Thiti (Kabir Ji)

The word ‘thitī’ is a modified form of the Sanskrit word ‘tithi.’ It literally means ‘date’ or ‘lunar day’—a count from the first to the fifteenth day based on the moon’s movement. The interchange of the letters ‘t’ and ‘th’ changes ‘tithi’ to ‘thiti/thitī.’ Both ‘tithī’ and ‘thitī’ are used in Panjabi. In the Guru Granth Sahib, this word appears in various forms such as ‘thiti,’ ‘thitī,’ ‘thīti,’ etc.

The waxing and waning phases of the moon are also referred to as ‘thit.’ Based on this, time is measured through a cycle of fifteen lunar days. Since ancient times, two methods have been prevalent for measuring a year: one based on the movement of the sun, and the other on the waxing and waning of the moon. Accordingly, the year is referred to as either a ‘solar year’ or a ‘lunar year.’ It is also worth mentioning here that the lunar year is more prominently used for religious ceremonies.

The ‘lunar year’ is calculated according to the lunar days. It consists of twelve months and is made up of thirty days each. Each month is divided into two halves of fifteen each, known as ‘vadi’ (fifteen days of the moon’s waning phase) and ‘sudi’ (fifteen days of the moon’s waxing phase). According to Sahit Kosh, ‘vadi’ is a derivative form of the Sanskrit word ‘bahul,’ which means black. ‘Vadi’ is also known as ‘shyam paksha’ or ‘krishna paksha’ (dark phase). In Panjabi, this phase is known as ‘hanera pakh’ (dark phase). ‘Sudi’ is a derivative form of the Sanskrit word ‘shukal,’ which means white or day. In Panjabi, this phase is known as ‘chanan pakh’ (bright phase). Therefore, sometimes ‘vadi’ is used for night, while ‘sudi’ is used for day. Each day’s name is the same from the first (ekam) to the fourteenth (chaudas) day in both the waxing and waning phases. However, the fifteenth day of the dark phase when the moon wanes (the new moon) is referred to as ‘massia.’ In contrast, the fifteenth day of the bright phase when the moon waxes (full moon) is called ‘puranmashi.’

This can be understood in another way. After the new moon, the size of the moon increases day by day and becomes full on the fourteen days (puranmashi or purnima). After the full moon, it starts waning gradually until it finally disappears on the night of the new moon (massia).

Thiti as a poetic-form
‘Thiti’ may also refer to a poetic form. As a poetic form, it relates to a composition based on the fifteen days of the lunar month. The fifteen days of the lunar month occupy a central place in this form. It tends to include days from the first day to the new moon of the waning cycle (ekam to amavas). However, this is not a rigid rule. The days from the first day to the full moon of the waxing cycle (ekam to puranmashi), falling after the new moon can also be used as a base. According to Piara Singh Padam, the oldest work in the form of Thiti poetry is found in the name of Gorakh Nath, ‘Pandrah Thiti.’ An example of ‘Pandrah Thiti’ from Gorakhbani is as follows:
bandai gorakh ekaṅkār. pandarah tithi kā karhū vicar. ṭek.
amāvas driṛ āsaṇ hoe. ātam parcai marai na koī.
mūl sahsrār pavnā bahai. baṅknāli tab bahat rahai.1.

Thiti as a poetic-form in the Guru Granth Sahib
In the Guru Granth Sahib, compositions based on seasons, dates, days, quarters of the day, etc., are also prevalent, such as:

• ‘Rutti,’ based on the six seasons of the Indic and Panjabi calendar year.
• ‘Barah Maha,’ based on the twelve months of the year.
• ‘Thiti,’ based on the days (thit) related to different phases of the moon, counted according to its positions.
  A fortnight of waning (vadi: full moon to new moon) and a fortnight of waxing (sudi: new moon to full moon) of the moon in a lunar month.
• ‘Var Sat,’ based on the seven days of the week.
• ‘Din Raini,’ based on the day and night.
• ‘Pahare,’ based on the four quarters of the day or night.

Under the title ‘Thiti,’ the Guru Granth Sahib contains three compositions:

Serial No.	Title of the Composition	Revealer	Rag	Page Number
1	bilāvalu mahalā 1 thitī gharu 10 jati	Guru Nanak Sahib	Bilaval	838-840
2	thitī gaüṛī mahalā 5	Guru Arjan Sahib	Gauri	296-300
3	rāg gaüṛī thitīṁ kabīr jī kīṁ	Bhagat Kabir Ji	Gauri	343-344

Except for the days of the new moon and full moon, each day of the lunar month is named numerically. In the above compositions, this number runs uniformly from one to fourteen, followed by the names of the day of the new moon and the day of the full moon. However, the Thiti of Guru Nanak Sahib ends at the new moon and does not mention the full moon.

Giani Harbans Singh provides a list of the names of these days in the compositions of the Guru Granth Sahib and in vernacular language as follows:

Guru Nanak Sahib	Guru Arjan Sahib	Bhagat Kabir Ji	Vernacular Language
ekam dūjī tritīā caūthī pancamī khasṭī sapatamī astamī naumī dasmī ekādasī duādasī/duādasī terasī caūdasī amāvasīā -	ekam dutīā tritīā caturthi pancamī khasṭamī saptamī aṣṭamī naūmī dasmī ekādasī duādasī traūdasī caūdahī amāvasi pūrnamā	parivā dutīā tritīā caūthahī pāmcai chathī sātāiṁ aṣṭamī naūmī dasmī ekādasī bārasī terasī caūdasi ammāvas pūniu	Ekam/Pahila Duj Tij Chauth Panchami Chath Sate/Satto Atthe Naumi Dasmi Ekadashi Duadashi Trei/Tera Chaudas Massia Punnia/Puranmashi

Superstitions Associated with Thitis
Thitis are essentially days associated with the moon (lunar cycle). However, astrologers attach certain superstitious beliefs to particular days. For example, some regions observed the first and sixteenth day of the lunar month by refraining from reading or studying. Some believed that if a person studied on the lunar month’s first day (ekam), education (learning) would elude them. Thus, some days were considered auspicious and some inauspicious. For example, ekadashi (eleventh day) and puranmashi (full moon) are considered auspicious, while massia (new moon) is considered inauspicious.

In his discussion on fasting on the day of the full moon and rituals associated with thitis, Giani Haribans Singh argued, “Currently, the number of people observing fasting on the full moon is increasing day by day. This inapt practice has also spread in gurduaras (popularly gurdwaras). The practice of reading the tale related to the full moon (puranmashi katha) has increased to such an extent that women have started organizing special programs in gurduaras based on it. To associate the imaginary tale of the full moon with Guru Gobind Singh and Bhai Daya Singh is ignorance. The author of ‘Guru Nanak Darpan,’ based on personal information, has stated that there are three versions of the tale of the full moon; one in the form of verse, the second in prose, and the third in the tales related to twelve months. This tale was first written by Sant Puran Singh of village Balksar, Tehsil Chakwal, District Jhelum (Panjab, Pakistan). Later, ashamed of his own action and realizing his mistake, during a congregational gathering of the Khalsa Diwan (1909), he apologized by raising both his arms and saying the following words: ‘duhāī rabba dī, duhāī rabba dī, maiṁ jo kujh kītā anarth kītā, maiṁ kuphar toliā, logo maiṁ kuphar toliā.’ (O Divine! Whatever I did was wrong, I indulged in impropriety).”

Rag Gauri Thiti Kabir Ji Ki
This composition, revealed by Bhagat Kabir Ji in Rag Gauri, contains one salok and sixteen pauris. Each pauri consists of four lines. In the first pauri, there is an additional stanza of rahau.

The central idea of this composition is evident in the salok and the stanza of rahau. According to Prof. Sahib Singh, just as in Sukhmani, where each salok contains the core idea that is later explained in the astpadi, similarly, in this composition, the central idea presented by Bhagat Kabir Ji in the salok is further elaborated in the pauris. Additionally, since the ‘rahau’ typically contains the essence of the entire composition or Sabad, by this principle, the subject matter of the salok and the stanza of ‘rahau’ in this composition is essentially the same.

The salok of this composition conveys that the being who becomes entangled in the belief that certain days and dates are auspicious or inauspicious ultimately suffers—both in this world and in the hereafter. In the lines of rahau, it is explained that the being who falls in love with the beautiful feet of IkOankar is freed from the filth of vices. Immersed in the praises of IkOankar, they remain ever aware and guarded against indulging in vices. In this way, a complete and unified thought emerges from the salok and the lines of ‘rahau.’ According to this, the being caught up in notions of auspiciousness and inauspiciousness is miserable in both this world and the hereafter. One must rise above these fear-based systems and walk the path of love for IkOankar.

In the various pauris of this composition, the teachings focus on the Nam of IkOankar, recognizing the phenomena of the world as the creations of IkOankar, having faith in the company of virtuous beings, having control over the fickle mind, and drinking the ambrosia of love (amrit).