| (241) Question:- |
Give a brief information regarding Jaap Sahib and Akal Ustat? |
| Answer:- |
Jaap Sahib is the opening meditation in the Dasam Granth, This is a composition in which God is described by a variety of names, and there is a laudation to the Lord in all its 199 stanzas. The various names attributed to God have been derived from Sanskrit, Arabic, and Persian origin. The Guru has also given martial names to God as Cherisher of arms, wielder of weapons Vanquisher of the wicked, and annihilator of death.
Akal Ustat means the praises of the Timeless. This long composition is in 2713 Chhands and covers 28 pages of the Granth. In this composition, the purpose of human life has been described as to pray to God. Apart from the oneness of God, there is an emphasis upon the universal brotherhood. All Hindus and Muslims are the creation of one God only. Thus, Guru concludes that the temple and the mosque are the same, and as such the entire mankind should be treated as alike.
The Abhekh of the Hindus and the Allah of the Muslims are one,
The Quran and the Puranas praise the same Lord
They are all of one form
The One Lord made them all
Some are Hindus, some are Muslims, Shias, or Sunnies.
Treat the whole of mankind as one.
|
| (242) Question:- |
Briefly introduce Bachitar Natak, Shabad Hazaare, and Swaiyyas of 10th Guru? |
| Answer:- |
The Bachitar Natak means 'Play Marvellous'. This is, in fact, an autobiographical work in 14 cantos. The Guru describes herein as what was his state before coming to this world and what purpose led him to take birth. He declares that he was born in Patna and the purpose of his birth was upholding of dharma. The Guru has also given a vivid description of various ballets fought by him.
It may also be mentioned here that bachitar Natak is a part of larger Bachitar Natak Granth which also includes Chandi Chritra I & II, Chaubis Avtaar, Brahma Avtaar, and Rudra Avtaar. Whereas Chandi the Vaar, a long composition in Punjabi is authentically considered as the composition of the tenth Master, there is no such authenticity regarding stories of the Avtaars included in the said Granth. It may also further be mentioned that opening verses of Chandi di Vaar now from part of the sikh prayer, which reads as under:-
Meditate first on God and then turn
Your thoughts to Guru Nanak.
Angad Guru, Aivar Das, each with Ram Das,
be our protectors.
Arian and Hargohind, remember them
and remember Sri Hari Rai.
Remember Sri Har Krishan whose very
sight dispels all sorrows.
Think of Guru Tegh Bahadur;
So will all the nine treasures throng thy door?
May they, the Gurus, be our guides,
Our protectors in all places.
Shabad Hazaare
There are 10 hymns of the Guru entitled Shabad Hazarewhich means selected hymns. These hymns, listed as under, appear on page 709 to 711 of the Dasam Granth;-
Sr.No. Description along with Rag Opening Words
1. Raamkali Paatshahi Dasveen: Re man aiso kar......
2. Raamkali Paatshahi Dasveen: Re man ih digh jog...
3. Raamkali Paatshahi Dasveen: Praani Param Purakh..
4. Sorath Paatshahi Dasveen: Prabha ju to kah.....
5. Kaliaan Paatshahi Dasveen: Bin kartar na Kirtann
6. Khiaal Paatshahi Dasveen: Mitar piaare noon....
7. Tilang Kafi Paatshahi Dasveen: Kewal Kaalee kartar..
8. Bilaawal Paatshahi Dasveen: So kim Maan.......
9. Devgandhaari Paatshahi Dasveen: Ik bin dooser.....
10. Devgandhaari Paatshahi Dasveen: Bin har Naam......
Swaiyyas are Quatrains comprising of.33 stanzas. The subject of these swaiyyas is also the laudation of the one Almighty Gods with the accent on moral living and abandonment of lust, anger, greed, attachment, and ego. |
| (243) Question:- |
It is said that Guru Gobind Singh patronized 52 poets. Name some of these poets and their important compositions? |
| Answer:- |
Among the 52 poets stated to have been patronised by the 10th Master (Some Scholars are of the view that the number of such poets was much more), the most prominent were Bhai Gurdas-2, Bhai Nand Lal Ji Goya and Senapatti. Bhai Gurdas-2 is known for one of his vaars, entitled as "Vaar Shri Bhagauti Ji Paatshahi Dasvin Ki, which is preserved in the Sikh Reference Library (Manuscript No. 1361) under the title Vaar Bhai Gurdas Ji Ki. There are 28 Pauries (Stanzas) in this Vaar, 22 of which end with the same line proclaiming the uniqueness of Guru Gobind Singh. In fact, the whole composition is panegyric to the Tenth Guru, who is remembered as a valient hero with sword s Kaalka, the power of the Almighty Lord. It is this sword which could uphold the goodness and destroy evil. The poet has referred to the three predecessors of the Guru and has Concluded his composition by highlighting the conversion of the Sangat into Khalsa whose glory is marvellous.
Bhai Nand Lal, the most notable of all the poets and one of the most favorite disciples of the Tenth Guru, enjoys such a reverence that his composition can be recited along with scriptural verse at Sikh congregation. Prior to his joining the Guru, he because of his proficiency in Persian had endeared himself to Darashukoh, Shah Jahan's elder son, and had accompanied him on an expedition to Ghazni in 1639. After that, he remained in the emperor's service for some time. However, it was his mystical bent of mind that he came to Anandpur in search of eternal peace and settled there to remain in the company of the Guru. He is said to have kept good langar or free kitchen at Anandpur, which was considered by the Guru as the best. His first collection of poems called Bandginama was so much liked by the Guru that he gave it the name of Zindginama. Apart from this composition, there are six other compositions namely, Ghazaliat (Dewan Goya), Tausif-e-sanav, Arzulalfer, Dastur-ul-insha Ganjnama, and Khatnat, which are in Persian. There are 3 compositions namely Jotbigas, Rahatnama, and Tankhahnama in Punjabi. Ghasals and Jotbigas contain praises of the tenth Guru. Rehatnama and Tankhahnama shed considerable light on the code of conduct for the Khalsa. When Guru Ji left Anandpur, Bhai Nand Lal went to Multan, his home place and it was there only that he died in 1721.
Senapati is well known for his composition Guru Shobha. In this composition, the author has narrated the main events of the life of Guru Guru Gobind Singh. |
| (244) Question:- |
How the historians, scholars, and people belonging to other religions have viewed the contribution of Guru Gobind Singh in world history and literature |
| Answer:- |
Guru Gobind Singh occupies a very high place in the political, religious, social, and literary history of the world. if we compare him with the Prophets and spiritual leaders of other religions of the world. there is none else who had done such tremendous work in just 42 years of life. Sh. T. L. Vaswani, while comparing the Guru with other Prophets writes that "Guru Sahib's personality is like a rainbow. He possessed sweet honeyed humility of Guru Nanak; lamb like virtue of Jesus Christ spiritual wisdom of Gautam Buddha; bubbling energy of Fiazrat Mohammed; sunkissed glory of Lord Krishna; abiding discipline of I mid-Rama and more so; royal glamour of emperors." It was not only in the spiritual field that the Guru showed his excellence, he was also among the first sacred souls in our country, who, according to Sh. Gokal Chand Narang gave us the message and practical lesson to live secular and democratic life. Another notable historian of our country. Indu Bhushan Bannerji, rightly points out that, "He (Guru Gobind Singh) brought a new people into being and released a new dynamic force into the arena of Indian history. What that. force accomplished is a matter of history but what is not so well known are the diverse ways in which it sought to uplift the depressed and down-trodden.
Mr. Cunningham, the world-famous historian, writes in the history of the Sikhs as, "Thus Guru Gobind Singh transformed his followers into brave fighters, who possessed so much strength and courage, that they could dare the lions in their own dens and challenge dreadful Aurangzeb in his own court. The lowest of the lowly became equal to the highest of the higher caste."
It is not only the historians, who have given a very high place to the 10th Master, the men of literature also paid their rich tributes to this rare son of India. A mention has already been made of Bhai Nand Lal, who, sang in Persian, the praises of the great Guru. Sain Bulhe Shah, summed up the Guru's role in protecting Hindu Religion in the following two lines:-
ਨਾ ਕਹੂੰ ਅਬ ਕੀ, ਨਾ ਕਹੂੰ ਤਬ ਕੀ।
ਗਰ ਨਾ ਹੋਤੇ ਗੁਰੂ ਗੋਬਿੰਦ ਸਿੰਘ ਤੋ ਸੁੰਨਤ ਹੋਤੀ ਸਭ ਕੀ।
Na Kahoon ab Ki, Na Kahoon tab ki,
Gar na hote Guru Gobind Singh, to Sunnat hoti sab ki.
It's not a matter of now, or then,
Had there not been Guru Gobind Singh.
Everybody would have been circumcised.
Guru's contribution in the field of literature has also been widely acknowledged. His compositions in Persian rank very high in that sphere and speak volumes for Guru's command over the language and his scholarship. His various compositions in Braj Bhasha including his master-piece Jaap Sahib entitle him to a unique position in Hindi Literature. Although he wrote very little in Punjabi, his Chandi Di Vaar and the hymn " Mitter Pyare Nu" are among the masterpieces in the literature of this language. In short, the Guru was one of the most remarkable personalities who was a great soldier, a great philosopher, a matchless poet, and a great person who could make so many sacrifices for a noble cause. The Sufi Poet Kibriya Khan refers to the sacrifices in his beautiful poem as under:-
ਕਿਆ ਦਸ਼ਮੇਸ਼ ਪਿਤਾ ਤੇਰੀ ਬਾਤ ਕਰੂੰ ਜੋ ਤੂ ਨੇ ਪਰਉਪਕਾਰ ਕੀਏ।
ਇਕ ਖਾਲਸ ਖਾਲਸਾ ਪੰਥ ਸਜਾ, ਜਾਤੋਂ ਕੇ ਭੇਦ ਨਿਕਾਲ ਦੀਏ।
ਇਸ ਤੇਗ ਕੇ ਬੇਟੇ ਤੇਗ ਪਕੜ, ਦੁਖੀਓਂ ਕੇ ਕਾਟ ਜੰਜਾਲ ਦੀਏ।
ਉਸ ਮੁਲਕੋ ਵਤਨ ਕੀ ਖਿਦਮਤ ਮੇਂ, ਕਹੀਂ ਬਾਪ ਦੀਆ, ਕਹੀਂ ਲਾਲ ਦੀਏ।
Kiya Dasmesh pita tern baat kahoon
Jo tu ne parupkar kiye
Ik Khalas Khalsa panth sajaa,
Jaaton ke bhed nikaal diye
isle gh ke bete tegh pakar,
Dukhiyon ke kaat janjaal diye
Us mulko watan ki khidmat mein,
Kahin baap dee-aa, kahin laal dee-e.
0 Tenth father
What shall I say about your benevolence?
By creating the Khalsa (the Pure)
You abolished the caste differences.
The son of Tegh took the sword
And unshackled troubles of distress.
In the service of his country,
He sacrificed his father and all his sons.
Considering all the aspects of his personality and his contribution in diverse spheres, Swami Viveka Nanda rightly called him, "The Most Glorious Hero Of Our Race". To conclude, the beautiful words of the
Muslim Poet, Allah Yaar Khan, are among the most quoted words of a eulogy about the Guru.
"Insaaf gar kare jo zamaana to yaki (n) hai
Keh de ga ke Gobind Ka sani hi nahi hai".
(If justice is done by people, I am sure, they will agree that Guru Gobind Singh was peerless.) |
| (245) Question:- |
Name some of the source books which provide useful information regarding the study of Sri Guru Granth Sahib? |
| Answer:- |
Since the installation of the Adi-Granth, as the eternal Guru. The scholars had been producing commentaries and dictionaries to make the people understand the meaning of the vocabulary used in the Holy Book. Grammars have also been prepared from time to time for understanding the rules in accordance with which the Gurbani was composed. Mention may be made of certain scholars who produced useful works for this purpose. The first one that needs to be mentioned is Pandit Tara Singh Narottam, a renowned Nirmala scholar of the 19th Century. Nirmalas was a sect of the Sikhs which had originated during the lifetime of Guru Gobind Singh. These people were great scholars. They were the descendants of those who were sent by the Tenth Guru to Varanasi for higher learning. When the Guru had left Anandpur in 1705, the Nirmala preachers went to different places like Haridwar, Allahabad, Varanasi, etc. Their contribution towards the preaching of Sikh doctrine and production of philosophical literature in Sanskrit, Brij, Hindi, and Punjabi was commendable Pandit Tara Singh Narottam was the most important of the Nirmalas, who produced useful literature. His important works are as under:-
Vahiguru Sabdarth (1862), Teeka Bhagat Bani Ka (1872), Teeka Guru Bhav Dipika (1879), Siri Guru Tirath Sangrahi (1883), Granth Sri Gurmat Nirnaya Sagar (1877), Sabda Sur Kos (1866), Akal Murati Pradarsan (1878), Guru Vans Taru Darpan (1878), Granth Guru Granth Kos (1889), Prikia Prakaran (1890), and Tika Sri Rag (1885). It is also said that he wrote a commentary on the entire Guru Granth Sahib which seems to have been lost.
Another scholar of the 19th century was Bhai Kahan Singh of Nabha. Whereas Nirmalas interpreted Gurbani on Vedantic lines. Bhai Kahan Singh presented a Sikh view while interpreting the scripture. His Mahan Kosh is an unmatched monumental work as an encyclopedia of Sikh History and literature. In another work Sharab-Nikhedh, he has clearly brought out that there is no place for intoxicants in Sikh Religion. His tract 'Hum Hindu Nahin' set-forth forcefully the Singh Sabha standpoint for a separate identity of the Sikh Nation. It was he on whom McAuliffe depended considerably for writing his monumental work in six volumes, "The Sikh Religion". He also wrote Tikas of Sadd and Chandi Di Var. Two volumes of Gurmat Maartand were published after his death and provide a reference to relevant terms and words as appearing in Sikh History and Scripture. The explanation provided therein is considered quite authentic.
Among the grammarians, the name of Prof. Sahib Singh (1892-1977) is the most important. His 'Gurbani Viakaran’ is a textual grammar of Sri Guru Granth Sahib. It is unsurpassed so far in enunciating the fundamental principles, especially those concerning the interpretation of wovel endings in inflections of nouns and verbs. Prof. Sahib Singh's other notable work 'Shri Guru Granth Sahib Darpan' was published during 1962-64. He also wrote a number of essays on moral and spiritual themes, religious philosophy, and issues in history and biography.
There are many other scholarly works that are useful for the study of Sri Guru Granth Sahib. The same include Baani Beora by Dr. Charan Singh, Gurmat Martand by Giani Lal Singh, Gurmat Nine by Bhai Jodh Singh, Encyclopaedia of names and places by S. Mehtab Singh, Praacheen Beedan by G.B. Singh, Raag Mala Nine by Shamsher Singh Ashok, Taran Singh's Sri Guru Granth Sahib Ji Da Sahitik Itihas and so on. Although the commentaries and interpretations of certain compositions like Japji Sahib, Sukhmani Sahib, Bhagat Baani, etc. have been produced by a large number of persons, there are works wherein the entire Baani contained in the Holy Book has been explained with interpretations and meanings. The same includes the four Volumes of Shabdarth, prepared by S.G.P.C. A number of scholars including McAuliffe have translated some portions and also the complete Holy Book in English and other languages. Dr. Gopal Singh translated the scriptures in verse form for the first time. Among other translators, the name of S.G.S. Talib may be mentioned. The SGPC has also brought out in eight parts, a Punjabi English version with meanings. A large number of research scholars have also produced a thesis on various aspects of the Holy word. For example, Surinder Singh Kohli's, A Critical Study of Adi Granth is a useful work in this regard.
Last but not the least, is An Encyclopaedia of Sikhism prepared by S. Harbans Singh and released by the Punjabi University, Patiala. This encyclopedia in four volumes covers various entries which are useful for an understanding of the life and the compositions of the Great Masters and also the terms used in the Word Divine. |
| (246) Question:- |
Name the contributors to the Holy Book, referred as Guru Granth Sahib. How many pages are there in this volume? Is the entire Baani (Hymns) in Raagas? Which are the first and the last compositions and how many Raagas have been used for the compositions included therein? |
| Answer:- |
In the original Adi-Granth, the compositions of Five Gurus (the first five Gurus) were included. Apart from them, the compositions of 15 saints from different parts of the country were also made part of it. The other contributors were four devotees of the house of the Guru, namely Satta, Balwant, Baba Sundar Ji and Mardana, and 11 Bhatts. The entire Baani is in 31 Raagas and is spread over 1430 pages. The Holy Book starts with Guru Nanak’s compositions Japuji Sahib. Before the Holy Book was given the status of the Guru by the Tenth Master, he included therein the compositions of his father, the 9th Guru, Guru Tegh Bahadur. The Slokas written by the 9th Guru appears as the last composition in Guru Granth Sahib. It is followed by the concluding hymn, “Thaal vich Tin Vastu Paiyo” and a Sloka “Tera Keeta Jaato Naahee” written by the 5th Guru, Guru Arjan. It is considered that the concluding hymn, named, ‘Mundavni’ is in fact a seal to the Holy Writ. It was in token of the authentication of the text and was also meant for precluding any apocryphal addition. At the end of Guru Granth Sahib, there appears to be a Raag Mala, which is an index of Raagas serving as an epilogue. The following chart shows the number of hymns of various contributors as included in Guru Granth Sahib:-
Guru Nanak Dev Ji 974 Shabad
Guru Angad Dev Ji 63 Slokes (all slokas are incorporated in Vaars)
Guru Amar Dass Ji 907 Shabad
Guru Ram Dass Ji 638 Shabad
Guru Arjan Dev Ji 2218 Shabad (In 30 Raagas)
Guru Tegh Bahadur Ji 59 Shabad, 57 Slokas (In Raag Jaijaiwanti, there is Baani of 9th Guru only)
Satta Ji 3 Shabad
Balwand Ji 5 Shabad
Baba Sundar Ji 6 Shabad (Sadd)
Mardana Ji 3 Shabad
Bhagats
Jaidev Ji 2 Shabad
Baba Farid Ji 4 Shabad, 112 Slokas
Nam Dev Ji 61 Shabad
Trilochan Ji 4 Shabad
Parmanand Ji 1 Shabad
Sadhna Ji 1 Shabad
Beni Ji 3 Shabad
Rama Nand Ji 1 Shabad
Dhanna Ji 3 Shabad
Peepa Ji 1 Shabad
Sain Ji 1 Shabad
Kabir Ji 227 Padas in 17 Raagas (including Bavan Akhri) 237 Slokas.
Ravidas Ji 41 Shabad
Surdass Ji 2 Shabad
Bhikhan Ji 2 Shabad
Bhatt
Kalashaar 54 Swaiyyas (in praise of Five Gurus) (Also named as Kal & Tal)
Nall 16 Swaiyyas (in praise of Guru Ram Dass Ji)
Kirat 4 Swaiyyas (in praise of Guru Amar Dass Ji)
4 Swaiyyas (in praise of Guru Ram Dass Ji)
Bhatt Mathra 7 Swaiyyas (in praise of Guru Ram Dass Ji)
7 Swaiyyas (in praise of Guru Arjan Dev Ji)
Gyand 13 Swaiyyas (in praise of Guru Ram Dass Ji)
Bhikha 2 Swaiyyas (in praise of Guru Amar Dass Ji)
Jalap 5 Swaiyyas (in praise of Guru Amar Dass Ji)
Sal 3 Swaiyyas (in praise of Guru Amar Dass Ji)
Bhal 5 Swaiyyas (in praise of Guru Amar Dass Ji)
Bal 6 Swaiyyas (in praise of Guru Ram Dass Ji)
Haribans 2 Swaiyyas (in praise of Guru Amar Dass Ji)
|
| (247) Question:- |
Give serial-wise index of Raagas and the corresponding pages in Guru Granth Sahib for various compositions? |
| Answer:- |
Japuji Sahib 1
Sodar Mahala 1 8
Sunh Vadd Mahala 1 9
So Purakh Mahala 4 10
Sohila Mahala 1 12
Sri Raag 14
Raag Maajh 94
Raag Gauri 151
Raag Aasa 347
Raag Goojri 489
Raag Devgandhaari 527
Raag Bihaagra 537
Raag Vadhans 557
Raag Sorath 595
Raag Dhanaasri 660
Raag Jaitsari 696
Raag Todi 711
Raag Bairaaree 719
Raag Tilang 721
Raag Soohi 728
Raag Bilaawal 795
Raag Gond 859
Raag RaamKali 876
Raag Nut Narain 975
Raag Maali Guhra 984
Raag Maaru 989
Raag Tukhaari 1107
Raag Kedaara 1108
Raag Bhaireo 1125
Raag Basant 1168
Raag Saarag 1197
Raag Malaar 1254
Raag Kaanra 1294
Raag Kalyaan 1319
Raag Parbhaati 1327
Raag Jaijaiwanti 1352
Salok Sahaskirti Mahala 1 1353
Salok Sahaskirti Mahala 5 1353
Mahala 5 Gatha 1360
Funhe Mahala 5 1363
Salok Bhagat Kabir Jeo Ke 1364
Salok Seikh Farid Ke 1377
Swaiyyas Sri Mukhvaak (Bhataan Di Baani) 1385
Salok Varran Te Vadeek 1410
Salok Mahala 9 1426
Mundavani Mahala 5 1429
Raag Mala 1429 |
| (248) Question:- |
Which language has been used in Guru Granth Sahib? |
| Answer:- |
Guru Granth Sahib is a treasury of Indian languages. Although much of the Baani has been written in Sant Bhasha, several languages like Punjabi, Hindi, Marathi, Arabic, and Persian have been used at certain places. A number of dialects of various languages have also been used. For example, in respect of the Hindi language, there is a use of Poorbi Hindi and Pachhmi Hindi. Similarly, in respect of Punjabi, we can find such derivations like Lehandi and Sindhi as used by guru Arjan in his compositions. Sanskrit has also been used in Sehaskriti Salokas, Gatha Salokas, and the Salokas appearing in Jaitsari Di Vaar. The Gurus and the Saints have also coined certain vocabulary to suit their purpose. For example, the Fourth Guru in Rag Kalyaan has used the word “Trover” instead of “Tarver”. It is true that the scriptures present an admixture of various Indian languages but it was Punjabi language that got a specific identity after the compilation of the Holy Book. The Gurus, by expressing deep and metaphysical thoughts in this language elevated it to the status of a literary language of a high order. |
| (249) Question:- |
Who were Bhatts? Briefly introduce them and their contribution to the Guru Granth Sahib? |
| Answer:- |
Bhatts were bards who sang the praises of a ruler or a warrior or a prominent person. As mentioned in an earlier Question Answer, they also kept records regarding births, deaths, and marriages in the families of their patrons. The scrolls kept by them called in Punjabi Bhatt Vahis are a significant source of information regarding the concerned families. Their importance as a source of information on the lives of gurus has already been discussed. In this answer, the issue to be dealt with relates to their contribution to Guru Granth Sahib.
The Bhatts whose swaiyyas are included in Guru Granth Sahib were the poets with the personal experience and vision of spirituality of the Gurus whom they celebrate in their verse. Very little is known about the lives of these Bhatts nor do we know exactly the number of Bhatts who were associated with the Gurus. According to a tradition, Kalh, a leading Bhatt poet collected some of the verses composed by the Bhatts and recorded in their Vahis and requested the Guru to include the same in the Holy compilation. Some people may think as to why the Guru included such panegyrics, which fact has been explained by various scholars. The fact is that in these Swaiyyas, the bards have acclaimed the Gurus not as individual but as the revelations they embodied. It was the one light as was noticed by the Bhatts that passed through the Gurus in succession, and their veneration of the Almighty God which is the main subject of the scriptures.
It is generally accepted that Swaiyyas included in Guru Granth Sahib are of 11 Bhatts, although some of the scholars have put the figure at 17 and 19. The details of the contribution by 11 Bhatts appear in a separate Answer. The most significant aspect of these Swaiyyas is that they confirm the continuity of the spiritual light passing through the Gurus. To quote Encyclopaedia of Sikhism (Vol. 1, Page 352) “The Bhatts see the Gurus as one light, as one spirit passing from one body to the other. Bhatt Kirat, for instance, “ Just as (Guru) Angad was ever the part of Guru Nanak’s being so is Guru Ram Dass of (Guru) Amar Dass’s (GG. 1405).
Again Bhatt Kalh “From Guru Nanak was Angad; from Angad, Amar Dass received the sublime rank. From Guru Ram Dass descended Guru Arjun……..” (Page 1407) This concept of all the Gurus being one light, one voice has informed all along with the Sikh belief and development and constitutes today a fundamental principle of the faith.” |
| (250) Question:- |
What is meant by Chhand? What are the chhands and the poetic forms used in Guru Granth Sahib? |
| Answer:- |
“Chhand” in Punjabi means a metre, which implies the rhythmical arrangement of the syllables in verse. Since a major portion of poetry in the Holy Book appears in different Raagas, the same are required to be indefinite metrical scheme. As per such a scheme, the rhyme pattern is also significant as it forms the basis of the prosody. Every hymn is divided into different parts or padas. It is because of the division of hymn into different padas that the same has come to be known as Pauri, Shabad, Sloke, Swaiyyas, etc. A number of poetic forms mainly folk forms like vaars, Dohaas, Barahmahas, etc. have been used in the Adi-Granth. There are certain compositions that have names of their own, such as Patti, Bawan Akhri, Sadd, Anand, Sukhmani, Solha, Aarti, Allahaunia, Ghorian, Din, Rain, Vanjara, Virhare, Karhale, Suchajji, Kuchajji, and Gunwanti. Two Shabads entitled as Sodar and So-Purkh have been included in the bigger compositions. (Japuji and Rehras) |
