Literal meaning of Panjab is ‘Panj+Ab’ or ‘land of five rivers.’ Both ‘Panj’ and ‘Ab’ are Persian words. These are the indicators of Panjab’s geographical demarcation. Synonyms of these words are also found in Sanskrit as ‘Panchnad’ and in Greek as ‘Pantapotamia.’ This name is indicative of the land of rivers like Satluj, Beas, Ravi, Jehlum, Chenab, etc. Panjab was also known as ‘Sapta Sindhu’ by adding the names of the Indus and Saraswati rivers to these rivers. -Dr. Sukhdayal Singh, Panjab Da Itihas: Guru Kal 1469-1708, volume five, page 12.
during Guru Nanak Sahib’s time is visible in Barah Maha Tukhari. It depicts the pain of ‘spiritual separation’ and union through the imagery of husband and wife, as prevalent in the culture of Panjab. In the background of this portrayal, in addition to the Panjabi names of the Indic months, there is abundant description of the Panjabi way of life, the seasons in Panjab, and the geographical scenes.At the time of Guru Nanak Sahib, Panjab was divided into the regions of Lahore, Multan, Dipalpur, Sialkot (now in Pakistan), and Sirhind, Sultanpur, Jalandhar, Kalanaur (now in India), etc.
The first four cities listed are in West Panjab, Pakistan, and the last four are in East Panjab, India as of the Partition of 1947.
The region of Bar, the glimpses of whose natural landscapes are reflected in this composition, came under Depalpur at that time.
Dr. Sukhdial Singh, Panjab Da Itihas: Guru Kal 1469-1708, volume five, page 36.
By the time of Maharaja Ranjit Singh, “Jammu-Kashmir, Himachal and Sarhad province (now in Pakistan) had become a part of Panjab. Thereafter, in the early days of the British rule, Panjab remained part of a larger north-western administrative unit, which extended up to Agra.”
Prof. Pritam Singh, Panjab Panjabi Panjabiat, page 34.
From times immemorial, domestic and family life has been considered an important institution in Panjabi culture, in which the relationship of husband-wife holds a vital place. From this relationship, many other relationships are born, and the family grows. The foundation of the relationship between husband and wife is love, intimacy, and trust. The wife, whose husband is alive is considered to be a ‘suhagan,’ or one who has the fortune of having a husband. On the other hand, a woman living in an opposite state is called ‘duhagan.’ She is a woman whose husband has died or separated from her. The social status of a ‘suhagan’ is considered higher than that of a ‘duhagan.’
In earlier times, the husband was considered responsible for generating the finances of the house; therefore he often had to leave home to meet the needs of the household. Sometimes he left home and became a foreigner. Being a foreigner did not just mean going abroad in earlier times. Due to the lack of rapid transportation, a person who traveled even a short distance was also considered a foreigner, as it took him a long time to return. Additionally, the customs of each clan or village were unfamiliar to the person coming from a different clan or village. For this reason, the word ‘foreigner’ was also used for a person who went out of the village or came from outside. Sometimes, the husband would move to an unfamiliar region, from where it would be challenging to return quickly. In such a situation, the wife was left alone, and her loneliness would sadden her.
Due to the male dominance in the culture, she would have the status of a ‘suhagan’ in society and would receive respect from her family and community only when she is with her husband.
However, in the Guru Granth Sahib, when the human-bride (seeker) decides to strengthen her relationship with the Divine, she essentially takes charge of her status in the society and elevates it. Consequently, she is able to break free of the social structures and the status hierarchy forced by society on her and her surroundings. This is what makes her ‘suhagan.’ That ‘suhagan’ is the real truthful and virtuous one, not the one who adheres to cultural expectations and obeys her husband or in-laws.
After her husband left for a visit to another place, it would not take long for her status to shift from ‘suhagan’ to ‘duhagan.’ Although the word ‘duhagan’ literally means ‘one whose husband has died or ‘one who has been abandoned by one’s husband,’ after the husband went away, the status of the wife would be no better than that of a ‘duhagan.’ Because her husband did not return, she would sometimes have to endure taunts for months over trivial matters. Abdul Rehman
Piara Singh Padam, Panjabi Baran Mahe, page 280.
describes a similar situation in his ‘Barah Maha’:“Katak has arrived, how long shall I live, separation burns me.
Scorching sunlight torments in the day, frost falls in the night.
People taunt me, my bones have been eroded by the separation.
O Abdul Rehman! I cannot see anywhere, the beautiful eyed (beloved).”8.
Oppressed by such a situation, she feels she is full of faults. Without her husband, her life seems pointless to her. She starts considering herself disrespected and helpless.
When she sees ‘suhagan’ women around her, whose husbands are with them, the absence of her husband disturbs her even more. The pain of being deprived of the joys of life, which she enjoyed in her husband's company, bothers her. In the husband's presence, that ‘suhagan’ enjoys the pleasure and status of being virtuous and truthful. But as soon as the husband goes away, all these pleasures leave her and she suffers the pain of separation. Grief-stricken in this pain, she remembers her husband’s qualities. She is also reminded of her own faults. Although she refines and adorns herself at every moment for her husband, to her this dressing up feels unexciting. This pain of separation is intensified with the changing season.
The tragic psychological state of such a woman, who is ‘stricken with separation,’ is described in the poetic-genre of ‘Barah Maha,’ based on the seasons of the twelve months.
Barah Maha Tukhari is a composition that highlights spiritual separation. Since its male protagonist is IkOankar, the concept of a ‘Supreme-protagonist’ emerges here. Instead of a worldly protagonist, the manifest (sargun) form of the Supreme-protagonist has been kept at the center and presented. To address that Supreme-protagonist, the vocabulary related to the worldly protagonist or husband is used symbolically in this composition. For example: sahu, nāh, kant, pir, var, etc. Some words also highlight the qualities of that Supreme-protagonist. For example: piārā, sājan, ḍholā, pritam, rasīā, banke, etc.
Instead of a wife or a female protagonist, a human-bride (seeker) has been presented here. Synonyms like nārī, dhan, sādhan, bālī, etc., have been used to refer to her. Adjectives like suhāgaṇ, guṇvantī, duhāgaṇ, duhelī, nitāṇī, etc. have been used to describe her social and mental conditions.
The main difference between the Barah Mahas of the Guru Granth Sahib and the common Barah Mahas is that the protagonists of the common Barah Mahas separate due to worldly or economic reasons. However, the separation between the Divine-Husband and the human-bride in Barah Mahas of the Guru Granth Sahib is due to the human-bride’s own flaws. For the union, realization of one's flaws and acquiring the qualities of connected seekers are required.
Keywords related to Panjabi culture in Barah Maha Tukhari:
- Husband: sahu (husband), nāh (husband), kant (husband), pir (husband), var (husband)
- Wife/woman: dhan/sādhan (woman/human-bride), nārī (woman), bālī (young woman)
- Social status of a woman: suhāgaṇ (married woman), guṇvantī (virtuous), duhelī (grieved)
- Woman’s adornment: sīgār (adornment), hār (necklace), ḍor (armlets), pāṭ paṭambar (silk clothes), ras (taste/flavor of the betel)
- Creatures: mor (peacock), bābīhā (pied cuckoo), kokil (koil, Indian cuckoo), machar (mosquito), bhuiaṅgam (snake), ṭīḍu (locust/cricket), bhavar (bumblebee)
- Time: ghaṛī (a moment), thitī (lunar days/dates), māh (month), rutī (season), baras (year), jugi (age)
- Religion: kirat (inscribed-Writ/account of deeds done in life), sar (pond/pool), surati (consciousness), nij ghari (own home-heart)
- Poetics: gīt (song), nād (tune/melody), kabit (poetic-composition), kave (poet), chant (a poetic-form), bārah māhā (a poetic genre based on twelve months)
- Nature’s elements: sūraj (sun), bhakhai (scorches), sokhai (dries up)
- Regions: thal (deserts, sandy/arid lands), bār (open region between the rivers of Panjab)
- Trees/vegetation: vaṇ/ban (forest/trees), ambi (mango tree), kāh (grass plant, reed), kukah (riverside shrubs)
- Place: ghar (house/home), mahal (palace/mansion), des (country), pardesi (foreign country)
- Miscellaneous: bāhuṛai (may return), tukhār (frost), jāḍā (winter)
- Folk sayings and idioms: sahaji pakai so mīṭhā (fruit which ripens naturally, is sweet),Comparable to “Slow and steady wins the race.”ek ghaṛī khaṭu māsā (one moment of separation has become like six months)
In ‘Barah Maha,’ the natural scenes of Bar or Sandal Bar are illustrated to describe the internal state of the human-bride (seeker). The description of the seasons of different months has been provided in great detail. The bumblebees look beautiful in the spring season that arrives with the month of Chet. Forests are full of flowers. The sound of Indian cuckoos on mango trees is delightful. In Vaisakh, the vegetation assumes several forms. In the month of Jeth, the deserts burn like furnaces. The month of Harh further intensifies the condition of Jeth. The sun’s heat is so intense that even the water and sap of plants dries up. Savan being a month of rain, brings with it, a season of happiness. Lightning flashes in the sky. It continues to rain in Bhadon. Rivers, streams, ponds, etc. are filled with water. With the stream of rainwater, frogs, peacocks, and pied cuckoos begin to speak. At the same time, mosquito-bites add to physical suffering. The abundance of snakes and other venomous creatures becomes the cause of fear. In the month of Assu, various types of grasses like reeds grow. In Assu, Katak, and Maghar the weather changes and winter begins. During the month of Poh, it gets cold due to frost. With this, the vegetation dries up again. The season changes in Magh and Phagan, and the winter begins to recede.
Guru Granth Sahib | Panjabi | Common Era |
cetu/ceti (ਚੇਤੁ/ਚੇਤਿ) | Chet | mid-March to mid-April |
vaisākhu/vaisākhi (ਵੈਸਾਖੁ/ਵੈਸਾਖਿ) | Vaisakh | mid-April to mid-May |
jeṭhu/jeṭhi (ਜੇਠੁ/ਜੇਠਿ) | Jeth | mid-May to mid-June |
āsāṛu (ਆਸਾੜੁ) | Harh | mid-June to mid-July |
sāvaṇu/sāvaṇi (ਸਾਵਣੁ/ਸਾਵਣਿ) | Savan | mid-July to mid-August |
bhādaü/bhādui (ਭਾਦਉ/ਭਾਦੁਇ) | Bhadon | mid-August to mid-September |
asuni/asū (ਅਸੁਨਿ/ਅਸੂ) | Assu | mid-September to mid-October |
kataki/katak (ਕਤਕਿ/ਕਤਕ) | Katak | mid-October to mid-November |
maṅghar/maṅghiri (ਮੰਘਰ/ਮੰਘਿਰਿ) | Maghar | mid-November to mid-December |
pokhu/pokhi (ਪੋਖੁ/ਪੋਖਿ) | Poh | mid-December to mid-January |
māghi (ਮਾਘਿ) | Magh | mid-January to mid-February |
phalguni/phalguṇi (ਫਲਗੁਨਿ/ਫਲਗੁਣਿ) | Phagan | mid-February to mid-March |
The change in the seasons with the change of months also affects the internal mental state of the human-bride (seeker). The pain of separation from her husband (IkOankar) torments her. In the spring season, the bumblebees, Indian cuckoos, pied cuckoos and the blooming flowers make her restless for union with her Beloved. But due to her own shortcomings, she remains empty, and is deprived of seeing even a glance of her Beloved. Bereavement fills her mind. She feels humble, powerless and helpless.
Her suffering makes her so anxious that she repents for her vices and prays to Husband-IkOankar that without IkOankar she is worthless: ghari āu piāre dutar tāre tudhu binu aḍhu na molo. -Guru Granth Sahib 1108
Without Husband-IkOankar, all adornments seem useless to her: bahute ves karī pir bājhahu mahalī lahā na thāu. -Guru Granth Sahib 1109
For her, union with IkOankar alone seems superior to all adornments: hār ḍor ras pāṭ paṭambar piri loṛī sīgārī. -Guru Granth Sahib 1109
She prays for union. Each and every moment of separation feels to her as if it is as long as six months: nānak milahu kapaṭ dar kholahu ek ghaṛī khaṭ māsā. -Guru Granth Sahib 1109
Her body wears out bit by bit: piru ghari nahī āvai dhan kiu sukhu pāvai birahi birodh tanu chījai. -Guru Granth Sahib 1108
Her pain can only be removed with the realization of the Embodiment of compassion, IkOankar: darsanu dehu daïāpati dāte gati pāvaü mati deho. -Guru Granth Sahib 1109
Union of the human-bride (seeker) with the Husband-IkOankar
The human-bride (seeker) sings the melody of the Beloved like a pied cuckoo, and, speaking sweet words like an Indian cuckoo, she is imbued with the remembrance of IkOankar. Her mind is steady. In this way, the prayer of the human-bride (seeker) is accepted by IkOankar. IkOankar confers union with Ownself. As a result of this union, the human-bride (seeker) is able to enjoy the pleasures of a ‘suhagan.’ This state of hers is higher than the worldly marital union. Every season, month, date, day, and moment becomes delightful to her: be das māh rutī thitī vār bhale. ghaṛī mūrat pal sāce āe sahaji mile. prabh mile piāre kāraj sāre kartā sabh bidhi jāṇai. jini sīgārī tisahi piārī mel bhaïā raṅgu māṇai. sej suhāvī jā piri rāvī gurmukhi mastaki bhāgo. nānak ahinis rāvai prītamu hari varu thiru sohāgo.17.1. (All the twelve months, seasons, dates and days that exist through the will of IkOankar, are auspicious. All the moments, auspicious times and instants became favorable when IkOankar, by virtue of the wisdom, met the seeker with ease. When the beloved IkOankar was met within, all material-spiritual affairs of the seeker were resolved, for IkOankar knows all the means of union and resolving affairs. IkOankar, who adorned the seeker with divine virtues, found that seeker to be endearing. Through IkOankar’s grace, the seeker was united with IkOankar, and now the seeker enjoys spiritual-bliss. Becoming Wisdom (Guru)-centered, the seeker has shone with good fortune. IkOankar has bestowed on the seeker the bliss of union. Both the mind and body have become beautiful. ‘Nanak’ signature: The seeker has found IkOankar, the bestower of eternal married bliss, who gives the seeker the joy of union day and night.) -Guru Granth Sahib 1109-10