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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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<blockquote data-quote="max314" data-source="post: 26457" data-attributes="member: 2817"><p><strong>Surinder:</strong></p><p></p><p>Translations are never easy. Harder still is the attempt to translate poetry. Customs, habits, humour and - sometimes - entire <em>concepts</em> that are so clearly communicable or poetically cohesive in one language have no worthy equivalent in another. Being a student and enthusiast of modern poetry, I am very familiar with this.</p><p></p><p>"<em>satnäm</em>" is often literally translated as "True Name" ("<em>sat</em>" meaning "truth" and "<em>näm</em>" meaning "name"). But the poetic impact of the word "<em>satnam</em>" is almost impossible to give true justice to in the English language.</p><p></p><p>"Supreme Truth"? Maybe...</p><p></p><p>"Ultimate Truth"? Perhaps...</p><p></p><p>Of course, the use of the term "<em>näm</em>" can be interpreted as meaning that God has a name. A human name. It goes without saying that God exists within no such constructs. So what actually <strong>is</strong> "<em>näm</em>"? It is a concept that is expressed with a word that can only hint at an intuitive understanding. This is why the Granth is written in poetics and in metaphoric prose and not as a science journal. Like any art or poetry, it is a physical representation of something that can never truly be physically represented. It's the meaning 'behind the lines' that counts. One line on its own doesn't give it true justice. The entire <em>shabbad</em> is more 'truthful', and truer still is an appreciation of the text in its original language (by "original language", I'm referring to the culture, customs and a subliminal socio-political awareness that simply is not the same in today's times).</p><p></p><p>The term "<em>jap</em>" faces a similar dilemma. Literally translated, it means "speak". It has also been translated as meaning "recite" or "meditate". This is less ambiguous than the concept of "<em>näm</em>", but the issue of translating it into a phrase that is poetically palpable in English still exists. I mean, the best I can come up with is "all together now...!" :{-<img src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" class="smilie smilie--sprite smilie--sprite1" alt=":)" title="Smile :)" loading="lazy" data-shortname=":)" /></p><p></p><p>I think that Patwant Singh's omission of these terms in their element results in their implied presence throughout the passage in general. When trying to garner poetic impact in a different language and in an attempt to communicate certain implicit sensibilities, it was probably necessary to omit such terms in order to allow the translated passage to speak for itself instead of weighing it down with the burdens of ambiguity that a word-for-word translation with minimal emotional resonance would have put upon it.</p><p></p><p>But that's not to worry anyone about anything. The words remain in their original form within the Granth, and alternative translations exist. Whether we consider it to be the true Mool Mantra or a summation of its properties of God is irrelevant. What matters is the fact that the founding tennets upon which the entire Granth is still faithfully represented.</p></blockquote><p></p>
[QUOTE="max314, post: 26457, member: 2817"] [b]Surinder:[/b] Translations are never easy. Harder still is the attempt to translate poetry. Customs, habits, humour and - sometimes - entire [i]concepts[/i] that are so clearly communicable or poetically cohesive in one language have no worthy equivalent in another. Being a student and enthusiast of modern poetry, I am very familiar with this. "[i]satnäm[/i]" is often literally translated as "True Name" ("[i]sat[/i]" meaning "truth" and "[i]näm[/i]" meaning "name"). But the poetic impact of the word "[i]satnam[/i]" is almost impossible to give true justice to in the English language. "Supreme Truth"? Maybe... "Ultimate Truth"? Perhaps... Of course, the use of the term "[i]näm[/i]" can be interpreted as meaning that God has a name. A human name. It goes without saying that God exists within no such constructs. So what actually [b]is[/b] "[i]näm[/i]"? It is a concept that is expressed with a word that can only hint at an intuitive understanding. This is why the Granth is written in poetics and in metaphoric prose and not as a science journal. Like any art or poetry, it is a physical representation of something that can never truly be physically represented. It's the meaning 'behind the lines' that counts. One line on its own doesn't give it true justice. The entire [i]shabbad[/i] is more 'truthful', and truer still is an appreciation of the text in its original language (by "original language", I'm referring to the culture, customs and a subliminal socio-political awareness that simply is not the same in today's times). The term "[i]jap[/i]" faces a similar dilemma. Literally translated, it means "speak". It has also been translated as meaning "recite" or "meditate". This is less ambiguous than the concept of "[i]näm[/i]", but the issue of translating it into a phrase that is poetically palpable in English still exists. I mean, the best I can come up with is "all together now...!" :{-(: I think that Patwant Singh's omission of these terms in their element results in their implied presence throughout the passage in general. When trying to garner poetic impact in a different language and in an attempt to communicate certain implicit sensibilities, it was probably necessary to omit such terms in order to allow the translated passage to speak for itself instead of weighing it down with the burdens of ambiguity that a word-for-word translation with minimal emotional resonance would have put upon it. But that's not to worry anyone about anything. The words remain in their original form within the Granth, and alternative translations exist. Whether we consider it to be the true Mool Mantra or a summation of its properties of God is irrelevant. What matters is the fact that the founding tennets upon which the entire Granth is still faithfully represented. [/QUOTE]
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