‘Ghar’ in Guru Granth Sahib
– a directive for systematic reading and singing of Gurbani
Dr Charan Kamal Singh
Ghar has been mentioned, adjacent to Mahalla e.g. ਬਿਹਾਗੜਾ ਮਹਲਾ ੫ ਘਰੁ ੨ (GGS* 544) in Guru Granth Sahib. This indicates that Ghar is a concept of great significance vis-à-vis Guru Granth Sahib. However, there is lack of authentic interpretation of the term “Ghar,” so far.
{*GGS in this article means=Guru Granth Sahib}.
Gurbani enshrined in Guru Granth Sahib is of esteem significance. Therefore, Gurbani has been suitably preserved, by Guru Sahib, in Guru Granth Sahib. In the written form, sentences (tuks), stanzas (pade) of sabads/chhants have been systematically numbered so as to preserve their originality. As compared to the numerical preservation of written form of Gurbani, the concept of ‘Ghar’, is in place to render uniformity in reading/singing of Gurbani. Ghar is, therefore, a systematic guidance by Guru Sahib for reading and singing of Gurbani. This instruction of Guru Sahib has been passed on to us, in the form of titles of ‘Ghar’ in Guru Granth Sahib. The concept of Ghar is, thus, interpretation of this instruction of Guru Sahib through ‘Ghar’ enshrined in Gurbani to enable us to read and sing Gurbani uniquely and uniformly – as ordained by Guru Sahib.
There are earlier interpretations of Ghar, as well, though none provide a satisfactory explanation of the term Ghar, yet we discuss them, precisely to know the reason, thereof.
The Ghar has been most commonly related to beats of music (called Taal, in Punjabi) primarily because of common numerical reference in both Ghar and Taal. Whereas Ghar is determined as first, second, third etc., Taal is also determined based on different numbers (Matras, in Punjabi) of beats e.g. 8 beats (Kehrava Taal); 10 beats (e.g. Jhap Taal and Sool Taal); 11 beats (e.g. Rudar Taal); 12 beats (e.g. Ek Taal, Dhrupad Taal); 14 beats (e.g. Jhoomar and Deepchandi Taal) and 16 beats (Teen Taal) etc. This, numerical correlation led both Ghar and Taal to be correlated at the very first place. In musicology, though, it is well established that, singing in ‘Partaal’ implies singing in more than one Taal (musical beats). There are Partaals in 12 Raags (Musical Composition System) in Guru Granth Sahib. These Raags are Dhanasri, Suhi, Bilawal, Ramkali, Nat Narayan, Bhairao, Sarag, Malar, Kanra, Prabhati and Aasa. Now, fact of the matter is that, in Guru Granth Sahib, Ghar has been assigned to ‘Partaal’. In fact, five types of Ghar have been assigned to Partaals. Thereby, Partaals in Guru Granth Sahib are in Ghar 3, Ghar 5, Ghar 6, Ghar 9 and Ghar 13. Now, when Ghar has been associated to Partaal by Guru Sahib (i.e. to more than one Taal/beat), it cannot, therefore, be linked to constituent Taal/beat – of Partaal. Therefore, the speculation of relating Ghar to Taal does not hold good.
Ghar has also been associated to Raag. However, in Guru Granth Sahib, there are different Ghars within same raag. For example there are seven types of Ghar within Sri Raag viz. Ghar 1, Ghar 2, Ghar 3, Ghar 4, Ghar 5, Ghar 6 and Ghar 7. And there are similar Ghars in other Raags too. For example Ghar 1 and Ghar 2 of Sri Raag is also incorporated in Raag Majh, Raag Asa, Raag Devgandhari, Raag Bihagra, Raag Vadhans, Raag Sorath, Raag Dhanasri, Raag Jaitsari, Raag Todi, Raag Tilang, Raag Suhi, Raag Bilawal, Raag Gond, Raag Ramkali, Raag Maru, Raag Kedara, Raag Bhairao, Raag Basant, Raag Sarag, Raag Malar, Raag Kanra, Raag Kalyan and Raag Parbhati. Same is true for other types of Ghar. Since same Ghar is already associated with various raags, the speculation of associating Ghar to a specific raag is, thus, rendered infructuous.
There was yet another speculation. It related Ghar to musical notes (Sur, in Punjabi). Now, in order to cater to 17 types of Ghar, this speculation has suggested 17 types of musical notes, though, fact of the matter is that there are no more than 12 musical notes in Indian music. These 12 musical notes comprise of seven Shud musical notes viz. Sa, Re, Ga , Ma, Pa, Dha, Ni; four Komal musical notes viz. Re, Ga, Dha, Ni and one Teewar viz. Ma musical note. These 12 musical notes keep repeating with change in scale (called Saptak ) after every 12 musical notes. In an effort to create 17 matching musical notes, (to cater to 17 types of Ghar), while there are no more than 12 musical notes in Indian music system, this speculation has distorted the basic fact of musical notes and have miscalculated 17 musical notes by suggesting non-existing five musical notes in addition to the standard 12 musical notes by using the musical notes of the next scale (Saptak). This speculation of associating Ghar to musical notes is, therefore, not tenable.
It is, in fact, quite intriguing that such speculations could survive so for, whereas, none of them can withstand the test of very basic scrutiny. Most probably, these speculations could have been allowed to stay on, in absence of any other tangible explanation of the term ‘Ghar’ in Guru Granth Sahib, so far.
The concept of Ghar, now proposed, however, addresses all 17 types of Ghar of sabads, in addition, it also addresses eight types of Ghar of chhants as well as four special directives of Guru Sahib in Guru Granth Sahib, specifically about Ghar viz. ਏਕ ਸੁਆਨ ਕੈ ਘਬਰ ਗਾਵਣਾ (GGS 91) i.e. this sabad has to be sung in the Ghar of “ਏਕ ਸੁਆਨ”; ਪਹਬਰਆ ਕੈ ਘਬਰ ਗਾਵਣਾ (GGS 93) i.e. this sabad has to be sung in the Ghar of “ਪਹਰੇ”; ਰਹੋਏ ਕੇ ਛੰਤ ਕੇ ਘਬਰ (GGS 203) i.e. this sabad has to be sung in the Ghar of “ਰਹੋਏ ਕੇ ਛੰਤ”; ਯਾਨੜੀਏ ਕੈ ਘਬਰ ਗਾਵਣਾ (GGS 802) i.e. this sabad has to be sung in the Ghar of “ਯਾਨੜੀਏ”. Further, the present concept of Ghar in Gurbani also explains the mention of Ghar on the titles of sabads and chhants in Guru Granth Sahib as many as 386 times. And, the 432-page book ‘Ghar Da Vidhan’ (in Punjabi) published by Chatar Singh Jiwan Singh, Amritsar establishes Ghar of each and every sabad/chhant in Guru Granth Sahib.
Each sentence of Gurbani carries deep spiritual relevance and unique significance. Each word, individually or in combination with other words imparts unique spiritual message in Guru Granth Sahib. However, we contemplate the sentences of Gurbani in our own way(s), wherein,
we group words together as we perceive Gurbani. The combination of words in sentences of Gurbani, if altered, while reading of sentences of Gurbani, can seriously impact the intended eternal message of Gurbani. To bring about uniformity in reading, singing and understanding of Gurbani, the unique concept of ‘Ghar’ has been enshrined in Guru Granth Sahib by Guru Sahib to guide us to read sentences of Gurbani in the unique and uniform, systematic way.
‘Ghar’ (with capital ‘G’) implies the concept of Ghar and ‘ghar’ (with small ‘g’) implies number of ghars in a sentence of Gurbani, Now, let’s study ghars in few sentence of Gurbani. In every sentence, a ghar could be of just one word, few words or an entire sentence.
The examples of ghars in sentences of Gurbani are hereunder. For the sake of easy understanding and identification, ghars in sentences have been earmarked in superscript;
A ghar in entire sentence;
1ਕਬਰ ਿੰਦੇ ਤੂ ਿੰਦਗੀ ਬਿਚਰੁ ਘਟ ਮਬਹ ਸਾਹੁ॥ (GGS 724).
The condition of ‘ਬਿਚਰੁ’ unites entire sentence into one ghar.
Two ghars in a sentence;
1ਹਮ ਭੀਖਕ ਭੇਖਾਰੀ ਤੇਰੇ 2ਤੂ ਬਨਿਪਬਤ ਹੈ ਦਾਤਾ॥ (GGS 666).
The subjects of ‘ਹਮ’ and ‘ਤੂ’ constitute two ghars in the above sentence.
Three ghars in a sentence;
1ਿਹ ਹਬਰ ਬਸਮਰਨੁ ਭਇਆ 2ਤਹ ਉਪਾਬਿ ਗਤੁ ਕੀਨੀ 3ਵਡਭਾਗੀ ਹਬਰ ਿਪਨਾ॥ (GGS 670).
Subjects of ‘ਿਹ’ and ‘ਤਹ’ constitute two ghars which are followed by a third subject, thus constituting three ghars in the above sentence.
Four ghars in a sentence;
1ਊਚਨ ਊਚਾ 2ਿੀਚੁ ਨ ਖੀਚਾ 3ਹਉ ਤੇਰਾ 4ਤੂੰ ਮੋਰਾ॥ (GGS 821).
‘Thou is above all’ is the first ghar. ‘There is none between we two’ is the second ghar. ‘I am yours’ is the third ghar. And ‘You are also mine’ is the fourth ghar in the above sentence.
To understand the concept of Ghar, contemplating on meanings of Gurbani is a prerequisite. Whence we understand the meaning of sentences of Gurbani, we happen to detect certain sections in sentences of Gurbani. Further the grammar of Gurbani and diacritical marks (Matras, in Punjabi) of Punjabi (viz. sihari, bihari, dullavan and onker) attached to the ‘last letter’ of words in Gurbani also indicate unique sections/parts in sentences in Gurbani. These sections/parts indeed help us to establish ghars within sentences in Guru Granth Sahib. Whence we understand the concept of Ghar, then, such sections/parts in each sentence are decided not
as per free will of individuals, rather, they are established according to the concept of Ghar that is prevalent uniformly in entire Guru Granth Sahib, thereby ruling out all possible variations in interpretations of Gurbani among individuals, and thereby, bringing about uniformity in reading and comprehension of each and every sentence of Gurbani.
By directing Ghar 1, Guru Sahib has instructed us that each sentence of the sabad has to be read/sung as ‘one ghar’ in all sentences of Ghar 1. Thereby, every sentence of Ghar 1 has to be read/sung in one go. And as we follow this directive for reading Gurbani, we realize that the Gurmat message in the sentence remains intact only when we do so!
Few examples of Ghar 1 wherein ghars in sentences are exhibited with roman superscripts are hereunder;
ਐਸਾ ਹਬਰ ਸੇਵੀਐ ਬਨਤ ਬਿਆਈਐ ਿੋ ਬਖਨ ਮਬਹ ਬਕਲਬਵਖ ਸਬਭ ਕਰੇ ਬਿਨਾਸਾ ॥ (GGS 860)
ਿਾਬਲ ਮੋਹੁ ਘਬਸ ਮਸੁ ਕਬਰ ਮਬਤ ਕਾਗਦੁ ਕਬਰ ਸਾਰੁ ॥ (GGS 16)
ਸੋ ਪਾਬਤਸਾਹੁ ਸਾਹਾ ਪਬਤਸਾਬਹਿੁ ਨਾਨਕ ਰਹਣੁ ਰਿਾਈ ॥ (GGS 347)
Ghar 2 is constituted of a set of two ghars. The message of Gurbani in Ghar 2 is complete only with combination of two ghars whether in the same sentence or as combination of two sentences. Few examples of Ghar 2 wherein Ghars in sentences are exhibited with roman superscripts are hereunder;
1ਤੁਿੁ ਬਿਨੁ ਦੂਿਾ ਨਾਹੀ ਕੋਇ ॥ 2ਤੂ ਕਰਤਾਰੁ ਕਰਬਹ ਸੋ ਹੋਇ ॥ (GGS 723)
1ਗੁਰ ਕੀ ਮੂਰਬਤ ਮਨ ਮਬਹ ਬਿਆਨੁ ॥ 2ਗੁਰ ਕੈ ਸਿਬਦ ਮੰਤਰੁ ਮਨੁ ਮਾਨ ॥ (GGS 864)
Ghar 3 onwards, all other types of Ghar are determined from entire stanza, i.e. the total of all ghars in a stanza shall determine the type of Ghar i.e. if there are three ghars in a stanza, such sabads are in Ghar 3; if there are four ghars in a stanza of a sabad, such sabads are in Ghar 4 and so on. Conversely, if there is title of Ghar 5 on a sabad, then each stanza of that sabad shall contain five ghars; if there is title of Ghar 6 on a sabad, then each stanza of that sabad shall contain six ghars and so on.
Let us take up few examples wherein Ghar of a sabad is determined from total of ghars of entire stanza;
Ghar 3
1ਿਿ ਅੰਤਬਰ ਪਰੀਬਤ ਹਬਰ ਬਸਉ ਿਬਨ ਆਈ॥
2ਤਿ ਿੋ ਬਕਛੁ ਕਰੇ 3ਸੁ ਮੇਰੇ ਹਬਰ ਪਰਭ ਭਾਈ ॥੩॥ (GGS 494)
There is one ghar in first sentence and two ghars in second sentence of the stanza (pada). Thus, total number of ghars in a pada is three. Therefore, the pada above is in Ghar 3.
Ghar 4
੧ਦੇਵਬਤਆ ਦਰਸਨ ਕੈ ਤਾਈ 2ਦੂਖ ਭੂਖ ਤੀਰਥ ਕੀਏ॥
3ਿੋਗੀ ਿਤੀ ਿੁਗਬਤ ਮਬਹ ਰਹਤੇ 4ਕਬਰ ਕਬਰ ਭਗਵੇ ਭੇਖ ਭਏ॥੧॥ (GGS 358)
There are two ghars in each sentence of the pada. Thus, total number of ghars in a pada is four. Therefore, the pada above is in Ghar 4.
Ghar 5
1ਅਛਲ 2ਛਲਾਈ ਨਹ ਛਲੈ 3ਨਹ ਘਾਉ ਕਟਾਰਾ ਕਬਰ ਸਕੈ॥
4ਬਿਉ ਸਾਬਹਿੁ ਰਾਖੈ ਬਤਉ ਰਹੈ 5ਇਸੁ ਲੋਭੀ ਕਾ ਿੀਉ ਟਲ ਪਲੈ॥੧॥ (GGS 25)
There are two ghars in first sentence and three ghars in second sentence of the pada. Thus, total number of ghars in a pada is five. Therefore, the pada above is in Ghar 5.
Whereas all sabads in Ghar 3 onwards are always mentioned in the titles, sabads in Ghar 1 and Ghar 2 are not always mentioned in the titles of the sabads.
Once Ghar of any sabad is established, all stanzas (pade) in sabads or chhants are always in the same Ghar except one stanza in a sabad that is called ‘Rahao’ pada whose Ghar is different from the Ghar of rest of padei of sabad. An example of Rahao pada in a sabad of Ghar 6 is as under;
ਆਸਾ ਘਰੁ ੬ ਮਹਲਾ ੧ ॥
1ਮਨੁ 2ਮੋਤੀ ਿੇ ਗਹਣਾ ਹੋਵੈ 3ਪਉਣੁ ਹੋਵੈ ਸੂਤ ਿਾਰੀ ॥
4ਬਖਮਾ ਸੀਗਾਰੁ 5ਕਾਮਬਣ ਤਬਨ ਪਬਹਰੈ 6ਰਾਵੈ ਲਾਲ ਬਪਆਰੀ ॥੧॥
1ਲਾਲ ਿਹੁ ਗੁਬਣ ਕਾਮਬਣ ਮੋਹੀ ॥ 2ਤੇਰੇ ਗੁਣ ਹੋਬਹ ਨ ਅਵਰੀ ॥੧॥ ਰਹਾਉ ॥ 1ਹਬਰ ਹਬਰ ਹਾਰੁ 2ਕੰਬਿ ਲੇ ਪਬਹਰੈ 3ਦਾਮੋਦਰੁ 4ਦੰਤੁ ਲੇਈ ॥
5ਕਰ ਕਬਰ ਕਰਤਾ ਕੰਗਨ ਪਬਹਰੈ 6ਇਨ ਬਿਬਿ ਬਚਤੁ ਿਰੇਈ ॥੨॥
The pade of the above sabad, in Ghar 6, are Dutuke (i.e. having two sentences) and ghars are arranged as 3+3 and 4+2. The Dutuke Rahao Pada, however, is in Ghar 2 thereby Ghar of Rahao pada is different from the Ghar of the above sabad in Ghar 6.
The concept of Ghar is uniformly applicable to the entire Guru Granth Sahib including each and every sabad, chhant, salok and banis in Guru Granth Sahib.
Thus, by reading and singing Gurbani in accordance to the concept of Ghar, not only we shall read/sing each and every sentence of Gurbani in the systematic and uniform way but also we shall enjoy the true bliss in reading Gurbani as ordained by Guru Sahib in the form of ‘Ghar’ enshrined in Guru Granth Sahib.
Dr Charan Kamal Singh Director, Ishmeet Singh Music Institute, Ludhiana, Punjab, India and Professor & Head, Department of Veterinary Pathology, Guru Angad Dev Veterinary and Animal Sciences University, Ludhiana, Punjab, India E Mail: GharInGurbani@gmail.com
Web site: www.GharInGurbani.com
YouTube Channel: Ghar In Gurbani
‘Ghar’ in Guru Granth Sahib
– a directive for systematic reading and singing of Gurbani
Dr Charan Kamal Singh
Ghar has been mentioned, adjacent to Mahalla e.g. ਬਿਹਾਗੜਾ ਮਹਲਾ ੫ ਘਰੁ ੨ (GGS* 544) in Guru Granth Sahib. This indicates that Ghar is a concept of great significance vis-à-vis Guru Granth Sahib. However, there is lack of authentic interpretation of the term “Ghar,” so far.
{*GGS in this article means=Guru Granth Sahib}.
Gurbani enshrined in Guru Granth Sahib is of esteem significance. Therefore, Gurbani has been suitably preserved, by Guru Sahib, in Guru Granth Sahib. In the written form, sentences (tuks), stanzas (pade) of sabads/chhants have been systematically numbered so as to preserve their originality. As compared to the numerical preservation of written form of Gurbani, the concept of ‘Ghar’, is in place to render uniformity in reading/singing of Gurbani. Ghar is, therefore, a systematic guidance by Guru Sahib for reading and singing of Gurbani. This instruction of Guru Sahib has been passed on to us, in the form of titles of ‘Ghar’ in Guru Granth Sahib. The concept of Ghar is, thus, interpretation of this instruction of Guru Sahib through ‘Ghar’ enshrined in Gurbani to enable us to read and sing Gurbani uniquely and uniformly – as ordained by Guru Sahib.
There are earlier interpretations of Ghar, as well, though none provide a satisfactory explanation of the term Ghar, yet we discuss them, precisely to know the reason, thereof.
The Ghar has been most commonly related to beats of music (called Taal, in Punjabi) primarily because of common numerical reference in both Ghar and Taal. Whereas Ghar is determined as first, second, third etc., Taal is also determined based on different numbers (Matras, in Punjabi) of beats e.g. 8 beats (Kehrava Taal); 10 beats (e.g. Jhap Taal and Sool Taal); 11 beats (e.g. Rudar Taal); 12 beats (e.g. Ek Taal, Dhrupad Taal); 14 beats (e.g. Jhoomar and Deepchandi Taal) and 16 beats (Teen Taal) etc. This, numerical correlation led both Ghar and Taal to be correlated at the very first place. In musicology, though, it is well established that, singing in ‘Partaal’ implies singing in more than one Taal (musical beats). There are Partaals in 12 Raags (Musical Composition System) in Guru Granth Sahib. These Raags are Dhanasri, Suhi, Bilawal, Ramkali, Nat Narayan, Bhairao, Sarag, Malar, Kanra, Prabhati and Aasa. Now, fact of the matter is that, in Guru Granth Sahib, Ghar has been assigned to ‘Partaal’. In fact, five types of Ghar have been assigned to Partaals. Thereby, Partaals in Guru Granth Sahib are in Ghar 3, Ghar 5, Ghar 6, Ghar 9 and Ghar 13. Now, when Ghar has been associated to Partaal by Guru Sahib (i.e. to more than one Taal/beat), it cannot, therefore, be linked to constituent Taal/beat – of Partaal. Therefore, the speculation of relating Ghar to Taal does not hold good.
Ghar has also been associated to Raag. However, in Guru Granth Sahib, there are different Ghars within same raag. For example there are seven types of Ghar within Sri Raag viz. Ghar 1, Ghar 2, Ghar 3, Ghar 4, Ghar 5, Ghar 6 and Ghar 7. And there are similar Ghars in other Raags too. For example Ghar 1 and Ghar 2 of Sri Raag is also incorporated in Raag Majh, Raag Asa, Raag Devgandhari, Raag Bihagra, Raag Vadhans, Raag Sorath, Raag Dhanasri, Raag Jaitsari, Raag Todi, Raag Tilang, Raag Suhi, Raag Bilawal, Raag Gond, Raag Ramkali, Raag Maru, Raag Kedara, Raag Bhairao, Raag Basant, Raag Sarag, Raag Malar, Raag Kanra, Raag Kalyan and Raag Parbhati. Same is true for other types of Ghar. Since same Ghar is already associated with various raags, the speculation of associating Ghar to a specific raag is, thus, rendered infructuous.
There was yet another speculation. It related Ghar to musical notes (Sur, in Punjabi). Now, in order to cater to 17 types of Ghar, this speculation has suggested 17 types of musical notes, though, fact of the matter is that there are no more than 12 musical notes in Indian music. These 12 musical notes comprise of seven Shud musical notes viz. Sa, Re, Ga , Ma, Pa, Dha, Ni; four Komal musical notes viz. Re, Ga, Dha, Ni and one Teewar viz. Ma musical note. These 12 musical notes keep repeating with change in scale (called Saptak ) after every 12 musical notes. In an effort to create 17 matching musical notes, (to cater to 17 types of Ghar), while there are no more than 12 musical notes in Indian music system, this speculation has distorted the basic fact of musical notes and have miscalculated 17 musical notes by suggesting non-existing five musical notes in addition to the standard 12 musical notes by using the musical notes of the next scale (Saptak). This speculation of associating Ghar to musical notes is, therefore, not tenable.
It is, in fact, quite intriguing that such speculations could survive so for, whereas, none of them can withstand the test of very basic scrutiny. Most probably, these speculations could have been allowed to stay on, in absence of any other tangible explanation of the term ‘Ghar’ in Guru Granth Sahib, so far.
The concept of Ghar, now proposed, however, addresses all 17 types of Ghar of sabads, in addition, it also addresses eight types of Ghar of chhants as well as four special directives of Guru Sahib in Guru Granth Sahib, specifically about Ghar viz. ਏਕ ਸੁਆਨ ਕੈ ਘਬਰ ਗਾਵਣਾ (GGS 91) i.e. this sabad has to be sung in the Ghar of “ਏਕ ਸੁਆਨ”; ਪਹਬਰਆ ਕੈ ਘਬਰ ਗਾਵਣਾ (GGS 93) i.e. this sabad has to be sung in the Ghar of “ਪਹਰੇ”; ਰਹੋਏ ਕੇ ਛੰਤ ਕੇ ਘਬਰ (GGS 203) i.e. this sabad has to be sung in the Ghar of “ਰਹੋਏ ਕੇ ਛੰਤ”; ਯਾਨੜੀਏ ਕੈ ਘਬਰ ਗਾਵਣਾ (GGS 802) i.e. this sabad has to be sung in the Ghar of “ਯਾਨੜੀਏ”. Further, the present concept of Ghar in Gurbani also explains the mention of Ghar on the titles of sabads and chhants in Guru Granth Sahib as many as 386 times. And, the 432-page book ‘Ghar Da Vidhan’ (in Punjabi) published by Chatar Singh Jiwan Singh, Amritsar establishes Ghar of each and every sabad/chhant in Guru Granth Sahib.
Each sentence of Gurbani carries deep spiritual relevance and unique significance. Each word, individually or in combination with other words imparts unique spiritual message in Guru Granth Sahib. However, we contemplate the sentences of Gurbani in our own way(s), wherein,
we group words together as we perceive Gurbani. The combination of words in sentences of Gurbani, if altered, while reading of sentences of Gurbani, can seriously impact the intended eternal message of Gurbani. To bring about uniformity in reading, singing and understanding of Gurbani, the unique concept of ‘Ghar’ has been enshrined in Guru Granth Sahib by Guru Sahib to guide us to read sentences of Gurbani in the unique and uniform, systematic way.
‘Ghar’ (with capital ‘G’) implies the concept of Ghar and ‘ghar’ (with small ‘g’) implies number of ghars in a sentence of Gurbani, Now, let’s study ghars in few sentence of Gurbani. In every sentence, a ghar could be of just one word, few words or an entire sentence.
The examples of ghars in sentences of Gurbani are hereunder. For the sake of easy understanding and identification, ghars in sentences have been earmarked in superscript;
A ghar in entire sentence;
1ਕਬਰ ਿੰਦੇ ਤੂ ਿੰਦਗੀ ਬਿਚਰੁ ਘਟ ਮਬਹ ਸਾਹੁ॥ (GGS 724).
The condition of ‘ਬਿਚਰੁ’ unites entire sentence into one ghar.
Two ghars in a sentence;
1ਹਮ ਭੀਖਕ ਭੇਖਾਰੀ ਤੇਰੇ 2ਤੂ ਬਨਿਪਬਤ ਹੈ ਦਾਤਾ॥ (GGS 666).
The subjects of ‘ਹਮ’ and ‘ਤੂ’ constitute two ghars in the above sentence.
Three ghars in a sentence;
1ਿਹ ਹਬਰ ਬਸਮਰਨੁ ਭਇਆ 2ਤਹ ਉਪਾਬਿ ਗਤੁ ਕੀਨੀ 3ਵਡਭਾਗੀ ਹਬਰ ਿਪਨਾ॥ (GGS 670).
Subjects of ‘ਿਹ’ and ‘ਤਹ’ constitute two ghars which are followed by a third subject, thus constituting three ghars in the above sentence.
Four ghars in a sentence;
1ਊਚਨ ਊਚਾ 2ਿੀਚੁ ਨ ਖੀਚਾ 3ਹਉ ਤੇਰਾ 4ਤੂੰ ਮੋਰਾ॥ (GGS 821).
‘Thou is above all’ is the first ghar. ‘There is none between we two’ is the second ghar. ‘I am yours’ is the third ghar. And ‘You are also mine’ is the fourth ghar in the above sentence.
To understand the concept of Ghar, contemplating on meanings of Gurbani is a prerequisite. Whence we understand the meaning of sentences of Gurbani, we happen to detect certain sections in sentences of Gurbani. Further the grammar of Gurbani and diacritical marks (Matras, in Punjabi) of Punjabi (viz. sihari, bihari, dullavan and onker) attached to the ‘last letter’ of words in Gurbani also indicate unique sections/parts in sentences in Gurbani. These sections/parts indeed help us to establish ghars within sentences in Guru Granth Sahib. Whence we understand the concept of Ghar, then, such sections/parts in each sentence are decided not
as per free will of individuals, rather, they are established according to the concept of Ghar that is prevalent uniformly in entire Guru Granth Sahib, thereby ruling out all possible variations in interpretations of Gurbani among individuals, and thereby, bringing about uniformity in reading and comprehension of each and every sentence of Gurbani.
By directing Ghar 1, Guru Sahib has instructed us that each sentence of the sabad has to be read/sung as ‘one ghar’ in all sentences of Ghar 1. Thereby, every sentence of Ghar 1 has to be read/sung in one go. And as we follow this directive for reading Gurbani, we realize that the Gurmat message in the sentence remains intact only when we do so!
Few examples of Ghar 1 wherein ghars in sentences are exhibited with roman superscripts are hereunder;
ਐਸਾ ਹਬਰ ਸੇਵੀਐ ਬਨਤ ਬਿਆਈਐ ਿੋ ਬਖਨ ਮਬਹ ਬਕਲਬਵਖ ਸਬਭ ਕਰੇ ਬਿਨਾਸਾ ॥ (GGS 860)
ਿਾਬਲ ਮੋਹੁ ਘਬਸ ਮਸੁ ਕਬਰ ਮਬਤ ਕਾਗਦੁ ਕਬਰ ਸਾਰੁ ॥ (GGS 16)
ਸੋ ਪਾਬਤਸਾਹੁ ਸਾਹਾ ਪਬਤਸਾਬਹਿੁ ਨਾਨਕ ਰਹਣੁ ਰਿਾਈ ॥ (GGS 347)
Ghar 2 is constituted of a set of two ghars. The message of Gurbani in Ghar 2 is complete only with combination of two ghars whether in the same sentence or as combination of two sentences. Few examples of Ghar 2 wherein Ghars in sentences are exhibited with roman superscripts are hereunder;
1ਤੁਿੁ ਬਿਨੁ ਦੂਿਾ ਨਾਹੀ ਕੋਇ ॥ 2ਤੂ ਕਰਤਾਰੁ ਕਰਬਹ ਸੋ ਹੋਇ ॥ (GGS 723)
1ਗੁਰ ਕੀ ਮੂਰਬਤ ਮਨ ਮਬਹ ਬਿਆਨੁ ॥ 2ਗੁਰ ਕੈ ਸਿਬਦ ਮੰਤਰੁ ਮਨੁ ਮਾਨ ॥ (GGS 864)
Ghar 3 onwards, all other types of Ghar are determined from entire stanza, i.e. the total of all ghars in a stanza shall determine the type of Ghar i.e. if there are three ghars in a stanza, such sabads are in Ghar 3; if there are four ghars in a stanza of a sabad, such sabads are in Ghar 4 and so on. Conversely, if there is title of Ghar 5 on a sabad, then each stanza of that sabad shall contain five ghars; if there is title of Ghar 6 on a sabad, then each stanza of that sabad shall contain six ghars and so on.
Let us take up few examples wherein Ghar of a sabad is determined from total of ghars of entire stanza;
Ghar 3
1ਿਿ ਅੰਤਬਰ ਪਰੀਬਤ ਹਬਰ ਬਸਉ ਿਬਨ ਆਈ॥
2ਤਿ ਿੋ ਬਕਛੁ ਕਰੇ 3ਸੁ ਮੇਰੇ ਹਬਰ ਪਰਭ ਭਾਈ ॥੩॥ (GGS 494)
There is one ghar in first sentence and two ghars in second sentence of the stanza (pada). Thus, total number of ghars in a pada is three. Therefore, the pada above is in Ghar 3.
Ghar 4
੧ਦੇਵਬਤਆ ਦਰਸਨ ਕੈ ਤਾਈ 2ਦੂਖ ਭੂਖ ਤੀਰਥ ਕੀਏ॥
3ਿੋਗੀ ਿਤੀ ਿੁਗਬਤ ਮਬਹ ਰਹਤੇ 4ਕਬਰ ਕਬਰ ਭਗਵੇ ਭੇਖ ਭਏ॥੧॥ (GGS 358)
There are two ghars in each sentence of the pada. Thus, total number of ghars in a pada is four. Therefore, the pada above is in Ghar 4.
Ghar 5
1ਅਛਲ 2ਛਲਾਈ ਨਹ ਛਲੈ 3ਨਹ ਘਾਉ ਕਟਾਰਾ ਕਬਰ ਸਕੈ॥
4ਬਿਉ ਸਾਬਹਿੁ ਰਾਖੈ ਬਤਉ ਰਹੈ 5ਇਸੁ ਲੋਭੀ ਕਾ ਿੀਉ ਟਲ ਪਲੈ॥੧॥ (GGS 25)
There are two ghars in first sentence and three ghars in second sentence of the pada. Thus, total number of ghars in a pada is five. Therefore, the pada above is in Ghar 5.
Whereas all sabads in Ghar 3 onwards are always mentioned in the titles, sabads in Ghar 1 and Ghar 2 are not always mentioned in the titles of the sabads.
Once Ghar of any sabad is established, all stanzas (pade) in sabads or chhants are always in the same Ghar except one stanza in a sabad that is called ‘Rahao’ pada whose Ghar is different from the Ghar of rest of padei of sabad. An example of Rahao pada in a sabad of Ghar 6 is as under;
ਆਸਾ ਘਰੁ ੬ ਮਹਲਾ ੧ ॥
1ਮਨੁ 2ਮੋਤੀ ਿੇ ਗਹਣਾ ਹੋਵੈ 3ਪਉਣੁ ਹੋਵੈ ਸੂਤ ਿਾਰੀ ॥
4ਬਖਮਾ ਸੀਗਾਰੁ 5ਕਾਮਬਣ ਤਬਨ ਪਬਹਰੈ 6ਰਾਵੈ ਲਾਲ ਬਪਆਰੀ ॥੧॥
1ਲਾਲ ਿਹੁ ਗੁਬਣ ਕਾਮਬਣ ਮੋਹੀ ॥ 2ਤੇਰੇ ਗੁਣ ਹੋਬਹ ਨ ਅਵਰੀ ॥੧॥ ਰਹਾਉ ॥ 1ਹਬਰ ਹਬਰ ਹਾਰੁ 2ਕੰਬਿ ਲੇ ਪਬਹਰੈ 3ਦਾਮੋਦਰੁ 4ਦੰਤੁ ਲੇਈ ॥
5ਕਰ ਕਬਰ ਕਰਤਾ ਕੰਗਨ ਪਬਹਰੈ 6ਇਨ ਬਿਬਿ ਬਚਤੁ ਿਰੇਈ ॥੨॥
The pade of the above sabad, in Ghar 6, are Dutuke (i.e. having two sentences) and ghars are arranged as 3+3 and 4+2. The Dutuke Rahao Pada, however, is in Ghar 2 thereby Ghar of Rahao pada is different from the Ghar of the above sabad in Ghar 6.
The concept of Ghar is uniformly applicable to the entire Guru Granth Sahib including each and every sabad, chhant, salok and banis in Guru Granth Sahib.
Thus, by reading and singing Gurbani in accordance to the concept of Ghar, not only we shall read/sing each and every sentence of Gurbani in the systematic and uniform way but also we shall enjoy the true bliss in reading Gurbani as ordained by Guru Sahib in the form of ‘Ghar’ enshrined in Guru Granth Sahib.
Dr Charan Kamal Singh
Director, Ishmeet Singh Music Institute, Ludhiana, Punjab, India
and
Professor & Head, Department of Veterinary Pathology,
Guru Angad Dev Veterinary and Animal Sciences University, Ludhiana, Punjab,India
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