Ken je de Kirtan sohila al… het zusje van de Japji?
Wat?
We chanten:
De ‘Kirtan sohila de musical’.
De versie van Snatam Kaur.
In de avondschemer (Sandhya Vela).
Avondschemer?
Dit is wat de Kundalini yoga zegt over mediteren in de avondschemer:
The early evening, at twilight, is also a special time for meditation. This is a time when the sun’s rays do not touch the earth; rather, they slice through the atmosphere at a 60-degree angle. It is neither day nor night, and there is just a glow of light. You will notice, in both the morning and the evening, birds are the most active. In the morning is the Amrit Vela, and in the evening, it is called Sandhya Vela – twilight time.
Om praktische redenen kies ik voor het tijdstip 20:00 – 21:00 uur.
Waarom die Kirtan sohila?
Voor een gevoel van vrede en ontspanning en daardoor je herstellende nachtrust.
Wanneer?
Donderdagavond van 20:00 – 21:00 uur. Online livestream.
Gratis of op basis van donatie.
(Zelf zie ik het als mijn ‘seva’).
Je les boeken? KLIK DAN HIER
Georganiseerd door Annie Sarab Shakti Douma
www.yogadiemen.nl
Over De Kirtan So(hi)la?
De Kirtan sohila is een gedicht.
Inhoud in mijn bewoording is: ‘Iets dat groter is dan ik, beschermt me’ en ‘vrede’.
Het chanten van de Kirtan sohila geeft mij het gevoel: ‘het is goed zoals het is’, het ontspant me.
Bij het chanten van b.v. de ‘Kirtan sohila’, gaat het over de klanken.
Die klanken kan je fonetisch opschrijven. In iedere taal ziet die fonetische weerslag er anders uit.
Hieronder volgt de Nederlandse fonetische tekst van de ‘Kirtan sohila’, zoals gechant door Snatam Kaur.
Tekst Kirtan sohila.
Instrumentaal 1.
O minuut 47.
Kirtan so(hi)laa.
Raag g(a)orie dhiepkie mè(he)laa pè(he)laa.
Ek ong kaar satte goer prasaad(e).
Djè-ai gharre kierutte akhejaa,
kartee kaa ho-ee bietchaaro. ||
Titte gharre gaav(ah)o(e) sohilaa,
Siverie-jo(e) sirdjanna haaro. ||1||
Toem gaav(ah)o(e) méree,
Nirre-bho(e) kaa so(hi)laa. ||
Ho(e) vaarie djitte soheelè,
sadhaa soekhe ho-ee. ||1|| Rahaa-o(e).
Instrumentaal 2.
2 minuut 7.
Nitte nitte djie-ree samaalie-an(e),
dheekhègaa dheevannahaar. ||
Teeree dhaanè-ai kiemuttu naa pavè,
Tisse dhaatee kavanne soemaar. ||2||
Sanbat saahaa likhi-aa,
mille karre paavo(e) te-eel(e). ||
Dheeho sadjanne asiessu-rie-aa,
Dji-o(e) hove-ai(e) saahèbbe si-jo(e) meel(e). ||3|
Gharre gharre ee-ho p(ah)o(e)tchjaa,
Sadde ree nitte pavanne.||
Sadhana haaraa simmerie-ee,
Nanak(e) see dhéh(e) aavanne. ||4||1||
Instrumentaal 3.
3 minuut 20
Raag aasaa mè(he)laa pè(he)laa. ||
Tchhee ghar(e) tchhee goer(e) tchhee oep(a)dhies, ||
goer(e) goer(e) eeko vees aneek. ||1||
Baabaa djè-ai ghar(e) kar(e)tee kierat(e) ho-ee. ||
So ghar(e) raakh(e) vadaa-ie to-ee, vadaa-ie to-ee, vadaa-ie to-ee. ||1|| Rahaa-o(e).
Visoe-ee tchasi-aa gharie-aa pèraa,
thitie vaarie m(ah)o(e) ho-aa. ||
Soer(e)dj(e) eeko roet(e) aneek. ||
Nanak(e) kartee kee keetee vees. ||2||2||
Instrumentaal 4.
5 minuten.
Raag dhanaas(a)rie mè(he)laa pè(he)laa.
Gagan(e) mè-ai thaal(e) rav(e) tchandh(e) dhiepak(e) banee,
taarekaahaa mandal(e) djanak(e) motie. ||
Dhoep(e) male-aan(e)lo pavan(e) tchavaro karee,
sagal(e) baneraa-i(e) foelant(e) djotie. ||1||
Kèsie aar(e)tie ho-ee, ||
bhaav(e) khand(e)naa terie aar(e)tie. ||
Anahataa sabadh(e) vaasjant(e) bheerie. ||1|| Rahaa-o(e). ||
Sè(ha)se tav(e) nèn(e) nan(e) nèn(e) hè(e) toh-ee ko(e),
sè(ha)se moerat(e) Nanak(e) èk(e) to(e)hie. ||
Sè(ha)se padhe bimal(e) nan(e) èk(e) padh(e) gandh(e) bin(e), sè(ha)se tav(e) gandh(e) iv(e) tchalat(e) mo-hie. ||2||
Sabh(e) mèh djot(e) djot(e) hè(e) so-ee. ||
Tis(e) dhè tchaanan(e) sabh(e) mèh tchaanan(e) ho-ee. ||
Goer(e) saakhie djot(e) par(e) gat(e) ho-ee. ||
Djo tis(e) bhaavè soe aar(e)tie ho-ee. ||3||
Har(e) tcharan(e) kaval(e) makarandh(e),
lobhit(e) mano an(e)dhino(e) mohee aahie pie-asaa. ||
Kir(e)paa djal(e) deeh Nanak(e) saaring(e) ko(e),
ho-ee djaa tee teree(e) naa-é(e) vaasaa. ||4||3||
Instrumentaal 5.
9 minuut 13.
Raag g(a)orie poer(a)bie mè(ha)laa tch(a)othaa. ||
Kaam(e) krodh(e) nagar(e) bho(e) bhaarie-aa,
mil(e) saadhoe khandal khandaa hee. ||
Poerab(e) likhat(e) likhee goer(e) paa-ie-aa,
man(e) har(e) liv(e) mandal mandaa hee. ||1||
Kar(e) saadhoe andjoelie poen(e) vadaa hee. ||
Kar dando-et(e) poen(e) vadaa hee. ||1|| Rahaa-o(e). ||
Saakat(e) har(e) ras(e) saad(e) na djaanie-aa,
tin(e) antar(e) h(a)-o(e)mee kandaa hee, kandaa hee. ||
Djio djio tchalè tchoebhee dhoekh(e) paavèh,
djamakaal sahèh(e) sir dandaahee, dandaahee. ||2||
Har(e) djan(e) har(e) har(e) naam(e) samaanee,
doekh(e) djanam(e) maran(e) bhav(e) khandaa hee, khandaa hee. ||
Abinaasie poer(e)kh(e) paa-e-aa parmeesar(e) bo(e) sobh(e) khand(e) brah-mandaa hee, brah-mandaa hee. ||3||
Ham(e) garieb mas(e)kien prabh(e) teeree har(e) raakh(e) raakh(e) vad(e) vadaa hee, vadaa hee. ||
Djan(e) Nanak naam, naam(e) adhaar(e) teek(e) hè,
Har(e) naam(e) hie soekh(e) mandaa hee, mandaa hee. ||4||4||
Instrumentaal 6.
13 minuut 20.
Raag g(a)orie poer(a)bie mè(ha)laa pandjavaa. ||
Karo(e) benantie soen(e)o(e) meeree mietaa,
sant(e) t(a)hèl(e) kie-e beelaa. ||
ie-haa khaat(e) tchalo(e) har(e) laahaa,
aage basan(e) soeheelaa ||1||
(a)Odh(e) ghataè dhinas rènaaree. ||
Mann(e) goer(e) mil(e) kaadj(e) savaaree. ||1|| Rahaa-o(e). ||
Eeh-o(e) sansaar(e) bikaar(e) sansee,
mèh(e) tarie-o brah(a)m gie-aanie. ||
Djisah(e) djaaga-ee pie-aavè,
Eeh-o(e) ras(e) akath(e) kathaa tin(e) djaanie ||2||
Djaa k(a)o(e) aa-ee so-ie bihaadj(a)o(e) har(e) goer(e) tee maneeh(e) baseraa. ||
Nidj(e) ghar(e) mè(he)laa paav(e)o(e) soekh(e) sa-hèdjee, baho-er(e) na ho-ego feeraa ||3||
Instrumentaal 7.
15 minuut 20.
Anteredjamie poerakh(e) bedhatee,
sar(e)dhaa man(e) kie-e poeree. ||
Nanak(e) dhaas i-hee soekh(e) magaè,
mo koe kar sa(n)tan kie dhoeree, ||4||5||
mo koe kar sa(n)tan kie dhoeree,
mo koe kar sa(n)tan kie dhoeree.
Anteredjamie.
Anteredjamie.
Heel veel keer Anteredjamie.
En dan van voren af aan nog een keer; zoals hieronder weergegeven.
Djè-ai gharre kierutte akhejaa,
kartee kaa ho-ee bietchaaro. ||
Titte gharre gaav(ah)o(e) sohilaa,
Siverie-jo(e) sirdjanna haaro. ||1||
Toem gaav(ah)o(e) méree,
Nirre-bho(e) kaa so(hi)laa. ||
Ho(e) vaarie djitte soheelè,
sadhaa soekhe ho-ee. ||1|| Rahaa-o(e).
Instrumentaal 8.
Nitte nitte djie-ree samaalie-an(e),
dheekhègaa dheevannahaar. ||
Teeree dhaanè-ai kiemuttu naa pavè,
Tisse dhaatee kavanne soemaar. ||2||
Sanbat saahaa likhi-aa,
mille karre paavo(e) te-eel(e). ||
Dheeho sadjanne asiessu-rie-aa,
Dji-o(e) hove-ai(e) saahèbbe si-jo(e) meel(e). ||3|
Gharre gharre ee-ho p(ah)o(e)tchjaa,
Sadde ree nitte pavanne.||
Sadhana haaraa simmerie-ee,
Nanak(e) see dhéh(e) aavanne. ||4||1||
Instrumentaal 9.
Raag aasaa mè(he)laa pè(he)laa. ||
Tchhee ghar(e) tchhee goer(e) tchhee oep(a)dhies, ||
goer(e) goer(e) eeko vees aneek. ||1||
Baabaa djè-ai ghar(e) kar(e)tee kierat(e) ho-ee. ||
So ghar(e) raakh(e) vadaa-ie to-ee, vadaa-ie to-ee, vadaa-ie to-ee. ||1|| Rahaa-o(e).
Visoe-ee tchasi-aa gharie-aa pèraa,
thitie vaarie m(ah)o(e) ho-aa. ||
Soer(e)dj(e) eeko roet(e) aneek. ||
Nanak(e) kartee kee keetee vees. ||2||2||
Instrumentaal 10.
Raag dhanaas(a)rie mè(he)laa pè(he)laa.
Gagan(e) mè-ai thaal(e) rav(e) tchandh(e) dhiepak(e) banee,
taarekaahaa mandal(e) djanak(e) motie. ||
Dhoep(e) male-aan(e)lo pavan(e) tchavaro karee,
sagal(e) baneraa-i(e) foelant(e) djotie. ||1||
Kèsie aar(e)tie ho-ee, ||
bhaav(e) khand(e)naa terie aar(e)tie. ||
Anahataa sabadh(e) vaasjant(e) bheerie. ||1|| Rahaa-o(e). ||
Sè(ha)se tav(e) nèn(e) nan(e) nèn(e) hè(e) toh-ee ko(e),
sè(ha)se moerat(e) Nanak(e) èk(e) to(e)hie. ||
Sè(ha)se padhe bimal(e) nan(e) èk(e) padh(e) gandh(e) bin(e), sè(ha)se tav(e) gandh(e) iv(e) tchalat(e) mo-hie. ||2||
Sabh(e) mèh djot(e) djot(e) hè(e) so-ee. ||
Tis(e) dhè tchaanan(e) sabh(e) mèh tchaanan(e) ho-ee. ||
Goer(e) saakhie djot(e) par(e) gat(e) ho-ee. ||
Djo tis(e) bhaavè soe aar(e)tie ho-ee. ||3||
Har(e) tcharan(e) kaval(e) makarandh(e),
lobhit(e) mano an(e)dhino(e) mohee aahie pie-asaa. ||
Kir(e)paa djal(e) deeh Nanak(e) saaring(e) ko(e),
ho-ee djaa tee teree(e) naa-é(e) vaasaa. ||4||3||
Instrumentaal 11.
Raag g(a)orie poer(a)bie mè(ha)laa tch(a)othaa. ||
Kaam(e) krodh(e) nagar(e) bho(e) bhaarie-aa,
mil(e) saadhoe khandal khandaa hee. ||
Poerab(e) likhat(e) likhee goer(e) paa-ie-aa,
man(e) har(e) liv(e) mandal mandaa hee. ||1||
Kar(e) saadhoe andjoelie poen(e) vadaa hee. ||
Kar dando-et(e) poen(e) vadaa hee. ||1|| Rahaa-o(e). ||
Saakat(e) har(e) ras(e) saad(e) na djaanie-aa,
tin(e) antar(e) h(a)-o(e)mee kandaa hee, kandaa hee. ||
Djio djio tchalè tchoebhee dhoekh(e) paavèh,
djamakaal sahèh(e) sir dandaahee, dandaahee. ||2||
Har(e) djan(e) har(e) har(e) naam(e) samaanee,
doekh(e) djanam(e) maran(e) bhav(e) khandaa hee, khandaa hee. ||
Abinaasie poer(e)kh(e) paa-e-aa parmeesar(e) bo(e) sobh(e) khand(e) brah-mandaa hee, brah-mandaa hee. ||3||
Ham(e) garieb mas(e)kien prabh(e) teeree har(e) raakh(e) raakh(e) vad(e) vadaa hee, vadaa hee. ||
Djan(e) Nanak naam, naam(e) adhaar(e) teek(e) hè,
Har(e) naam(e) hie soekh(e) mandaa hee, mandaa hee. ||4||4||
Instrumentaal 12.
Raag g(a)orie poer(a)bie mè(ha)laa pandjavaa. ||
Karo(e) benantie soen(e)o(e) meeree mietaa,
sant(e) t(a)hèl(e) kie-e beelaa. ||
ie-haa khaat(e) tchalo(e) har(e) laahaa,
aage basan(e) soeheelaa ||1||
(a)Odh(e) ghataè dhinas rènaaree. ||
Mann(e) goer(e) mil(e) kaadj(e) savaaree. ||1|| Rahaa-o(e). ||
Eeh-o(e) sansaar(e) bikaar(e) sansee,
mèh(e) tarie-o brah(a)m gie-aanie. ||
Djisah(e) djaaga-ee pie-aavè,
Eeh-o(e) ras(e) akath(e) kathaa tin(e) djaanie ||2||
Djaa k(a)o(e) aa-ee so-ie bihaadj(a)o(e) har(e) goer(e) tee maneeh(e) baseraa. ||
Nidj(e) ghar(e) mè(he)laa paav(e)o(e) soekh(e) sa-hèdjee, baho-er(e) na ho-ego feeraa ||3||
Instrumentaal 13.
Anteredjamie poerakh(e) bedhatee,
sar(e)dhaa man(e) kie-e poeree. ||
Nanak(e) dhaas i-hee soekh(e) magaè,
mo koe kar sa(n)tan kie dhoeree, ||4||5||
mo koe kar sa(n)tan kie dhoeree,
mo koe kar sa(n)tan kie dhoeree.
Anteredjamie.
Anteredjamie.
Heel veel keren Anteredjamie.
Einde
Bron: Kirtan So(hi)la de musical van Snatam Kaur.
Fonetisch Nederlands opgeschreven door Annie Douma.
Vertaling Kirtan sohila.
Hieronder de ‘Kirtan sohila’ met de Engelse vertaling (bron: https://www.ikyta.org/articles/golden-gift-peaceful-sleep-kirtan-sohila):
ਸੋਹਿਲਾ ਰਾਗ ਗਉੜੀ ਦੀਪਕੀ ਮਹਲਾ ੧
sohilaa raag ga-orhee deepkee mehlaa 1
Sohilaa ~ The Song Of Union With The Husband Lord. Raag Gauree Deepakee, First Mehl:
ੴ ਸਤਿਗਰ ਪਰਸਾਦਿ ॥
ik-oNkaar satgur parsaad.
One Universal Creator God. By The Grace Of The True Guru:
ਜੈ ਘਰਿ ਕੀਰਤਿ ਆਖੀਝ ਕਰਤੇ ਕਾ ਹੋਇ ਬੀਚਾਰੋ ॥
jai ghar keerat aakhee-ai kartay kaa ho-ay beechaaro.
In that house where the Praises of the Creator are chanted and contemplated –
ਤਿਤ ਘਰਿ ਗਾਵਹ ਸੋਹਿਲਾ ਸਿਵਰਿਹ ਸਿਰਜਣਹਾਰੋ ॥੧॥
tit ghar gaavhu sohilaa sivrihu sirjanhaaro. ((1))
in that house, sing Songs of Praise; meditate and remember the Creator Lord. ((1))
ਤਮ ਗਾਵਹ ਮੇਰੇ ਨਿਰਭਉ ਕਾ ਸੋਹਿਲਾ ॥
tum gaavhu mayray nirbha-o kaa sohilaa.
Sing the Songs of Praise of my Fearless Lord.
ਹਉ ਵਾਰੀ ਜਿਤ ਸੋਹਿਲੈ ਸਦਾ ਸਖ ਹੋਇ ॥੧॥ ਰਹਾਉ ॥
ha-o vaaree jit sohilai sadaa sukh ho-ay. ((1)) rahaa-o.
I am a sacrifice to that Song of Praise which brings eternal peace. ((1)(Pause))
ਨਿਤ ਨਿਤ ਜੀਅੜੇ ਸਮਾਲੀਅਨਿ ਦੇਖੈਗਾ ਦੇਵਣਹਾਰ ॥
nit nit jee-arhay samaalee-an daykhaigaa dayvanhaar.
Day after day, He cares for His beings; the Great Giver watches over all.
ਤੇਰੇ ਦਾਨੈ ਕੀਮਤਿ ਨਾ ਪਵੈ ਤਿਸ ਦਾਤੇ ਕਵਣ ਸਮਾਰ ॥੨॥
tayray daanai keemat naa pavai tis daatay kavan sumaar. ((2))
Your Gifts cannot be appraised; how can anyone compare to the Giver? ((2))
ਸੰਬਤਿ ਸਾਹਾ ਲਿਖਿਆ ਮਿਲਿ ਕਰਿ ਪਾਵਹ ਤੇਲ ॥
sambat saahaa likhi-aa mil kar paavhu tayl.
The day of my wedding is pre-ordained. Come, gather together and pour the oil over the threshold.
ਦੇਹ ਸਜਣ ਅਸੀਸੜੀਆ ਜਿਉ ਹੋਵੈ ਸਾਹਿਬ ਸਿਉ ਮੇਲ ॥੩॥
dayh sajan aseesrhee-aa ji-o hovai saahib si-o mayl. ((3))
My friends, give me your blessings, that I may merge with my Lord and Master. ((3))
ਘਰਿ ਘਰਿ ਝਹੋ ਪਾਹਚਾ ਸਦੜੇ ਨਿਤ ਪਵੰਨਿ ॥
ghar ghar ayho paahuchaa sad-rhay nit pavann.
Unto each and every home, into each and every heart, this summons is sent out; the call comes each and every day.
ਸਦਣਹਾਰਾ ਸਿਮਰੀਝ ਨਾਨਕ ਸੇ ਦਿਹ ਆਵੰਨਿ ॥੪॥੧॥
sadanhaaraa simree-ai naanak say dih aavann. ((4)(1))
Remember in meditation the One who summons us; O Nanak, that day is drawing near! ((4)(1))
ਰਾਗ ਆਸਾ ਮਹਲਾ ੧ ॥
raag aasaa mehlaa 1.
Raag Aasaa, First Mehl:
ਛਿਅ ਘਰ ਛਿਅ ਗਰ ਛਿਅ ਉਪਦੇਸ ॥
chhi-a ghar chhi-a gur chhi-a updays.
There are six schools of philosophy, six teachers, and six sets of teachings.
ਗਰ ਗਰ ਝਕੋ ਵੇਸ ਅਨੇਕ ॥੧॥
gur gur ayko vays anayk. ((1))
But the Teacher of teachers is the One, who appears in so many forms. ((1))
ਬਾਬਾ ਜੈ ਘਰਿ ਕਰਤੇ ਕੀਰਤਿ ਹੋਇ ॥
baabaa jai ghar kartay keerat ho-ay.
O Baba: that system in which the Praises of the Creator are sung –
ਸੋ ਘਰ ਰਾਖ ਵਡਾਈ ਤੋਇ ॥੧॥ ਰਹਾਉ ॥
so ghar raakh vadaa-ee to-ay. ((1)) rahaa-o.
follow that system; in it rests true greatness. ((1)(Pause))
ਵਿਸਝ ਚਸਿਆ ਘੜੀਆ ਪਹਰਾ ਥਿਤੀ ਵਾਰੀ ਮਾਹ ਹੋਆ ॥
visu-ay chasi-aa gharhee-aa pahraa thitee vaaree maahu ho-aa.
The seconds, minutes and hours, days, weeks and months,
ਸੂਰਜ ਝਕੋ ਰਤਿ ਅਨੇਕ ॥
sooraj ayko rut anayk.
and the various seasons originate from the one sun;
ਨਾਨਕ ਕਰਤੇ ਕੇ ਕੇਤੇ ਵੇਸ ॥੨॥੨॥
naanak kartay kay kaytay vays. ((2)(2))
O Nanak, in just the same way, the many forms originate from the Creator. ((2)(2))
ਰਾਗ ਧਨਾਸਰੀ ਮਹਲਾ ੧ ॥
raag Dhanaasree mehlaa 1.
Raag Dhanaasree, First Mehl:
ਗਗਨ ਮੈ ਥਾਲ ਰਵਿ ਚੰਦ ਦੀਪਕ ਬਨੇ ਤਾਰਿਕਾ ਮੰਡਲ ਜਨਕ ਮੋਤੀ ॥
gagan mai thaal rav chand deepak banay taarikaa mandal janak motee.
Upon that cosmic plate of the sky, the sun and the moon are the lamps. The stars and their orbs are the studded pearls.
ਧੂਪ ਮਲਆਨਲੋ ਪਵਣ ਚਵਰੋ ਕਰੇ ਸਗਲ ਬਨਰਾਇ ਫੂਲੰਤ ਜੋਤੀ ॥੧॥
Dhoop mal-aanlo pavan chavro karay sagal banraa-ay foolant jotee. ((1))
The fragrance of sandalwood in the air is the temple incense, and the wind is the fan. All the plants of the world are the altar flowers in offering to You, O Luminous Lord. ((1))
ਕੈਸੀ ਆਰਤੀ ਹੋਇ ॥
kaisee aartee ho-ay.
What a beautiful Aartee, lamp-lit worship service this is!
ਭਵ ਖੰਡਨਾ ਤੇਰੀ ਆਰਤੀ ॥
bhav khandnaa tayree aartee.
O Destroyer of Fear, this is Your Ceremony of Light.
ਅਨਹਤਾ ਸਬਦ ਵਾਜੰਤ ਭੇਰੀ ॥੧॥ ਰਹਾਉ ॥
anhataa sabad vaajant bhayree. ((1)) rahaa-o.
The Unstruck Sound-current of the Shabad is the vibration of the temple drums. ((1)(Pause))
ਸਹਸ ਤਵ ਨੈਨ ਨਨ ਨੈਨ ਹਹਿ ਤੋਹਿ ਕਉ ਸਹਸ ਮੂਰਤਿ ਨਨਾ ਝਕ ਤਹੀ ॥
sahas tav nain nan nain heh tohi ka-o sahas moorat nanaa ayk tohee.
You have thousands of eyes, and yet You have no eyes. You have thousands of forms, and yet You do not have even one.
ਸਹਸ ਪਦ ਬਿਮਲ ਨਨ ਝਕ ਪਦ ਗੰਧ ਬਿਨ ਸਹਸ ਤਵ ਗੰਧ ਇਵ ਚਲਤ ਮੋਹੀ ॥੨॥
sahas pad bimal nan ayk pad ganDh bin sahas tav ganDh iv chalat mohee. ((2))
You have thousands of Lotus Feet, and yet You do not have even one foot. You have no nose, but you have thousands of noses. This Play of Yours entrances me. ((2))
ਸਭ ਮਹਿ ਜੋਤਿ ਜੋਤਿ ਹੈ ਸੋਇ ॥
sabh meh jot jot hai so-ay.
Amongst all is the Light-You are that Light.
ਤਿਸ ਦੈ ਚਾਨਣਿ ਸਭ ਮਹਿ ਚਾਨਣ ਹੋਇ ॥
tis dai chaanan sabh meh chaanan ho-ay.
By this Illumination, that Light is radiant within all.
ਗਰ ਸਾਖੀ ਜੋਤਿ ਪਰਗਟ ਹੋਇ ॥
gur saakhee jot pargat ho-ay.
Through the Guru’s Teachings, the Light shines forth.
ਜੋ ਤਿਸ ਭਾਵੈ ਸ ਆਰਤੀ ਹੋਇ ॥੩॥
jo tis bhaavai so aartee ho-ay. ((3))
That which is pleasing to Him is the lamp-lit worship service. ((3))
ਹਰਿ ਚਰਣ ਕਵਲ ਮਕਰੰਦ ਲੋਭਿਤ ਮਨੋ ਅਨਦਿਨ ਮੋਹਿ ਆਹੀ ਪਿਆਸਾ ॥
har charan kaval makrand lobhit mano andino mohi aahee pi-aasaa.
My mind is enticed by the honey-sweet Lotus Feet of the Lord. Day and night, I thirst for them.
ਕਰਿਪਾ ਜਲ ਦੇਹਿ ਨਾਨਕ ਸਾਰਿੰਗ ਕਉ ਹੋਇ ਜਾ ਤੇ ਤੇਰੈ ਨਾਇ ਵਾਸਾ ॥੪॥੩॥
kirpaa jal deh naanak saaring ka-o ho-ay jaa tay tayrai naa-ay vaasaa. ((4)(3))
Bestow the Water of Your Mercy upon Nanak, the thirsty song-bird, so that he may come to dwell in Your Name. ((4)(3))
ਰਾਗ ਗਉੜੀ ਪੂਰਬੀ ਮਹਲਾ ੪ ॥
raag ga-orhee poorbee mehlaa 4.
Raag Gauree Poorbee, Fourth Mehl:
ਕਾਮਿ ਕਰੋਧਿ ਨਗਰ ਬਹ ਭਰਿਆ ਮਿਲਿ ਸਾਧੂ ਖੰਡਲ ਖੰਡਾ ਹੇ ॥
kaam karoDh nagar baho bhari-aa mil saaDhoo khandal khanda hay.
The body-village is filled to overflowing with anger and sexual desire; these were broken into bits when I met with the Holy Saint.
ਪੂਰਬਿ ਲਿਖਤ ਲਿਖੇ ਗਰ ਪਾਇਆ ਮਨਿ ਹਰਿ ਲਿਵ ਮੰਡਲ ਮੰਡਾ ਹੇ ॥੧॥
poorab likhat likhay gur paa-i-aa man har liv mandal mandaa hay. ((1))
By pre-ordained destiny, I have met with the Guru. I have entered into the realm of the Lord’s Love. ((1))
ਕਰਿ ਸਾਧੂ ਅੰਜਲੀ ਪਨ ਵਡਾ ਹੇ ॥
kar saaDhoo anjulee pun vadaa hay.
Greet the Holy Saint with your palms pressed together; this is an act of great merit.
ਕਰਿ ਡੰਡਉਤ ਪਨ ਵਡਾ ਹੇ ॥੧॥ ਰਹਾਉ ॥
kar dand-ut pun vadaa hay. ((1)) rahaa-o.
Bow down before Him; this is a virtuous action indeed. ((1)(Pause))
ਸਾਕਤ ਹਰਿ ਰਸ ਸਾਦ ਨ ਜਾਣਿਆ ਤਿਨ ਅੰਤਰਿ ਹਉਮੈ ਕੰਡਾ ਹੇ ॥
saakat har ras saad na jaani-aa tin antar ha-umai kandaa hay.
The wicked shaaktas, the faithless cynics, do not know the Taste of the Lord’s Sublime Essence. The thorn of egotism is embedded deep within them.
ਜਿਉ ਜਿਉ ਚਲਹਿ ਚਭੈ ਦਖ ਪਾਵਹਿ ਜਮਕਾਲ ਸਹਹਿ ਸਿਰਿ ਡੰਡਾ ਹੇ ॥੨॥
ji-o ji-o chaleh chubhai dukh paavahi jamkaal saheh sir dandaa hay. ((2))
The more they walk away, the deeper it pierces them, and the more they suffer in pain, until finally, the Messenger of Death smashes his club against their heads. ((2))
ਹਰਿ ਜਨ ਹਰਿ ਹਰਿ ਨਾਮਿ ਸਮਾਣੇ ਦਖ ਜਨਮ ਮਰਣ ਭਵ ਖੰਡਾ ਹੇ ॥
har jan har har naam samaanay dukh janam maran bhav khanda hay.
The humble servants of the Lord are absorbed in the Name of the Lord, Har, Har. The pain of birth and the fear of death are eradicated.
ਅਬਿਨਾਸੀ ਪਰਖ ਪਾਇਆ ਪਰਮੇਸਰ ਬਹ ਸੋਭ ਖੰਡ ਬਰਹਮੰਡਾ ਹੇ ॥੩॥
abhinaasee purakh paa-i-aa parmaysar baho sobh khand barahmandaa hay. ((3))
They have found the Imperishable Supreme Being, the Transcendent Lord God, and they receive great honor throughout all the worlds and realms. ((3))
ਹਮ ਗਰੀਬ ਮਸਕੀਨ ਪਰਭ ਤੇਰੇ ਹਰਿ ਰਾਖ ਰਾਖ ਵਡ ਵਡਾ ਹੇ ॥
ham gareeb maskeen parabh tayray har raakh raakh vad vadaa hay.
I am poor and meek, God, but I belong to You! Save me-please save me, O Greatest of the Great!
ਜਨ ਨਾਨਕ ਨਾਮ ਅਧਾਰ ਟੇਕ ਹੈ ਹਰਿ ਨਾਮੇ ਹੀ ਸਖ ਮੰਡਾ ਹੇ ॥੪॥੪॥
jan naanak naam aDhaar tayk hai har naamay hee sukh mandaa hay. ((4)(4))
Servant Nanak takes the Sustenance and Support of the Naam. In the Name of the Lord, he enjoys celestial peace. ((4)(4))
ਰਾਗ ਗਉੜੀ ਪੂਰਬੀ ਮਹਲਾ ੫ ॥
raag ga-orhee poorbee mehlaa 5.
Raag Gauree Poorbee, Fifth Mehl:
ਕਰਉ ਬੇਨੰਤੀ ਸਣਹ ਮੇਰੇ ਮੀਤਾ ਸੰਤ ਟਹਲ ਕੀ ਬੇਲਾ ॥
kara-o baynantee sunhu mayray meetaa sant tahal kee baylaa.
Listen, my friends, I beg of you: now is the time to serve the Saints!
ਈਹਾ ਖਾਟਿ ਚਲਹ ਹਰਿ ਲਾਹਾ ਆਗੈ ਬਸਨ ਸਹੇਲਾ ॥੧॥
eehaa khaat chalhu har laahaa aagai basan suhaylaa. ((1))
In this world, earn the profit of the Lord’s Name, and hereafter, you shall dwell in peace. ((1))
ਅਉਧ ਘਟੈ ਦਿਨਸ ਰੈਣਾਰੇ ॥
a-oDh ghatai dinas rainaaray.
This life is diminishing, day and night.
ਮਨ ਗਰ ਮਿਲਿ ਕਾਜ ਸਵਾਰੇ ॥੧॥ ਰਹਾਉ ॥
man gur mil kaaj savaaray. ((1)) rahaa-o.
Meeting with the Guru, your affairs shall be resolved. ((1)(Pause))
ਇਹ ਸੰਸਾਰ ਬਿਕਾਰ ਸੰਸੇ ਮਹਿ ਤਰਿਓ ਬਰਹਮ ਗਿਆਨੀ ॥
ih sansaar bikaar sansay meh tari-o barahm gi-aanee.
This world is engrossed in corruption and cynicism. Only those who know God are saved.
ਜਿਸਹਿ ਜਗਾਇ ਪੀਆਵੈ ਇਹ ਰਸ ਅਕਥ ਕਥਾ ਤਿਨਿ ਜਾਨੀ ॥੨॥
jisahi jagaa-ay pee-aavai ih ras akath kathaa tin jaanee. ((2))
Only those who are awakened by the Lord to drink in this Sublime Essence, come to know the Unspoken Speech of the Lord. ((2))
ਜਾ ਕਉ ਆਝ ਸੋਈ ਬਿਹਾਝਹ ਹਰਿ ਗਰ ਤੇ ਮਨਹਿ ਬਸੇਰਾ ॥
jaa ka-o aa-ay so-ee bihaajhahu har gur tay maneh basayraa.
Purchase only that for which you have come into the world, and through the Guru, the Lord shall dwell within your mind.
ਨਿਜ ਘਰਿ ਮਹਲ ਪਾਵਹ ਸਖ ਸਹਜੇ ਬਹਰਿ ਨ ਹੋਇਗੋ ਫੇਰਾ ॥੩॥
nij ghar mahal paavhu sukh sehjay bahur na ho-igo fayraa. ((3))
Within the home of your own inner being, you shall obtain the Mansion of the Lord’s Presence with intuitive ease. You shall not be consigned again to the wheel of reincarnation. ((3))
ਅੰਤਰਜਾਮੀ ਪਰਖ ਬਿਧਾਤੇ ਸਰਧਾ ਮਨ ਕੀ ਪੂਰੇ ॥
antarjaamee purakh biDhaatay sarDhaa man kee pooray.
O Inner-knower, Searcher of Hearts, O Primal Being, Architect of Destiny: please fulfill this yearning of my mind.
ਨਾਨਕ ਦਾਸ ਇਹੈ ਸਖ ਮਾਗੈ ਮੋ ਕਉ ਕਰਿ ਸੰਤਨ ਕੀ ਧੂਰੇ ॥੪॥੫॥
naanak daas ihai sukh maagai mo ka-o kar santan kee Dhooray. ((4)(5))
Nanak, Your slave, begs for this happiness: let me be the dust of the feet of the Saints. ((4)(5)).
Snatam Kaur over de Kirtan so(hi)la.
By Snatam Kaur
I have been listening to, or reciting Kirtan Sohila my whole life. My first conscious memories of this prayer were when my stepfather, Sat Santokh, would read Kirtan Sohila to me every night before going to sleep when I was in my early teens.
I am grateful beyond any words I can come up with that my stepfather did this. There was a purity and love in his offering that helped me to connect to Kirtan Sohila in a deep way. Night after night as the words were recited to me, they penetrated into my heart. It was at this time that my love for this prayer was sewn into my heart.
Then a few years later as a full-fledged teenager, I learned the Gurmukhi language, the sacred language of the Sikhs, and began reciting it myself. It was just something I did every night. Pretty soon I had it memorized. I continued with this practice throughout my twenties and into my thirties. My practice with it stayed very strong, although at times I would just recite it in my mind. And there were even days when I missed reciting it all together.
It wasn’t until we had our daughter that the practice of reciting it out loud every night no matter what, came back. It worked almost every night to put our new baby to sleep. That is when I reconnected with this prayer in a very deep way once again. I noticed that the pure recitation of the words stopped the mind and put me into a state of meditation, of no thoughts, of the energy I felt of Guru Nanak. There was no more up, no more down, no more this, no more that. A stillness, and a meditative state was all that was left. An ability to let go of the day, and go to sleep took over. For our daughter it was just the right vibration to allow her to go to sleep without fail…every night! As new parents this discovery gave us the golden gift of much needed sleep.
The practice of reciting it out loud is very important to create this energy. That is why we included a recitation track on our album, Evening Prayer.
In order to receive all of the benefits of the practice it is best to do it correctly in the way that it was originally taught. Here are the basics: Get yourself ready for bed. Sit up straight in bed. Cover your head. Recite Kirtan Sohila and then go to sleep! You can just play the CD for the whole night as well. We made a big effort to keep the music in a very peaceful way so that one could do just this. This will keep a peaceful and meditative vibration in your room as you sleep. If you cannot sleep with music playing at night (like me!) you can just play the music as you are doing your “getting ready for bed” routine. And then do the recitation right before bed.
One of the most powerful things about this prayer is that it gives you a very deep teaching to your subconscious. All Gurbani does this. But, because this is recited before going to sleep it can work at a very deep level and set the vibration not only for your night, but for your life. I encourage you to take a look at the meaning of this prayer in its entirety. We have included the meaning in our CD booklet. Follow this link for the English translation along with a brief explanation of Kirtan Sohila from www.sikhnet.com: https://www.sikhiwiki.org/index.php/Kirtan_Sohila
(…).
Over de ‘Kirtan Sohola’ uit een andere bron:
Kirtan Sohila – is the most harmonious naad ever uttered. Recite it at bedtime, just before going to sleep at night. It brings clarity of mind, preserves your night, and brings a beautiful dawn. It prevents nightmares and creates a shield of protection. It multiplies the aura to such sensitivity of protection that it eliminates any negativity for miles and miles around you. When you are endangered by any direct or indirect source, and when you want to surround yourself with the protection of the entire magnetic field of the earth, recite Kirtan Sohila. At the end of life in this human body, Kirtan Sohila is recited to protect the soul on its journey to its True Home with God.
Bron: Excerpt from Heros, Saints and Yogis: Tales of Self Discovery and the Path of Sikh Dharma by Shakti Parwha Kaur Khalsa and Guruka Singn Khalsa.
Verantwoording.
Dit bestand is samengesteld door Annie Douma.
Persoonlijke noot: het woord God verwijst wat mij betreft naar mijn kindbeeld van God; namelijk een man met een baard die door de wolken heen alles kan zien.
Als volwassene heb ik dat beeld veranderd in een beeld van de hoogste godin.
2 december 2024.
