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Guru Granth Sahib
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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="Sherdil" data-source="post: 200081" data-attributes="member: 20261"><p>I think the main underlying message of the shabadh is that the clay which makes up our bodies is the same clay that makes up everything else. This message doesn't change if we view the potter as God or as a mortal.</p><p></p><p>Why exactly a Muslim was used to convey this message most probably has to do with the Quranic account of how Allah created man, as has been discussed. But for those of us who have not read the Quran, this shabadh conveys that the body placed in the soil, becomes part of the soil itself. That same soil then ends up on the potter's wheel.</p><p></p><p>Forget the logistics of how exactly a potter would attain such clay from the Muslim graveyard. That's not the point. The point is to see everything as one.</p><p></p><p>This idea works even better if you view the potter as God. The dead body decomposes and fertilizes the soil, which gives nutrients for other forms of life. This is all a natural process that occurs with the Hukam. It also reaffirms the notion that the body is merely dust. From dust we come and to dust we go.</p><p></p><p>So either path we take, we end up at the same point.</p><p></p><p>I also see a correlation between this shabadh and the "Fools wrangle over meat and flesh" shabadh. In that shabadh, the underlying theme was that meat and vegetables are made from the same clay. So which one really leads to sin?</p><p></p><p>In the meat and flesh shabadh, the word ਭਾਂਡੇ (bhandae) refers to the human body. In the Muslim grave shabadh, the same word refers to a pot. In various places in gurbani, the human body is referred to as the vessel which contains the soul. Vessel of flesh to be exact. Therefore, I believe the terms flesh and clay are actually synonyms when used in the context of these shabadhs. The bricks that the potter makes can then be viewed as non-living things, like rocks, because they cannot contain a soul.</p><p></p><p>In my opinion, the part of the shabadh which needs further exploration is why the clay weeps when burning coals fall upon it. At first glance, I am reminded of a shabadh in which Guru Nanak describes the sugar cane weeping and crying as it is boiled. Why would he attribute such human characteristics to inanimate objects? Perhaps his intent was similar in both shabadhs.</p><p></p><p>GGS, page 142</p><p></p><p>ਮਃ ੧ ॥</p><p>मः १ ॥</p><p>Mėhlā 1.</p><p>First Mehl:</p><p></p><p>ਵੇਖੁ ਜਿ ਮਿਠਾ ਕਟਿਆ ਕਟਿ ਕੁਟਿ ਬਧਾ ਪਾਇ ॥</p><p>वेखु जि मिठा कटिआ कटि कुटि बधा पाइ ॥</p><p>vekẖ jė miṯẖā kati▫ā kat kut baḏẖā pā▫e.</p><p>Look, and see how the sugar-cane is cut down. After cutting away its branches, its feet are bound together into bundles,</p><p></p><p>ਖੁੰਢਾ ਅੰਦਰਿ ਰਖਿ ਕੈ ਦੇਨਿ ਸੁ ਮਲ ਸਜਾਇ ॥</p><p>खुंढा अंदरि रखि कै देनि सु मल सजाइ ॥</p><p>Kẖundẖā anḏar rakẖ kai ḏen so mal sajā▫e.</p><p>and then, it is placed between the wooden rollers and crushed.</p><p></p><p>ਰਸੁ ਕਸੁ ਟਟਰਿ ਪਾਈਐ ਤਪੈ ਤੈ ਵਿਲਲਾਇ ॥</p><p>रसु कसु टटरि पाईऐ तपै तै विललाइ ॥</p><p>Ras kas tatar pā▫ī▫ai ṯapai ṯai villā▫e.</p><p>What punishment is inflicted upon it! Its juice is extracted and placed in the cauldron; as it is heated, it groans and cries out.</p><p></p><p>ਭੀ ਸੋ ਫੋਗੁ ਸਮਾਲੀਐ ਦਿਚੈ ਅਗਿ ਜਾਲਾਇ ॥</p><p>भी सो फोगु समालीऐ दिचै अगि जालाइ ॥</p><p>Bẖī so fog samālī▫ai ḏicẖai ag jālā▫e.</p><p>And then, the crushed cane is collected and burnt in the fire below.</p><p></p><p>ਨਾਨਕ ਮਿਠੈ ਪਤਰੀਐ ਵੇਖਹੁ ਲੋਕਾ ਆਇ ॥੨॥</p><p>नानक मिठै पतरीऐ वेखहु लोका आइ ॥२॥</p><p>Nānak miṯẖai paṯrī▫ai vekẖhu lokā ā▫e. ||2||</p><p>Nanak: come, people, and see how the sweet sugar-cane is treated! ||2||</p><p></p><p></p><p>A reader might be perplexed as to how inanimate and dead things can cry out. Well, what is different from these inanimate things and a dead body? I think this provokes introspection towards the idea of "Who am I?" Am I the body, or the soul within the body?</p><p></p><p>The next path I am led towards is a short poem written by Baba Farid, which does not appear in Guru Granth Sahib.</p><p></p><p>Says Farid,</p><p>I thought I was alone who suffered.</p><p>I went on top of the house,</p><p>And found every house on fire.</p><p></p><p>Sufis consider the process of awakening to be a painful experience, because the destruction of Haumai is seen as traumatic by the ego, which is the part of the self that is concerned with "me-ism". Divine union with The One is therefore portrayed as a burning fire. Baba Farid says he thought he was the only one who felt such pain, but when he reached the top of his house (opened the Dasam Duaar) he saw that everything around him was consumed with the fire of Divine union.</p><p></p><p>I am more inclined to agree with the latter path to explain this shabadh, because the burning coals falling on the clay remind me of the turtle asking for the burning coal in the wedding shabadh written by Bhagat Kabir ji. The wedding theme of that shabadh also illustrated the union of the soul-bride and the husband-lord.</p></blockquote><p></p>
[QUOTE="Sherdil, post: 200081, member: 20261"] I think the main underlying message of the shabadh is that the clay which makes up our bodies is the same clay that makes up everything else. This message doesn't change if we view the potter as God or as a mortal. Why exactly a Muslim was used to convey this message most probably has to do with the Quranic account of how Allah created man, as has been discussed. But for those of us who have not read the Quran, this shabadh conveys that the body placed in the soil, becomes part of the soil itself. That same soil then ends up on the potter's wheel. Forget the logistics of how exactly a potter would attain such clay from the Muslim graveyard. That's not the point. The point is to see everything as one. This idea works even better if you view the potter as God. The dead body decomposes and fertilizes the soil, which gives nutrients for other forms of life. This is all a natural process that occurs with the Hukam. It also reaffirms the notion that the body is merely dust. From dust we come and to dust we go. So either path we take, we end up at the same point. I also see a correlation between this shabadh and the "Fools wrangle over meat and flesh" shabadh. In that shabadh, the underlying theme was that meat and vegetables are made from the same clay. So which one really leads to sin? In the meat and flesh shabadh, the word ਭਾਂਡੇ (bhandae) refers to the human body. In the Muslim grave shabadh, the same word refers to a pot. In various places in gurbani, the human body is referred to as the vessel which contains the soul. Vessel of flesh to be exact. Therefore, I believe the terms flesh and clay are actually synonyms when used in the context of these shabadhs. The bricks that the potter makes can then be viewed as non-living things, like rocks, because they cannot contain a soul. In my opinion, the part of the shabadh which needs further exploration is why the clay weeps when burning coals fall upon it. At first glance, I am reminded of a shabadh in which Guru Nanak describes the sugar cane weeping and crying as it is boiled. Why would he attribute such human characteristics to inanimate objects? Perhaps his intent was similar in both shabadhs. GGS, page 142 ਮਃ ੧ ॥ मः १ ॥ Mėhlā 1. First Mehl: ਵੇਖੁ ਜਿ ਮਿਠਾ ਕਟਿਆ ਕਟਿ ਕੁਟਿ ਬਧਾ ਪਾਇ ॥ वेखु जि मिठा कटिआ कटि कुटि बधा पाइ ॥ vekẖ jė miṯẖā kati▫ā kat kut baḏẖā pā▫e. Look, and see how the sugar-cane is cut down. After cutting away its branches, its feet are bound together into bundles, ਖੁੰਢਾ ਅੰਦਰਿ ਰਖਿ ਕੈ ਦੇਨਿ ਸੁ ਮਲ ਸਜਾਇ ॥ खुंढा अंदरि रखि कै देनि सु मल सजाइ ॥ Kẖundẖā anḏar rakẖ kai ḏen so mal sajā▫e. and then, it is placed between the wooden rollers and crushed. ਰਸੁ ਕਸੁ ਟਟਰਿ ਪਾਈਐ ਤਪੈ ਤੈ ਵਿਲਲਾਇ ॥ रसु कसु टटरि पाईऐ तपै तै विललाइ ॥ Ras kas tatar pā▫ī▫ai ṯapai ṯai villā▫e. What punishment is inflicted upon it! Its juice is extracted and placed in the cauldron; as it is heated, it groans and cries out. ਭੀ ਸੋ ਫੋਗੁ ਸਮਾਲੀਐ ਦਿਚੈ ਅਗਿ ਜਾਲਾਇ ॥ भी सो फोगु समालीऐ दिचै अगि जालाइ ॥ Bẖī so fog samālī▫ai ḏicẖai ag jālā▫e. And then, the crushed cane is collected and burnt in the fire below. ਨਾਨਕ ਮਿਠੈ ਪਤਰੀਐ ਵੇਖਹੁ ਲੋਕਾ ਆਇ ॥੨॥ नानक मिठै पतरीऐ वेखहु लोका आइ ॥२॥ Nānak miṯẖai paṯrī▫ai vekẖhu lokā ā▫e. ||2|| Nanak: come, people, and see how the sweet sugar-cane is treated! ||2|| A reader might be perplexed as to how inanimate and dead things can cry out. Well, what is different from these inanimate things and a dead body? I think this provokes introspection towards the idea of "Who am I?" Am I the body, or the soul within the body? The next path I am led towards is a short poem written by Baba Farid, which does not appear in Guru Granth Sahib. Says Farid, I thought I was alone who suffered. I went on top of the house, And found every house on fire. Sufis consider the process of awakening to be a painful experience, because the destruction of Haumai is seen as traumatic by the ego, which is the part of the self that is concerned with "me-ism". Divine union with The One is therefore portrayed as a burning fire. Baba Farid says he thought he was the only one who felt such pain, but when he reached the top of his house (opened the Dasam Duaar) he saw that everything around him was consumed with the fire of Divine union. I am more inclined to agree with the latter path to explain this shabadh, because the burning coals falling on the clay remind me of the turtle asking for the burning coal in the wedding shabadh written by Bhagat Kabir ji. The wedding theme of that shabadh also illustrated the union of the soul-bride and the husband-lord. [/QUOTE]
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