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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
Gurmat Vichar - Discussions
Nidhi/Ridhi/Sidhi
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<blockquote data-quote="BaljeetSingh" data-source="post: 12119" data-attributes="member: 1458"><p>I am seeing this time and again that some people read and refer to the Gurbani in "paragraph" format, but the truth is that Gurbani is not in "paragraph", but "poetic" format. Here is a 10 minute tour of poetic composition styles of poets of 15th-18th century India.</p><p></p><p>There is lot of difference when you read a story and when you read a poem. In a poetic omposition, the poet uses different ways to communicate a message. I think I mentioned it somewhere else in this forum, that the poets in 15th -18th century India used "alankars" in their poetic compositions. "Alankars" are kind of styles. I am not an expert in alakars, but I know a few (believe it or not, 7th grade Hindi classes are helping me a lot now).</p><p></p><p>For example, there is an alankar (I lam forgetting the name), where poet uses the same letter as the first letter of all the words in a line. For example,</p><p> <span style="color: black"><span style="font-family: 'GurbaniAkharHeavy'">kbIr kwieAw kwcI kwrvI kyvl kwcI Dwqu ]</span></span></p><p><span style="color: black"><span style="font-family: 'GurbaniAkharHeavy'"></span></span> <span style="color: blue"><span style="font-family: 'Verdana'">Kabeer, the body is like a clay vessel or a brittle metal pot.</span></span> </p><p> </p><p>Here, Kabir ji used letter "Kakka" as first letter for all but the last word.</p><p> </p><p> </p><p style="text-align: center"> <p style="text-align: left">Another alankar called "atishyokti" alankar, used to refer things of impossible proportions, for example:</p> <p style="text-align: left"></p></p> <p style="text-align: center"></p> <p style="text-align: center"> </p> <p style="text-align: center"><span style="color: black"><span style="font-family: 'GurbaniAkharHeavy'">jy sau cMdw augvih sUrj cVih hjwr ]</span></span> </p> <p style="text-align: center"></p><p> </p><p style="text-align: center"><span style="color: blue"><span style="font-family: 'Verdana'">If a hundred moons were to rise, and a thousand suns appeared,</span></span> </p> <p style="text-align: center"></p><p> <p style="text-align: center"><span style="color: black"><span style="font-family: 'GurbaniAkharHeavy'">eyqy cwnx hoidAW gur ibnu Gor AMDwr </span></span><span style="color: black"><span style="font-family: 'GurbaniAkharHeavy'">]2]</span></span></p> <p style="text-align: center"><span style="color: black"><span style="font-family: 'GurbaniAkharHeavy'"></span></span> <p style="text-align: center"><span style="color: blue"><span style="font-family: 'Verdana'">even with such light, there would </span></span><span style="color: blue"><span style="font-family: 'Verdana'">still be pitch darkness without the </span></span><span style="color: blue"><span style="font-family: 'Verdana'">Guru. ||2||</span></span></p> <p style="text-align: center"><span style="color: blue"><span style="font-family: 'Verdana'"></span></span></p><p style="text-align: left">Now, here you may question...how is it possible to have hundreds of moon or thousands of suns? But the fact is that the Guru is referring to brightness of a very large proportion.</p> <p style="text-align: left"></p> <p style="text-align: left">Similarly, when Guru ji made reference to Nidhaan, and 18 sidhhis, he is referring to all the powers of world...</p> <p style="text-align: left"></p> <p style="text-align: left">Further, please do not quote a single line from any shabad and start interpreting it as an individual line. In order to get the complete message, refer to the entire shabad along with the "Rahao" line. Get the complete message from the whole shabad, and not one individual line.</p> <p style="text-align: left"></p> <p style="text-align: left">This reminds of a short story (probabely we all read in middle school and have now forgotten) about five blind men who gathered around an elephant. One got hold of elephant's ear and said "this is a big fan", second blind man got hold of the leg of elephant and said, "this is a piller". Third got hold of its tail and said...no it is a rope. Similarly the other two blind men got hold of separate body parts of elephant and declared the elephant as something else. Only a person with vision is able to see the animal wholely and tell it is an elephant and not a rope, piller or fan.</p> <p style="text-align: left"></p> <p style="text-align: left">Regards,</p> <p style="text-align: left"></p> </p></p> <p style="text-align: center"> </p> <p style="text-align: center"> </p> <p style="text-align: center"></p></blockquote><p></p>
[QUOTE="BaljeetSingh, post: 12119, member: 1458"] I am seeing this time and again that some people read and refer to the Gurbani in "paragraph" format, but the truth is that Gurbani is not in "paragraph", but "poetic" format. Here is a 10 minute tour of poetic composition styles of poets of 15th-18th century India. There is lot of difference when you read a story and when you read a poem. In a poetic omposition, the poet uses different ways to communicate a message. I think I mentioned it somewhere else in this forum, that the poets in 15th -18th century India used "alankars" in their poetic compositions. "Alankars" are kind of styles. I am not an expert in alakars, but I know a few (believe it or not, 7th grade Hindi classes are helping me a lot now). For example, there is an alankar (I lam forgetting the name), where poet uses the same letter as the first letter of all the words in a line. For example, [color=black][font=GurbaniAkharHeavy]kbIr kwieAw kwcI kwrvI kyvl kwcI Dwqu ] [/font][/color] [color=blue][font=Verdana]Kabeer, the body is like a clay vessel or a brittle metal pot.[/font][/color] Here, Kabir ji used letter "Kakka" as first letter for all but the last word. [center] [left]Another alankar called "atishyokti" alankar, used to refer things of impossible proportions, for example: [/left] [/center] [center][color=black][font=GurbaniAkharHeavy]jy sau cMdw augvih sUrj cVih hjwr ][/font][/color] [/center] [center][color=blue][font=Verdana]If a hundred moons were to rise, and a thousand suns appeared,[/font][/color] [/center] [center][color=black][font=GurbaniAkharHeavy]eyqy cwnx hoidAW gur ibnu Gor AMDwr [/font][/color][color=black][font=GurbaniAkharHeavy]]2] [/font][/color] [center][color=blue][font=Verdana]even with such light, there would [/font][/color][color=blue][font=Verdana]still be pitch darkness without the [/font][/color][color=blue][font=Verdana]Guru. ||2|| [/font][/color] [left]Now, here you may question...how is it possible to have hundreds of moon or thousands of suns? But the fact is that the Guru is referring to brightness of a very large proportion. Similarly, when Guru ji made reference to Nidhaan, and 18 sidhhis, he is referring to all the powers of world... Further, please do not quote a single line from any shabad and start interpreting it as an individual line. In order to get the complete message, refer to the entire shabad along with the "Rahao" line. Get the complete message from the whole shabad, and not one individual line. This reminds of a short story (probabely we all read in middle school and have now forgotten) about five blind men who gathered around an elephant. One got hold of elephant's ear and said "this is a big fan", second blind man got hold of the leg of elephant and said, "this is a piller". Third got hold of its tail and said...no it is a rope. Similarly the other two blind men got hold of separate body parts of elephant and declared the elephant as something else. Only a person with vision is able to see the animal wholely and tell it is an elephant and not a rope, piller or fan. Regards,[color=blue][font=Verdana][/font][/color] [/left] [/center] [/center] [/QUOTE]
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Gurmat Vichar - Discussions
Nidhi/Ridhi/Sidhi
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