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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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Gurmat Vichaar
Shabad in Focus
Hath Na La-e Kasumbh rai Jal Jasi Dhola | ਹਥੁ ਨ ਲਾਇ ਕਸੁੰਭੜੈ ਜਲਿ ਜਾਸੀ ਢੋਲਾ
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<blockquote data-quote="Original" data-source="post: 208475" data-attributes="member: 14400"><p>Dear All - good morning !</p><p></p><p>I've read with interest the poem on page 794 of SGGSJ. It is of a particular genre and consequence within the meaning of the word "Gurbani". Why ?</p><p></p><p>A general point to make at the outset is that, just as there are many different kinds of narrative, e.g. long, short, romantic, realistic, historical, comic, etc. so there are many different kinds of poem. And since poetry is, on the whole, a less familiar art than that of novel writing or indeed a short essay, it is imparative to emphasise and explore in detail some aspects of the poem to get the general drift of the poet's desired end. In other words, what the poet is trying to say.</p><p></p><p>The word rahao [<strong>ਰਹਾਉ</strong>] has number of different functions within Gurbani literature. In the instant case, it is used to denote the cash-value of the poem's main message, which is, "<span style="color: #0000ff">short-lived pleasures over long term happiness is like the fading colour of the kasumbra flower [<strong>ਕਸੁੰਭੜੈ</strong>] as opposed to the everlasting colour of majeeth [<strong>ਮਜੀਠ</strong>]"</span> <strong><u>ਹਥੁ ਨ ਲਾਇ ਕਸੁੰਭੜੈ, ਜਲਿ ਜਾਸੀ ਢੋਲਾ ॥੧॥ਰਹਾਉ</u></strong>॥ The two flowers are used within Gurbani as tools for 'compare n contrast' modes of perception to reflect the importance of the one over the other. In this case Maya [<strong>ਕਸੁੰਭੜੈ] </strong>and God<strong><strong> [ਮਜੀਠ], </strong></strong>where the former is perishable and the latter imperishable, respectively. The poet is saying, 'colour the self with majeeth and not kasumbra'.</p><p></p><p>The literary skill employed by Baba Farid to denote Maya by using kasumbra was further developed and captilised by Baba Nanak [729 n 721 SGGSJ] in showing the permanence of God over the impermanence of Maya.</p><p></p><p>In a nutshell, it is to show the perishable and the imperishable.</p><p></p><p>Many thanks -</p></blockquote><p></p>
[QUOTE="Original, post: 208475, member: 14400"] Dear All - good morning ! I've read with interest the poem on page 794 of SGGSJ. It is of a particular genre and consequence within the meaning of the word "Gurbani". Why ? A general point to make at the outset is that, just as there are many different kinds of narrative, e.g. long, short, romantic, realistic, historical, comic, etc. so there are many different kinds of poem. And since poetry is, on the whole, a less familiar art than that of novel writing or indeed a short essay, it is imparative to emphasise and explore in detail some aspects of the poem to get the general drift of the poet's desired end. In other words, what the poet is trying to say. The word rahao [[B]ਰਹਾਉ[/B]] has number of different functions within Gurbani literature. In the instant case, it is used to denote the cash-value of the poem's main message, which is, "[COLOR=#0000ff]short-lived pleasures over long term happiness is like the fading colour of the kasumbra flower [[B]ਕਸੁੰਭੜੈ[/B]] as opposed to the everlasting colour of majeeth [[B]ਮਜੀਠ[/B]]"[/COLOR][COLOR=#ff00ff] [/COLOR][B][U]ਹਥੁ ਨ ਲਾਇ ਕਸੁੰਭੜੈ, ਜਲਿ ਜਾਸੀ ਢੋਲਾ ॥੧॥ਰਹਾਉ[/U][/B]॥ The two flowers are used within Gurbani as tools for 'compare n contrast' modes of perception to reflect the importance of the one over the other. In this case Maya [[B]ਕਸੁੰਭੜੈ] [/B]and God[B][B] [ਮਜੀਠ], [/B][/B]where the former is perishable and the latter imperishable, respectively. The poet is saying, 'colour the self with majeeth and not kasumbra'. The literary skill employed by Baba Farid to denote Maya by using kasumbra was further developed and captilised by Baba Nanak [729 n 721 SGGSJ] in showing the permanence of God over the impermanence of Maya. In a nutshell, it is to show the perishable and the imperishable. Many thanks - [/QUOTE]
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Gurmat Vichaar
Shabad in Focus
Hath Na La-e Kasumbh rai Jal Jasi Dhola | ਹਥੁ ਨ ਲਾਇ ਕਸੁੰਭੜੈ ਜਲਿ ਜਾਸੀ ਢੋਲਾ
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