his life conformable thereto. He preached against idolatry, caste distinction, and hypocrisy, and gave men a most comprehensive ethical code; but in so doing he never uttered a word which savoured of personal ambition or an arrogation of the attributes of the Creator. He appears to have been on fairly good terms with Muhammadans, but his disregard of caste prejudices and his uncompromising language led him into occasional difficulties with the Hindus, though he was never embroiled in violent scenes. On the whole he was generally beloved during his life, and at his death Hindus and Muhammadans quarrelled as to which sect should perform his obsequies.
The Granth Sahib contains the compositions of Guru Nanak, Guru Angad, Guru Amar Das, Guru Ram Das, Guru Arjan, Guru Teg Bahadur (the ninth Guru), a couplet of Guru Gobind Singh (the tenth Guru), panegyrics of bards who attended on the Gurus or admired their characters, and hymns of mediaeval Indian saints, a list of whom will subsequently be given. The cardinal principle of the Gurus and Bhagats whose writings find place in the sacred books of the Sikhs was the unity of God. This is everywhere inculcated in the Sikh sacred writings with ample and perhaps not unnecessary iteration, considering the forces Sikhism had to contend with in an age of ignorance and superstition.
The hymns of the Gurus and saints are not arranged in the holy volume according to their authors, but according to the thirty-one rāgs or musical measures to which they were composed. The first nine Gurus adopted the name Nanak as their nom de plume, and their compositions are distinguished by Mahallas or quartiers. The Granth Sahib is likened to a city and the hymns of each Guru to a ward or division of it. Thus the compositions of Guru Nanak are styled Mahalla one, that is, the first ward; the compositions of Guru Angad the second ward, and so on. After the hymns of the Gurus are found the hymns of the Bhagats under their several musical measures.
The Granth which passes under the name of Guru
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