# Chandi Di Var With Translation (YouTube Video)



## dalsingh (May 19, 2009)

Over the years I've often wondered why something concerning a Hindu Goddess would be recited by Singhs prior to war. 

I think I'm finally beginning to get it. Behind the use of classical Indian mythogical imagery lies a rivetting account of battles and a tale of fierce bravery against demons. The range of vocabulary used to describe various weapons in the composition is impressive. The wide use of metaphor, including Islamic shows the composer was acquainted with the cultural practices of Muslims. They use the analogy of hajis visiting Mecca to describe a crowd approaching Durga and  warriors "rocking" (like students are taught to do whilst reciting the Koran in Muslim schools), to describe the actions of wounded warriors in battle. This clearly indicates that this is no simple translation of the classical Chandi tale but a modern interpretation for a new purpose. The account evokes bir raas and Aad pan ji, it also refers to a number of animals, see if you can remember any from the study we did on animal references in SGGS ji! 

Listening and reading, one can easily imagine how it would stoke up bir ras for warriors about to go to battle. Better than watching a Rambo film! lol


YouTube - Chandi Di Vaar - Sikh Prayer (Only Recite In Daytime)


----------



## Hardip Singh (May 20, 2009)

Dear Sir,
BEER RAS is not something which could be generated by listning to such wars. This is God gifted. One is born of those qualities to fight for the justice and truth.
This bani itself is very much controversial as far the author ship is concerned. Mearly matholigical events which are highly exeggrated and have no base , can not enhance or introduce this BEER RAS in some one. You have to have something really concrete.
Sorry, I donot agree with your views.
Regards & Guru fateh.


----------



## dalsingh (May 20, 2009)

That is fine. I'm hypothesising myself.


----------



## Gyani Jarnail Singh (May 20, 2009)

YES..BEER RASS was Generated by the VAARS being SUNG in their TUNES.....during the Battles of Guru HARGOBIND JI SAHIB...and ALL these VAARS are present in the GURU GRANTH SAHIB JEE.
Guur Ji is the one who put the Beer Rass Tunes...or DHUNIS..to these Vaars...and REMEMBER that Guru Hargobind Ji fought and WON all FOUR BATTLES !!!

For the Vaars in SGGS being SUNG in their CORRECT Raargs and Dhunnis..go to...
www.sabdvartara.org....SDO Bhai Mohinder Singh Ji and his Organisation has done us a wonderful SERVICE by doing Raag kirtan of these Vaars in their ORIGINAL raag/dhunis....

I wonder WHY Some "Sikhs" feel the "need" to put aside the SARAB KALA SAMPOORAN SATGURU JI..the SGGS..and go look for OUTSIDE materials..for teh beer rass etc...when SGGS has 110% of EVERYTHING !!! Gagan Damama Bajio..Sir Dhar tali gali meri ayo..are ALL the Beerass any SIKH neeeds.....and Guru Ji Hargobind Ji, Har rai Ji and Teg bahdur ji PROVED It....and Guru Gobind Singh ji alos Fought and WON ALL WARS....

That is also the point where we have to "explain" all that mytholigical BS, exaggerated demons and  dragons and blood drinking vampirtes etc etc..stuff that is straight out of Merlin  and King Arthur types of BS..who needs all this..when we have the Perfect SGGS....


----------



## Hardip Singh (May 20, 2009)

Gyanni jee.
Thanks for correcting me. what I mean was has been explained by you in the last paragraph of your comments. Thanks once again.
One thing, at what pages of SGGS I can find these wars. The sixth Guru ji's bani is not their in SGGS. Pl clarify.
Regards and Guru fateh.


----------



## Gyani Jarnail Singh (May 20, 2009)

The VAARS...and there are 22 of them...are at the END of various Raags....Vaar ASA KI is the most famous....its sung every morning at almost ALL Gurdwaras....its DHUNNI..is TUNDEH ASRAJEH KI DHUNNI.
Its beleived that Guru Hargobind Ji POPULARISED the Vaars to be Sung according to the POPULAR DHUNNIS of the time....there is a  Tundeh Asrajjeh Ki Vaar in FOLKLORE....so Guru Ji ADAPTED that Dhunni for Asa Ki Vaar...

***** *GURU HARGOBIND JI, GURU HAR RAI jI, GURU Harkishan Ji DID NOT WRITE ANY GURBANI.*

There is Vaar Majh ki..at end of Raag majh..Basant Ki Vaar...etc..read the full details below...

*Vaar & Dhuni:* There are 22 Vaaras included in the SGGS, 9 of them come with distinctive assigned traditional folk musical tunes (Dhuni) of their own as noted below. Thus, they have a simple rhythm or a pattern of a folk Taal(beat) with a wider simple and emotional appeal. Vaars are not assigned with any particular "Ghar" notation. They are accompanied by "Slokas" and "Paurees", and the essence of the Vaar lies in the "Pauree". They are generally intended to produce martial feelings. 


 Maanjh Kee Vaar Mahala 1 — Malak Mureed Tathaa Chandharaa Soheeaa kee Dhuni (sggs 137).
 Gauree Kee Vaar Mahala 4 — Raai Kamaaldee Mojdee Kee Dhuni (sggs 318).
 Aasaa Dee Vaar Mahala 1 — Tunde Asraaje Kee Dhuni (sggs 462).
 Gujree Kee Vaar Mahala 3 — Sikandar Biraahim Kee Kee Dhuni (sggs 508).
 Wadhans Kee Vaar Mahala 5 — Lalaan Bahreemaa Kee Dhuni (sggs 585).
 Raamkalee Kee Vaar Mahala 3 — Jodhe Veere Poorvaanee Kee Dhuni (sggs 947).
 Saarang Kee Vaar Mahala 5 — Raai Mahame Hasane Kee Dhuni (sggs 1237).
 Malaar Kee Vaar Mahala 1 — Raanai Kailaas Tathaa Maalde Kee Dhuni (sggs 1278).
 Kaanare Kee Vaar Mahala 5 — Moose Kee Dhuni (sggs 1312).
 Vaars are to be sung in appropriate Raaga and Dhuni indicated in the SGGS. For example, Maanjh Kee Vaar is to be sung in Raaga Maanjh accompanied by the Taala of "Malak Mureed Tathaa Chandharaa Soheeaa kee Dhuni". 



*Unfortunately the art of traditional Dhunis mentioned in the SGGS appears to be dying out, and needs to be preserved by training youngsters 
*

A Vaar is a narrative poem, usually set to music; thus, it often is a story told in a song. Any story form may be told as a ballad, such as historical accounts or fairy tales in verse form. It usually has foreshortened, alternating four stress lines ("ballad meter") and simple repeating rhymes, often with a refrain. 
If it is based on a political or religious theme, a ballad may be a hymn. It should not be confused with the ballade, a 14th and 15th century French verse form. The ballade is a verse form typically consisting of three eight-line stanzas, each with a consistent metre and a particular rhyme scheme. The last line in the stanza is a refrain, and the stanzas are followed by a four-line concluding stanza (an envoi) usually addressed to a prince. 


AND  a FURTHER informative article form T.Sher Singh Ji..of Gurbani Org


*SOME TECHNICAL TERMS USED IN THE  GURBANI*

Through the letters, comes the Naam; through the  letters, You are Praised.
Through the letters, comes spiritual wisdom, singing  the Songs of Your Glory.
Through the letters, come the written and spoken words  and hymns ...(sggs 4).
<><><><> 
 The Sikh Gurus  wrote _Shabads_ in poetical-metric forms. They were then associated with  various _Raagas_ and _Ghars_ and many other terms such as _Partaal,  Sudhang, Rahaaou, Pauree, Vaar, Ikpadaa, Dupadaa, Tipadaa, Chaarpade, Ashatpadee_,  _Chhand, Ghorian _and _Alahunian_ of folk music, types of _Kirtan_  music, _Gaathaa, __Funhe, Chaubole_, _Savayyas, Karhale_, _Solahe_,  _Mahalaa_, _Pattee_, and so on. This Gurbani Reflection will attempt  to have a brief discussion of these. 
_RAAGAS_:  
_Raaga_  — combination of a set pattern of notes — is a condition of melody, which literally  means to color or to please. Sri Guru Granth Sahib (SGGS) is arranged in chapters  that bear names of musical _Raagas_, according to the nature of the composition,  the musical clef (_Ghar_), etc. Each of the _Raagas _is unique. From  a music standpoint, specifically the _Bani_ of the SGGS is arranged and  indexed according to the prescribed _Raagas_, singing forms, music signs/  headings and the other guidelines noted in the _Bani_. Popularly known  as _Gurmat Sangeet_, such system of _Gur-Shabd Kirtan_ instituted by  the Sikh Gurus (initially established by Baabaa Nanak) is a unique musical tradition  indeed, which creates original and specific musicology. The Gurus made the _Kirtan_  an inseparable part of the Sikh way of life. The mixture of both the _Shabad_  and the _Raagas_ compliment each other in that the _Raaga_ conveys a  feeling and the _Shabad_ a message. Thus combined together both produce very  potent effect and impact on the human mind and heart, invoking spiritual sentiment,  concentration, discipline, longing and love for God, etc. Thus the aim of the  _Kirtan_ is to experience the inner joy (Bliss) and _Sahaj_ (one's natural  state of Being). Therefore, the _Kirtan_ is mentioned in the SGGS to be "the  support of life", "remedy against evil", "source of virtues",  "invaluable gem", "ocean of bliss", "divine nectar",  "bestower of salvation", and so on. Sri Guru Arjan Dev Jee (who first  compiled and installed the _Aadi Granth_ at the Harmandir Sahib, was very  fond of the _Kirtan_ and the music) initiated the system of music sessions  (_Chowkies_) at the Harmandir Sahib. 
The entire _Bani_ of the SGGS  has been classified under 31 main _Raagas_. They are as follows: _Sri,  Maanjh, Gauree, Aasaa, Gujree, Devghandhaaree, Bihaagraa, Wadhans, Sorath, Dhanaasree,  Jaitsree, Todee, Bairaaree, Tilang, Suhee, Bilaawal, Gaund, Raamkalee, Nat Naaraayan,  Maalee Gauraa, Maaroo, Tukhaaree, Kedaaraa, Bhairav, Basant, Saarang, Malhaar,  Kaanraa, Kalyaan, Parbhaatee,_ and _Jaijawantee_.  
Besides these 31  main _Raagas_, there are also variants of _Raagas_ such as _Gauree  Guaareree, Gauree Dakhanee, Gauree Chetee, Gauree Deepkee, Gauree Poobee, Gauree  Maanjh, Gauree Poobee Deeplee, Gauree Sulakhanee, Gauree Maalvaas, Gauree Maalaa,  Gauree Bairaagan, Gauree Sorath, Wadhans Dakhanee, Tilang Kaafee, Suhee Kaafee,  Suhee Lalit, Bilaaval Dakhanee, Bilaaval Gaund, Bilaaval Mangal, Raamkalee Dakhanee,  Maroo Kafee, Maaroo Dakhanee, Basant Hindol, Kalyaan Bhoopaalee, Praabhaatee Dakhanee_,  and _Praabhaatee Bibhaas_.
Each _Raaga_ offers a unique relationship  to human moods and feelings. Another interesting aspect of _Raagas_ is that  there is a seasonal allocation as well as daily twenty-four hour time cycle allocation.  For example, there are some morning _Raagas_, some evening _Raagas_,  some afternoon _Raagas_, some night _Raagas_, and so on . Also, there  are _Raagas_ that are associated with seasons. For example, _Malhaar_  and _Megha Raagas_, are sung in the rainy season, in the spring the _Basant  Raaga_, etc. The reason is that human mind and heart undergo varying degrees  of mood changes during a twenty-four hour time cycle as well as different seasons,  therefore, certain _Raagas_ are particularly suitable for certain time of  the day and night as well as season. Dividing daily twenty-four hour timing cycle  in eight _Pahars_ and each _Pahar_ in approximately three hour-period,  the _Raagas_ of each _Pahar_ are as follows:


6 AM - 9AM: _Bilaaval,  Devgandhaaree_
9 AM - 12 PM: _Saarang, Suhee, Bilaaval, Gujree, Goaud,  Todee_
12 PM - 3 PM: _Wadhans, Maaroo, Dhanaasaree_
3  PM - 6 PM: _Maanjh, Gauree, Tilang, Tukharee_
6 PM - 9 PM: _Sri  Raaga, Basant, Maalee Gauraa, Jaitsree, Kedaaraa, Kalyaan_
9 PM - 12  AM: _Bihaagra, Nat Naraayan, Sorath, Malhaar, Kaanraa, Jaijawantee_
12  AM - 3 AM: No _Raaga_ specified in the SGGS. The reason could be that this  is the time to sleep!
3AM - 6AM: _Aasaa, Raamkalee, Bhairav, Parbhaatee_
*Unfortunately,  Kirtan today has been commercialized to such an extent that most Raagees  (KirtanKirtan ourselves as envisioned  by the fifth Guru, Sri Guru Arjan Dev Jee. Instead we hire the so called professionals  to sing it for us. The results are in front of us. singers) are only focused and concerned with making quick money.  This is commercialization and exploit of the faith. We all are to be blamed for  this condition. Because, we do not perform *


Before Sri Guru Arjan  Dev Jee started amateur class of _Kirtan_ singers to perform _Kirtan_,  professional singers (like nowadays) called "_Rabbaabees_" used  to perform _Kirtan_ for the _Sangat _(congregation) and the Guru. To  cut the long story short, once these "_Rabbaabees_" went on strike,  and thus denied to sing. It was that time Sri Guru Arjan Dev Jee started training  the amateur class of _Raagees_ to perform _Kirtan_. The sixth Guru (Sri  Guru Hargobind Jee) started a new class of _Raagees_ called "_Dhaadee_",  who sang heroic deeds of old warriors. They thus inspired the Guru's soldiers.  The name "_Dhaadee_" came from "_Dhad_", which is  a relatively small handheld percussion drum.
_GHAR_:  
It is a musical sign, used at the top of the _Shabad_ in the SGGS. It  gives a hint to _Raagees_ as to what musical clef (beat) to sing the _Shabad_  in. In other words, "_Ghar_" binds music and poetry in their metrical-form.  There are up to seventeen "_Ghar_" mentioned in the SGGS. Musicologists  have different interpretations of this term. But the consensus seems to be that  it denotes the parts of a _Taal_ (beat). Following is a list of seventeen  _Taals_ used in Indian Music with their respective "_Ghar_".  A close observation of the following list indicates that the majority of the modern  _Raagees_ generally seem to sing only in the first three or four.


_GHAR_  1 — _Daadraa Taal_ (There is 1 _Taalee_* and the Beat has 6 _Maatraas_**
_GHAR_  2 — _Roopak Taal_ (There are 2 _Taalees_ and the Beat has 7 _Maatraas_)
_GHAR_ 3 — _Teen Taal_ (There 3 _Taalees_ and the Beat  has 16 _Maatraas_)
_GHAR_ 4 — _Chaar Taal_ (There are  4 _Taalees_ and the Beat has 12 _Maatraas_)
_GHAR_ 5 —  _Panj Taal_ _Swaaree_ (There are 5 _Taalees_ and the Beat has 15  _Maatraas_)
_GHAR_ 6 — _Khatt Taal_ (There are 6 _Taalees_  and the Beat has 18 _Maatraas_)
_GHAR_ 7 — _Matt (Ashat)  Taal _ (There are 7 _Taalees_ and the Beat has 21 _Maatraas_)
_GHAR_  8 — _Asht Mangal Taal _(There are 8 _Taalees_ and the Beat has 22 _Maatraas_)
_GHAR_ 9 — _Mohinee Taal _(There are 9 _Taalees_ and the  Beat has 23 _Maatraas_)
_GHAR_ 10 — _Braham Taal_ (There  are 10 _ Taalees_ and the Beat has 28 _Maatraas_)
_GHAR_  11 — _Rudra Taal_ (There are 11 _Taalees_ and the Beat has 32 _Maatraas_)
_GHAR_ 12 — _Vishnu Taal_ (There are 12_ Taalees_ and  the Beat has 36 _Maatraas_)
_GHAR_ 13 — _Muchkund Taal_  (There are 13 _Taalees_ and the Beat has 34 _Maatraas_)
_GHAR_  14 — _Mahashanee Taal_ (There are 14 _Taalees_ and the Beat has 42 _Maatraas_)
_GHAR_ 15 — _Mishr Baran Taal_ (There are 15 _Taalees _and  the Beat has 47 _Maatraas_)
_GHAR_ 16 — _Kul Taal_ (There  are 16 _Taalees_ and the Beat has 42 _Maatraas_)
_GHAR_  17 — _Characharee Taal _(There are 17 _Taalees_ and the Beat has 40  _Maatraas_)
* _Taalee_ is the pattern of clapping. _Taals_  are typified by a particular pattern and number of claps.
**_ Maatraa_  is the beat, which may be subdivided if required.

There are many other  _Taals_ that may or may not have the same number of _Taalees_ and/or  _Maatraas_. For example _Punajabi Taal,_ _Chhotee Teen Taa_l, and  _Thumri_ all have the same number of _Taalees _and _Maatraas_ as  the _Teen Taal_. Both the _Jhap Taal_ and _Sool Phaak Taal _have  3 _Taalees_ as in _Teen Taal_ but only 10 _Maatraas_. Both _Dhamar  Taal_ and _Chnachal Taal_ have 3 _Taalees_ as in _Teen Taal_  but have only 14 _Maatras_. _Ik Taal _has 4 _Taalees_ and 12 _Maatraas_  as in _Chaar Taal_. _Aadaa Chautaalaa_, _Bhaan Matee Taal_ (_Chaar  Taal Dee Savaaree_), _Jagg Paal Taal_, and _Jai Taal_ all have 4  _Taalees_ as _in Chaar Taal_ but not the same _Maatraas _(14, 11,  11 and 13, respectively). _Sikhar Taal_ has 3 _Taalees_ as in _Teen  Taal _but 17 _Maatraas_. _Talwaaraa Taal_ has 2 _Taalees_ as  in _Roopak Taal_, but 8 _Maatraas_. _Indra Taal_ has 6 _Taalees_  as in _Khatt Taal_, but 19_ Maatraas_. _Deep Chandee_ or _Chaachar  Taal _and _Jhumraa Taal_ have 3 _Taalees_ as in _Teen Taal_,  but 14 _Maatraas_, and so on. Evidently the Indian music has developed and  expanded in such a disciplined way that it has _Taal_s of a just a few _Maatraas_  to many _Maatraas_.
Not only music, _Taal_ also pervades every  movement of the entire Creation. Days, nights, weeks, months, years, seasons,  movement of the planets in orbits, constant spinning of electrons around the center  of the atom (called the nucleus where the protons and neutrons are located) etc.  are a few reminders.
_VAAR_ AND _DHUNI _:  
 T*here are 22 Vaaras included in the SGGS, 9 of them come with distinctive  assigned traditional folk musical tunes (Dhuni) of their own as noted below.Thus, they have a simple rhythm or a pattern of a folk Taal (beat)  with a wider simple and emotional appeal. Vaars are not assigned with any  particular "Ghar" notation. They are accompanied by "Slokas"  and "Paurees", and the essence of the Vaar lies in the  "Pauree". They are generally intended to produce martial feelings.*


_Maanjh  Kee Vaar Mahalaa_ 1 — _Malak Mureed Tathaa Chandharaa Soheeaa kee Dhuni_  (sggs 137).
_Gauree Kee Vaar Mahalaa_ 4 — _Raai Kamaaldee Mojdee  Kee Dhuni_ (sggs 318).
_Aasaa Dee Vaar Mahalaa_ 1 — _Tunde Asraaje  Kee Dhuni_ (sggs 462).
_Gujree Kee Vaar Mahalaa_ 3 — _Sikandar  Biraahim Kee Kee Dhuni_ (sggs 508).
_Wadhans Kee Vaar Mahalaa_  5 — _Lalaan Bahreemaa Kee Dhuni_ (sggs 585).
_Raamkalee Kee Vaar  Mahalaa_ 3 — _Jodhe Veere Poorvaanee Kee Dhuni_ (sggs 947).
_Saarang  Kee Vaar Mahalaa_ 5 _— Raai Mahame Hasane Kee Dhuni_ (sggs 1237).
_Malaar  Kee Vaar Mahalaa_ 1 — _Raanai Kailaas Tathaa Maalde Kee Dhuni_ (sggs 1278).
_Kaanare  Kee Vaar Mahalaa_ 5 — _Moose Kee Dhuni_ (sggs 1312).
_Vaars_  are to be sung in appropriate _Raaga_ and _Dhuni _ indicated in the  SGGS. For example, _Maanjh Kee Vaar_ is to be sung in _Raaga Maanjh_  accompanied by the _Taala_ of "_Malak Mureed Tathaa Chandharaa Soheeaa  kee Dhuni_". Unfortunately the art of traditional _Dhuni_s mentioned  in the SGGS appears to be dying out, and needs to be preserved by training youngsters.


_GHORIAN_,  _ALAHUNIAN AND __KARHALE_:
In addition to the classical  music, the folk music (because of its wide appeal) is also given importance in  the SGGS. In this regard, in addition to the _Vaars_ listed above, there  are some _Shabads _about the "_Ghorian_" and "_Alahunian_"  etc. "_Ghorian_" _Shabads_ are on marriage and other festive  occasions. "_Alahunian_" _Shabads_ are on death.
_Karhale_  is a type of the "_Chhand_". It also denotes a type of folk music  the camel riders sing while traveling. The Gurbani has repeatedly compares our  wandering minds with the camel as well. For example, see SGGS pages 234-235.
_PARTAAL_:  
This is also a musical sign for the _Ragees_._ Partaal_ means there  are different_ Taals_ (beat) for the parts of the _Shabad_. In other  words, _Partaal_ means the parts of the _Shabad_ should be sung in different  _Taalas_ and tempo. In the SGGS, there are 49 _Shabad_s in _Partaal  _set to different "_Ghar_".
_SUDHANG_: 
This  is also a musical sign for the _Ragees_. This term appears once in the SGGS  (page 369, _Aasaa Raaga_). Essentially it conveys direction to _Raagees_  to sing the _Shabad_ in its pure form. For example, when the _Shabad_  is in _Aasaa Raaga_, then it must be sung in that _Raaga_ (and _Ghar_).
_RAHAOU_:  
The word "_Rahaou_" marks "pause", and denotes main  theme line. In other words, the verse of "_Rahaou_" contains the  basis, essence or central thought of the _Shabad_. Whilst, the remaining  lines of the _Shabad_ are considered an exposition of the verse of "_Rahaou_".  That's why _Raagees_ use it as "_Asthaaee_" (first or the  main part of the music composition) and thereby sing it repeatedly. In some _Shabads_,  there are more than one "_Rahaou_", such as _Rahaaou_ 1, _Rahaaou_  2, _Rahaaou_ 3, _Rahaaou_ 4, etc.(for example, see Pages 26-26, 154,  96-97, 899 of the SGGS). This indicates introduction of a new thought. There is  no "_Rahaou_" in the "_Slokas_". In regard to the  _Vaars_ of Bhai Gurdaas Jee, the last line of the "_Pauree_"  is considered to contain the main thought.
_ IKPADAA, DUPADAA, TIPADAA,  CHAARPADE, CHHAND, __ CH HAKAA, ASHATPADEE_, _SAVAYYAS_:
As  the name implies, "_Ikpadaa_" denotes the _Shabads_ of one  verse. When "_Ikpadaa_" _shabads_ have two verses, they are  sung as one verse. "_Dupadaa_" are the _Shabads_ that contain,  besides the _Rahaou_ lines, two stanzas. "_Tipadaa_" are the  _Shabads_ of three stanzas. Similarly, the "_Chaupade_" are  the _Shabads_ of four verses, "_Chhands_" are the _Shabads_  of six lines, and "_Ashatpadee_" are the _Shabads_ of eight  verses. _"Chhhakaa"_ is of six _Padaas_. Someplaces both "_Chaupade  Dupade_" appear together (for example, see SGGS page 185). It means that  particular _Shabad_ contains "_Chaupade_" following "_Dupade_".  The "_Savayyas_" are the compositionsof praise.
_SALOKA_:
  A form of verse or stanza, generally a two-liner form allowing a variety of metrical  arrangement.
_PAUREE_:
"_Paurees_" are a  form of stanzas. They also contain the essence of the _Vaars_. Literally  meaning ladder or rung, it is a form of stanza adopted for _Vaars_. They  generally consist of 6 to 8 lines each. Stanzas of Baabaa Nanak's _Japuji_  are also traditionally called _Paurees_. Traditionally, _Raagees_ are  supposed to conclude Kirtan with singing of a "_Pauree_" from _Raagas_ _Bilaaval_, _Kaanraa_ etc. 
_GAATHAA, FUNHE, AND CHAUBOLE_:
_Funhe_  is a form of the _Chhand_ (for example, see SGGS page 1361). _Chaubole_  is also a form of the _Chhand_ (for example, see SGGS page 1363 where it  has 11 verses). _Gaathaa _denotes composition in an ancient language (mixture  of _Sanskrit_, _Paalee_ and other languages). Many Buddhist scriptures  are written in this language (for example, see page 1360 of SGGS). 
_SOLAHE_:
"_Solahe_"  is the _Shabad_ containing generally sixteen stanzas (for example, see SGGS  page 1021). They are only found in _Raaga Maaroo_. There is no "_Rahaaou_"  in them. Also, they follow "_Ashatpadees_".
_MAHALAA_: 
Initially  called _Adi Granth_, the contents of the SGGS (1,430 pages) contains _Bani_  of the Gurus (Guru Nanak Dev, Guru Angad Dev, Guru Amar Das, Guru Raam Das, Guru  Arjan Dev, Guru Tegh Bahadur, and one Sloka of Guru Gobind Singh Jee), and _Hindu  _saints (_Brahmans_ and _Soodras_) and Muslim Sufis. These 15 saints  were Kabeer, Nam Dev, Ravidas, Sheikh Farid, Trilochan, Dhanna, Beni, Bhikan,  Sur Daas, Parmanand, Pipa, Raamanand, Sadhana and Sain. It also contains the hymns  of eleven _Bhattas_ and Bards, they were Mathuraa, Jalap, Harbans, Talya,  Salya, Bhal, Kulh Sahar, Nal, Kirat, Sadrang and Gayand. In addition, it also  consists of the hymns of Mardaanaa (the minstrel of Baabaa Nanak), _Raamkalee  Sad_ by Sunder , and _Vaar_ of Sattaa and Balwand.  
The word "_Mahalaa_"  at the top of the _Shabad_ identifies which Guru is the author. For example,  "_Mahalaa 1_" identifies the first Guru, "_Mahalaa 2_"  identifies the second Guru, "_Mahalaa 3_" identifies the third  Guru, "_Mahalaa 4 _" identifies the fourth Guru, "_Mahalaa  5_" identifies the fifth Guru, "_Mahalaa 9_" identifies  the ninth Guru. This notation appears with the _Bani_ of the first five  Gurus and the ninth Guru only.  
_PATTEE_:
Literally "_Pattee_"  means a writing board, slate or notebook (_Fattee_). When it appears at the  top of the _Shabad_, it's also used to impart the Divine Teachings in the  order of _Varanmaalaa_ (alphabet), for example see page 432 of the SGGS.
— T. Singh
Sikhism - Reflections On Gurbani


----------



## dalsingh (May 20, 2009)

Gyani ji, do you know where dhadi fits into all of this? I noticed that it has certain rhythms that are re-occuring and these extend to popular Panjabi culture, as they are sometimes heard in commercial Panjabi songs.


----------



## GillAUS (May 20, 2009)

Hardip Singh Vohra said:


> Dear Sir,
> BEER RAS is not something which could be generated by listning to such wars. This is God gifted. One is born of those qualities to fight for the justice and truth.
> This bani itself is very much *controversial as far the author ship is concerned.* Mearly *matholigical events which are highly exeggrated and have no base , can not enhance or introduce this BEER RAS in some one.* You have to have something really concrete.
> Sorry, I donot agree with your views.
> Regards & Guru fateh.



Brother, 

If there was any doubt as to Chandi di Vaar's authorship, why do we recite the beginning of it for our daily Ardaas?

As for 'mythological events' - the story of Bhagat Prahlad has been relayed in Sri Guru Granth Sahib. Is this exaggerated, without any basis?


----------



## Gyani Jarnail Singh (May 20, 2009)

GillAUS said:


> Brother,
> 
> If there was any doubt as to Chandi di Vaar's authorship, why do we recite the beginning of it for our daily Ardaas?
> 
> As for 'mythological events' - the story of Bhagat Prahlad has been relayed in Sri Guru Granth Sahib. Is this exaggerated, without any basis?



1.Lots of things that are done as "habitual" in our Gurdwaras are not necessarily accordign to Gurmatt...example lighting of ghee lamps/jyots have no spiritual sanction/benefit...but still beign done almost."religiously"....even in Harmandir Sahib...
Placing of "Imaginary pictures" of Gurus sahibs at Patna Sahib Takhat in front of SGGS..is another such anti-gurmatt practise that is clearly not sanctioned by Gurbani....yet its done..

The Beautiful thing baout SIKHISM is that we as the GURU KHALSA PANTH have been SANCTIONED by the GURU to...carry out modifications to our dialy Maryadas/Rehits ..WITH the PROVISO...that ALL MUST BE BASED on the GURBANI of SGGS. Any thing thats ULTRA VIRES the SGGS.....muts be discarded. period.

Having said that...even the SGGS bir had an additional POEM called Raagmala added to it surreptiously. Its NOT GURBANI, it fails to follow the rules of Gurbani such as the Numbering system Nanak Signature, or any spiritual sikhis etc etc. So the argument that..why we read Raagmala..is the Same as why we read Vaar Bahgauti Ji at beginning of Ardass. Vaar bahgauti Ji and Chandi Di Vaar are in a separate Granth...no proof that Guru Gobind Singh ji wrote it/OR DIDNT ?? ..or that there is no adulteration.... Just like the Raagmala CANNOT be AUTHENTICATED as GURBANI simply due to its presence in SGGS BIRS..the Chandi di vaar cannot be authenticated simply by the Bhagautee paurre in ardass...Anyway the ARDASS is made by the Guru Khalsa panth and it can be changed acordingly..a decison the PANTH muct make at the appropriate time. Until then we all READ the ardass on a "AS IS BASIS". Period. All this and more has already been discussed ad nausem in dsm granth threads...no need to elaborate much here. The JURY is still OUT on Dsm granth/chandi di vaar etc.

Lots of MYTHS...already POPULAR FOLKLORE at time of GURU SAHIBS is MENTIONED in GURBANI to....PASS ON...RELAY the DIVINE MESSAGE of GURU JI.
THAT MESSAGE is the CORE..not the MYTHS/STORIES..etc...and the CORE MESSAGE is HUKM RAZAEE CHALLANNA, NAAM JAPPNNA etc etc etc.
Bhagat Prehlaad story is mentioned..and GURU JIS CORE MESSAGE to us is NAAM JAPPNNA at ALL COSTS. ( to beleive that this means that a Harnaksh type of creature will come rushing to our AID is ??? i am at a loss for words !!! The ENTIRE COMPLETE SIKH HISTORY..beginning in 1469 - to PRESENT DAY....not a SINGLE SUCH INSTANCE occurred...NO "Harnaksh" came out of the Burning FIRES under GURU ARJUN JI to douse the Flames..No Harnaksh came out of the WALLS that BRICKED ALIVE the  Baba Zorawar Singh Baba fateh Singh....no Hranaksh came out and laid waste the Hordes surrounding Baba Ajit Singh baba Jhujaar Singh on the Battlefields of Chakmaur...NO Harnaksh came out to DESTROY ...Ahmad Shaha Abdali....or...INDIRA GANDHIS ARMIES demolishing the Akal takhat....BUT the FIRST PART of HAR JUG JUG bhagtaan dee Rakhda aiyah is TRUE..and has been Shown TRUE in EVERY SINGLE action from 1469....Har took care of GURU ARJUN JI...thats why he could sit so calmly and recite..*TERA BHANNAMEETHA LAGGEH..NAAM PADARETH NANAK* *MANGGEH* - THAT is the DIVINE MESSAGE we are to IMBIBE..not wait for some "harnaksh" to appear and save us ??...The Bhagat Prehllad story..has a MEANING..its to take the approach of GURU ARJUN JI SAHIB..just like all the Hundreds of thousands of SIKH SHAHEEDS did indeed take..on the way to MARTYRDOM..smiling and happy....NONE of them waited with baited breath..for "harnaksh" to come rushing out to save their LIVES !!!..simply because that is a MYTH !!! PROVEN time and again..and wll remain a MYTH.

Our GURBANI teaches us to Follow his HUKM...and that we do with all our MIGHT.
IF GURBANI tells us to..Control our KAAM/LUST..we DO THAT...simply because GURBANI tells us...and certainly NOT because we are afraid that we may too end up with a THOUSAND FEMALE SEX ORGANS on our body...as is said to have happend to the "LORD" SIVA ?? when He violated a Rishis beautiful wife ??? THAT too is a Popular MYTH..and it was FOLKLORE..and Guru Ji is just using it as an ILLUSTRATION !!! It is certianly NOT the TRUTH as its agaisnt Gods LAWS !!! OF what practical purpose are a thousand sex organs for ?? GURBANI is 1000% PRACTICAL, LOGICAL. TRUTH and nothign but the TRUTH, and cannot be challenged on any count...WHY we insist on dragging its pristine contents into such MYTHOLIGICAL NONSENSE whcih cannot be defended in any way except.."blind faith..annhi shardha..just beleive it types of arguments others use so routinely.

No offense to anyone...my own views striclty based on my own understandign of Gurbani and its Divine Message...


----------



## ranghi29 (May 20, 2009)

I kinda didn't get what your saying.....But i would like to ask are you saying we don't need Chandi di Vaar..:shock::shock:


----------



## Hardip Singh (May 21, 2009)

Yes, Of-course. It has nothing to do with the great principals of SIKHI


----------



## Gyani Jarnail Singh (May 21, 2009)

ranghi29 said:


> I kinda didn't get what your saying.....But i would like to ask are you saying we don't need Chandi di Vaar..:shock::shock:



What I am saying is this.

1. SGGS is COMPLETE. There is nothing wanting..everything is there. So there is no truth in those who say .." we need Chandi dee Vaar..because it is to infuse Martial arts/feelings of valour/battle preparedness/beer rass etc etc...and all THAT is NOT ENOUGH IN SGGS ??
WHEN GURU NANAK JI was "GURU"....His SIKHS did not seek anything elsewhere. PERIOD.
Exact same...for all the GURUS....even wehn the GURU was a "child" of 8..( Guru Harkishan Ji )....the GURU was Sarab kala SAMPOORAN. No one even remotely dare suggest that since the Guru is a mere CHILD..we "need" advise from someone older..matured ??
The 9 Year OLD GOBIND RAI was competent to LEAD all SIKHS without any need of any outside help.
NOW its the SGGS that occupies the THRONE of  "GURU Nanak-Gobind Singh"....and its BLASPHEMY for anyoen to suggest we "need" OUTSIDE help/advise/beer rass/whatever as the SGGS cannot/is unable to FULFILL OUR NEEDS ??????.

AS "Literature"...its perfectly all right to read Chandi dee vaar....Bachittar natak....as is of course Shakespeare..or Karl Marx or Sigmund Freud...the MORE one reads the better !!!..BUT the Bottom Line is ONLY SGGS is the GURU..and no equals.

BTW I read Chandi dee vaar...its a thrilling piece of wrok..superb mastery of words..one can HEAR the CLANG of weapons....and cries of valour...shrieking demons and all.....FANTASTIC !!! I enjoy it so often....sometimes late at night...Uts a masterpirce fo Indian literature.....BUT its NOT GURBANI equal of SGGS...which is Khasam ki Bani...

Thats all. Hope all is clarified.


----------



## dalsingh (May 21, 2009)

I think another point people need to understand regarding ChandiDi Vaar is that the bit that we recite in our ardas corresponds is an opening invocation, that is independent of the main tale of Durga.


----------



## Gyani Jarnail Singh (May 21, 2009)

Yes dalsingh ji....and that Paurree may have been "added to the main CDV to "aithenticate" it just like Ragmala was added to SGGS. Sikhs have always had powerful enemies and saboteurs who are adept at such subterfuge...look at how the myriads fo babas and snats deras etc are busy as bees adulterating and dissing Sikhi/Gurmatt and taking away peopel from GURBANI towards their own deh worship.
The person who recently desecrated the Peerha of SGGS in harmandir Sahib is a Radha soami follower whose room has the photo of the RS Guru placed on Pillows exactly like the SGGs is parkashed...so that incident is not so innocent anymore...
WE must eb ever vigilant and alwasy at the service of SGGS..the One and ONLY GURU. Period. No ifs and no buts and no maybes...and True SERVICE of SGGS is UNDERSTYANDING GURBANI and follwoing it..not just matha teking and bowing.


----------



## BhagatSingh (May 24, 2009)

> That is also the point where we have to "explain" all that* mytholigical BS*, exaggerated demons and dragons and blood drinking vampirtes etc etc..stuff that is straight out of Merlin and King Arthur types of *BS*..who needs all this..when we have the Perfect Sri Guru Granth Sahib Ji....


 x 10^99
couldn't have used a better term for taht myself.


----------



## Gyani Jarnail Singh (May 24, 2009)

dalsingh said:


> Gyani ji, do you know where dhadi fits into all of this? I noticed that it has certain rhythms that are re-occuring and these extend to popular Panjabi culture, as they are sometimes heard in commercial Panjabi songs.



Veer Ji,

A Vaar is a POEM specifically meant to be SUNG according to a DHUNNI...with Dhadd Sarangee and in a Chorus and such an atmosphere creates and maintains Valour, Beer Rass, raises the Spirits. Dhadees stand and sing...another unique stance only for Vaars.
Guru Hargobind Ji sahib popularised these Vaars by choosing the appropriate Dhunnis and Sung them...to prepare the Sikhs to FIGHT agaisnt INJUSTICE.

A Vaar cannot be sung according to Traditional Raag/music by  musicians on vaja tabla etc.


----------

