• Welcome to all New Sikh Philosophy Network Forums!
    Explore Sikh Sikhi Sikhism...
    Sign up Log in

What Is Anhaad Naad?

japjisahib04

Mentor
SPNer
Jan 22, 2005
822
1,294
kuwait
:winkingmunda:

ABSOLUTELY !!:winkingmunda:
That's what I always call ''CLASSIC" humor...


It's just plain nonsense talk as you say...

Then on the other hand, we have Japjisahib giving one-off gurbani quotes with the most unrelated and off tangent self explanations.
Absolute nonsense!............to add to your above ''apple scenario''... he is saying... ''To eat an apple is not for taste, nutrition, survival or anything... but so that you eat the pip and then excrement on some fertile pasture for the pip to sprout and reincarnate into a new apple tree !":singhfacepalm:
I can't even understand why the OP question ''what is anhad naad ?'', when he has his own misconstrued version.
My understanding of gurbani is not copy, paste i.e. it looks to you unrelated and off tangent explanation. I try to understand every pankti based on various aspects of mool mantar. I don't believe God is hypocrate, on one hand He is sweet, does not even remind me of my short comings and on other He punishes me and consignes me to the cycle of 8.4 lakh juenes and as such wants me to peep into workings of ghosts etc.

I even cannot digest that God is biased when I see interpretation of, 'ਇਕਨਾ ਹੁਕਮੀ ਬਖਸੀਸ ਇਕਿ ਹੁਕਮੀ ਸਦਾ ਭਵਾਈਅਹਿ ॥ Some, by His Command, are blessed; others, by His Command, wander aimlessly forever. According to the mool mantar God is so sweet, unbiased and nirvair (bhakhiya bhao aapar) but still you would like Him to be hypocrate and full of enmity. There is no SOS type bhakhsheesh in guru ghar that you sit in a corner and start parroting and you become His favorite. Bakhsheesh is grace in the form of knowledge. When instead of parroting if we take little efforts to understand gurbani, I noticed word ਇਕਨਾ is plural and in ਇਕਿ (kaka has sihari) means each individual plural the meaning becomes very clear that those who sought His knowledge and live as per His raza are blessed whereas others who ignore wanders aimlesslessly. Thus there are two hukmi and our mission and or purpose to tell the other Hukmi the manh that he is not the karta.
 

kggr001

SPNer
Nov 3, 2011
123
129
Amsterdam
I even cannot digest that God is biased when I see interpretation of, 'ਇਕਨਾ ਹੁਕਮੀ ਬਖਸੀਸ ਇਕਿ ਹੁਕਮੀ ਸਦਾ ਭਵਾਈਅਹਿ ॥ Some, by His Command, are blessed; others, by His Command, wander aimlessly forever. According to the mool mantar God is so sweet, unbiased and nirvair (bhakhiya bhao aapar) but still you would like Him to be hypocrate and full of enmity.

I think Guru wrote this in there own view since Guru's saw lord's command in everyone and everything. God is basicly the one that allowes everything hence some wander aimlessly and the one who are seeking are blessed. If he wouldn't allow it then non would be blessed or wander aimlessly.
 

chazSingh

Writer
SPNer
Feb 20, 2012
1,644
1,643
Respected Tejwant Ji,

You Asked:
Please give me the page number of the above verse so I can read the whole shabad which is dipped in Biblical pollen as the other verse you mentioned above.

This is a very long shabad so i will include a section with a link to the full shabad:
The body is formed from the union of the five elements.
Know that the Lord's jewel is within it.
The soul is the Lord, and the Lord is the soul; contemplating the Shabad, the Lord is found. ||7||
Abide in truth and contentment, O humble Siblings of Destiny.
Hold tight to compassion and the Sanctuary of the True Guru.
Know your soul, and know the Supreme Soul; associating with the Guru, you shall be emancipated. ||8||
http://www.sikhitothemax.com/page.asp?ShabadID=3745

What Biblical Pollen exists within this shabad? It seems very clear to me of what i must do, where i must seek...within my own self..what do you think? is Guru Ji trying to confuse me? life is short, i may breath my last breath any second...i need clear and concise direction....
is this some sort of metaphor?

You also asked the following questions:
Is the word GOD used in the Abrahamic religions and others the same usage in Sikhi and as it is used translating Sri Guru Granth Sahib Ji, our only Guru?

If not, then please describe Ik Ong Kaar with your own understanding so I can learn where you are coming from.
I don't care what God means in other religions...
Ik Ong Kar to me means from the ONE emanated the Sound/Shabad/Naam, and from that Emanated Creation...

if we reverse this: ME(part of creation), can attach my consciousness to the Shabad which will take me back to the source...the Ik...

Again very clear...gurbani says the Shabad resounds everywhere but is accessible to us within ourselves...that's where we must seek...

you also asked:
I agree with you that the whole Sri Guru Granth Sahib Ji, our only Guru is filled with the instructions and teachings how to know ourselves first. Our Gurus were psychologists before the term ever existed.

Please show me in any of my posts where I said something to the contrary to the above. How dare I?
you are the one that said "Just feeling good by oneself on his/her own is a selfish way and involves me-ism that Gurbani rejects vehemently"

So there i am, awake at 3am, i sit on my couch...enjoy the silent night...read my japji...mind becomes focused...i contemplate...i close my eyes...i focus on gurbani...on gurmanter...heart is pouring out...mind is chattering but slowly quietens...how can i know my self i ask? Waheguru please hear my prayer...

I ask you Tejwant Ji, am i being selfish by doing this? am i only thinking about myself? and not of others or society? Am i wrong in following my Guru Ji's guidance?
 

chazSingh

Writer
SPNer
Feb 20, 2012
1,644
1,643
Tejwant Ji,

You also asked in what way 'Sacrifice' is used when Guru Ji says "i am a sacrifice to the one who SEES, and inspires others to SEE also"

one can sacrifice in many ways, sacrifice something, mentally, physically, or spiritually...

in my opinion, Guru Ji is saying to the one that does such a remarkable thing, that he sacrifices everything i.e. he is at their service and no longer desires to do anything else...because this is the GREATEST thing someone can do...so Guru Ji will ASSIST such a person 100% forsaking everything else...

to SEE and then INSPIRE others to SEE...
 

Tejwant Singh

Mentor
Writer
SPNer
Jun 30, 2004
5,028
7,188
Henderson, NV.
Chaz Singh ji,

Guru Fateh.

I apologise for the late apply because I was away. Now let's get to the point of discussion.

I asked you a simple question in the post# mentioned below and you avoided to respond to it for the reasons only known to you and the question is the foundation stone of our interaction. Once you answer that question, then only we can continue our interaction other wise this becomes nothing but argumentative chitchat where one is trying to outsmart the other and I am not interested in that kind of conversation because it takes us away from our main objective, which is to learn from each other. Here is the question and please answer it. It is very simple.

My question to Chaz Singh ji, once AGAIN.

But before I dare to endeavour in this, please tell me, do you admit that you are a parrot of Gurbani which means are you into mechanical meaningless rituals?

http://www.sikhphilosophy.net/sikh-youth/42541-what-is-anhaad-naad-11.html#post199465

Let's not be vague and abstract in our interaction. Let's be specific. I can not judge your feelings nor anyone else's neither can you. So, let's stop playing this charade. I am not a mind reader, nor do I intend or pretend to be.

Will wait for your answer, then we shall continue, because there are lots of things in the posts that follow this one that make no sense in a Gurmat view in my opinion for which I may be wrong and would like to be corrected.

I will wait for your response so we can continue to learn from each other.

Thanks & regards

Tejwant Singh
 
Last edited:
Oct 18, 2012
124
81
NAAM or unstruct melodies are experienced by the soul spirit..it starts to manifest at the 10th gate above the eyes... all things experience below the eyes are related to maya, ego and mind,, nothing to do with soul spirit... we are not mind n body,, our true self is soul spirit.. in meditation it is experience at the 10th gate... the 4th stage of consciousness...
 

japjisahib04

Mentor
SPNer
Jan 22, 2005
822
1,294
kuwait
NAAM or unstruct melodies are experienced by the soul spirit..it starts to manifest at the 10th gate above the eyes... all things experience below the eyes are related to maya, ego and mind,, nothing to do with soul spirit... we are not mind n body,, our true self is soul spirit.. in meditation it is experience at the 10th gate... the 4th stage of consciousness...
I wonder how unstruck melodies is going to elevate or make us truthful. Pity despite priceless treasure of gurbani clearly depicting, 'ਗੁਰਮੁਖਿ ਨਾਦੰ ਗੁਰਮੁਖਿ ਵੇਦੰ ਗੁਰਮੁਖਿ ਰਹਿਆ ਸਮਾਈ ॥ to continuously (with unbreakable connection) listen the inner voice is Naad, to listen the inner voice is Ved (by this meaningful revelation Guru sahib is directing us towards uncontaminated veds (divine wisdom),i.e. gurbani tells us bandai khoj dil har roj and not just depend upon branded and so called scholar's understanding of gurbani, like Akal Purakh, His wisdom is also premeating throughout.The irony is this dera culture are not ready yet to accept the above facts pointed out by Guru Nanak more than five centuries ago. Let us be practical.
 

Harry Haller

Panga Master
SPNer
Jan 31, 2011
5,769
8,194
54
I wonder how unstruck melodies is going to elevate or make us truthful

what if the tone is slightly out, or you get the wrong melody, would that make us untruthful?

Pity despite priceless treasure of gurbani clearly depicting, 'ਗੁਰਮੁਖਿ ਨਾਦੰ ਗੁਰਮੁਖਿ ਵੇਦੰ ਗੁਰਮੁਖਿ ਰਹਿਆ ਸਮਾਈ ॥ to continuously listen the inner voice is Naad, to listen the inner voice is Ved (by this meaningful revelation Guru sahib is directing us towards uncontaminated veds (divine wisdom),i.e. gurbani tells us bandai khoj dil har roj and not just depend upon branded and so called scholar's understanding of gurbani, like Akal Purakh, His wisdom is also premeating throughout

Sikhism is a religion given to facts, a place away from the emotionally charged gaga land that passes for wisdom in as lot of religions, a place where if something happens, it is down to actions, seeds that have been sown, rather than blinding lights and wavering candles, followed by prayers being answered and strange highs.

However, now I do realise what all the fuss is about, I discovered it this morning, I got in to my shop as I always do, around 6.30am, and I did the same thing I do every morning, buy 2 cans of relentless, a big bar of chocolate, and the Sun. I then log on to this forum and read the new posts, munch chocolate, gulp my energy drink, and read the morning news.

This morning was different, a song came on, a song from the past, an old crowded house song, within moments, my throat had choked up, my eyes were welling up, it was an old love song, one I used to listen to with my wife, before medication and the wonderful menapause took her away from me, tenth gates, coiled serpants, my stomach churned, I felt a bit light headed, and very very emotional.

The brain is an amazing organ, what happened to me this morning, my state, was down to a melody, and it brought me to my knees, at one point, I thought I was going to lose it completely and burst into tears, the music was so powerful, so evoking of so many different emotions, but I kept it together and stuffed another doughnut in my mouth.

I feel tired, weary, old, but thankful that I did once experience such closeness, such love, I was as cold as stone when I came in this morning, yes, melodies can change our state completely, but maybe its all part of the wonderful thing called life, our ability to be touched by so many different things,

but wisdom? really? there are no short cuts, you do not gain wisdom by putting yourself in an emotional state that fools you into thinking you have some deep connection and finally know the mysteries of the universe.
 

Ambarsaria

ੴ / Ik▫oaʼnkār
Writer
SPNer
Dec 21, 2010
3,384
5,689
I feel little distraught that well respected members are making a mockery of this thread. Let us review,

1. japjisahib04 ji has made it routine to post one liners by stating that he only posts one liners based on his full understanding of the whole shabad. So now somehow we are starting to create classes where the have's can bend the rules by not posting shabds and the rest are require or feel obliged to do so. I have respect for japjisahib04 ji but I believe his mode leaves some need for reflection and perhaps correction.

2. Tejwant Singh ji keep forcing people to either admit something or keep asking that he pends his answer waiting other person's response. Great deal is made in terms of the less than normal Sikhs who "parrot", to coin the phrase, parts of Sri Guru Granth Sahib Ji. Can anyone tell me what they do when they do the nitnem including some learned members here? One has to assume that such learned members have long time ago fully understood the meanings of such nitnem banis. So when the so called "simran" group emphasizes parts of such practice in the context other than Sikh Reht Maryada, the repetition of parts of bani becomes useless "parroting". What is the message in the way bani and shabads are associated with various raags or composition techniques? Was there a reason for it or Guru ji did it for no reason. Could it be possible that the message is conveyed more if you come to be in the state of mind of the composer in all aspects including rhythms, nuances, environs as well as literal and metaphoric uses of composition. I don't believe somehow the so called "understanding versus parroting group" can claim a higher pedestal. I personally don't follow many repetitive bani modes and at times have thought that it was of little use. However as we learn with every passing day, I have come to more of a non-condescending view on this object.

As we all know, the raag part of the Sri Guru Granth Sahib Ji is assumed understood as it is not explicitly written as in western symphonies and the like. So question for arm chair criticizers of so called parroting is, what do they get out of non oral symphonic works of Mozart, Beethoven, and the like?

I am simply requesting that we continue to learn to explore what others are seeing, hearing and feeling that we may not be at times. It is easier said than done, I am as guilty if not more than the next person, but I am trying to rid myself of it.

<iframe src="//www.youtube.com/embed/_eLU5W1vc8Y?feature=player_detailpage" allowfullscreen="" frameborder="0" height="360" width="640"></iframe>

Let us think.

Sat Sri Akal.

PS: I mentioned some big spn names but I did so as only the big have more capacity to take challenges. No bad intentions just noting.
 

Tejwant Singh

Mentor
Writer
SPNer
Jun 30, 2004
5,028
7,188
Henderson, NV.
I feel little distraught that well respected members are making a mockery of this thread. Let us review,

2. Tejwant Singh ji keep forcing people to either admit something or keep asking that he pends his answer waiting other person's response. Great deal is made in terms of the less than normal Sikhs who "parrot", to coin the phrase, parts of Sri Guru Granth Sahib Ji. Can anyone tell me what they do when they do the nitnem including some learned members here? One has to assume that such learned members have long time ago fully understood the meanings of such nitnem banis. So when the so called "simran" group emphasizes parts of such practice in the context other than Sikh Reht Maryada, the repetition of parts of bani becomes useless "parroting". What is the message in the way bani and shabads are associated with various raags or composition techniques? Was there a reason for it or Guru ji did it for no reason. Could it be possible that the message is conveyed more if you come to be in the state of mind of the composer in all aspects including rhythms, nuances, environs as well as literal and metaphoric uses of composition. I don't believe somehow the so called "understanding versus parroting group" can claim a higher pedestal. I personally don't follow many repetitive bani modes and at times have thought that it was of little use. However as we learn with every passing day, I have come to more of a non-condescending view on this object.

As we all know, the raag part of the Sri Guru Granth Sahib Ji is assumed understood as it is not explicitly written as in western symphonies and the like. So question for arm chair criticizers of so called parroting is, what do they get out of non oral symphonic works of Mozart, Beethoven, and the like?

I am simply requesting that we continue to learn to explore what others are seeing, hearing and feeling that we may not be at times. It is easier said than done, I am as guilty if not more than the next person, but I am trying to rid myself of it.

Let us think.

Sat Sri Akal.

PS: I mentioned some big spn names but I did so as only the big have more capacity to take challenges. No bad intentions just noting.

Ambarsaria ji,

Guru Fateh.

I can only talk about myself and let me correct you before I say something. I am no big name here on SPN. I am just a Sikh, a learner, a Sikh like anyone else in here.

I am a bit surprised by your observation to say the least.Please show me a single post of mine where I have accused or forced someone to admit- your words- of being a parrot. It is easy to sit on one's Lazy Boy, see and judge the posts through ones own rose tinted glasses.

Yes, I like to ask questions for the clarifications, not to mock anyone nor have I done that or attempted to because I give the benefit of the doubt to others. I have never questioned anyone's personal experiences. How can I? But I have objected their impositions onto others.

As far as Nitnem is concerned, you would see my take in many of the posts here where I mention Nitnem as a mine full of gems and it is on us to mine the new gems daily through Nitnem, otherwise we are doing nothing but shoveling dirt on the daily basis.

As you mentioned, I like to wait for others to respond before I comment further, I will be waiting for the same from you.

Thanks & Regards

Tejwant Singh
 

japjisahib04

Mentor
SPNer
Jan 22, 2005
822
1,294
kuwait
Ambarsaria Jee

I would have really appreciated if instead of ridiculing, you had given your version of it.

Guru Gobind Singh ji wrote, ‘srawag sidh smooh sidhan ke dekh firio ghar jog jatikey...He checked all these houses of yogies, jains, budhs for us. We need not waste time reinventing wheel. No time for these things. Tav Prasad Savaiye, he observed all the ignorance and blind rituals that the world was performing which were total garbage and completely useless. He observed it and penned it down in the Bani, which we all recite today. If you don't want to be reminded, I will stop sharing.
 

Ambarsaria

ੴ / Ik▫oaʼnkār
Writer
SPNer
Dec 21, 2010
3,384
5,689
Ambarsaria Jee

I would have really appreciated if instead of ridiculing, you had given your version of it.
Japjisahib04 ji you appear to have adopted one liner approach in many posts in this thread. If one liners represented a shabad you really believe Guru ji wrote full shabads for the heck of it. I will not respond to your one liners. I was told to stop posting one liners when I was a newbie here at spn and I heeded the TOS of spn.

Guru Gobind Singh ji wrote, ‘srawag sidh smooh sidhan ke dekh firio ghar jog jatikey
Why one liners again! Quote complete so we may understand more please
....He checked all these houses of yogies, jains, budhs for us. We need not waste time reinventing wheel. No time for these things. Tav Prasad Savaiye, he observed all the ignorance and blind rituals that the world was performing which were total garbage and completely useless. He observed it and penned it down in the Bani, which we all recite today. If you don't want to be reminded, I will stop sharing.
Who are the yogies, jains or budhs in this thread. They are mostly our brother and sister Sikhs with different understanding.
No time for these things. Tav Prasad Savaiye, he observed all the ignorance and blind rituals that the world was performing which were total garbage and completely useless. He observed it and penned it down in the Bani, which we all recite today. If you don't want to be reminded, I will stop sharing.
Why when you recite or others recite it is not parroting except when we want to conveniently label others as parroting and ourselves as reciting. Give it an innocent child test. What difference would an innocent child observe between reciting, simran or doing nitnem? In all likelihood nothing.

I wrote my post after seeing lot of ridicule of others.

Sat Sri Akal please share your wisdom of shabdas. You have marvelous knowledge and one liners don't do justice no matter how you keep saying that your one liners somehow represent complete essence reflection of the complete shabad. I seen, read and enjoyed your complete shabad posts, one liners I don't read or participate in.

Respectfully.

Sat Sri Akal.
 

Ambarsaria

ੴ / Ik▫oaʼnkār
Writer
SPNer
Dec 21, 2010
3,384
5,689
Tejwant Singh ji thanks for posting.
I am a bit surprised by your observation to say the least.Please show me a single post of mine where I have accused or forced someone to admit- your words- of being a parrot. It is easy to sit on one's Lazy Boy, see and judge the posts through ones own rose tinted glasses.
Tejwant Singh ji you have the ability to help bring the best out of people. You helped me and encouraged me when I started my understanding threads of various sections of SGGS at spn. I am sorry if you cannot see what others see in your posts. It really matters little what we think of our posts. It is what others take from them. Rejection of one's questioning methods is shown by people when they stop responding. One should review how many questioning dialogs ended in deathly silence! Many examples in this thread.

As far as Nitnem is concerned, you would see my take in many of the posts here where I mention Nitnem as a mine full of gems and it is on us to mine the new gems daily through Nitnem, otherwise we are doing nothing but shoveling dirt on the daily basis.
I don't know how you mine gems every morning out of Japji Sahib for example, as if you were to do it how my father used to do and I have noted others doing it where they take a shower and wash as they recite and many times finish the path while doing so. It is a proven fact that humans cannot multi-task at any instance, so either one is doing something else or focusing on bani. I don't want to challenge simply stating my observations. Unless you do it with full attention devoid of everything and further spend quality time studying every word and pankti and shabad or pauri newly and re-freshly every morning, you are parroting like anyone else. I don't need to know how you personally do.

I realize that some other posters were sharing and in a way convincing others, but that is simply the strength of their feelings and should be further explored through encouragement rather than plain challenges.

Sat Sri Akal.
 

chazSingh

Writer
SPNer
Feb 20, 2012
1,644
1,643
NAAM or unstruct melodies are experienced by the soul spirit..it starts to manifest at the 10th gate above the eyes... all things experience below the eyes are related to maya, ego and mind,, nothing to do with soul spirit... we are not mind n body,, our true self is soul spirit.. in meditation it is experience at the 10th gate... the 4th stage of consciousness...


Waheguru! Truly Wondrous!
 

Luckysingh

Writer
SPNer
Dec 3, 2011
1,634
2,758
Vancouver
NAAM or unstruct melodies are experienced by the soul spirit..it starts to manifest at the 10th gate above the eyes... all things experience below the eyes are related to maya, ego and mind,, nothing to do with soul spirit... we are not mind n body,, our true self is soul spirit.. in meditation it is experience at the 10th gate... the 4th stage of consciousness...

Excellent !
Close the 9 nine doors and proceed to the 10th !
 

Tejwant Singh

Mentor
Writer
SPNer
Jun 30, 2004
5,028
7,188
Henderson, NV.
Excellent !
Close the 9 nine doors and proceed to the 10th !

Lucky Singh ji,

Guru Fateh,

Sorry to disappoint you but you would not be able to close the nine doors even if you plugged them all because Ik Ong Kaar created us like that. Even if you succeed, you will literally explode from the within through some of the doors. One can not fight against nature that Ik Ong Kaar created. I am sure you did not mean it like that.

Secondly, we need some of these nine doors for our own survival and also they can help us find the key to the 10th.
 

Tejwant Singh

Mentor
Writer
SPNer
Jun 30, 2004
5,028
7,188
Henderson, NV.
Originally Posted by harcharanjitsinghdhillon
NAAM or unstruct melodies are experienced by the soul spirit..it starts to manifest at the 10th gate above the eyes... all things experience below the eyes are related to maya, ego and mind,, nothing to do with soul spirit... we are not mind n body,, our true self is soul spirit.. in meditation it is experience at the 10th gate... the 4th stage of consciousness...

harcharanjit singh dhillon ji,

Guru Fateh.

Would you be kind enough to describe/define what NAAM is according to Sri Guru Granth Sahib Ji, our only Guru? Please use the Shabads from the Sri Guru Granth Sahib Ji where NAAM is defined in the vast set of meanings.

Would you also define meditation as per Sri Guru Granth Sahib Ji because this word is also used for many different words in English translation?

Is it the same as Kundalini yoga as the 3HO sells it or something different?

Please use Shabads so we can learn from your esteemed wisdom.

Lastly, you write: "the 4th stage of consciousness". Would you be kind enough to educate us about this stage is and the 3 before this one are in lay man's terms?

Your posts are very educating and inspiring. With your help we can all become better Sikhs and I want to thank you for that.

Regards

Tejwant Singh
 
Last edited:
Thank you for raising that question, Tejwant Singh Ji. I have been wondering about this myself recently, I believe Naad Science is mentioned in Japji Pauri 4 as translated by Dr. Sant Singh Khalsa, and I have also recently heard the 10th Gate mentioned in Siddh Gosst Pauri 50.

I personally am not focused on any supernatural properties of the actions prescribed in the Gurbani, but I wonder if the more supernatural type of language some people choose for their translations are actually pointing to the same thing that I translate using more concrete language.

For example, if I have in my own experience something which I would describe in terms like "intuitive awareness" or "deep understanding" or "realization", etc., a similar experience might be something that another person would describe as a "4th state of consciousness" or something along those lines.

It could be because they believe in a range of supernatural possibilities that I do not subscribe to, or it could be because of the limitation of words, or possibly even because the behavior of the mind may truly be that different for different people -much like some people have more emotional sensitivity than others, maybe some people have a heightened sensitivity to the activity within their minds which I do not find in my experience.
 

Tejwant Singh

Mentor
Writer
SPNer
Jun 30, 2004
5,028
7,188
Henderson, NV.
<!--[if gte mso 9]><xml> <o:DocumentProperties> <o:Version>12.00</o:Version> </o:DocumentProperties> </xml><![endif]-->
Sabd as the Sound Eternal (Anhad Naad)
Words anhad, anha,t anahad or anahat are used interchangeably in Sri Guru Granth Sahib. Anhad means beyond boundaries or limitless; also known as the sound of the abstract. The word Anaht is from Sanskrit implying unstuck. In Pali, it means pure or immaculate and in Prakrit it means eternal. The suffixes used to Anaht or Anahd are sabd, toora, jhunkara, bani and dhuni that stand for word, rhythm, sound or speech. Thus anaht-sabd would mean the unstuck or pure or eternal sound. In a theistic system, anaht sabd would signify an eternal voice symbolizing the reality of God[1][/FONT]. Anhad is the Un-struck Melody which comes out of the body in honor of the God. It is as if the Lord's Harp vibrates within the body.[2][/FONT] The un-struck melody is the God’s narration. By reciting God’s name the unstruck melody provides perfect sound. The word is sung through unstruck melody. The sweet un-struck melody originated by the recitation of naam smoothly tuned provides pleasure of natural ecstasy.[3][/FONT]
<tt>When two or more things strike, a sound is created. This is known as Aaht Naad. When the sound is created without any strike it is called Anaht Naad. Siddhas believe that when the kundlini is awakened through yoga, it rises up. With this rise a sound is created which is heard by the yogi alone. According to Siddh Yogis, the body has six chakras i.e., mooladhar, swavdhisthhan, manipoor, anaht, visudh and agya chakra. When kundlini rises from sukhmani and reaches anaht chakar, anaht naad is heard. The experienced yogis claim; first this sound is like that of the ocean sound or that of the clouds; then it changes to sounds of shankh and ghadial of temples. At the end, it is like that of flute. Actually this is the sound produced in various positions in veins (nadis) which is heard due to the concentration of attention inside. According to Hath Yog Pardeepika: “Till the Anaht sabd is heard, the Akaash is in action. The wordless is Paarbrahm or parmatma. What ever is heard as naad is energy. Where all elements vanish, the shapeless exists and that is the God.” </tt>[4][/FONT]<tt> </tt>
<tt>The Sound of the Abstract is called Anahd in the Vedas, meaning unlimited sound. The Sufis name it Sarmad, which suggests the idea of intoxication. The word intoxication is here used to signify ecstasy or upliftment; the freedom of the soul from its earthly bondage. Those who are able to hear the Saute Sarmad and meditate on it, are relieved from all worries, anxieties, fears and diseases; and the soul is freed from captivity in the senses and in the physical body. The soul of the listener becomes All-pervading Consciousness; and his spirit becomes the battery which keeps the whole Universe in motion. </tt>
<tt>The Mysticism of Sound</tt>
In the Muslim scriptures, it is variously described as Kalam-i-Ilahi (The Voice of God), Nida-i-Asmani (the Sound from Heaven), Ism-i-Azam (the Great Name), Saut-i-Sarmadi (the intoxicating sound), Saut-i-Nasira (the sound melodious), Kalam-i-Majid (the Great Commandment) and Kalam-i-Haq (the Voice of Truth) which can be heard inside, and it was taught as Sultan-ul-Azkar or the king of prayers.
<tt>According to Sarmad, this Sound develops through ten different aspects because of its manifestation through the different tubes of the body (Nadis); it sounds like thunder, the roaring of the sea, the jingling of bells, running water, the buzzing of bees, the twittering of sparrows, the Veena, the whistle, or the sound of Shankha (Conch) until it finally becomes Hu the most sacred of all sounds. This Sound Hu is the beginning and end of all sounds, be they from man, bird, beast, or thing.</tt>
We have other innumerable references to this Sound of Heavenly Music in the teachings of the Mohammedan fakirs:
Rise above thy mental horizon, O brave soul,
And listen to the call of Music coming from above.​
(Maulana Rumi)​
The whole world is reverberating with Sound, To listen to it you must unseal your inner ears; then shall you hear an Unending Music, and that shall lead you beyond the confines of death. (Shah Niaz)
An unceasing Sound is floating down from the heaven; I wonder how you are engaged in pursuits of no avail. (Hafiz)
Drive away all skepticism from your mind, and listen to the strains of heavenly music; and receive within your soul the messages of God; for these come only by holy communion with the self. The Prophet declared that he heard the Voice of God; and it fell on his ears as clearly as any other sound; but God has sealed your ears; and so you do not listen to His Voice. (Maulana Rumi)
About the Prophet Mohammed it is said[5][/FONT] that at the age of forty he began receiving messages from God, after he had for fifteen years practiced communion with Awaz-Mustqim (Anahd Sabd or the Ceaseless Word), and had seen the glimpses of Truth (flashes of heavenly light) for seven years. At one time he remained for two years in the cave of Hira in meditation. It is further stated that the prophet practiced in the cave of Hira, for six years, the Sultan-ul-Azkar (Surat Sabd Yoga) and that Hazrat Abdul Qadir Jillani, did the same for twelve years in that sacred cave.[6][/FONT]
Anahd, Anhad and Anaht in Sri Guru Granth Sahib.
The concept of anahat has to be understood in the concept of Sri Guru Granth Sahib, which is different from that of Sidhas-yogis or Muslim faqirs. In the Sikh concept of reality, it is not the mystic sound which is of consequence but it is the source i.e., the God which matters. It is the constant mindfulness of God (nam simran) which has to be made the life-breath (prana-pavan) of the devotee. All the Sikh Gurus and other saints, time and again, taught this very thing in very clear terms. They sing anhad naad as the ecstasy of meeting of aatma with parmatma (soul with God). This is different from that of yogis. It is used to depict a state of ecstasy.[7][/FONT] Guru Nank meditated fro years and ultimately came in communion with the God while praying in Bein.
Anahd appears as anaht, anahd-sabd, anhad-naad, anhad-dhuni, anhad-toora, anhad-jhunkara, anhad-bani and anhad-bain in Sri Guru Granth Sahib. In our own times from Saint Kabir and Guru Nanak down to Guru Gobind Singh, the ten Sikh Gurus, and many others preached Sabd and it is through sabd they were able to listen to anhad naad the sound eternal. Saint Kabir uses the word anahat as an epithet of God who is of the form of light (joti sarup anahat). This interpretation is paralleled in Guru Nanak’s Japu where he refers to God, the Creator, as the original, the pure, the beginning-less and the eternal (adi aneelu anadi anahat).
The Process:

Contemplating the Guru, the beautiful, Un-struck Sound of the Sabd is obtained.[8][/FONT] The five primal sounds (words) of the Guru’s guidance make one lucky to listen to the un-struck melody.[9][/FONT] After receiving instructions from the True Guru, one gets detached from the maya and the detached one is imbued with His Name, the un-struck melody, and the celestial vibrations. The un-struck melody, the sound current of the Naad, vibrates and resounds with the vibrations of the celestial instruments and sings the songs of the God with great devotion, dedication and sweetness. Then the celestial flutes play the un-struck melody in tranquil peace and poise.[10][/FONT] The un-struck celestial melody resounds and resonates vibrates in the one who concentrates on the true God. The resounding and resonating is like all the guitars, tambourines cymbals, shankhs etc and the un-blown bugles of ecstasy vibrate for him. The skinless drum (internal body) plays and the sound vibrates as if the clouds shake with thunder without the rainy season. Without clouds, the rain falls, if one contemplates the essence of reality.
[/FONT]
The happiness comes from devotional worship of the Naam at His Door. Once the body in the form of musical instrument vibrates with the un-struck melody, the string of the soul becomes steady, and concentration does not break singing the Bani of the True Guru. The Un-struck Melody resounds and resonates in peaceful ease.[11][/FONT] When it vibrates, beyond the nine gates, the Tenth Gate is found, and liberation is obtained and the sweet melodies in God’s honor sprung.[12][/FONT] This is how the meeting with the Beloved God makes devotees’ body beauteous and sublime. It is as if by touching the philosopher's stone, one is transformed into gold and one gets threaded with jewels into mouth and mind. The eternal love with the God dispels all fear and doubt. Seeking the Guru's guidance, mind gets contented.[13][/FONT] The wonder and marvel of it cannot be described.[14][/FONT][/FONT]

The un-struck melody comes out with the true word hence one must tune oneself to the True God.[15][/FONT] It vibrates only when we truthfully remember Him. The unstuck sound current of the Naad are heard once in the deepest Samadhi. Anhad Naad does not appear when there are worries.[16][/FONT] Only the one who renounces ego enjoys it.[17][/FONT]

From the above it is sufficiently clear that all Master-souls, whether Hindus, Muslims, Christians, and countless others, were conversant with the practice of the Word, though they did not necessarily expound it as a regular science. Most of them tell us of Anhad Sabd only, leading up to Und and Brahmand or the subtle and cosmic regions. But perfect saints, irrespective of whether they belonged to one religion or the other, have gone even beyond this and have spoken of Sar Sabd and Sat Sabd as well, and of regions beyond Brahmand (Par-Brahmand, i.e., Sach Khand, Alakh and Agam Deshas).

Benefits of Anhad?


  • Egotism is eliminated once the Un-struck Melody of Gurbani is obtained.[18][/FONT]
  • One is blessed with intuitive peace and poise as the vibrations of the Un-struck Celestial Bani tune one to the True God and reaches the stage of pure bliss and peace. Thereafter there are no sufferings.[19][/FONT]
  • Day and night, the celestial bugles vibrate the un-struck melody.[20][/FONT]
  • When the Un-struck Melody constantly vibrates within; one’s mind is exalted and uplifted-as one is lovingly absorbed in the Lord.[21][/FONT]
  • Chanting the Naam, (the Name of the Lord); the un-struck melody of the sound vibrates and resounds and one gets celestial peace, tranquility and ecstasy. [22][/FONT] The Ambrosial Nectar, the Un-struck Melody of Gurbani rains down continually.[23][/FONT]
  • One obtains the nine treasures; merriments are showered as the un-struck melody resounds.[24][/FONT]
  • Once mind is enticed by the un-struck celestial melody; its flavor is amazing![25][/FONT]
  • When the Lord of the Universe reveals Himself, and the un-struck melody of the sound current vibrates, the drama of wondrous splendor is enacted.[26][/FONT]
  • There is bliss and ecstasy always and the un-struck celestial melody resounds there.[27][/FONT]
  • As the un-struck celestial melody vibrates at meditator’s door; he is in the process of merging with the Lord. [28][/FONT]
  • The Immaculate Bani and the Un-struck Melody of the Sound-current vibrate for the blessed at the God's Door, and honor of being at the True Door is obtained.[29][/FONT]
  • The Un-struck Melody vibrates, as one dwells within the home of the self.[30][/FONT]

Relationship to Sabd?

The Sabd is heard through the Guru's Teachings. The mind contemplates on the sabd Meditating on the Sabd vibrates the un-struck melody.[31][/FONT] Hearing the un-struck music of the sound current the mind accepts it.[32][/FONT] Thereafter the Un-struck Melody of the Sabd vibrates day and night.[33][/FONT] The fire inside becomes cool and one is in ecstasy hearing the wonderful, Unstruck Sound of the Sabd.[34][/FONT],[35][/FONT]. The Un-struck Melody vibrates, as the naad dwells within the home of the self.[36][/FONT] The unstruck sound current of the Sabd resounds and contains all sounds of the guitar, tambourine and cymbals.[37][/FONT] The lotus of one’s heart blossoms forth; one is ever imbued with the Lord's Love, and the un-struck melody of the Sabd resounds within.[38][/FONT] The Gurmukh meets the God at His place.[39][/FONT]

<hr align="left" size="1" width="33%"> [1][/FONT] Harbans Singh (Ed.), The Encyclopaedia of Sikhism, Patiala, Punjabi University, 1995, p.117.

[2][/FONT] ਰਾਜਾ ਰਾਮ ਅਨਹਦ ਕਿੰਗੁਰੀ ਬਾਜੈ (ਭਗਤ ਕਬੀਰ ਜੀ ਪੰਨਾ 92, ਸਤਰ 15)

[3][/FONT] (a) hir kI kQw Anwhd bwnI ](kbIr, 483 ਸਤਰ [/FONT]15)
(A) nwmu lYq Anhd pUry nwd ](5,1144 ਸਤਰ [/FONT]8)
(e) nwmu vsY iqsu Anhd vwjy ](5,1082 ਸਤਰ [/FONT]2)
(s) Anhd bwxI sbdu suxwieAw ](3,1154 ਸਤਰ [/FONT]2)
(h) sUK shj AwnMd nwm rsu Anhd bwxI shj Dunw ](5,1079 ਸਤਰ [/FONT]12)
(k) gux gwvih Anhd Duin bwxI qh nwnk dwsu icqwrxw ](5,1077 ਸਤਰ [/FONT]7)

[4][/FONT] <tt>Hath Yog Pardeepika, 4<sup>th</sup> Lesson, Shloka 106-7,</tt>

[5][/FONT] Al-anwar of Maulana Sheikh Mohd. Akram Sabri p. 105

[6][/FONT] . Ibid., p. 106

[7][/FONT] (a) sMun smwiD Anhq nwd[[khnu n jweI Acrj ibsmwdu[[(suKmnI m:5, pMnw 293)
(A) ibnvMiq nwnk gurcrx lwgy bwjy Anhd QUry[[ (rwmklI AnMd 3, pMnw 922)

[8][/FONT] [/FONT]ਅਨਹਦ ਸਬਦਿ ਸੁਹਾਵਣੇ ਪਾਈਐ ਗੁਰ ਵੀਚਾਰਿ ( ਮਃ 1, ਪੰਨਾ 21, ਸਤਰ 2)

[9][/FONT] (a) pMcy sbd vjy miq gurmiq vfBwgI Anhdu vijAw ](m 4,1315- ਸਤਰ [/FONT]18)
(A) pMc sKI imil mMglu gwieAw ] Anhd bwxI nwdu vjwieAw ](m 5,375 ਸਤਰ [/FONT]11)

[10][/FONT] (a) ਵਾਜੇ ਤਾ ਕੈ ਅਨਹਦ ਤੂਰਾ [[(ਮਃ 5, ਪੰਨਾ 393, ਸਤਰ 16)[/FONT]
[/FONT](A) ਪ੍ਰਭ ਕੈ ਸਿਮਰਨਿ ਅਨਹਦ ਝੁਨਕਾਰ (ਮਃ 5, ਪੰਨਾ 263, ਸਤਰ 14)[/FONT]
(e) nwਨਕ ਨਾਮਿ ਰਤੇ ਬੈਰਾਗੀ ਅਨਹਦ ਰੁਣ ਝੁਣਕਾਰੇ (ਮਃ 1, ਪੰਨਾ 436, ਸਤਰ 15)
(s) ਤਉ ਅਨਹਦ ਬੇਣੁ ਸਹਜ ਮਹਿ ਬਾਇ (ਭਗਤ ਕਬੀਰ ਜੀ ਪੰਨਾ 344, ਸਤਰ 11)
[/FONT](h) ਤਹ ਬਾਜੇ ਨਾਨਕ ਅਨਹਦ ਤੂਰੇ (ਮਃ 5, ਪੰਨਾ 258, ਸਤਰ 1)

[11][/FONT] (a)ਅਨਹਦੋ ਅਨਹਦੁ ਵਾਜੈ ਰੁਣ ਝੁਣਕਾਰੇ ਰਾਮ (ਮਃ 5, ਪੰਨਾ 436, ਸਤਰ 13)
(A)ਥਿਰੁ ਭਈ ਤੰਤੀ ਤੂਟਸਿ ਨਾਹੀ ਅਨਹਦ ਕਿੰਗੁਰੀ ਬਾਜੀ (ਭਗਤ ਕਬੀਰ ਜੀ ਪੰਨਾ 334, ਸਤਰ 19)
(e)ਅਨਹਦ ਧੁਨਿ ਵਾਜਹਿ ਨਿਤ ਵਾਜੇ ਗਾਈ ਸਤਿਗੁਰ ਬਾਣੀ (ਮਃ 4, ਪੰਨਾ 442, ਸਤਰ 8)
(s) ਅਨਹਦੁ ਵਾਜੈ ਸਹਜਿ ਸੁਹੇਲਾ (ਮਃ 5, ਪੰਨਾ 97, ਸਤਰ 10)[/FONT]

[12][/FONT] (a) ਅਨਹਦ ਬਾਣੀ ਨਾਦੁ ਵਜਾਇਆ (ਮਃ 5, ਪੰਨਾ 375, ਸਤਰ 11)[/FONT]
(A) ਬਿਨਵੰਤਿ ਨਾਨਕ ਸੁਖੁ ਨਾਮਿ ਭਗਤੀ ਦਰਿ ਵਜਹਿ ਅਨਹਦ ਵਾਜੇ (ਮਃ 5, ਪੰਨਾ 578, ਸਤਰ 16) [/FONT]
(e) bwjy Anhd bwjw]rsik rsik gux gwvih hir jn ApnY gurdyiv invwjw](5,892,11)
(s) ਨਉ ਦਰਵਾਜੇ ਦਸਵੈ ਮੁਕਤਾ ਅਨਹਦ ਸਬਦੁ ਵਜਾਵਣਿਆ (ਮਃ 3, ਪੰਨਾ 110, ਸਤਰ 5)[/FONT]
(h) khu nwnk ris mMgl gwey sbd Anwhdu bwijE ](5,1204-4)

[13][/FONT] AxmiVAw mMdlu bwjY ] ibnu swvx Gnhru gwjY ]
bwdl ibnu brKw hoeI ] jau qqu ibcwrY koeI ]
mo kau imilE rwmu snyhI ] ijh imilAY dyh sudyhI ]
imil pwrs kMcnu hoieAw ] muK mnsw rqnu proieAw ]
inj Bwau BieAw BRmu Bwgw ] gur pUCy mnu pqIAwgw ]
(soriT, Bgq nwmdyv jI, 657 ਸਤਰ [/FONT]10-13)

[14][/FONT] suMn smwiD Anhq qh nwd ] khnu n jweI Acrj ibsmwd ] (293-17, gauVI suKmnI(, mÚ 5)

[15][/FONT] swcY sbid shj Duin aupjY min swcY ilv lweI ](3,1234-7)

[16][/FONT] AicMq hmwrY Anhq vwjY] (5,1157 ਸਤਰ [/FONT]10)

[17][/FONT] haumY iqAwgI Anhid rwqw ](1,1040 ਸਤਰ [/FONT]4)

[18][/FONT] ਅਨਹਦ ਬਾਣੀ ਪਾਈਐ ਤਹ ਹਉਮੈ ਹੋਇ ਬਿਨਾਸੁ (ਮਃ 1, ਪੰਨਾ 21, ਸਤਰ 3)

[19][/FONT] ਸਹਜ ਅਨਦ ਅਨਹਦ ਧੁਨਿ ਬਾਣੀ ਬਹੁਰਿ ਭਏ ਬਿਖਾਦ (ਮਃ 5, ਪੰਨਾ 1224, ਸਤਰ 6)

[20][/FONT] ਅਹਿਨਿਸਿ ਬਾਜੇ ਅਨਹਦ ਤੂਰ (ਭਗਤ ਕਬੀਰ ਜੀ ਪੰਨਾ 344, ਸਤਰ 3)

[21][/FONT] ਅਨਹਦ ਧੁਨੀ ਸਦ ਵਜਦੇ ਉਨਮਨਿ ਹਰਿ ਲਿਵ ਲਾਇ (ਮਃ 3, ਪੰਨਾ 91, ਸਤਰ 12)

[22][/FONT] ਸਾਂਤਿ ਸਹਜ ਆਨੰਦ ਨਾਮੁ ਜਪਿ ਵਾਜੇ ਅਨਹਦ ਤੂਰਾ (ਮਃ ਪੰਨਾ 618, ਸਤਰ 9)

[23][/FONT] ਅੰਮ੍ਰਿਤੁ ਵਰਖੈ ਅਨਹਦ ਬਾਣੀ (ਮਃ 5, ਪੰਨਾ 105, ਸਤਰ 15)

[24][/FONT] ਨਉ ਨਿਧਿ ਪਾਈ ਵਜੀ ਵਾਧਾਈ ਵਾਜੇ ਅਨਹਦ ਤੂਰੇ (ਮਃ 5, ਪੰਨਾ 577, ਸਤਰ 6)

[25][/FONT] ਅਨਹਦ ਧੁਨੀ ਮੇਰਾ ਮਨੁ ਮੋਹਿਓ ਅਚਰਜ ਤਾ ਕੇ ਸ੍ਵਾਦ (ਮਃ 5, ਪੰਨਾ 1226, ਸਤਰ 17)

[26][/FONT] ਗੋਵਿੰਦ ਗਾਜੇ ਅਨਹਦ ਵਾਜੇ ਅਚਰਜ ਸੋਭ ਬਣਾਈ (ਮਃ 5, ਪੰਨਾ 452, ਸਤਰ 18)

[27][/FONT] ਤਹ ਅਨਦ ਬਿਨੋਦ ਸਦਾ ਅਨਹਦ ਝੁਣਕਾਰੋ ਰਾਮ (ਮਃ 5, ਪੰਨਾ 545, ਸਤਰ 3)

[28][/FONT] ਨਾਨਕ ਅਨਹਦ ਧੁਨੀ ਦਰਿ ਵਜਦੇ ਮਿਲਿਆ ਹਰਿ ਸੋਈ (ਮਃ 4, ਪੰਨਾ 1248, ਸਤਰ 8)

[29][/FONT] ਨਿਰਮਲ ਵਾਜੈ ਅਨਹਦ ਧੁਨਿ ਬਾਣੀ ਦਰਿ ਸਚੈ ਸੋਭਾ ਪਾਵਣਿਆ (ਮਃ 3, ਪੰਨਾ 121, ਸਤਰ 8)
ਅਨਹਦ ਧੁਨੀ ਦਰਿ ਵਜਦੇ ਦਰਿ ਸਚੈ ਸੋਭਾ ਪਾਇ (ਮਃ 4, ਪੰਨਾ 42, ਸਤਰ 3)

[30][/FONT] ਅਨਹਦੁ ਵਾਜੈ ਨਿਜ ਘਰਿ ਵਾਸਾ (ਮਃ 3, ਪੰਨਾ 161, ਸਤਰ 18)

[31][/FONT] ਅਨਹਦ ਬਾਣੀ ਸਬਦੁ ਵਜਾਏ (ਮਃ 3, ਪੰਨਾ 231, ਸਤਰ 16)

[32] ਅਨਹਦ ਸੁਣਿ ਮਾਨਿਆ ਸਬਦੁ ਵੀਚਾਰੀ (ਮਃ 1, ਪੰਨਾ 415, ਸਤਰ 16)[/FONT]

[33] ਓਥੈ ਅਨਹਦ ਸਬਦ ਵਜਹਿ ਦਿਨੁ ਰਾਤੀ ਗੁਰਮਤੀ ਸਬਦੁ ਸੁਣਾਵਣਿਆ (ਮਃ 3, ਪੰਨਾ 124, ਸਤਰ 14)[/FONT]

[34] ਤਪਤਿ ਬੁਝੀ ਸੀਤਲ ਆਘਾਨੇ ਸੁਨਿ ਅਨਹਦ ਬਿਸਮ ਭਏ ਬਿਸਮਾਦ (ਮਃ 1, ਪੰਨਾ 1217, ਸਤਰ 19)[/FONT]

[35] ਪੰਚੇ ਸਬਦ ਵਜੇ ਮਤਿ ਗੁਰਮਤਿ ਵਡਭਾਗੀ ਅਨਹਦੁ ਵਜਿਆ (ਮਃ 4, ਪੰਨਾ 1315, ਸਤਰ 18)[/FONT]

[36] Anhdu vwjY inj Gir vwsw ] (gauVI guAwryrI, mÚ 3, 161, ਸਤਰ [/FONT]18)

[37][/FONT]ਰਬਾਬੁ ਪਖਾਵਜ ਤਾਲ ਘੁੰਘਰੂ ਅਨਹਦ ਸਬਦੁ ਵਜਾਵੈ (ਮਃ 5, ਪੰਨਾ 381, ਸਤਰ 11)

[38][/FONT] ਕਮਲੁ ਪ੍ਰਗਾਸਿ ਸਦਾ ਰੰਗਿ ਰਾਤਾ ਅਨਹਦ ਸਬਦੁ ਵਜਾਇਆ (ਮਃ 3, ਪੰਨਾ 602, ਸਤਰ 14)

[39][/FONT]ਗੁਰਮੁਖਿ ਜਾਇ ਮਿਲੈ ਨਿਜ ਮਹਲੀ ਅਨਹਦ ਸਬਦੁ ਬਜਾਵੈਗੋ (ਮਃ 4, ਪੰਨਾ 1310, ਸਤਰ 10


<!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:punctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-US</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:DontVertAlignCellWithSp/> <w:DontBreakConstrainedForcedTables/> <w:DontVertAlignInTxbx/> <w:Word11KerningPairs/> <w:CachedColBalance/> </w:Compatibility> <w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="--"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true" DefSemiHidden="true" DefQFormat="false" DefPriority="99" LatentStyleCount="267"> <w:LsdException Locked="false" Priority="0" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Normal"/> <w:LsdException Locked="false" Priority="9" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="heading 1"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/> <w:LsdException Locked="false" Priority="39" Name="toc 1"/> <w:LsdException Locked="false" Priority="39" Name="toc 2"/> <w:LsdException Locked="false" Priority="39" Name="toc 3"/> <w:LsdException Locked="false" Priority="39" Name="toc 4"/> <w:LsdException Locked="false" Priority="39" Name="toc 5"/> <w:LsdException Locked="false" Priority="39" Name="toc 6"/> <w:LsdException Locked="false" Priority="39" Name="toc 7"/> <w:LsdException Locked="false" Priority="39" Name="toc 8"/> <w:LsdException Locked="false" Priority="39" Name="toc 9"/> <w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/> <w:LsdException Locked="false" Priority="0" Name="endnote reference"/> <w:LsdException Locked="false" Priority="0" Name="endnote text"/> <w:LsdException Locked="false" Priority="10" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Title"/> <w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/> <w:LsdException Locked="false" Priority="11" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/> <w:LsdException Locked="false" Priority="22" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Strong"/> <w:LsdException Locked="false" Priority="20" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/> <w:LsdException Locked="false" Priority="0" Name="Normal (Web)"/> <w:LsdException Locked="false" Priority="0" Name="HTML Typewriter"/> <w:LsdException Locked="false" Priority="59" SemiHidden="false" UnhideWhenUsed="false" Name="Table Grid"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/> <w:LsdException Locked="false" Priority="1" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 1"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 1"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 1"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/> <w:LsdException Locked="false" Priority="34" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/> <w:LsdException Locked="false" Priority="29" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Quote"/> <w:LsdException Locked="false" Priority="30" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 1"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 1"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 2"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 2"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 2"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 2"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 2"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 3"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 3"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 3"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 3"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 3"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 4"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 4"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 4"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 4"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 4"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 5"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 5"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 5"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 5"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 5"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 6"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 6"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 6"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 6"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 6"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/> <w:LsdException Locked="false" Priority="19" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/> <w:LsdException Locked="false" Priority="21" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/> <w:LsdException Locked="false" Priority="31" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/> <w:LsdException Locked="false" Priority="32" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/> <w:LsdException Locked="false" Priority="33" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Book Title"/> <w:LsdException Locked="false" Priority="37" Name="Bibliography"/> <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/> </w:LatentStyles> </xml><![endif]--><!--[if !mso]><object classid="clsid:38481807-CA0E-42D2-BF39-B33AF135CC4D" id=ieooui></object> <style> st1\:*{behavior:url(#ieooui) } </style> <![endif]--><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman","serif";} </style> <![endif]-->

dalvinder singh grewal ji,

Guru Fateh.

I am just curious. Is the above wonderful article written by you or by someone else?

Thanks & regards

Tejwant Singh
 

❤️ CLICK HERE TO JOIN SPN MOBILE PLATFORM

Top