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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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Bad Translations And Interpretations-how Do They Affect Us?
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<blockquote data-quote="Original" data-source="post: 202666" data-attributes="member: 14400"><p>Dear All</p><p></p><p>Ambarsaria Ji's article is a pleasure to read - beautifully delivered ! I sincerely wish we can all adopt that very style, bar subjective arguments, which of course, can be fought on a neighbouring field - titled "my sikhi".</p><p></p><p>Couple of notable observations on my part; first, what are the essential tools for reading and understanding gurbani ? From a <strong>scholarly</strong> perspective, Sikh history is a must, studied in line with social n environmental conditions prevalent at the time of writing together with basic poetry reading skills, that is, what is the shabd about, what is the writer's mood, attitude, social, personal circumstances, what is going on, who is talking, to whom, under what circumstances, where, about what, why, etc. From a <strong>religious</strong> perspective, a holistic approach coupled with reverence n respect, which ought to hammer home meaning and intent in one sitting. Both however, must borne in mind not to water-down the facts so as to dilute the conveyance and rob its authenticity, classic case of which was evidenced by Japjisahib Ji above [more n chikor - verse 658].</p><p></p><p>The two kinds of compositions used in SGGSJ, were the literary type and second, the types which were recited in the folklore forms. It is the latter of the two which Guru Ravidas used when constructing the above shabd. The operative word or shall we say, "romantic" line used by Ravidas Ji was, "<strong>sachi preet" </strong>meaning <strong>true love</strong> and building it around the metaphors of mountain-pea{censored} and moon-chikor was to bring out the best punjabi folklore of the natives of Punjab. Alien interpretations not familiar with folklore are bound to miss the tune to the music of punjab no matter how intellectually aided. Now, this brings me to my second observation, notably, the nature of gurbani.</p><p></p><p>Although, the tools for construction used by authors of SGGSJ are the same as that of poetry, everything else is at variance. That is to say, the craft of gurbani is like that of poetry, but the subject matter and the tendency of its creators is pretty much their own. Where poetry is composed by the poet, bani is written by a banikar, the spiritual man. Poetry revolves largely around the visible world and human relationships, limiting its scope within time n space, Gurbani however, transcends time n space allowing the Banikars to express their divine experiences, which not only do they analyse but also present philosophically on the level of reality as could best be understood by the ordinary mind of the believer in God.</p><p></p><p>For both Ishna Ji n Chaz Ji, an example will best illustrate the art, craft, mood, subject matter, metaphor used by the writer in the following shabads:</p><p></p><p><strong>ਮਃ ੧ ॥ ਕੁੰਭੇ ਬਧਾ ਜਲੁ ਰਹੈ ਜਲ ਬਿਨੁ ਕੁੰਭੁ ਨ ਹੋਇ ॥ ਗਿਆਨ ਕਾ ਬਧਾ ਮਨੁ ਰਹੈ ਗੁਰ ਬਿਨੁ ਗਿਆਨੁ ਨ ਹੋਇ ॥੫॥ {ਪੰਨਾ 469</strong>} Here guru Nanak metaphorically uses an analogy to hammer home the importance of having a "guru". Simile used, <strong>ਕੁੰਭੇ</strong> [vessel to store liquids, which is made on potters wheel] is a typically used utensil within Indian households. Now, those of us who are familiar will immediately grasp Nanak's message from those who are not. And, the point of <span style="color: #ff00ff">enjoyment</span> is grounded in Nanak's skill to its best endeavours by connecting the ordinary [householder] to the extra-ordinary [guru] by the use of words.</p><p></p><p><strong>ਸਲੋਕੁ ਮਃ ੧ .... ਮਿਠਤੁ ਨੀਵੀ ਨਾਨਕਾ ਗੁਣ ਚੰਗਿਆਈਆ ਤਤੁ ॥ {ਪੰਨਾ 470} </strong>Now, here guru Nanak moves away from the hustle bustle of urbanisation and into the contemplative ambience of rural Punjab. Although, the message concealed is "<strong>humility</strong>" [<strong>ਮਿਠਤੁ, sweet]</strong> but the ideology is phenomenal. What Nanak used as a simile for sweetness is "<strong>bay'rr</strong>"[sweet fruit] and in his travels had seen many [inference on my part] which incidentally are quite unique to only sub-continent Indiana. The heavy ladened fruit tree [Bay'ree] which produces so sweet bay'rr, "hey ye human" says Nanak, "be thou art like the Bayree who is ever so low, touching ground and yet so sweet". In other words, become like the fruit tree, that is, the lower you are the sweeter you are.</p><p></p><p>The moral of it is, to get the best flavour of gurbani and appreciate its literary skill is to read it raw and to get wisdom to align your moral compass is another - depends which you so inclined.</p><p></p><p>Goodnight n Godbless</p><p></p><p>Pls make allowances for errors, shortfalls or wrongs unintentionally worded.</p></blockquote><p></p>
[QUOTE="Original, post: 202666, member: 14400"] Dear All Ambarsaria Ji's article is a pleasure to read - beautifully delivered ! I sincerely wish we can all adopt that very style, bar subjective arguments, which of course, can be fought on a neighbouring field - titled "my sikhi". Couple of notable observations on my part; first, what are the essential tools for reading and understanding gurbani ? From a [B]scholarly[/B] perspective, Sikh history is a must, studied in line with social n environmental conditions prevalent at the time of writing together with basic poetry reading skills, that is, what is the shabd about, what is the writer's mood, attitude, social, personal circumstances, what is going on, who is talking, to whom, under what circumstances, where, about what, why, etc. From a [B]religious[/B] perspective, a holistic approach coupled with reverence n respect, which ought to hammer home meaning and intent in one sitting. Both however, must borne in mind not to water-down the facts so as to dilute the conveyance and rob its authenticity, classic case of which was evidenced by Japjisahib Ji above [more n chikor - verse 658]. The two kinds of compositions used in SGGSJ, were the literary type and second, the types which were recited in the folklore forms. It is the latter of the two which Guru Ravidas used when constructing the above shabd. The operative word or shall we say, "romantic" line used by Ravidas Ji was, "[B]sachi preet" [/B]meaning [B]true love[/B] and building it around the metaphors of mountain-pea{censored} and moon-chikor was to bring out the best punjabi folklore of the natives of Punjab. Alien interpretations not familiar with folklore are bound to miss the tune to the music of punjab no matter how intellectually aided. Now, this brings me to my second observation, notably, the nature of gurbani. Although, the tools for construction used by authors of SGGSJ are the same as that of poetry, everything else is at variance. That is to say, the craft of gurbani is like that of poetry, but the subject matter and the tendency of its creators is pretty much their own. Where poetry is composed by the poet, bani is written by a banikar, the spiritual man. Poetry revolves largely around the visible world and human relationships, limiting its scope within time n space, Gurbani however, transcends time n space allowing the Banikars to express their divine experiences, which not only do they analyse but also present philosophically on the level of reality as could best be understood by the ordinary mind of the believer in God. For both Ishna Ji n Chaz Ji, an example will best illustrate the art, craft, mood, subject matter, metaphor used by the writer in the following shabads: [B]ਮਃ ੧ ॥ ਕੁੰਭੇ ਬਧਾ ਜਲੁ ਰਹੈ ਜਲ ਬਿਨੁ ਕੁੰਭੁ ਨ ਹੋਇ ॥ ਗਿਆਨ ਕਾ ਬਧਾ ਮਨੁ ਰਹੈ ਗੁਰ ਬਿਨੁ ਗਿਆਨੁ ਨ ਹੋਇ ॥੫॥ {ਪੰਨਾ 469[/B]} Here guru Nanak metaphorically uses an analogy to hammer home the importance of having a "guru". Simile used, [B]ਕੁੰਭੇ[/B] [vessel to store liquids, which is made on potters wheel] is a typically used utensil within Indian households. Now, those of us who are familiar will immediately grasp Nanak's message from those who are not. And, the point of [COLOR=#ff00ff]enjoyment[/COLOR] is grounded in Nanak's skill to its best endeavours by connecting the ordinary [householder] to the extra-ordinary [guru] by the use of words. [B]ਸਲੋਕੁ ਮਃ ੧ .... ਮਿਠਤੁ ਨੀਵੀ ਨਾਨਕਾ ਗੁਣ ਚੰਗਿਆਈਆ ਤਤੁ ॥ {ਪੰਨਾ 470} [/B]Now, here guru Nanak moves away from the hustle bustle of urbanisation and into the contemplative ambience of rural Punjab. Although, the message concealed is "[B]humility[/B]" [[B]ਮਿਠਤੁ, sweet][/B] but the ideology is phenomenal. What Nanak used as a simile for sweetness is "[B]bay'rr[/B]"[sweet fruit] and in his travels had seen many [inference on my part] which incidentally are quite unique to only sub-continent Indiana. The heavy ladened fruit tree [Bay'ree] which produces so sweet bay'rr, "hey ye human" says Nanak, "be thou art like the Bayree who is ever so low, touching ground and yet so sweet". In other words, become like the fruit tree, that is, the lower you are the sweeter you are. The moral of it is, to get the best flavour of gurbani and appreciate its literary skill is to read it raw and to get wisdom to align your moral compass is another - depends which you so inclined. Goodnight n Godbless Pls make allowances for errors, shortfalls or wrongs unintentionally worded. [/QUOTE]
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