Shivpreet Singh
Shivpreet Singh
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Shabad About the Guru Granth Sahib 

I have heard the shabad Sab Sikhan Ko Hukam hai Guru Manyo Granth, which was said by Guru Gobind Singh and we repeat these words in the Ardaas. Today was the first day I attended Gurdwara during the quarantine due to Covid 19. And I heard a shabad about the Guru Granth Sahib. It is a shabad by Guru Arjan sung in Raag Sarang: Pothi Parmeshar Ka Thaan.  More writings on Where God Lives. 

ਸਾਰਗ ਮਹਲਾ ੫ ॥
सारग महला ५ ॥
Sārag mėhlā 5.
Saarang, Fifth Mehl:

ਪੋਥੀ ਪਰਮੇਸਰ ਕਾ ਥਾਨੁ ॥
पोथी परमेसर का थानु ॥
Pothī parmesar kā thān.
This Holy Book is the home of the Transcendent Lord God.

ਸਾਧਸੰਗਿ ਗਾਵਹਿ ਗੁਣ ਗੋਬਿੰਦ ਪੂਰਨ ਬ੍ਰਹਮ ਗਿਆਨੁ ॥੧॥ ਰਹਾਉ ॥
साधसंगि गावहि गुण गोबिंद पूरन ब्रहम गिआनु ॥१॥ रहाउ ॥
Sāḏẖsang gāvahi guṇ gobinḏ pūran barahm giān. ||1|| rahā▫o.
Whoever sings the Glorious Praises of the Lord of the Universe in the Saadh Sangat, the Company of the Holy, has the perfect knowledge of God. ||1||Pause||

ਸਾਧਿਕ ਸਿਧ ਸਗਲ ਮੁਨਿ ਲੋਚਹਿ ਬਿਰਲੇ ਲਾਗੈ ਧਿਆਨੁ ॥
साधिक सिध सगल मुनि लोचहि बिरले लागै धिआनु ॥
Sāḏẖik siḏẖ sagal mun locẖėh birle lāgai ḏẖiān.
The Siddhas and seekers and all the silent sages long for the Lord, but those who meditate on Him are rare.

ਜਿਸਹਿ ਕ੍ਰਿਪਾਲੁ ਹੋਇ ਮੇਰਾ ਸੁਆਮੀ ਪੂਰਨ ਤਾ ਕੋ ਕਾਮੁ ॥੧॥
जिसहि क्रिपालु होइ मेरा सुआमी पूरन ता को कामु ॥१॥
Jisahi kirpāl hoe merā suāmī pūran ṯā ko kām. ||1||
That person, unto whom my Lord and Master is merciful - all his tasks are perfectly accomplished. ||1||

ਜਾ ਕੈ ਰਿਦੈ ਵਸੈ ਭੈ ਭੰਜਨੁ ਤਿਸੁ ਜਾਨੈ ਸਗਲ ਜਹਾਨੁ ॥
जा कै रिदै वसै भै भंजनु तिसु जानै सगल जहानु ॥
Jā kai riḏai vasai bẖai bẖanjan ṯis jānai sagal jahān.
One whose heart is filled with the Lord, the Destroyer of fear, knows the whole world.

ਖਿਨੁ ਪਲੁ ਬਿਸਰੁ ਨਹੀ ਮੇਰੇ ਕਰਤੇ ਇਹੁ ਨਾਨਕੁ ਮਾਂਗੈ ਦਾਨੁ ॥੨॥੯੦॥੧੧੩॥
खिनु पलु बिसरु नही मेरे करते इहु नानकु मांगै दानु ॥२॥९०॥११३॥
Kẖin pal bisar nahī mere karṯe ih Nānak māʼngai ḏān. ||2||90||113||
May I never forget You, even for an instant, O my Creator Lord; Nanak begs for this blessing. ||2||90||113||

Information from Wikipedia on the Guru Granth Sahib: 

The Guru Granth Sahib (Punjabi: ਗੁਰੂ ਗ੍ਰੰਥ ਸਾਹਿਬ, pronounced [ɡʊɾuː ɡɾəntʰᵊ saːhɪb]) is the central religious scripture of Sikhism, regarded by Sikhs as the final, sovereign and eternal living Guru following the lineage of the ten human gurus of the religion. The Adi Granth, its first rendition, was compiled by the fifth Guru, Guru Arjan (1563–1606). Its compilation was completed on 29 August 1604[failed verification] and first installed inside Darbar Sahib in Amritsar on 1 September 1604.[1] Baba Buddha was appointed the first Granthi of the Darbar Sahib. Later, Guru Gobind Singh, the tenth Sikh guru, added all 115 hymns of Guru Tegh Bahadur, the ninth Sikh guru, to the Adi Granth and affirmed the text as his successor.[2] This second rendition became known as the Guru Granth Sahib, and is also sometimes referred to as the Adi Granth.[3][4]

The text consists of 1,430 angs (pages) and 5,894 śabads (line compositions),[5][6][7] which are poetically rendered and set to a rhythmic ancient north Indian classical form of music.[8] The bulk of the scripture is divided into sixty[5][6] rāgas, with each Granth rāga subdivided according to length and author. The hymns in the scripture are arranged primarily by the rāgas in which they are read.[6] The Guru Granth Sahib is written in the Gurmukhi script, in various languages, including Lahnda (Western Punjabi), Braj Bhasha, Kauravi, Sanskrit, Sindhi, and Persian. Copies in these languages often have the generic title of Sant Bhasha.[9]

The Guru Granth Sahib was composed predominantly by six Sikh gurus: Guru Nanak, Guru Angad, Guru Amar Das, Guru Ram Das, Guru Arjan, and Guru Teg Bahadur. It also contains the poetic teachings of thirteen Hindu Bhakti movement sant poets and two Sufi Muslim poets.[10][11]

The vision in the Guru Granth Sahib is of a society based on divine justice without oppression of any kind.[12][13] While the Granth acknowledges and respects the scriptures of Hinduism and Islam, it does not imply a moral reconciliation with either of these religions.[14] It is installed in a Sikh gurdwara (temple). A Sikh typically bows or prostrates before it on entering such a temple.[15] The Granth is revered as eternal gurbānī and the spiritual authority in Sikhism.[16]


More: https://en.wikipedia.org/wiki/Guru_Granth_Sahib 

From Wikipedia (Aug 2020): Five Thieves 


Fantasy, Dwarfs, Thieves, Coffee, Mills, Candles


In Sikhism, the Five Thieves are the five major weaknesses of the human personality at variance with its spiritual essence, and are known as "thieves" because they steal a person's inherent common sense. These five thieves are kama (lust), krodh (wrath), lobh (greed), moh (attachment) and ahankar (ego or excessive pride).[1]

The primary aim of a practicing Sikh is to subdue these five inner vices and render them inactive. The actions of one's mind (and by extension, one's body) should be above, beyond and without interference from these five inner evils. It is a Sikh's dharma and duty to not become subject to these five lusts of the mind. A Sikh strives to live a life of devotion to Waheguru with a positive attitude or spirit (Chardi Kala), accepting God's Will (Hukam), remembering God in Naam Japo, engaging in community service (Sewa) and practicing the Five Virtues. By taking these positive steps, the Five Thieves are gradually overcome and rendered powerless. Adopting this daily routine and discipline, ones actions become pure (nirmal) and rewarding. Through this process, any negativity and erroneous thinking in a person's heart and mind are removed.

Significance of five[edit]

Some Sikhs regard the number five as special because of its presence in earlier Indian mythology and philosophy. Examples include the five rivers of the Punjab; the five faces of Shiva; the five aggregates of human personality (panca-skandha) and five moral precepts (pancasila) analyzed by the Buddha; the five vows of Jainism (pancavrates); the five fires (pancagni) and five koshas (sheaths or wrappers) investing the self (pancakosah) spoken of by the Upanisads; the five abstentions (yamas) and five observations (niyamas) of Yoga; the five senses; the five gross and subtle elements (panca mahabhuta or panca tattva); the Panj Pyare (the five loved ones); and even the Five Ks in Sikhism.

Despite the commonness of the number five, Sikh theology attaches no significance to the number itself. On the contrary, the Sikh teachings forbid the belief in superstition, and advise that the one who seeks the path to God must believe only in the naam (that is, God). Thus, a belief that the number five is significant, according to the Sikh theology, would be to become ensnared by the five evils themselves (specifically attachment – an inability to seek the truth because of one's belief in illusory constructs).

History[edit]

The early Vedic literature bears no direct reference to the concept of 'five thieves'; the terms moha, kama, krodha and aham do occur in the Vedic texts, but they are not explicitly enumerated as a series of "thieves". However, each of these is separately condemned in various sections of The Bhagavad Gita and the Upanishads. We observe that ascetic sages of both the Vedic and non-Vedic tradition propounded the philosophy of renunciation and the methods of sense-control. In the Bhagvad Gita, the control of one's senses, as well as being imperturbable in the face of kama, moha, krodha and aham, are among the marked traits of the Shresta Vyakti (the Perfect Man) and Yogi (Knower). Many of the Upanisads display an awareness of the evils like raga or passion, avidya or nescience, moha or delusion, and ahankara or egoity. These thieves are also mentioned and condemned in some of the post-Buddhistic Upanisads such as the Prasna, Svetasvatara, Aitareya, Isa and Mundaka. The last-named text refers to 'the sages whose defilements have been destroyed' (ksinadosah), although it does not enumerate the 'defilements'.

Long before these later Upanisads, also, leaders of sramanic philosophers had expounded soteriological techniques in which eradication of all evils and imperfections was considered sine qua non for ultimate release. It is in the teachings of Kapilamuni, Parsvanatha, Sakyamuni and Mahavira that one finds a detailed discussion of the nature and function of kama, krodha, lobha, moha and ahankara and many other kindred vices.

The old Pali texts contain three lists of evils and factors which obstruct meditation and moral perfection. The list of five 'hindrances' (nivaranas) consists of sensuous desire, ill will, sloth and torpor, restlessness and sceptical doubt. These hindrances blind man's mental vision and make concentration difficult. The list of ten 'fetters' (sanyojanas), which bind beings to sansara, comprises the following: belief in a permanent individuality, sceptical doubt, belief in the efficacy of mere moral observances and rituals, sensual passion, ill will, desire for existence in the material world, desire for existence in the immaterial world, conceit, restlessness and nescience.

Buddhism[edit]

The first two in the list of five hindrances, sensuous desire (kamacchanda) and ill will or malice, are the same as the first two in the list of five evils mentioned in the Sikh canon. Likewise, belief in a permanent individuality (satkayadrsti), sensual passion (kamaraga), ill will, conceit (mana) and nescience (avidya), included in the Buddhist list of ten fetters, are comparable to egotism, lust, wrath, pride and delusion or attachment of Sikh enumeration.

The third Buddhist list of ten 'defilements' (Pali kilesa, Punjabi kalesh and Skt. klesa), includes the following: greed (lobha), hatred (dosa), delusion (moha), conceit (mana), false views, sceptical doubt, sloth, distraction, shamelessness and recklessness. In this list, again, the first four defilements are nearly identical with those included in the list of' ‘five evils' minus lust (kama). This last evil is mentioned separately and repeatedly in the Buddhist scriptures in Pali as well as in Sanskrit. Similarly wrath (krodha) is mentioned separately as a powerful enemy of holy life. Early Buddhist sources describe the triad of lobha, dosa (dvesa), and moha as the three roots of evil (akusala-mula).[2] One of the standard Buddhist words for evil is klesa which may be translated as 'defilement' or ‘depravity’. A list of six defilements is found in some Buddhist Sanskrit sources and includes passion (raga), ill will (pratigha), conceit (mana), nescience (avidya), false view (kudrsti), and sceptical doubt (vichikitsa).

Jainism[edit]

The Jaina sources also contain details concerning evils and defilements. All the five evils of the Sikh list are found repeatedly mentioned in the sacred literature of Jainism. The Avasyakasutra has a list of eighteen sins which includes among others wrath (krodha), conceit, delusion (maya), greed, and ill will. The standard Jaina term for evil is 'dirt' or 'passion' (kasaya). The Dasavaikalikasutra states that four kasayas, viz. wrath, conceit, delusion and greed, cause rebirth. The Uttaradhyayanasutra mentions moha, trsna (synonym of kama) and lobha as the sources of sorrow.

The Yogasutra (II. 3) has a list of five defilements or hindrances called panca-klesah. These are nescience (avidya), egoity (asmita), passion (raga), ill will (dvesa) and the will to live (abhinivesa). Avidya equals moha; asmita is identical with ahankara; raga is similar to kama; dvesa is not different from krodha; and abhinivesa belongs to the category of lobha understood as continuous desire for existence in sansa

Hinduism – Bhagavad Gita[edit]

The Bhagavad Gita mentions all the five evils although they are not all enumerated together at the same place as forming a pentad. The text mentions kama as lust and at one point it is identified with krodha. Besides kama and krodha which are called asuri (demonic) traits, the Bhagavad Gita mentions passion (raga), ill will, attachment, delusion, egoity, greed, conceit and nescience (ajnana), and employs terms such as papa, dosa and kalmasa for impurities or defilements. In one verse hypocrisy, arrogance, conceit, wrath, harsh speech and nescience are described as demoniac qualities. Medieval Buddhist, Jainist, and Brahmanical authors of religious and philosophical works continued to discuss the meaning, nature and methods of eradicating the five and more evils. The Tantric adepts (siddhas) recommended rather radical techniques of combating the evil psychological forces, especially through the method of 'conquering passions through passions'. Reference may be made here to Tulasidasa who, in a series of quadriparti verses (chaupais) in his Ramacharitamanasa, acknowledges the universality of kama, krodha, lobha, moha, mana and trsna which afflict not only men but also the gods.The evils are want,idleness,disease,ignorance and squalor

The Five Inner Thieves[edit]

There is no philosophical or theological explication of the five thieves, collectively or individually, in Sikh Scripture, but man is repeatedly warned against them. They have been called diseases or maladies which afflict human beings with disastrous effects. In at least five instances there is a list in the Sikh Holy Book which consists of the following: kam, krodh, lobh, moh and abhiman or ahankar. At one place instead of moh and abhiman we have "mad" and "ninda". Here the word "mad" may be interpreted in the sense of 'intoxication born of egoity'. The word ninda means slander. In two of the seven instances cited here the members of the evil pentad are called 'five thieves' (panj-chor). In a hymn by Kabir the list has trishna (craving), kam, krodh, mad and matsar as the five evils. The word trishna (Skt. trsna) means craving or desire, while the word matsar means jealousy. Often the five evils are referred to as 'the five' (panj) or 'all the five' (sare panj). At places the five organs of sense (jnanendriyas) are also often referred to as "the five".

One, two, three or four of the five cardinal thieves are repeatedly mentioned almost throughout the body of the Sikh canon. The triad kam, krodh and lobh finds as frequent a mention as the triad kam, krodh and ahankar or moh, lobh and ahankar. Among the five evils the one that is condemned more than the others is ahankar. When only two of the five are mentioned, the pair consists either of kam and krodh, or of moh and "guman", or of lobh and moh; when a group of four out of the five evils is cited, it usually consists of the first four, kam, krodh, lobh and moh. Since the Sikh canon is a composite text containing the religious poetry not only of the Gurus but also of several saints and Sufis from various regions, synonyms, occasionally from different languages, occur. Thus lobh is also called lalach; man is called garab (Sanskrit garva) and guman; moh is also called bharam (Skt. bhrama). A word of most frequent occurrence is haumai. It is perhaps derived from aham, 'I' or egoity, the essential element of ego; hankar, ahankar are its semantic cognates. The word man is employed in a double sense; sometimes it is clearly used in the sense of 'honour' or 'respect'. In most cases, however, it is synonymous with "abhiman".

Is Haumai (Ego) the worst thief?[edit]

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Although it is permissible to identify haumai with ahankar, the fact that haumai is not included in the evil pentad and yet comes in for the strongest censure in the Scripture would lead to the conclusion that it is regarded as a major evil in addition to those forming the pentad. It may be added that haumai or egoity, self-centredness, the personality system, the belief in one's individual existence, is the basis of all the other evils. From this standpoint, ahankar may be reckoned as an offshoot of haumai. The assertion or affirmation of 'I' runs counter to the affirmation of 'Thou'; the consciousness of 'self existence' or 'one's own existence' (sva-bhava or atma-bhava) is diametrically opposed to the consciousness of God's existence. In a system in which the sole reality of God (ik onkar) is the first principle, there can be no room for the reality of an individual existence or one's own existence apart from, or along with, the existence of God. To say that God alone is the reality means that there is no other reality that belongs to someone else, and that there is no someone else who can claim an independent reality of their own. The truth is that there is no truth in haumai.

Nevertheless, this unreal reality, this false truth apparently exists. It is unreal and false from the standpoint of God who is the only absolute Reality; it is real and true from the standpoint of the fettered creatures coursing in sansar (the world). These creatures have assumed a reality of their own; every fettered being is seemingly convinced of its own existence; this conviction flourishes in its ignorance of God's reality. There can be no such thing as co-existence of God and not-God; Reality and falsity cannot co-exist as cannot light and darkness. Therefore, where there is awareness of God's reality there is absence of one's own reality, and vice versa; where there is awareness of one's own existence or haumai, there is absence of the awareness of God's existence. The Scripture says: "Haumai jai ta kant samai – "God is realized only when one eradicates egoity" (GG, 750); literally, "(one) merges into (one's) Lord only when (her/his) egoity has disappeared".

The five evils, lust, wrath, greed, attachment and egoity, flourish on the soil of the belief in one's individualized existence. By destroying the doctrine of one's own existence or the belief in one's individual reality, the sages (sant, sadh) cancel in one stroke, as it were, the entire catalogue of evils. Desire, anger, avarice, infatuation, egoism, passion, jealousy, hypocrisy, pride, deception, falsehood, violence, doubt, and nescience and other forms of depravity listed in the Guru Granth Sahib do not affect they who have overcome themselves and found their essence in God's reality. Liberation (mukti) means the extinction of all the evils headed by haumai.

The Sikh canon also points to the way of extinguishing evils of all kinds. It is acknowledged that the five evils afflict all beings in sansar and that it is difficult to control them. Yet the possibility of conquering them is not ruled out in the theological framework of Sikhism; the moral training of a Sikh is in fact directed towards controlling the senses and eradicating the evils. The seeker of liberation has first to liberate themself of the yoke of the pentad. No headway can be made towards God-realization without discarding the cardinal evils. Kabir says, "He alone cherishes the Lord's feet who is rid of desire, wrath, greed and attachment" – "kamu krodhu lobhu mohu bibarjit haripadu chinai soi" (GG, 1123).

Devotion and Sadh Sangat[edit]

Loving devotion (bhagti, bhakti) to God is, according to Sikhism, the way to ultimate release. One can love God only when one has annihilated self-love; this means that the devotee must be humble and surrender themself fully unto God. The Gurus stress the necessity of taking refuge in God. To this end, one must first renounce pride (man). Constant awareness of God (simran) is the panacea for all ills. Devotion to God eradicates the evils in an instant and purifies the body (GG, 245). The destruction of evils may be viewed both as a cause and consequence of the practice of nam simran. Awareness of God's presence comes only when lust, wrath, avarice, attachment and egoity have departed from the devotee; when the devotee lives in constant awareness of God, the evils touch them not. Such a person is unaffected by pleasure and pain, for they have freed themself from evils such as lobh, moh and abhiman. Guru Tegh Bahadur describes such a sage as one liberated while still alive and calls them an image of God on earth (GG, I426-27).

Another way of overcoming haomai and other evils is to keep the company of the saints (sant) or Sadh Sangat (holy congregation) who both radiate virtuous qualities. One kills lust, wrath, greed and other depravities of the evil age (kali-kales) by taking refuge in the sangat, the holy fellowship. It is by discarding the most powerful of evils, egoity, that one can get admission to this sacred society. Egoity ceases as one takes to the company of the holy (GG, 271). A third method of overcoming the evils is to submit oneself to the instruction of the spiritual preceptor (guru). Those who would overcome the five evils must follow their teaching. The wisdom obtained from the preceptor is like a swift sword (kharagu karara) which cuts through confusion, infatuation, avarice and egoity (GG, 1087). One celebrates God's virtues through the favour of the sage (sant prasadi) and destroys lust, anger and insanity born of egoism (unmad). In Guru Nanak's Sidh Gosti it is stated that without the preceptor one's efforts bear no fruit. The importance of living up to the instruction of the holy preceptor can be judged from the concept of the 'Guru-oriented person' (gurmukh) so central to the Sikh moral system. A gurmukh is one who has turned their face towards the Guru, that is to say, a person who by practising what the Guru teaches has freed themself from the depravities and lives in the Divine presence. They achieve this position by conquering the evils under the guidance of the Guru and ever remains in tune with the Supreme Reality.

Interrelationship[edit]

The existence of Five thieves could possibly be linked out of interdependence on each other. Philosophical implication of the matrix portrays the observational decrease in one thief upon willfully controlling the other, or vice versa


DoshKama (Lust)Krodh (Rage)Lobh (Greed)Moh (Attachment)Ahankar (Conceit)
Kama (Lust)RejectionMoney and Materials required to have alpha traitsPleasureFalse sense of superiority
Krodh (Rage)Triggers false sense of ego which has to be defended
Lobh (Greed)Being greedy can cause self centered behavior, thus objectificationWe get angry if we don't get what we think we shouldAttachment to illegitimate thingsGreed causes shallowness of spirit which forces us to defend our wrongs as well
Moh (Attachment)We get angry if we lose what we think rightfully belongs to usAttachment makes us want more of it without being awareAttachment causes shallowness of spirit which forces us to defend our wrongs as well
Ahankar (Conceit)False sense of superiority makes us lust because we think we deserve itRejectionMoney and Materials required to have alpha traitsAttachment to worldly things

Bibliography[edit]

  • Jodh Singh, Bhai, Gurmati Nirnaya. Lahore, 1932
  • Sher Singh, The Philosophy of Sikhism. Lahore, 1944
  • Nirbhai Singh, Philosophy of Sikhism. Delhi, 1990
  • Nripinder Singh, The Sikh Moral Tradition. Delhi, 1990
  • Teja Singh Essays in Sikhism. Lahore, 1941
  • Wazir Singh, Philosophy of Sikh Religion. Delhi, 1981
  • Avtar Singh, Ethics of the Sikhs. Patiala, 1970

Above adapted from article By L. M. Joshi

  • Concepts In Sikhism – Edited by Dr. Surinder Singh Sodhi

References[edit]

  1. ^ Izzo, John B. (2017). The Five Thieves of Happiness. Oakland, CA: Berrett-Koehler Publishers. p. 7. ISBN 9781626569348.
  2. ^ Priyadarshana, Wasantha (March–August 2017). "Buddhism As a System of Psychotherapy" (PDF). The Smaratungga Journal of Buddhist Studies and Education. 1: 37.
Kunji Kulaf Praan Kar Karte Baar Na Lai
The creator put both lock and key in breath without delay

Kunji - Key
Kulaf - Lock
Praan - Breath (see below for more detail from Wikipedia)



Both lock and key in our breath. 

We have the choice to do good or not. 

While in most poems, we are encouraged to open the locked mind. In this shabad, Bhagat Kabir implies its best to lock the mind so the five thieves don't enter. The five thieves are kaam krodh lobh moh ahankar ... lust, anger, greed, attachment and ego. 


From Wikipedia on Praan: 

In Hindu philosophy including yoga, Indian medicine and Indian martial arts, prana (प्राण, prāṇa; the Sanskrit word for breath, "life force", or "vital principle") permeates reality on all levels including inanimate objects. In Hindu literature, prana is sometimes described as originating from the Sun and connecting the elements.

Five types of prana, collectively known as the five vāyus ("winds"), are described in Hindu texts. Ayurveda, tantra and Tibetan medicine all describe praṇā vāyu as the basic vāyu from which the other vāyus arise.

Pranayama, one of the eight limbs of yoga, is intended to expand prana.



Original Shabad by Bhagat Kabir:

ਗਉੜੀ ॥
गउड़ी ॥
Ga▫oṛī.
Gauree:

ਖਟ ਨੇਮ ਕਰਿ ਕੋਠੜੀ ਬਾਂਧੀ ਬਸਤੁ ਅਨੂਪੁ ਬੀਚ ਪਾਈ ॥
खट नेम करि कोठड़ी बांधी बसतु अनूपु बीच पाई ॥
Kẖat nem kar koṯẖ▫ṛī bāʼnḏẖī basaṯ anūp bīcẖ pā▫ī.
He fashioned the body chamber with six rings, and placed within it the incomparable thing.

ਕੁੰਜੀ ਕੁਲਫੁ ਪ੍ਰਾਨ ਕਰਿ ਰਾਖੇ ਕਰਤੇ ਬਾਰ ਨ ਲਾਈ ॥੧॥
कुंजी कुलफु प्रान करि राखे करते बार न लाई ॥१॥
Kunjī kulaf parān kar rākẖe karṯe bār na lā▫ī. ||1||
He made the breath of life the watchman, with lock and key to protect it; the Creator did this in no time at all. ||1||

ਅਬ ਮਨ ਜਾਗਤ ਰਹੁ ਰੇ ਭਾਈ ॥
अब मन जागत रहु रे भाई ॥
Ab man jāgaṯ rahu re bẖā▫ī.
Keep your mind awake and aware now, O Sibling of Destiny.

ਗਾਫਲੁ ਹੋਇ ਕੈ ਜਨਮੁ ਗਵਾਇਓ ਚੋਰੁ ਮੁਸੈ ਘਰੁ ਜਾਈ ॥੧॥ ਰਹਾਉ ॥
गाफलु होइ कै जनमु गवाइओ चोरु मुसै घरु जाई ॥१॥ रहाउ ॥
Gāfal ho▫e kai janam gavā▫i▫o cẖor musai gẖar jā▫ī. ||1|| rahā▫o.
You were careless, and you have wasted your life; your home is being plundered by thieves. ||1||Pause||

ਪੰਚ ਪਹਰੂਆ ਦਰ ਮਹਿ ਰਹਤੇ ਤਿਨ ਕਾ ਨਹੀ ਪਤੀਆਰਾ ॥
पंच पहरूआ दर महि रहते तिन का नही पतीआरा ॥
Pancẖ pahrū▫ā ḏar mėh rahṯe ṯin kā nahī paṯī▫ārā.
The five senses stand as guards at the gate, but now can they be trusted?

ਚੇਤਿ ਸੁਚੇਤ ਚਿਤ ਹੋਇ ਰਹੁ ਤਉ ਲੈ ਪਰਗਾਸੁ ਉਜਾਰਾ ॥੨॥
चेति सुचेत चित होइ रहु तउ लै परगासु उजारा ॥२॥
Cẖeṯ sucẖeṯ cẖiṯ ho▫e rahu ṯa▫o lai pargās ujārā. ||2||
When you are conscious in your consciousness, you shall be enlightened and illuminated. ||2||

ਨਉ ਘਰ ਦੇਖਿ ਜੁ ਕਾਮਨਿ ਭੂਲੀ ਬਸਤੁ ਅਨੂਪ ਨ ਪਾਈ ॥
नउ घर देखि जु कामनि भूली बसतु अनूप न पाई ॥
Na▫o gẖar ḏekẖ jo kāman bẖūlī basaṯ anūp na pā▫ī.
Seeing the nine openings of the body, the soul-bride is led astray; she does not obtain that incomparable thing.

ਕਹਤੁ ਕਬੀਰ ਨਵੈ ਘਰ ਮੂਸੇ ਦਸਵੈਂ ਤਤੁ ਸਮਾਈ ॥੩॥੨੨॥੭੩॥
कहतु कबीर नवै घर मूसे दसवैं ततु समाई ॥३॥२२॥७३॥
Kahaṯ Kabīr navai gẖar mūse ḏasvaiʼn ṯaṯ samā▫ī. ||3||22||73||
Says Kabeer, the nine openings of the body are being plundered; rise up to the Tenth Gate, and discover the true essence. ||3||22||73||
Learned today that Dhrupad ... comes from dhruv + pad ... a pad sung with dhruv or rest (very slowly) from the video below. Ustad Nasseruddin Saami seems very well read on history and music and worth learning from.  I have heard him once before and was superbly impressed by his singing (https://www.youtube.com/watch?v=RF__Jlrnv90). 

According to Wikipedia is a Sanskrit name, derived from the words dhruva (immovable, permanent) and pada (verse), a combination that means "pillar". It could either mean that the song is moving slowly, or immovable ... or it is praising the "immovable" lord ... both seem good conjectures. But the second makes more sense, because there are some fast dhrupads as well. 


More from Wikipedia on Dhrupad as of Aug 2020: 

Dhrupad is a genre in Hindustani classical music from the Indian subcontinent. It is the oldest style of major vocal styles associated with Hindustani classical music, Haveli Sangeet and also related to the South Indian Carnatic tradition.[1][2] It is a Sanskrit name, derived from the words dhruva (immovable, permanent) and pada (verse), a combination that means "pillar". The roots of Dhrupad are ancient, and it is discussed in the Hindu Sanskrit text Natyashastra (~200 BCE – 200 CE).[3][4] It is also described in other ancient and medieval Sanskrit texts, such as chapter 33 of Book 10 in the Bhagavata Purana (~800–1000 CE), where the theories of music and devotional songs for Krishna are summarized.[4]

A Dhrupad has at least four stanzas, called Sthayi (or Asthayi), Antara, Sancari and Abhoga. The Sthayi part is a melody that uses the middle octave's first tetrachord and the lower octave notes.[7] The Antara part uses the middle octave's second tetrachord and the higher octave notes.[7] The Samcari part is the development phase, which holistically builds using parts of Sthayi and Antara already played, and it uses melodic material built with all the three octave notes.[7] The Abhoga is the concluding section, that brings the listener back to the familiar starting point of Sthayi, albeit with rhythmic variations, with diminished notes like a gentle goodbye, that are ideally mathematical fractions such as dagun (half), tigun (third) or caugun (fourth).[8] Sometimes a fifth stanza called Bhoga is included. Though usually related to philosophical or Bhakti (emotional devotion to a god or goddess) themes, some Dhrupads were composed to praise kings.[6][8] The term denotes both the verse form of the poetry and the style in which it is sung.[5] It is spiritual, heroic, thoughtful, virtuous, embedding moral wisdom or solemn form of song-music combination.[6][7] Thematic matter ranges from the religious and spiritual (mostly in praise of Hindu deities) to royal panegyrics, musicology and romance.

Kirtan is a joyful service of the one within.  I don't perform.  And if you observe me do kirtan, you are not obliged to pay me.   If there were a fee on the remembrance of oneness, it would be too high for anyone to pay.  I donate proceeds of my kirtan to a nonprofit that I founded: dhunanand.org which supports artists who are committed to oneness.  If you wish, you may donate to it, but you don't have to. 


Youtube is a great resource for learning and there are many channels devoted to learning music and singing. I recommend emulating Jagjit Singh ji and Lata Mangeshkar ji because that is what I did.  I believe there are online academies by Dr. Gurnam Singh, Shankar Mahadevan ji and Pandit Ajoy Chakraborty ji, where you can also learn from. 


Singing is a lot of fun, but it is also a lot of hard work.  

I started learning music from Pt. Raghunath Prasanna when I was very young.  There were hours after hours, year after year of doing sargams.  I did not learn from a traditional hindustani classical vocalist so many of my vocal techniques are different from traditional indian classical music.   Some of my vocal techniques are emulated from the bansuri (which is different from most Indian classical singers who learn with string instruments).  I started singing later in life by listening to Jagjit Singh ji and Lata Mangeshkar ji, and trying to emulate their sweetness. 

I continue to hear many yesteryear and current singers to learn by emulation. For developing my voice I have done Mandra Saptak and Shadaz riyaz for over 20 years.  I also learn by recording myself, hearing my mistakes and trying to correct them. I have also been undeterred by the disappointments; consistency is needed because it is a long, arduous process. 

There are far better musicians and singers than me, and there are so many who are spiritually connected. So I am truly humbled that you want to learn from either from me.  Although I don't provide music lessons, I do offer some workshops that might be beneficial for those interested in music and spirituality. 

Fill this form out and either I or someone who volunteers for me will get back to you within 5 days. If you don't hear back, please send me an email at shivpreetsingh@live.com.



If you want to collaborate with me, read this. 
Lyrics (Bulleh Shah): Uth Jaag Ghurarde Maar Nahi
Composition No. 20135
Randomly picked a musical loop. Randomly came the lyrics across in a book that was lying on my table. The loop reminded me of a Ghulam Ali composition of a punjabi folk. So the melodic inspiration is directly from there and is very similar to that. 

Central idea: Wake up, don't snore. Such sleep is not responsible.   

Starting with this. Different rhyme. 
तूं सुत्त्यां उमर वंजाई ए तूं चरखे तन्द ना पाई ए,
की करसें दाज त्यार नहीं, उट्ठ जाग घुराड़े मार नहीं ।
उट्ठ जाग घुराड़े मार नहीं ।


उट्ठ जाग घुराड़े मार नहीं ।
इह सौन तेरे दरकार नहीं ।


इक रोज़ जहानों जाना ए जा कबरे विच समाना ए,
तेरा गोशत कीड़िआं खाना ए कर चेता मरग विसार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।


तेरा साहा नेड़े आया ए कुझ्झ चोली दाज रंगाइआ ए,
क्युं आपना आप वंजाइआ ए ऐ ग़ाफ़ल तैनूं सार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।


तूं जिस दिन जोबन मत्ती सैं, तूं नाल सईआं दे रत्ती सैं,
हो गाफल गल्लीं वत्ती सैं, इह भोरा तैनूं सार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।

तूं मुढ्ढों बहुत कुचज्जी सैं, निरलज्ज्यां दी निरलज्जी सैं,
तूं खा खा खाने रज्जी सैं, हुन ताईं तेरा बार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।

अज्ज कल्ल्ह तेरा मुक्कलावा ए क्युं सुत्ती कर कर दाअवा ए ?
अनडिठ्यां नाल मिलावा ए इह भलके गरम बज़ार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।

तूं एस जहानों जाएंगी, फिर कदम ना एथे पाएंगी,
इह जोबन रूप वंजाएंगी, तैं रहना विच संसार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।

मंज़ल तेरी दूर दुराडी, तूं पौणां विच जंगल वादी,
औखा पहुंचन पैर प्यादी, दिसदी तूं असवार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।

इक इकल्ली तनहा चलसें, जंगल बरबर्र दे विच रुलस
लै लै तोशा इथों घलसें, उथे लैन उधार नहीं ।
उट्ठ जाग घुराड़े मार नहीं ।

उह खाली ए सुंञ हवेली, तूं विच रहसें इक्क इकेली,
ओथे होसी होर ना बेली, साथ किसे दा बार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।

जेहड़े सन देसां दे राजे, नाल जिन्हां दे वज्जदे वाजे,
गए रो रो बेतखते ताजे, कोई दुनियां दा इतबार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।

कित्थे है सुलतान सिकन्दर, मौत ना छड्डे पीर पैगम्बर,
सभ्भे छड्ड गए अडम्बर, कोई एथे पायदार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।

किथे यूसफ माह-कन्यानी, लई ज़ूलैखां फेर जवानी,
कीती मौत ने ओड़क फ़ानी, फेर उह हार शिंगार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।

कित्थे तख़त सुलेमां वाला, विच हवा उड्डदा सी बाला,
उह भी कादर आप संभाला, कोई ज़िन्दगी दा इतबार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।

कित्थे मीर मलक सुलतानां, सभ्भे छड्ड छड्ड गए टिकाणा,
कोई मार ना बैठे ठाणा, लशकर दा जिन्हां शुमार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।

फुल्लां फुल्ल चम्बेली लाला, सोसन सिम्बल सरू निराला,
बादि-खिज़ां कीता बुर हाला, नरगस नित खुमार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।

जो कुझ करसें, सो कुझ पासें, नहीं ते ओड़क पिछोतासें,
सुंञी कूंज वांङ कुरलासें, खंभां बाझ उडार नहीं ।
उट्ठ जाग घुराड़े मार नहीं ।

डेरा करसें उहनीं जाईं, जिथे सेर पलंग बलाई,
खाली रहसन महल सराईं, फिर तूं विरसेदार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।

असीं आज़ज़ विच कोट इलम दे, ओसे आंदे विच कलम दे,
बिन कलमे दे नाहीं कंम दे, बाझों कलमे पार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।

बुल्ल्हा शौह बिन कोई नाहीं, एथों ओथे दोहीं सराईं,
संभल संभल के कदम टिकाईं, फेर आवन दूजी वार नहीं,
उट्ठ जाग घुराड़े मार नहीं ।
New Composition 
20134 - Amrita Priya Bachan Tuhare
Devgandhari - 120 4/4 G
Inspiration - Just seeing "Raaj na chahon" as a shabad listed on youtube (I didn't hear it).  I had been listening to my new composition for "Raaj Leela" this morning and those lines were very similar.  All the pleasures of kingdom and sanyasa are attained in kirtan says Raaj Leela. I don't want wealth or nirvana says Raaj na chahon.  I also don't have a recorded composition in Devgandhari; so this would be a good addition.  I'm loving the words of Guru Arjan and this composition; but then I think that about all compositions I think. Haha! Oh well!

ਦੇਵਗੰਧਾਰੀ ੫ ॥

ਅੰਮ੍ਰਿਤਾ ਪ੍ਰਿਅ ਬਚਨ ਤੁਹਾਰੇ ॥
ਅਤਿ ਸੁੰਦਰ ਮਨਮੋਹਨ ਪਿਆਰੇ ਸਭਹੂ ਮਧਿ ਨਿਰਾਰੇ ॥੧॥ ਰਹਾਉ ॥

ਰਾਜੁ ਨ ਚਾਹਉ ਮੁਕਤਿ ਨ ਚਾਹਉ ਮਨਿ ਪ੍ਰੀਤਿ ਚਰਨ ਕਮਲਾਰੇ ॥
ਬ੍ਰਹਮ ਮਹੇਸ ਸਿਧ ਮੁਨਿ ਇੰਦ੍ਰਾ ਮੋਹਿ ਠਾਕੁਰ ਹੀ ਦਰਸਾਰੇ ॥੧॥

ਦੀਨੁ ਦੁਆਰੈ ਆਇਓ ਠਾਕੁਰ ਸਰਨਿ ਪਰਿਓ ਸੰਤ ਹਾਰੇ ॥
ਕਹੁ ਨਾਨਕ ਪ੍ਰਭ ਮਿਲੇ ਮਨੋਹਰ ਮਨੁ ਸੀਤਲ ਬਿਗਸਾਰੇ ॥੨॥੩॥੨੯॥


Amriṯā pria bacẖan ṯuhāre.
Aṯ sunḏar manmohan piāre sabẖhū maḏẖ nirāre. ||1|| rahā▫o.

Rāj na cẖāhao mukaṯ na cẖāhao man parīṯ cẖaran kamlāre.
Barahm mahes siḏẖ mun inḏrā mohi ṯẖākur hī ḏarsāre. ||1||

Ḏīn ḏu▫ārai āio ṯẖākur saran pario sanṯ hāre.
Kaho Nānak parabẖ mile manohar man sīṯal bigsāre. ||2||3||29||



Translation (Bhai Manmohan Singh)


My Beloved, ambrosial are Thine words.
Very beauteous Enticer Thou art, O Beloved. Thou art midst all and yet distinct. Pause.

I desire not empire and I desire not salvation, my soul longs for the love of Thine lotus feet.
There are Brahma, Shiv, adepts, sages and Indar, but I desire the Lord's vision alone.

O Lord, I have come helpless to Thy door, and having grown weary, have entered the asylum of Thine saints.
Says Nanak, I have met the beauteous Lord and my soul is cooled and happy.


Related Shabads:

Tera Kiya Meetha Lagai - Meetha Meetha
Amrit Bani Har Har Teri
Sabhai Ghat Ram Bolai
Hamari Pyaari Amritdhari
Mithbolra Ji
“After I Fall Down the Stairs at the Golden Temple”

It is interesting that this falling
For a while I could not remember a word that I was in need of,
And I was bereaved and said: where are you beloved friend?  
 - Mary Oliver

A short poem by Mary Oliver.  I wonder if this was a metaphor or if she actually fell.  I think it’s a metaphor. Someone has suggested that perhaps what she means by a fall is just being old and forgetful. Because the poem is eventually about forgetting words.

And then yearning for them like they were your beloved.  Or perhaps she is “falling” in love. Falling in love with the words.  

Of course, what happens at the Golden temple is shabad kirtan. Literally, the praises of the word. These metaphors and feelings expressed in the poem abound in so many of the shabads often sung there. The one that comes to mind instantaneously after hearing her poem is the following shabad: 







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SHIVPREET SINGH

Singing oneness!
- Shivpreet Singh

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      • God lives in the Guru Granth Sahib - Guru Arjan Dev
      • Five Thieves of Inner Peace
      • The Creator Put Both Lock and Key in Breath - Kabir
      • Dhrupad - Dhruv + Pad
      • How much do you charge for kirtan?
      • Do you recommend any singing teachers?
      • How did you learn how to sing?
      • Can I learn from you?
      • Uth Jaag Ghurarde Maar Nahi
      • Amrita Priya Bachan Tuhare - New Composition
      • After I Fall Down the Stairs at the Golden Temple
      • Mary Oliver’s The Summer Day
      • Guru Nanak on Kalyug
      • Yesterday we obeyed kings - Khalil Gibran
      • The Rich Man and Three Thieves
      • Seamus Heaney's Digging
      • Tudh Bhane Toon Bhavain - Composition 20130
      • Nanak Sachai Ko Sach Jaan - New Composition
      • Raaj Leela - New Composition
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