\'Anand\', which the Sikhs reverently call Anand Saheb is among the most popular compositions of Guru Amardas, the third of the ten Sikh gurus. This important composition constitutes on significant part of the daily liturgical recitations prescribed for the Sikhs. The compositions of Guru Amardas in general, and Anand

GUNVANTI, lit. a woman of becoming qualities, is the title of one of Guru Arjan`s compositions, in measure Suhi, in the Guru Granth Sahib (GG, 763). It follows Guru Nanak`s Kuchajl (lit. an awkward, illmannered woman) and Suchaji (lit. a woman of good manner). The term gunvanti is figuratively used

JAPU, with the Punjabi complimentary ji commonly suffixed to it as ah honorific, is the opening composition of Sikh Scripture, the Guru Granth Sahib. At the head of the table of contents of the volume, this composition is recorded as Japu Nisdnu, meaning the `flag composition Japu` or, according

Shah Mohmmad is rightly acclaimed as the national poet of the Punjab in the nineteenth century at least. Though he is said to have composed a kissa, i.e. a narrative poem of love as well, he is best known for his celebrated composition: Jangnama Singhan te Frangian. With the

MARU VAR, Guru Arjan`s composition in the Maru musical measure in the Guru Granth Sahib. Traditionally, Maru which gives the Vdr its title is elegiac verse and is commonly sung in the afternoon. This measure has a martial undertone as well. The singing of Maru rdga with devotion annuls

OANKARU is a composition of Guru Nanak`s in the measure Ramkali in the Guru Granth Sahib. The full title of the barn is Rdmkali Mahala 1 Dakhani Oankaru. The title is explained differently by different scholars. According to one tradition, dakham is the adjective for the noun Oarikaru which

PRAN SANGLI, lit. the chain of breath or vital air, is a collection of compositions, attributed to Guru Nanak but in reality apocryphal, dealing with yogic practices, particularly prdndydma or control of vital air. The original Prdn Sangli, was, in all probability, a small composition, though the now available recension,

SHIVNABH, RAJA, was, according to the Janam Sakhi tradition, a Ceylonese king who became a devotee of Guru Nanak. It was a merchant of Lahore, Bhai Mansukh, who during a visit to Ceylon, then known as Sinhaldvip, had impressed the king with his conduct as well as with the

SUKHMAM SAHANSARNAMA (PARAMARAIH), by Sodhi Hariji, is a commentary in prose on Sukhmani Sahansarnama, a poetic composition by his father, Sodhi Miharban, containing 30 astpadis or 8 stanza compositions in the style of Guru Arjan`s Sukhmani. The term `Paramarath` in the title denotes explanation or exposition to distinguish this

VAR MALAR Kl MAHALLA I, composition of the first Guru (i.e. Guru Nanak), is one of the twenty-two vars appearing in the Guru Grandi Sahib under different ragas. A var is a folk poem of war and chivalry, celebrating a hero and his gallantry. In the Guru Granth Sahib

ANANDU, noncanonically spelt Anand, by Guru Amar Das, is like Guru Nanak`s Japu, one of the more familiar texts in the Guru Granth Sahib. Set in the Ramkali musical measure and comprising forty stanzas, Anand is recited liturgically, especially in its shortened form, at the conclusion of all congregational services

ASA KI VAR, as recorded in the index to the Guru Granth Sahib, but commonly designated Asa di Var, lit. an ode (var) in the musical measure Asa, is a composition by Guru Nanak sung by musicians at Sikh congregations as part of the early morning service. Asa is