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ਸੋ ਦਰੁ | So Dar
ਸੋਹਿਲਾ | Sohilaa
ਰਾਗੁ ਸਿਰੀਰਾਗੁ | Raag Siree-Raag
Gurbani (14-53)
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Pahre (74-78)
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Vanjara (81-82)
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ਰਾਗੁ ਮਾਝ | Raag Maajh
Gurbani (94-109)
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ਰਾਗੁ ਗਉੜੀ | Raag Gauree
Gurbani (151-185)
Quartets/Couplets (185-220)
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Thintteen (343-344)
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ਰਾਗੁ ਆਸਾ | Raag Aasaa
Gurbani (347-348)
Chaupaday (348-364)
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Kaafee (365-409)
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Vaar Aasaa (462-475)
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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)
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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="Astroboy" data-source="post: 79017" data-attributes="member: 4990"><p><strong><span style="color: #660000"><span style="font-size: 9px">BHAKTI YOGA OR THE YOGA OF LOVING DEVOTION</span></span></strong></p><p><strong><span style="color: #660000"><span style="font-size: 9px"></span></span></strong></p><p><strong><span style="color: #660000"><span style="font-size: 9px"></span></span></strong></p><p><span style="color: #660000"><span style="font-size: 9px"><em>He who with unwavering devotion (Bhakti Yoga), does God service, has crossed beyond the strands, and is fit for salvation. </em> BHAGAVAD GITA</span></span> </p><p><span style="color: #660000"><span style="font-size: 9px"> </span></span></p><p><span style="color: #660000"><span style="font-size: 9px"></span></span></p><p><span style="color: #660000"><span style="font-size: 9px">It is a yoga of worship with loving and living faith, absolute and steadfast, in one's Isht-deva or the object of one's reverent adoration. It is a very popular path, most suited to those who are endowed with an emotional bent of mind. Selfless devotion is the keynote to success on this path. A bhakta or a devotee delights in rapturous strains, and is ever engaged in singing hymns in praise of his Lord and never gets weary of them. He tends to differ from a jnani both in his outlook on life and approach to God, for instead of seeking the true Self, which is also the Brahman, he sets up a dualism between himself and his God, whom he adores as a separate and superior being. But this dualism is not necessarily ultimate; the bhakta knows the secret that one becomes that which one adores.</span></span> </p><p><span style="color: #660000"><span style="font-size: 9px"> The cult of bhakti occupies an important integral place in all the yogic sadhnas. In a jnani, it provides substantial support in the form of devotion to the cause of self-knowledge. In a Karma yogin, it manifests itself in the form of an effect, and finds its efflorescence in acts of loving devotion for the common weal of all creatures, for they are the creation of God.</span></span> </p><p><span style="color: #660000"><span style="font-size: 9px"> The path of bhakti is characterized by three salient features: <em>japa, prem </em>and the symbolic representation of the object of veneration.</span></span> </p><p><span style="color: #660000"><span style="font-size: 9px"> (i) <em>Japa:</em> It connotes the constant remembrance and repetition of God's name; in the beginning, orally, by means of the tongue, and then mentally. All the devotees engage in this practice irrespective of their religions orders. The practice of telling beads is widespread in the world. The Hindus name it <em>mala,</em> the Christians "rosary" and the Muslims <em>tasbih.</em> Unless it is performed with devotion and concentration, it defeats its purpose, for it runs the risk of becoming mechanical. Thus in some countries the whole practice has resolved itself into a mere rotating of a wheel on which are inscribed various prayers, only the hand being kept busy, while the mind instead of being fixed on God is left free to wander in worldly thoughts.</span></span> </p><p><span style="color: #660000"><span style="font-size: 9px"> (ii) <em>Prem Bhava </em>or love-attitude assumes multitudinous forms with a bhakta. Sometimes, he assumes the role of a child, and clings to God as one does to his father or mother, and at other times altogether reverses the process and sports with Him as one does with his child. At times, he adopts an attitude of a friend and a companion (<em>sakha-bhava</em>), of a lover pining for his beloved spouse, of a devoted slave for his Master, or a tippler for the Saqi, as we find in the quatrains of Omar Khayyam. It all depends on one's varying moods and predilections. Christ always spoke of God as the "Father;" Paramhansa Ramakrishna adored Him as the "Mother;" Arjuna, the warrior prince, and Meera, the Rajput princess, always regarded Him as a <em>Sakha </em>or a friend and companion, while the Gopis sang songs of poignancy and grief as any love-smitten maiden would do for her lover.</span></span> </p><p><span style="color: #660000"><span style="font-size: 9px"> (iii) Next comes the chosen symbol of the Lord. Everyone has his own conception of incarnations and God's manifestations. As the Nameless assumes many names, so does the Formless appear in many forms according to the desires of His devotees. One may find Him in a stone as Sadna did, another in an idol, for He is immanent in all forms and answers to the prayers of all His sincere bhaktas and never lets them down. One can, of course, serve the Lord when He appears as a Godman, a teacher of humanity like Buddha, Christ, Kabir, Guru Nanak, who by their very presence illumine the world.</span></span> </p><p><span style="color: #660000"><span style="font-size: 9px"> The process of bhakti gradually widens the outlook of a bhakta until he sees the light of his chosen idol pervading everywhere in and around him, and he begins to feel himself expanding with love, till he embraces the entire creation of God. This is the climax to which love brings him. The process was powerfully illustrated in our own time by the life of Sri Ramakrishna. At first he worshiped the Divine Mother as the idol in the Dakshineswar temple, then as the principle that manifested itself in all things good and holy, and finally, as the spirit that pervaded everything, the evil no less than the good, considering even the courtesan as its manifestation. The stages of the progress of a true bhakta from dualism to monism, from a limited individuality to universality, are traditionally termed as under:</span></span> </p><p style="margin-left: 20px"><span style="color: #660000"><span style="font-size: 9px">(a) <em>Salokya: </em>The stage where the devotee desires to dwell in the same region</span></span> </p> <p style="margin-left: 20px"><span style="color: #660000"><span style="font-size: 9px"> as his Beloved.</span></span> </p> <p style="margin-left: 20px"><span style="color: #660000"><span style="font-size: 9px">(b) <em>Sampriya:</em> The stage where he not only wishes to dwell in the same region</span></span> </p> <p style="margin-left: 20px"><span style="color: #660000"><span style="font-size: 9px"> but also in close proximity to his Beloved.</span></span> </p> <p style="margin-left: 20px"><span style="color: #660000"><span style="font-size: 9px">(c) <em>Sarup:</em> The stage where the devotee wishes for himself the same form</span></span> </p> <p style="margin-left: 20px"><span style="color: #660000"><span style="font-size: 9px"> as that of his Beloved.</span></span> </p> <p style="margin-left: 20px"><span style="color: #660000"><span style="font-size: 9px">(d) <em>Sayuja:</em> The final stage when the devotee is content with nothing less than</span></span> </p> <p style="margin-left: 20px"><span style="color: #660000"><span style="font-size: 9px"> becoming one with the deity.</span></span></p><p><span style="color: #660000"><span style="font-size: 9px"> When a bhakta has reached the end of his journey, he no longer sees any duality, but beholds the one Deity pervading everything and everywhere. He may continue to speak of It in the manner in which he used to do, as a Father or a Mother, but he no longer knows any difference between that Being and himself, and so we read of Christ saying: "I and my Father are One."</span></span> </p><p></p><p><strong><span style="color: #660000"><span style="font-size: 9px"></span></span></strong></p><p><strong><span style="color: #660000"><span style="font-size: 9px"></span></span></strong></p></blockquote><p></p>
[QUOTE="Astroboy, post: 79017, member: 4990"] [B][COLOR=#660000][SIZE=1]BHAKTI YOGA OR THE YOGA OF LOVING DEVOTION[/SIZE][/COLOR][/B] [B][COLOR=#660000][SIZE=1] [/SIZE][/COLOR][/B] [COLOR=#660000][SIZE=1][I]He who with unwavering devotion (Bhakti Yoga), does God service, has crossed beyond the strands, and is fit for salvation. [/I] BHAGAVAD GITA[/SIZE][/COLOR] [COLOR=#660000][SIZE=1] [/SIZE][/COLOR] [COLOR=#660000][SIZE=1]It is a yoga of worship with loving and living faith, absolute and steadfast, in one's Isht-deva or the object of one's reverent adoration. It is a very popular path, most suited to those who are endowed with an emotional bent of mind. Selfless devotion is the keynote to success on this path. A bhakta or a devotee delights in rapturous strains, and is ever engaged in singing hymns in praise of his Lord and never gets weary of them. He tends to differ from a jnani both in his outlook on life and approach to God, for instead of seeking the true Self, which is also the Brahman, he sets up a dualism between himself and his God, whom he adores as a separate and superior being. But this dualism is not necessarily ultimate; the bhakta knows the secret that one becomes that which one adores.[/SIZE][/COLOR] [COLOR=#660000][SIZE=1] The cult of bhakti occupies an important integral place in all the yogic sadhnas. In a jnani, it provides substantial support in the form of devotion to the cause of self-knowledge. In a Karma yogin, it manifests itself in the form of an effect, and finds its efflorescence in acts of loving devotion for the common weal of all creatures, for they are the creation of God.[/SIZE][/COLOR] [COLOR=#660000][SIZE=1] The path of bhakti is characterized by three salient features: [I]japa, prem [/I]and the symbolic representation of the object of veneration.[/SIZE][/COLOR] [COLOR=#660000][SIZE=1] (i) [I]Japa:[/I] It connotes the constant remembrance and repetition of God's name; in the beginning, orally, by means of the tongue, and then mentally. All the devotees engage in this practice irrespective of their religions orders. The practice of telling beads is widespread in the world. The Hindus name it [I]mala,[/I] the Christians "rosary" and the Muslims [I]tasbih.[/I] Unless it is performed with devotion and concentration, it defeats its purpose, for it runs the risk of becoming mechanical. Thus in some countries the whole practice has resolved itself into a mere rotating of a wheel on which are inscribed various prayers, only the hand being kept busy, while the mind instead of being fixed on God is left free to wander in worldly thoughts.[/SIZE][/COLOR] [COLOR=#660000][SIZE=1] (ii) [I]Prem Bhava [/I]or love-attitude assumes multitudinous forms with a bhakta. Sometimes, he assumes the role of a child, and clings to God as one does to his father or mother, and at other times altogether reverses the process and sports with Him as one does with his child. At times, he adopts an attitude of a friend and a companion ([I]sakha-bhava[/I]), of a lover pining for his beloved spouse, of a devoted slave for his Master, or a tippler for the Saqi, as we find in the quatrains of Omar Khayyam. It all depends on one's varying moods and predilections. Christ always spoke of God as the "Father;" Paramhansa Ramakrishna adored Him as the "Mother;" Arjuna, the warrior prince, and Meera, the Rajput princess, always regarded Him as a [I]Sakha [/I]or a friend and companion, while the Gopis sang songs of poignancy and grief as any love-smitten maiden would do for her lover.[/SIZE][/COLOR] [COLOR=#660000][SIZE=1] (iii) Next comes the chosen symbol of the Lord. Everyone has his own conception of incarnations and God's manifestations. As the Nameless assumes many names, so does the Formless appear in many forms according to the desires of His devotees. One may find Him in a stone as Sadna did, another in an idol, for He is immanent in all forms and answers to the prayers of all His sincere bhaktas and never lets them down. One can, of course, serve the Lord when He appears as a Godman, a teacher of humanity like Buddha, Christ, Kabir, Guru Nanak, who by their very presence illumine the world.[/SIZE][/COLOR] [COLOR=#660000][SIZE=1] The process of bhakti gradually widens the outlook of a bhakta until he sees the light of his chosen idol pervading everywhere in and around him, and he begins to feel himself expanding with love, till he embraces the entire creation of God. This is the climax to which love brings him. The process was powerfully illustrated in our own time by the life of Sri Ramakrishna. At first he worshiped the Divine Mother as the idol in the Dakshineswar temple, then as the principle that manifested itself in all things good and holy, and finally, as the spirit that pervaded everything, the evil no less than the good, considering even the courtesan as its manifestation. The stages of the progress of a true bhakta from dualism to monism, from a limited individuality to universality, are traditionally termed as under:[/SIZE][/COLOR] [INDENT][COLOR=#660000][SIZE=1](a) [I]Salokya: [/I]The stage where the devotee desires to dwell in the same region[/SIZE][/COLOR] [COLOR=#660000][SIZE=1] as his Beloved.[/SIZE][/COLOR] [COLOR=#660000][SIZE=1](b) [I]Sampriya:[/I] The stage where he not only wishes to dwell in the same region[/SIZE][/COLOR] [COLOR=#660000][SIZE=1] but also in close proximity to his Beloved.[/SIZE][/COLOR] [COLOR=#660000][SIZE=1](c) [I]Sarup:[/I] The stage where the devotee wishes for himself the same form[/SIZE][/COLOR] [COLOR=#660000][SIZE=1] as that of his Beloved.[/SIZE][/COLOR] [COLOR=#660000][SIZE=1](d) [I]Sayuja:[/I] The final stage when the devotee is content with nothing less than[/SIZE][/COLOR] [COLOR=#660000][SIZE=1] becoming one with the deity.[/SIZE][/COLOR][/INDENT][COLOR=#660000][SIZE=1] When a bhakta has reached the end of his journey, he no longer sees any duality, but beholds the one Deity pervading everything and everywhere. He may continue to speak of It in the manner in which he used to do, as a Father or a Mother, but he no longer knows any difference between that Being and himself, and so we read of Christ saying: "I and my Father are One."[/SIZE][/COLOR] [B][COLOR=#660000][SIZE=1] [/SIZE][/COLOR][/B] [/QUOTE]
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