
     
  14. Ambarsaria

    Ambarsaria Canada
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    japjisahib ji thanks for your post.

    For me there are two ways to read and understand Sri Guru Granth Sahib Ji.

    1. Vocabulary based and basic structure of the language based

    • Gur ji were communicating and sharing the Sri Guru Granth Sahib Ji elements not with M. Sc. and Ph. D. students but among all with various levels of maturity and educational backgrounds. The important thing being how did they do it and why don't I try to follow something akin to that.
    • For me this is the approach that makes sense to me.
    2. Grammar and Deduced Rules Based and driven study

    • To me this is trying to fit something after the fact based on our limitations. This has been expounded here by some as a pre-requisite to any understanding. I find it to have some validity but overall of little practical value
    • What Guru ji write in an Astapadi, in different Raags and variations thereof, the length and size of shands and panktis, the overall flow of the writing and the composition of a Shabad/Astpadi as a critical mass requiring delineation, I accept it as written with the title and essence that it is written with.
    • Any excessive rigor after the fact espoused by some would simply keep pushing Sri Guru Granth Sahib Ji away from the common towards the elite.
      • I believe such to be personally distasteful and even diversionary
        • Japjisahib 04 ji please this is not addressed to you as I greatly respect your questions, comments and inputs but is a general comment as some other writers and poster keep pushing this line.
    • I rather not partake in putting structures of imagination five hundred years later to compositions whose authors simply were far too brilliant for me to even understand all even if I was meeting them face to face.
    Humbly I will not like to comment further along such line of dialog at least in the topic of this thread which is related to Sheikh Farid ji.

    Sat Sri Akal.
     
    #13 Ambarsaria, Aug 23, 2015
    Last edited: Apr 19, 2012

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