REHRAS Reh ras is the evening prayer and is on the eigh th page of Sh ri Guru Granth Sah ib. It h as in it the 27th stanza of Japji Sah ib w ith m inor variations and h as nine m ore stanzas, all in praise of the Lord and H is Nam e. In course of time, "Kabiyobach Benti, Ch aupai" of Sh ri Guru Gobind Singh , first five and last stanza of "Anand Sah ib" and five m ore stanzas by Guru Arjan Dev h ave been added to Reh ras. Th e w ord Reh ras is a m odified version of the Persian w ord "Rah i - Rast" m eaning a straigh t path or a form al procedure. Although this h eading is not given in the Guru Granth Sah ib, it h as becom e establish ed as the title from the line "H ari Kirat H am ri Reh ras" i.e. praise of the Lord is straigh t path for us. l' sip ije bjlj qhvj 1 mm O ldaepi f+ljds mm l' sip a[ij w[hj l' zip w[hj duap Wdh liW lqjv[ mm rju[ a[i[ Vjs bV[w bl.tj w[a[ a[i[ rjrShji[ mm w[a[ a[i[ ije fig dlRp whgbdh w[a[ a[i[ ejrShji[ mm ejrdV apZV' frSp fjSg W{l.aip ejr{ ijuj Ziqp spbji[ mm ejrdV apZV' dyap epfap dvdt ujSdV dvdt dvdt Ziqp Wgyji[ mm ejrdV apZV' Hglip W+hqj s[rg l'hdV a[i[ lsj lrji[ mm ejrdV apZV' dH>s= dH>s=jldS W{n[ s[rdabj sdi Vjv[ mm ejrdV apZV' dlZ lqjZg b>sdi ejrdV apZV' ljZ Wgyji[ mm ejrdV apZV' uag lag l.a'tg ejrdV apZV' rgi wiji[ mm ejrdV apZV' f>Ddca fCdV itglpi upep upep r[sj Vjv[ mm ejrdV apZV' q'hSgbj qVp q'hdV lpiep qAp fdHbjv[ mm ejrdV apZV' iaV RpfjH[ a[i[ bnldn agio Vjv[ mm ejrdV apZV' u'Z qhjWv lPij ejrdV apZV' tjSg yji[ mm ejrdV apZV' t>c q>cv W+hq>cj wdi wdi it[ a[i[ Zji[ mm l[Hg apZV' ejrdV u' apZp FjrdV ia[ a[i[ Fea iljv[ mm h'di w[a[ apZV' ejrdV l[ q{ dyda V bjrdV VjVwp dwbj Wgyji[ mm l'Hg l'Hg lsj lyp ljdhWp ljyj ljyg VjHg mm h{ Fg h'lg ujdH V ujlg iyVj dudV iyjHg mm i.eg i.eg Fjag wdi wdi duVlg qjdHbj dudV RpfjHg mm wdi wdi s[t{ wgaj bjfSj duRp dal sg rdcbjHg mm u' dalpp Fjr{ l'Hg Nitnem (297) wilg dxdi hpwqp V wiSj ujHg mm l' fjdaljhp ljhj fdaljdhWp VjVw ihSp iujHg mm1mm s o dru rwg Awsw mh lw 1 ] O s iqgur pRswid] s o dru q yrw kyhw s o Gru kyhw ijq u bih s rb s mwly ] v wjy q yry n wd An yk As MKw kyqy q yry v wvx h wry ] kyqy q yry rwg prI isa kh IAih kyqy q yry gwvx h wry ] gwvin q uDn o pv x u pwx I bYsMq ru gwvY rwjw Drmu duAwry] gwvin q uDn o icq u gupq u iliK jwx in iliK iliK Drmu bIcwry ] gwvin q uDn o eésru bRhmw dyvI s ohin q yry s dw s v wry ] gwvin q uDn o eMdR eMdRwsix bYT y dyviqAw dir n wly ] gwvin q uDn o isD s mwDI AMdir gwvin q uDn o s wD bIcwry ] gwvin q uDn o jq I s q I s Mq oKI gwvin q uDn o v Ir krwry] gwvin q uDn o pMifq pV in rKIsur jugu jugu v ydw n wly ] gwvin q uDn o mohx IAw mn u mohin s urgu mCu peAwly ] gwvin q uDn o rqn apwE q yry AT s iT q IrQ n wly ] gwvin q uDn o joD mh wbl s Urw gwvin q uDn o Kwx I cwry ] gwvin q uDn o KMf mMfl bRhmMfw kir kir rKy q yry Dwry] s yeé q uDn o gwvin jo q uDu Bwvin rqy q yry Bgq rswly ] h oir kyqy q uDn o gwvin s y mY iciq n Awvin n wnku ikAw bIcwry ] s oeé s oeé s dw s cu s wihbu s wcw s wcI n weé ] h Y BI h osI jwe n jwsI rcn w ijin rcweé ] rMgI rMgI BwqI kir kir ijn s I mweAw ijin apweé ] kir kir dyKY kIqw Awpx w ija iqs dI v ifAweé ] jo iqs u BwvY s oeé krsI iPir h ukmu n krx w jweé ] s o pwiqs whu s whw piqs wihbu n wnk rh x u rjweé ] 1] So Dar Rag Asa M ah alla- 1 Ik onk ar Sat Gur Prasad. 1) So dur k eh a, so gh ar k eh a, jit bah i sarab sam ale. 2) W aje tere naad anek asank h an, k ete tere w avanh are. 3) Kete tere raag pari siu k ah iah i, k ete gaw anh are. 4) Gaw an tudh no paw an pani baisantar, gave raja Dh aram duare. 5) Gaw an tudh no Ch it Gupat likh janan likh likh Dh aram bich are. 6) Gaw an tudh no Isar, Brah m a, Devi; soh an tere sada saw are. 7) Gaw an thdh no Indr indrasan baithe devtian dur naale. 8) Gaw an tudh no sidh sam adh i under gaw an tudh no sadh Nitnem (298) bich are. 9 ) Gaw an tudh no jati, sati, santokh i; gaw an tudh no veer k arare. 10) Gaw an tudh no pandit paran rak h isar jug jug Veda naale. 11) Gaw an tudh no m oh nia m anm oh an surug m uch h paiaale. 12) Gaw an tudh no rattan upaai tere ath sath tirath naale. 13) Gaw an tudh no jodh m ah abal soora, gaw an tudh no k h anee ch aare. 14) Gaw an tudh no k h and m andal brah m andaa k ari k ari rak h e tere dh aare. 15) Sei tudh no gaw an jo tudh bh aw an rate tere bh agat rasaale. 16) H ore k ete tudh no gaw an se m ai ch it na aw an Nanak k ia bich aare. 17) Soi soi sadaa sach sah ib saach aa saach ee nai. 18) H ai bh i, h osi, jai na jaasi, rach na jin rach aai. 19 ) Rangi rangi bh aati k ar k ar jinsi m aya jin upaai. 20) Kar k ar dek h ai k itaa aapnaa jiu tis di w adiaai. 21) Jo tis bh aw e soi k arsi ph ir h uk an na k arna jaai. 22)So patish ah sah a patsah ib Nanak rah an rajaai. (1) Th is com position is sam e as 27th stanza of Japji Sah ib w ith m inor variations in spellings to suit its setting on Assa m eter of m usic w h ich lends itself to a m ore devotional tone. Sri Guru Nanak Dev h as described the m ansion and the entrance from w h ere the Lord m anages the affairs of the Universe. Th us it contains description of H is creation paying obeisance to H im and singing H is praise. Th is creation is divided in three categories:- (i) Beings of the invisible or subtle w orld i.e. Gods like w ind god, w ater god, fire god, Lord Dh aram Raj, Ch itra Gupta, Sh iva, Brah m a, Indira other celestial beings and m usicians etc. (ii) Spiritual Beings on this earth. Th ese are the Sidh as, yogis, saints, rish is and sages etc. Apart from these, even those w h o possess special qualities or pow ers like brave fighters, places of pilgrim ages, precious objects like gem s, w ealth and other creations of this earth. (iii) Planets, galaxies and Univers es outside our k now n Univers e. It seem s that the purpose of including this com position in the Reh ras is to create a feeling of ecstasy (Vism ad) in the m ind of the disciple so as to m ak e one forget the w orries and toils Nitnem (299) of day's w ork in the evening and thus rem ain absorbed in the Suprem e Being in the nigh t. 1. It is said that som ebody ask ed Sh ri Guru Nanak Dev about the grandeur of the Lord's M ansion, w h ere Lord resides and tak es care of h is creation and the beauty of its entrance. Replying to the q uestion the next fifteen lines contain Guruji's explanation the grandeur of H is abode and the subseq uent six lines are in praise of the Lord. 2. Countless are the m usical instrum ents and countless are those w h o play upon these instrum ents. 3. Countless ragas (m usical nodes and m easures) are sung by countless m usicians in the praise of glory of the Lord. 4. All the elem ents like air, w ater fire etc. sing H is praise, so also Dh aram Raj (God of Justice) is singing H is praises at H is door. 5. Th e m ythical scribe (Ch itra Gupta w h o records one's gross and subtle actions, based on w h ich Dh aram Raj decides one's future in next incarnation) also sings H is praise.