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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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Bani By Shekh Farid Ji
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<blockquote data-quote="Astroboy" data-source="post: 76478" data-attributes="member: 4990"><p><strong><a href="http://lakhvir.wordpress.com/2006/06/13/asa-di-vaar-%e2%80%93-the-baba-sheikh-farid-connection/" target="_blank"><span style="color: #c86c00">Asa-Di-Vaar – the Baba Sheikh Farid connection</span></a></strong></p><p> </p><p>June 13, 2006 at 11:55 am (<a href="http://wordpress.com/tag/sikhi/" target="_blank"><span style="color: #c86c00">Sikhi</span></a>) </p><p> </p><p style="text-align: center"><img src="http://lakhvir.files.wordpress.com/2006/06/babasheikhfarid.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" /></p> <p style="text-align: center"><strong>Selected from a Katha by <a href="http://www.keertan.org/multimedia.htm" target="_blank"><span style="color: #c86c00">Sant Baba Hardev Singh Lulowale</span></a></strong></p> <p style="text-align: center"><strong>Kenya Tour, 11-18 June 2006</strong></p><p><em>Asa-Di-Vaar</em> – means “A ballad of hope”; it is one of the basic sacred compositions for the Sikhs and is sung every morning in congregation in Gurduwaras. The Vaar is an heroic ode which describes the brave deeds of a hero. It is generally sung to inspire armies going to battle or to inspire people with martial spirit. <em>Asa-Di-Vaar</em> is normally sung in the Assa raga. It consists of 24 stanzas (Pauris) and 44 Staves (Salokas) and was originated by Guru Nanak later, Guru Angad added another 15 staves of his own. In congregation, the musicians sing this var along with Chhants (quatrains) of Guru Ramdas. The stanzas express the ideas in general, while the staves clarify them by example and detail. Social and religious issues are then related, to ordinary life.</p><p><em>Asa-Di-Vaar</em> does not tell a story, its theme is: “How to become a spiritual person”. In it, Guru Nanak also warns us against the rituals and tricks of priests and monks (and of course, not leaving out the self-professed holy men of today). The most important thing is how to build up one’s character and how to remove the obstacles that lay in the path of a disciple, the most important of which is the ego, selfishness or conceit. Even holy persons, who are outwardly very good and kind, often suffer from religious pride. Sometimes so-called religious people, commit heinous crimes through self-righteousness and bigotry. It should be remembered that ego in its pure essence is self-awareness or identity which when regulated is an essential, for it is the basis of one’s character or moral nature. When regulated by right motivation and active service, it is positive and beneficial. But if uncontrolled through self pride of position or riches, it becomes selfish and mean. The effects of the Ego are particularly contemptible and disastrous when disguised by the apparent holiness or tradition, which exploits ordinary people’s ignorance and credulity. The practice of humility and love are the most effective qualities for keeping people away from sin, far better than all recitations and rituals of religion.</p><p>Guru Nanak Dev Ji, as it is also with the other contributing Gurus, whose Divine Hymns fill Guru Granth Sahib Ji, revealed and recorded Gurbani according to the incidents that took place around them, according to the question raised, and according to the message that was of need. Thus, the Guru never rarely revealed Gurbani in one place. Guru Nanak Dev Ji composed the first nine Sloks in Multan (in today’s Pakistan) at the grave of Baba Sheikh Farid. Every year, there are huge religious melas in the town where Sheikh Farid’s grave is. Once, when Guru Nanak Dev Ji was in Sultanpur, Bhai Mardana made a benti to GuruJi to take him to the mela. GuruJi said, ‘O Mardana, prepare for a journey, and if you accompany me, I’ll show you more melas in the world than just the one at Multan. There is a Gurudwara there today, about half a mile from the grave of Sheikh Farid, where Guru Nanak Dev Ji sat with Bhai Mardana.</p><p>At the point of the grave, which is at a vantage point, one can clearly see the mela beneath that point. GuruJi and Mardana spent the night at the grave and at Amritvela, Bhai Mardana [because he was from the Islam faith] beseeched the Guru, ‘O Satguru! If you do not intend to witness the mela, please allow me to offer my respects. GuruJi lovingly said, ‘Mardaneya, tu kirtan kar. Rabaab khol.’ GuruJi continued, ‘Let’s sing the Praises of the Lord, and wait and witness the mela and pirs come right to where we are.’ It’s a point to note that if the strings of the Rabaab of Guru Nanak Dev Ji ever struck, it was at the grave of Baba Sheikh Farid. Though Guru Nanak Dev Ji began reciting and revealing Bani at the age of 6, the first time GuruJi and Bhai Mardana performed Kirtan was right there – at the grave of Sheikh Farid.</p><p>Imagine the bliss of the divine tunes stringing from Bhai Mardana’s Rabaab with Guru Nanak Dev Ji himself singing Gurbani. That is the time Guru Nanak Dev Ji penned the first Slok which is recorded in Guru Granth Sahib Ji:</p><p style="text-align: center"><em>aapae pattee kalam aap oupar laekh bhI thoo(n)</em></p> <p style="text-align: center"><strong>You Yourself are the writing tablet, and You Yourself are the pen. You are also what is written on it.</strong></p> <p style="text-align: center"><em>eaeko keheeai naanakaa dhoojaa kaahae koo</em></p> <p style="text-align: center"><strong>Speak of the One Lord, O Nanak; how could there be any other?</strong></p> <p style="text-align: center">- Guru Nanak Dev Ji, SGGS 1291</p><p>This is where Guru Nanak Dev Ji sung those Divine Words – at the grave of Sheikh Farid. When the Divine Kirtan echoed all around during the Ambrosial hours, it is said that the air turned calm. According to the Janam Sakhis, even birds began listening to the Divine Music.</p><p>At that time, Sheikh Farid’s grandson, Sheikh Ibrahim, was one of the spiritual leaders present aat the mela at that time. And it is from Sheikh Ibrahim that Guru Nanak Dev Ji sourced the writings of Baba Sheikh Farid which are today preserved in the contents of Guru Granth Sahib Ji. Some of the fakirs from the mela who were wandering outside, the sounds of Guru Nanak’s kirtan filled their ears through the early morning fog. The fakirs were irked as the singing of kirtan is not permitted when the Muslims are in prayer – an injuction of Hazrat Mohammad Sahib – which is why Muslims perform their namaaz in silence.</p><p>When the fakirs reached the point where Guru Nanak Dev Ji was seated with Bhai Mardana, entraptured in singing of Divine Kirtan, they could do little to complain owing to the biting cold temperatures. The warmth of the rising light of Divine Bliss prompted the Muslim fakirs to listen to the hymns of Guru Nanak Dev Ji. But when they heard one of the Sloks being sung by Guru Nanak Dev Ji, they were disturbed as it contradicted what they believed. They left forthwith to complain to their Pir and lamented that that particular mela would be in vain as a {censored} atop had dared sing Kirtan at a time when they was to be none of it. But a fact os note is that besides their complaint, they Muslim fakirs also presented their positive feelings and what was worthy of praise. They remarked that a Hindu {censored} was singing Kirtan in the company of a Muslim rabaabi, and said to their Pir, ‘Though he (Nanak) was singing hymns in direct challenge to our beliefs, but our ears thirsted to hear to what he was singing, and we wished to remain seated there!’</p><p>They continued to praise what they witnessed, ‘His being was engulfed in bliss and what he was singing was sweet.’ On hearing the fakirs, Sheikh Ibrahim arose and headed for where Guru Nanak Dev Ji was reported to have been seated singing Kirtan. As Sheikh Ibrahim trekked to the point, the entire mela followed behind him. Upon getting to the point where Guru Nanak Dev Ji was, everyone sat down. The wiser ones bowed their heads down in reverence while the grumbling exhibited their contempt. This is the point in history where Asa-Di-Vaar begun to be composed – at the grave of Baba Sheikh Farid. As the questions were posed, Guru Nanak Dev Ji answered in hymns of the Divine, which now form the first 9 Sloks of Asa-D-Vaar.</p><p> </p><p> </p><p> </p><p>(Source: The Inner Journey)</p></blockquote><p></p>
[QUOTE="Astroboy, post: 76478, member: 4990"] [B][URL="http://lakhvir.wordpress.com/2006/06/13/asa-di-vaar-%e2%80%93-the-baba-sheikh-farid-connection/"][COLOR=#c86c00]Asa-Di-Vaar – the Baba Sheikh Farid connection[/COLOR][/URL][/B] June 13, 2006 at 11:55 am ([URL="http://wordpress.com/tag/sikhi/"][COLOR=#c86c00]Sikhi[/COLOR][/URL]) [CENTER][IMG]http://lakhvir.files.wordpress.com/2006/06/babasheikhfarid.jpg[/IMG] [B]Selected from a Katha by [URL="http://www.keertan.org/multimedia.htm"][COLOR=#c86c00]Sant Baba Hardev Singh Lulowale[/COLOR][/URL][/B] [B]Kenya Tour, 11-18 June 2006[/B][/CENTER] [I]Asa-Di-Vaar[/I] – means “A ballad of hope”; it is one of the basic sacred compositions for the Sikhs and is sung every morning in congregation in Gurduwaras. The Vaar is an heroic ode which describes the brave deeds of a hero. It is generally sung to inspire armies going to battle or to inspire people with martial spirit. [I]Asa-Di-Vaar[/I] is normally sung in the Assa raga. It consists of 24 stanzas (Pauris) and 44 Staves (Salokas) and was originated by Guru Nanak later, Guru Angad added another 15 staves of his own. In congregation, the musicians sing this var along with Chhants (quatrains) of Guru Ramdas. The stanzas express the ideas in general, while the staves clarify them by example and detail. Social and religious issues are then related, to ordinary life. [I]Asa-Di-Vaar[/I] does not tell a story, its theme is: “How to become a spiritual person”. In it, Guru Nanak also warns us against the rituals and tricks of priests and monks (and of course, not leaving out the self-professed holy men of today). The most important thing is how to build up one’s character and how to remove the obstacles that lay in the path of a disciple, the most important of which is the ego, selfishness or conceit. Even holy persons, who are outwardly very good and kind, often suffer from religious pride. Sometimes so-called religious people, commit heinous crimes through self-righteousness and bigotry. It should be remembered that ego in its pure essence is self-awareness or identity which when regulated is an essential, for it is the basis of one’s character or moral nature. When regulated by right motivation and active service, it is positive and beneficial. But if uncontrolled through self pride of position or riches, it becomes selfish and mean. The effects of the Ego are particularly contemptible and disastrous when disguised by the apparent holiness or tradition, which exploits ordinary people’s ignorance and credulity. The practice of humility and love are the most effective qualities for keeping people away from sin, far better than all recitations and rituals of religion. Guru Nanak Dev Ji, as it is also with the other contributing Gurus, whose Divine Hymns fill Guru Granth Sahib Ji, revealed and recorded Gurbani according to the incidents that took place around them, according to the question raised, and according to the message that was of need. Thus, the Guru never rarely revealed Gurbani in one place. Guru Nanak Dev Ji composed the first nine Sloks in Multan (in today’s Pakistan) at the grave of Baba Sheikh Farid. Every year, there are huge religious melas in the town where Sheikh Farid’s grave is. Once, when Guru Nanak Dev Ji was in Sultanpur, Bhai Mardana made a benti to GuruJi to take him to the mela. GuruJi said, ‘O Mardana, prepare for a journey, and if you accompany me, I’ll show you more melas in the world than just the one at Multan. There is a Gurudwara there today, about half a mile from the grave of Sheikh Farid, where Guru Nanak Dev Ji sat with Bhai Mardana. At the point of the grave, which is at a vantage point, one can clearly see the mela beneath that point. GuruJi and Mardana spent the night at the grave and at Amritvela, Bhai Mardana [because he was from the Islam faith] beseeched the Guru, ‘O Satguru! If you do not intend to witness the mela, please allow me to offer my respects. GuruJi lovingly said, ‘Mardaneya, tu kirtan kar. Rabaab khol.’ GuruJi continued, ‘Let’s sing the Praises of the Lord, and wait and witness the mela and pirs come right to where we are.’ It’s a point to note that if the strings of the Rabaab of Guru Nanak Dev Ji ever struck, it was at the grave of Baba Sheikh Farid. Though Guru Nanak Dev Ji began reciting and revealing Bani at the age of 6, the first time GuruJi and Bhai Mardana performed Kirtan was right there – at the grave of Sheikh Farid. Imagine the bliss of the divine tunes stringing from Bhai Mardana’s Rabaab with Guru Nanak Dev Ji himself singing Gurbani. That is the time Guru Nanak Dev Ji penned the first Slok which is recorded in Guru Granth Sahib Ji: [CENTER][I]aapae pattee kalam aap oupar laekh bhI thoo(n)[/I] [B]You Yourself are the writing tablet, and You Yourself are the pen. You are also what is written on it.[/B] [I]eaeko keheeai naanakaa dhoojaa kaahae koo[/I] [B]Speak of the One Lord, O Nanak; how could there be any other?[/B] - Guru Nanak Dev Ji, SGGS 1291[/CENTER] This is where Guru Nanak Dev Ji sung those Divine Words – at the grave of Sheikh Farid. When the Divine Kirtan echoed all around during the Ambrosial hours, it is said that the air turned calm. According to the Janam Sakhis, even birds began listening to the Divine Music. At that time, Sheikh Farid’s grandson, Sheikh Ibrahim, was one of the spiritual leaders present aat the mela at that time. And it is from Sheikh Ibrahim that Guru Nanak Dev Ji sourced the writings of Baba Sheikh Farid which are today preserved in the contents of Guru Granth Sahib Ji. Some of the fakirs from the mela who were wandering outside, the sounds of Guru Nanak’s kirtan filled their ears through the early morning fog. The fakirs were irked as the singing of kirtan is not permitted when the Muslims are in prayer – an injuction of Hazrat Mohammad Sahib – which is why Muslims perform their namaaz in silence. When the fakirs reached the point where Guru Nanak Dev Ji was seated with Bhai Mardana, entraptured in singing of Divine Kirtan, they could do little to complain owing to the biting cold temperatures. The warmth of the rising light of Divine Bliss prompted the Muslim fakirs to listen to the hymns of Guru Nanak Dev Ji. But when they heard one of the Sloks being sung by Guru Nanak Dev Ji, they were disturbed as it contradicted what they believed. They left forthwith to complain to their Pir and lamented that that particular mela would be in vain as a {censored} atop had dared sing Kirtan at a time when they was to be none of it. But a fact os note is that besides their complaint, they Muslim fakirs also presented their positive feelings and what was worthy of praise. They remarked that a Hindu {censored} was singing Kirtan in the company of a Muslim rabaabi, and said to their Pir, ‘Though he (Nanak) was singing hymns in direct challenge to our beliefs, but our ears thirsted to hear to what he was singing, and we wished to remain seated there!’ They continued to praise what they witnessed, ‘His being was engulfed in bliss and what he was singing was sweet.’ On hearing the fakirs, Sheikh Ibrahim arose and headed for where Guru Nanak Dev Ji was reported to have been seated singing Kirtan. As Sheikh Ibrahim trekked to the point, the entire mela followed behind him. Upon getting to the point where Guru Nanak Dev Ji was, everyone sat down. The wiser ones bowed their heads down in reverence while the grumbling exhibited their contempt. This is the point in history where Asa-Di-Vaar begun to be composed – at the grave of Baba Sheikh Farid. As the questions were posed, Guru Nanak Dev Ji answered in hymns of the Divine, which now form the first 9 Sloks of Asa-D-Vaar. (Source: The Inner Journey) [/QUOTE]
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