Sikh Samridhi - mahalaa 1 | panj nivaajaa vakhat panj panjaa panje naau

ਮਃ ੧ ॥

mahalaa 1 |

First Mehl:

ਪੰਜਿ ਨਿਵਾਜਾ ਵਖਤ ਪੰਜਿ ਪੰਜਾ ਪੰਜੇ ਨਾਉ ॥

panj nivaajaa vakhat panj panjaa panje naau |

There are five prayers and five times of day for prayer; the five have five names.

ਪਹਿਲਾ ਸਚੁ ਹਲਾਲ ਦੁਇ ਤੀਜਾ ਖੈਰ ਖੁਦਾਇ ॥

pahilaa sach halaal due teejaa khair khudaae |

Let the first be truthfulness, the second honest living, and the third charity in the Name of God.

ਚਉਥੀ ਨੀਅਤਿ ਰਾਸਿ ਮਨੁ ਪੰਜਵੀ ਸਿਫਤਿ ਸਨਾਇ ॥

chauthee neeat raas man panjavee sifat sanaae |

Let the fourth be good will to all, and the fifth the praise of the Lord.

ਕਰਣੀ ਕਲਮਾ ਆਖਿ ਕੈ ਤਾ ਮੁਸਲਮਾਣੁ ਸਦਾਇ ॥

karanee kalamaa aakh kai taa musalamaan sadaae |

Repeat the prayer of good deeds, and then, you may call yourself a Muslim.

ਨਾਨਕ ਜੇਤੇ ਕੂੜਿਆਰ ਕੂੜੈ ਕੂੜੀ ਪਾਇ ॥੩॥

naanak jete koorriaar koorrai koorree paae |3|

O Nanak, the false obtain falsehood, and only falsehood. ||3||

Shabad Information

Title:	Raag Maajh
Writer:	Guru Nanak Dev Ji
Page:	141
Line No.:	3 - 5

Raag Maajh

Raag Majh was composed by the Fifth Sikh Guru (Shri Guru Arjun Dev ji). The Raag’s origins are based in Punjabi Folk Music and its essence was inspired by the Majha regions traditions of ‘Ausian’; the game of waiting and yearning for the return of a loved one.The feelings evoked by this Raag have often been compared to that of a mother waiting for her child to return after a long period of separation. She has an anticipation and hope for the child’s return, although at the same moment she is painfully aware of the uncertainty of their return home. This Raag brings to life the emotion of extreme love and this is highlighted by the sorrow and anguish of separation.