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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="Archived_Member16" data-source="post: 180431" data-attributes="member: 884"><p><span style="color: Navy"></span></p><p><span style="color: Navy"></span></p><p><span style="color: Navy"><strong>Hindustan Times</strong></span></p><p><span style="color: Navy"><strong>New Delhi, February 24, 2013</strong></span></p><p><span style="color: Navy"><strong>Last Updated: 22:58 IST(24/2/2013)</strong></span></p><p><span style="color: Navy"><strong></strong></span></p><p><span style="color: Navy"><strong><span style="font-size: 18px">Stratford-upon-Patiala</span></strong></span></p><p> <span style="color: Navy"></span></p><p><span style="color: Navy">When the betrayed Julius Caesar next turns around, he doesn't have to whisper "et tu, Brute". He can instead just yell, "Oye Brute, tussi?" Retired professor Surjit Hans is solely responsible for this possibility. The 82-year-old has spent the large part of the past 20 years translating all of William Shakespeare's works. He is finally done. Hamlet's misogynistic rants, as a result, may now start to sound like the inexhaustible lyrics of a Honey Singh song, and the many young lovers of Punjab might even confuse their staple Heer and Ranjha with the equally lovesick Romeo and Juliet. After having spent two decades perhaps resisting the temptation of replacing Romeo's poison with good ol' lassi, Mr Hans is convinced that there are several commonalities between 16th century England and lion-hearted Punjab. </span></p><p><span style="color: Navy"></span></p><p><span style="color: Navy">The octogenarian translator has compared the sibling rivalry in Richard III to the enmity between two of Shah Jahan's sons, Aurangzeb and Dara Shikoh. The assumption that Mr Hans makes is that there is enough in the Bard's now Punjabi repertoire for him to still draw in the crowds. So even though Twelfth Night has derided the tad intoxicated man as a fool, the whole of Midsummer Night's Dream seems to be a sound defence of raucous Punjabi merriment. Shakespeare, like Punjabis, also had a penchant for big weddings. Comedies like The Tempest could really have done with some impromptu bhangra at the end. </span></p><p><span style="color: Navy"></span></p><p><span style="color: Navy">One of Mr Hans' greatest achievements, though, is the creation of a Shakespearean Punjabi. A ready translation of Shakespeare's works can give people a whole new vocabulary to articulate their Desdemona-like loves and Othello-like jealousies. Given that Mr Hans had taken to translating the Bard after being dissatisfied with the pentameter of an earlier Macbeth translation, his rigour seems beyond question. Only R40 a day is then too little a price to have paid a translator who has laboured under the burden of 43 Shakespearean works for decades, just so that you can read it as you like it.</span></p><p><span style="color: Navy"></span></p><p><span style="color: Navy"><strong>source:</strong> <a href="http://www.hindustantimes.com/editorial-views-on/Edits/Stratford-upon-Patiala/Article1-1016850.aspx" target="_blank">http://www.hindustantimes.com/editorial-views-on/Edits/Stratford-upon-Patiala/Article1-1016850.aspx</a></span></p></blockquote><p></p>
[QUOTE="Archived_Member16, post: 180431, member: 884"] [COLOR="Navy"] [B]Hindustan Times New Delhi, February 24, 2013 Last Updated: 22:58 IST(24/2/2013) [SIZE="5"]Stratford-upon-Patiala[/SIZE][/B] When the betrayed Julius Caesar next turns around, he doesn't have to whisper "et tu, Brute". He can instead just yell, "Oye Brute, tussi?" Retired professor Surjit Hans is solely responsible for this possibility. The 82-year-old has spent the large part of the past 20 years translating all of William Shakespeare's works. He is finally done. Hamlet's misogynistic rants, as a result, may now start to sound like the inexhaustible lyrics of a Honey Singh song, and the many young lovers of Punjab might even confuse their staple Heer and Ranjha with the equally lovesick Romeo and Juliet. After having spent two decades perhaps resisting the temptation of replacing Romeo's poison with good ol' lassi, Mr Hans is convinced that there are several commonalities between 16th century England and lion-hearted Punjab. The octogenarian translator has compared the sibling rivalry in Richard III to the enmity between two of Shah Jahan's sons, Aurangzeb and Dara Shikoh. The assumption that Mr Hans makes is that there is enough in the Bard's now Punjabi repertoire for him to still draw in the crowds. So even though Twelfth Night has derided the tad intoxicated man as a fool, the whole of Midsummer Night's Dream seems to be a sound defence of raucous Punjabi merriment. Shakespeare, like Punjabis, also had a penchant for big weddings. Comedies like The Tempest could really have done with some impromptu bhangra at the end. One of Mr Hans' greatest achievements, though, is the creation of a Shakespearean Punjabi. A ready translation of Shakespeare's works can give people a whole new vocabulary to articulate their Desdemona-like loves and Othello-like jealousies. Given that Mr Hans had taken to translating the Bard after being dissatisfied with the pentameter of an earlier Macbeth translation, his rigour seems beyond question. Only R40 a day is then too little a price to have paid a translator who has laboured under the burden of 43 Shakespearean works for decades, just so that you can read it as you like it. [B]source:[/B] [url]http://www.hindustantimes.com/editorial-views-on/Edits/Stratford-upon-Patiala/Article1-1016850.aspx[/url][/COLOR] [/QUOTE]
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