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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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Sikh Sikhi Sikhism
A Little EGO May Be A Good Thing By IJ Singh
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<blockquote data-quote="Original" data-source="post: 201558" data-attributes="member: 14400"><p>Sherdil Ji</p><p></p><p>Thanks to you I'm able to start my "working" day [garhasthya jeevan] with a taste of the "real" work [the exponential of His word].</p><p></p><p><strong>Akal Purakh,</strong> Ikonkar, Parbraham, Nirankar, and many more are names by which the Gur Ghar recognises the Almighty. Guru Gobind gave around [12 to 1400] names and then decided, "hey Parmeshar thou art ineffable, I cannot capture thee by names [noun]. Alone through thy creation am I to understand [use of adjectives] an iota of thy otherwise infinite, formless, shapeless, timeless "being"". Whereas, "<strong>hakum</strong>" is His Law [Eternal]. That is to say, the Earth orbits around the Sun and the moon around the Earth, the falling of objects [gravity] and the attraction repulsion [magnetism] between matter n energy, and so on. But within this hakum is an inbuilt "moral" code of ethics [thou shall not kill] for the regulation of human conscience and the workings of a social order of his created world [society]. </p><p></p><p>Just as we have a "Sovereign State" [the head of which is the Queen, UK] under which the rule of law is applied to maintain and regulate social intercourse between individuals and the state [crime] and between individuals and individuals [civil] and so forth. Similarly, Akal Purakh is the Sovereign and His law is hakum. Gur Nanak defines it beautifully when in Japji Sahib he exhibits in pauri 3 to <strong>7, "...hakum rajayee chalna Nanak likaya nal". </strong>Obey His law says Nanak and all ye shall come to surpass.</p><p></p><p>Hakum for you as a student should be taken to mean the inexorable working of the universe. From a scientific philoshical perspective we describe that as "deterministic universe", meaning no Free-will. </p><p></p><p>Hakum cannot be ineffable for it is an "organ" of that which is ineffable. In other words, part of a whole.</p><p></p><p>Another important observation need be made here and that is, unlike Christianity's forgiveness n salvation through Christ only, Islam's Mohammed only, plus paradise after death ideology, Buddhism's suffering, Sikhism steers way away from this kind of thought. For Sikhism considers this to be Akal Purakh's "lila" [playground] and we the actors must indeed play albeit within "hakum". This suffering business is best left to the Buddhists, but yes, as a metaphor to bring about the irony of "dukh n sukh" Nanak introduces the "notion" to steer the wondering soul into perspective of the greatness, the ineffable character of Akal Purakh of which she the soul is a part.</p><p></p><p>Moving on with the shabd you've quoted, it is imparative to understand the very basic concept of the form of communication which the Gur Ghar has used to proclaim the majesty of Waheguru. Pauri in question cannot be read without the preamble [salok]. Why ? Because, the pauri is the furtherance, in depth exploration, explanation of the preamble. It is usually set out at the beginning of the shabd, but in Jabji Sahib, Gur Nanak puts at the end.</p><p></p><p>Another must is to recognise whether it a raag or a salok. The discernment between the two is fundamental because it describes the mood and the condition of the author or the singer. If it be a raag for example, say Nanak, then you immediately get to grips that this raag of Nanak is not the ordinary human experience but an extra-ordinary [dhur ki bani] audible sound composition, spun off Mardanna's rebab and Nanak amplifying it "poetically". This means one must surrender to the sound of music and let its sweet, soft, melodious vibrations be funnelled into the soul through his ears, the effect of which on the mind is to soften it as iron is softened in the furnace [pauri 38 Japji Sahib]. The gist of what I'm saying is that Poetry must be enjoyed by the yearning soul and not interrogated by the wandering mind. Yes, were it a salok, discuss it for msg, meaning n direction etc, but in essence appreciate it for its holiness, nevertheless. That is not to say, poetry cannot be discussed, of course it can, through "love", through surrender, without want n purpose but in utter n total awe.</p><p></p><p>The above shabd [297] has at core of its preamble the 3 states of human spectrum and the few who make it to the 4th [turyia]. Gur Arjun elaborates upon it poetically in the succeeding pauri, which you've quoted. </p><p></p><p>Hope I been successful in discharging an obligation with which you've charged.</p><p></p><p>Enjoy the day wherever you are - I will.</p><p></p><p>Many thanks</p></blockquote><p></p>
[QUOTE="Original, post: 201558, member: 14400"] Sherdil Ji Thanks to you I'm able to start my "working" day [garhasthya jeevan] with a taste of the "real" work [the exponential of His word]. [B]Akal Purakh,[/B] Ikonkar, Parbraham, Nirankar, and many more are names by which the Gur Ghar recognises the Almighty. Guru Gobind gave around [12 to 1400] names and then decided, "hey Parmeshar thou art ineffable, I cannot capture thee by names [noun]. Alone through thy creation am I to understand [use of adjectives] an iota of thy otherwise infinite, formless, shapeless, timeless "being"". Whereas, "[B]hakum[/B]" is His Law [Eternal]. That is to say, the Earth orbits around the Sun and the moon around the Earth, the falling of objects [gravity] and the attraction repulsion [magnetism] between matter n energy, and so on. But within this hakum is an inbuilt "moral" code of ethics [thou shall not kill] for the regulation of human conscience and the workings of a social order of his created world [society]. Just as we have a "Sovereign State" [the head of which is the Queen, UK] under which the rule of law is applied to maintain and regulate social intercourse between individuals and the state [crime] and between individuals and individuals [civil] and so forth. Similarly, Akal Purakh is the Sovereign and His law is hakum. Gur Nanak defines it beautifully when in Japji Sahib he exhibits in pauri 3 to [B]7, "...hakum rajayee chalna Nanak likaya nal". [/B]Obey His law says Nanak and all ye shall come to surpass. Hakum for you as a student should be taken to mean the inexorable working of the universe. From a scientific philoshical perspective we describe that as "deterministic universe", meaning no Free-will. Hakum cannot be ineffable for it is an "organ" of that which is ineffable. In other words, part of a whole. Another important observation need be made here and that is, unlike Christianity's forgiveness n salvation through Christ only, Islam's Mohammed only, plus paradise after death ideology, Buddhism's suffering, Sikhism steers way away from this kind of thought. For Sikhism considers this to be Akal Purakh's "lila" [playground] and we the actors must indeed play albeit within "hakum". This suffering business is best left to the Buddhists, but yes, as a metaphor to bring about the irony of "dukh n sukh" Nanak introduces the "notion" to steer the wondering soul into perspective of the greatness, the ineffable character of Akal Purakh of which she the soul is a part. Moving on with the shabd you've quoted, it is imparative to understand the very basic concept of the form of communication which the Gur Ghar has used to proclaim the majesty of Waheguru. Pauri in question cannot be read without the preamble [salok]. Why ? Because, the pauri is the furtherance, in depth exploration, explanation of the preamble. It is usually set out at the beginning of the shabd, but in Jabji Sahib, Gur Nanak puts at the end. Another must is to recognise whether it a raag or a salok. The discernment between the two is fundamental because it describes the mood and the condition of the author or the singer. If it be a raag for example, say Nanak, then you immediately get to grips that this raag of Nanak is not the ordinary human experience but an extra-ordinary [dhur ki bani] audible sound composition, spun off Mardanna's rebab and Nanak amplifying it "poetically". This means one must surrender to the sound of music and let its sweet, soft, melodious vibrations be funnelled into the soul through his ears, the effect of which on the mind is to soften it as iron is softened in the furnace [pauri 38 Japji Sahib]. The gist of what I'm saying is that Poetry must be enjoyed by the yearning soul and not interrogated by the wandering mind. Yes, were it a salok, discuss it for msg, meaning n direction etc, but in essence appreciate it for its holiness, nevertheless. That is not to say, poetry cannot be discussed, of course it can, through "love", through surrender, without want n purpose but in utter n total awe. The above shabd [297] has at core of its preamble the 3 states of human spectrum and the few who make it to the 4th [turyia]. Gur Arjun elaborates upon it poetically in the succeeding pauri, which you've quoted. Hope I been successful in discharging an obligation with which you've charged. Enjoy the day wherever you are - I will. Many thanks [/QUOTE]
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