Din Raini

The title of this Sabad is ‘mājh mahalā 5 din raiṇi’ (Majh Mahala 5 Din Rain). In this Sabad by Guru Arjan Sahib (1563-1606), revealed in Rag Majh, the phrase ‘din raiṇi’ (day and night) serves as a folk poetic form based on temporal awareness (knowledge of time units), using day and night as its foundation. Through this poetic form, the Guru imparts the teaching that every day and every night, the entirety of life should be made fruitful through service, that is, the remembrance of the Nam of IkOankar. Beyond the title, the phrase ‘din raiṇi’ has also been used in these three lines:
1. sevī satiguru āpaṇā hari simrī din sabhi raiṇ. -Guru Granth Sahib 136.
2. dinu raiṇi ji prabh kaṁü sevade tin kai sad balihār.2. -Guru Granth Sahib 137.
3. dinu raiṇi jisu na visrai so hariā hovai jantu.3. -Guru Granth Sahib 137.

In these lines, three key points emerge for the seeker: remembrance, service, and not forgetting IkOankar. These can be considered the central themes of the Sabad. Additionally, the Sabad elaborates on the conduct a seeker should embody throughout the day and night.

This Sabad appears on pages 136-137 of the Guru Granth Sahib and consists of four stanzas. The first and fourth stanzas contain nine lines each, the second has ten lines, and the third has eight lines.

According to Bhai Vir Singh, this Sabad evokes the imagery of a wife deeply in love with her husband, enduring the pain of separation and longing for reunion. While expressing her yearning, she confides in her friend, answering her questions and pleading for reunion. The friend, referred to as ‘bhaiṇ’ (sister), does not know the pain of love herself, but remains empathetic. In this Sabad, the Guru, speaking in the voice of a bride filled with love for the Divine-Husband, instructs the seeker. The Guru imprints love onto the heart of the listening seeker by continuously sharing personal experiences, so that the seeker may become aware of all the obstacles and difficulties that arise in their own life.

The Kirtan Tradition of this Sabad in the Akhand Kirtani Jatha
In the Sikh fold, Bhai Randhir Singh Narangaval (1874-1961) was known for his multi-dimensional personality. He founded the Akhand Kirtani Jatha. According to Giani Harbans Singh, whenever Bhai Randhir Singh began kirtan (raini-sabai - throughout the entire night), he would always start with the contemplative Sabad, ‘sevī satiguru āpaṇā hari simrī din sabhi raiṇ.’ His renditions, marked by a sweet rhythm and unique melody, enchanted listeners. He sang each line of the Sabad in soulful hues, repeating it many times in ecstasy, with an endearing, distinctive style. The Sabad would so mesmerize the listeners that it might continue until midnight, the same Sabad sung repeatedly all night. This tradition is practiced in the Akhand Kirtani Jatha even to this day.

Folk poetic forms based on temporal awareness in the Guru Granth Sahib
In the Guru Granth Sahib, several poetic forms rooted in temporal awareness appear beyond Din Raini. Pahare is structured around the four quarters of the night, Thitti follows the lunar dates as determined by the moon’s waxing and waning phases (vadi and sudi), Var Sat centers on the seven days of the week, Rutti reflects the six seasons, and Barah Maha encompasses the twelve months, among others.

Dr. Mahinder Kaur Gill suggests that folk poetic forms are generally rooted in lived experiences and that those in the Guru Granth Sahib are more inclined toward wisdom than mere experience. That wisdom, moreover, is of a philosophic nature. Folk poetic forms trace the aesthetic sensibility rooted in the collective mind of the people. However, the folk forms (as found in the Guru Granth Sahib) not only convey spiritual aesthetics but also impart an understanding of philosophical substance (themes). It is important to note that the folk forms of the Guru Granth Sahib draw on folk culture as a background, while spiritual and philosophical understanding is foregrounded within them. Folk poetic forms are typically related to relativity, whereas the themes of the folk forms in the Guru Granth Sahib relate to eternity. Folk poetic forms are tied to folk practices and culture, but the journey of these forms begins in the folk realm, and as they transcend those origins, they ultimately present purely philosophical explications in their final meanings. Folk poetic forms are also associated with emotional meanings, but through the process of transformation, as they come to engage with the worldly sphere in the form of Bani, they bring forth a deeper, more expansive significance. In other words, they create a world where one strand remains connected to the worldly realm, while the other reaches into philosophical and metaphysical contexts, whose source is IkOankar. In this way, the folk forms in the Guru Granth Sahib integrate with Gurmat (Guru’s Wisdom) and emerge in a new form. Presenting the totality of the worldly and the otherworldly is the natural disposition of these folk forms. It should be noted that in the process of transformation, folk elements do not lose their originality; rather, they are reshaped into symbolic creation.

In this way, the Bani of the Guru Granth Sahib, recognized as a unique poetic form, presents a new ideal for society. The world of Bani is not limited to an individual’s spirituality but extends from the worldly to the transcendental. Bani inspires individuals to live an ideal life of ‘fulfillment and well-being both in this world and beyond’ (ih lok sukhīe parlok suhele. -Guru Granth Sahib, 293). It may be said that the very nature of folk poetic forms has changed through their presentation in the Guru Granth Sahib. The deep reverence and divinity associated with the Bani have elevated these forms from the worldly to the transcendent.

Folk poetic forms based on temporal awareness in Panjabi Folklore
In Panjabi folklore, traditional ways of relating to time form a common and significant theme. There are various units of time, such as quarters of the day and night, dates, days, months, and years, all tied to the solar system. Since the beginning of time, celestial bodies like the Sun, the Moon, and the planets have been imagined as living beings in the folk mind. To this day, many believe these celestial bodies possess divine essence and are worthy of worship. According to folklore, each of these planets is regarded as a deity, and every unit of time is inspired by them. In daily life and its various tasks, it was considered very important for these deities to act in benevolence. Even now, during weddings and other auspicious events, it is common among Hindus to worship the nine planets. In black magic, folklore, and astrology, folk beliefs (a concept connected to divine power) regarding ‘good’ and ‘bad luck’ are said to be the result of the deities’ auspicious or inauspicious judgments, which have been conceived as planets. The names of the days are also based on the planets: Sunday is associated with the Sun, which, as the central and most important celestial body in the solar system, is regarded as the principal or first day of the week. Monday is associated with the Moon. In English, it is called ‘moon-day’ or Monday. Tuesday is associated with the planet Mars, Wednesday with Mercury, Thursday with Jupiter, Friday with Venus, and Saturday with Saturn.

In Panjabi folklore, many beliefs persist about the relationship between the planets and the days of the week. Over time, these beliefs became traditions, shaped by the events and experiences of daily life. For example, if an accident occurs on a particular day, that day is considered inauspicious; if something fortunate happens, it is considered auspicious. Gradually, days became associated with ‘good’ and ‘bad omens.’ As this process continued, these associations reached the level of superstition. The expression of such superstitions alone formed the foundation of poetic forms related to temporal awareness or time in folk literature.

Dr. Mahinder Kaur Gill has considered these poetic forms calendric. From the beginning, every day of the week has been associated with some belief or feeling. Since their inception, these forms have been presented in songs and couplets, and as they grew in complexity, they were accepted as a proper poetic form.

In this regard, Dr. S.S. Vanjara Bedi states: Since the beginning, to express the thoughts, beliefs, and concepts associated with days, lunar dates, seasons, and months, as well as the associated feelings of auspicious and inauspicious, the solar system was used as a medium. In the beginning, this poetic form was in the structure of small couplets or stanzas. With the development of society, their possibilities had been brought to light, so that in the medieval period, their distinct forms became established.

According to Dr. Bedi, based on the scholars cited above, the foundation of the poetic forms in Panjabi folklore is folk belief. The current structure of these poetic forms, as compiled by folklore scholars and presented in books on Panjabi folklore, became prevalent in the medieval period. It can be inferred that these poetic forms were originally expressed in very brief lines, suggesting they may have been the earliest forms of idioms or folk sayings. Examples of societal beliefs on the days can be seen in this manner:

dine bolaṇ giddaṛ; rātīṁ bolaṇ kāṁ,
mare bastī dā bādshāh jāṁ ujṛe garāṁ.

maṅgal budh nā jāīe pahāṛ,
jittī bājī āīe hār.

budhvār ubhe (lammī vāṭ) nā jāīe,
je jāīe tāṁ baṛā dukh pāīe.

vīrvār nā jāīe lamme
cāhe ghar bahīe nikamme.

holī lohaṛī ate dīvālī, maṅgalvārī hoe.
pāṇī hoe nā dharat par virlā jīvai koi.

According to scholars, these examples, which are related to the days, are categorized as the poetic form ‘satvara.’ It is clear that these sayings and idioms formed the foundation of poetic forms rooted in temporal awareness and, by the medieval period, had taken their current form.

The nature of the poetic forms ‘pahare,’ ‘satvara,’ and ‘din rain’ suggests they are interrelated. Notably, ‘pahare’ and ‘din rain’ appear exclusively in the Guru Granth Sahib, whereas ‘satvara’ is found in both Panjabi folk poetry and prominent Panjabi literary works.

In this manner, countless superstitions are associated with ‘thiti,’ ‘pahare,’ and ‘var,’ and from these many folk poetic forms have emerged. The revealers of Bani, however, have used these poetic forms to challenge and refute such superstitions. In this contemplative Sabad, Guru Arjan Sahib emphasizes the teaching of day and night, to always remain connected with IkOankar, in place of the commonly held superstitions and delusions. It is the uniqueness of Bani that it considers every division of time auspicious, for in each, through the grace-filled glance of IkOankar, Nam is remembered:
māh divas mūrat bhale jis kaü nadari kare. -Guru Granth Sahib 136.