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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="Original" data-source="post: 201304" data-attributes="member: 14400"><p>Japjisahib Ji</p><p></p><p>Once upon a time, when we were illiterate [here I'm suggesting the vast majority of the Punjabi population at the times when ascribe was going on] the guru's written word was taken as sacred, true and implicitly believed. It wasn't down to any qualifications or conditions. Humankind then and now excell in all frontiers on the very principle of "believing" it - unconditionally.</p><p></p><p>Gurbani is poetic - analysing it using academic criteria is acceptable provided it is done methodically. Correct interpretation [pls read my past texts on this thread] supported by full explanation is a relatively short analytical approach which describes the possible meanings and relationships of the words, images, and other small units that make up Gurbani. This then helps in an effective way for a reader to connect to its underlying meaning/plot and conflicts with its structural features. </p><p></p><p>For example, consider Jap Ji Sahib as a dramatic situation in which a new beginning [ideology] is to take shape and the proponent, Guru Nanak addresses his audience with a view to "unravel" the otherwise shrouded in mystery the Hindu ideology. How he does it and what he uses to put his ideas together is a skill. It requires on the readers part to know something about the time in which it was written and the social circumstances surrounding, but more importantly the "subject matter" the proponent is trying to advance. Caution need to be exercised at all times that there is an element of "divine intervention" where the subject matter must be taken out of context and revered as true.</p><p></p><p>As an overview, Jap Ji Sahib can be split into three subsections:</p><p></p><p>1. <strong>God</strong>: his nature, character, identity, creation and his manifestations </p><p>2. <strong>Humankind</strong>: relationship and realisation of God and its place within the </p><p> workings of the cosmos</p><p>3. <strong>Universe</strong>: deterministically working with the ability to afford relative freedom of </p><p> the will to achieve a teleological end via morality.</p><p></p><p>What you've cited above ਦੇਦਾ ਦੇ ਲੈਦੇ ਥਕਿ ਪਾਹਿ ॥ ਜੁਗਾ ਜੁਗੰਤਰਿ ਖਾਹੀ ਖਾਹਿ must be read within the context of God [1] to effect its proper interpretation. Here Guru Nanak is telling the audience of his Satnam in terms of giver [God] of food and consumer [Humankind]. The image intended to portray by Nanak is to show the audience the greatness of Waheguru [meaning, so great is Nanak's God that it keeps feeding endlessly and never running short of supply, but the consumers do end up getting tired].</p><p></p><p>The gist of what I'm saying is to perhaps ask relevant questions in order to grasp meaning and intent of the writer. And, sometimes it helps if the questions were:</p><p></p><p>1. What is being advanced ?</p><p>2 What conflicts if any [e.g. Guru Nanak tells the audience in pauri 3 to 7 about </p><p> purity and impunity with a view to sway them over to his path from the traditional </p><p> Hindu practice] ?</p><p>3. What is the theme ? </p><p>4. Who is the writer? </p><p>5. Why is he writing and what are his reasons for writing ?</p><p></p><p>To get the beauty of Jap Ji Sahib look at the form Nanak used - question and answer. Then look at the designed parts, namely how Nanak dramatises conflicts of ideas in language [metaphor and simle]. By concentrating on the parts, we develop our understanding of the Nanak's intended structure, and we gather support and evidence for our interpretations. </p><p></p><p>Sir, no pen can capture its true significance no matter how much we analyse. Take Gurbani as food for the soul and leave the mind locked up in closet somewhere.</p><p></p><p>Many thanks</p></blockquote><p></p>
[QUOTE="Original, post: 201304, member: 14400"] Japjisahib Ji Once upon a time, when we were illiterate [here I'm suggesting the vast majority of the Punjabi population at the times when ascribe was going on] the guru's written word was taken as sacred, true and implicitly believed. It wasn't down to any qualifications or conditions. Humankind then and now excell in all frontiers on the very principle of "believing" it - unconditionally. Gurbani is poetic - analysing it using academic criteria is acceptable provided it is done methodically. Correct interpretation [pls read my past texts on this thread] supported by full explanation is a relatively short analytical approach which describes the possible meanings and relationships of the words, images, and other small units that make up Gurbani. This then helps in an effective way for a reader to connect to its underlying meaning/plot and conflicts with its structural features. For example, consider Jap Ji Sahib as a dramatic situation in which a new beginning [ideology] is to take shape and the proponent, Guru Nanak addresses his audience with a view to "unravel" the otherwise shrouded in mystery the Hindu ideology. How he does it and what he uses to put his ideas together is a skill. It requires on the readers part to know something about the time in which it was written and the social circumstances surrounding, but more importantly the "subject matter" the proponent is trying to advance. Caution need to be exercised at all times that there is an element of "divine intervention" where the subject matter must be taken out of context and revered as true. As an overview, Jap Ji Sahib can be split into three subsections: 1. [B]God[/B]: his nature, character, identity, creation and his manifestations 2. [B]Humankind[/B]: relationship and realisation of God and its place within the workings of the cosmos 3. [B]Universe[/B]: deterministically working with the ability to afford relative freedom of the will to achieve a teleological end via morality. What you've cited above ਦੇਦਾ ਦੇ ਲੈਦੇ ਥਕਿ ਪਾਹਿ ॥ ਜੁਗਾ ਜੁਗੰਤਰਿ ਖਾਹੀ ਖਾਹਿ must be read within the context of God [1] to effect its proper interpretation. Here Guru Nanak is telling the audience of his Satnam in terms of giver [God] of food and consumer [Humankind]. The image intended to portray by Nanak is to show the audience the greatness of Waheguru [meaning, so great is Nanak's God that it keeps feeding endlessly and never running short of supply, but the consumers do end up getting tired]. The gist of what I'm saying is to perhaps ask relevant questions in order to grasp meaning and intent of the writer. And, sometimes it helps if the questions were: 1. What is being advanced ? 2 What conflicts if any [e.g. Guru Nanak tells the audience in pauri 3 to 7 about purity and impunity with a view to sway them over to his path from the traditional Hindu practice] ? 3. What is the theme ? 4. Who is the writer? 5. Why is he writing and what are his reasons for writing ? To get the beauty of Jap Ji Sahib look at the form Nanak used - question and answer. Then look at the designed parts, namely how Nanak dramatises conflicts of ideas in language [metaphor and simle]. By concentrating on the parts, we develop our understanding of the Nanak's intended structure, and we gather support and evidence for our interpretations. Sir, no pen can capture its true significance no matter how much we analyse. Take Gurbani as food for the soul and leave the mind locked up in closet somewhere. Many thanks [/QUOTE]
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