Barah Maha (Mahala 5)

Humans are considered sensitive beings in this creation. At once, the naturally occurring phenomena in this world affect the sensitivity of the being, and the being’s attitude towards these phenomena reflects their own mental state. Usually, the beauty of nature pleases human beings, but an individual suffering from the pangs of separation may not feel comforted. Rather, it further stimulates the pain and suffering of their separation.

The effects of nature on the mind are presented in many literary forms, directly and indirectly. Barah Maha is one such poetic form, in which the effects of natural phenomena on the mind are presented on the basis of twelve months of the native year (Panjabi or Indic calendar), first experiencing separation and then enjoying union with the Beloved.

Two such Barah Maha compositions are found in the Guru Granth Sahib: the first, revealed by Guru Nanak Sahib in Rag Tukhari, and the second, revealed by Guru Arjan Sahib in Rag Majh.

The Barah Maha revealed by Guru Arjan Sahib in Rag Majh is recorded on pages 133 to 136 of the Guru Granth Sahib and contains fourteen stanzas. Among these stanzas, the first and thirteenth stanzas have ten lines, the fourteenth stanza has eight lines, and the others have nine lines each. In the first stanza, the wandering and suffering caused by the separation from IkOankar (the Divine) is described. From the second to the thirteenth, each stanza presents the teaching of the Wisdom (Guru) corresponding to each month of the year. In the last stanza, while summarizing the entire composition, the being has been enlightened about the contemplation of Nam.

Barah Maha, a poetic-genre
In earlier times, the joys and sorrows of life were depicted based on the six seasons of the Indic and Panjabi calendar. This was called ‘Khat Ritu Varnan’ (description of six seasons) or ‘Ruti’ (seasons). Later, when the same joys and sorrows of life began to be described through the divisions of the twelve months of the year, this came to be known as ‘Barah Maha.’ There was not much variation between the two with respect to the subject. The only difference was in appearance. But with the passage of time, ‘Khat Ritu Varnan’ began to be used to express happiness, and ‘Barah Masa’ or ‘Barah Maha’ to describe the pain of separation. For example, Malik Muhammad Jayasi, in his epic Padmavat (1528 CE), describes Maharani Padmini’s love games in ‘Khat Ritu Varnan,’ and portrays Queen Nagmati, distraught by the demise of King Ratansen, through ‘Barah Masa’ (June-July to May-June).

From a literary point of view, ‘Barah Maha’ is a form of folk song. Most of the time, in this folk poetry, the female protagonist spends eleven months in separation, and in the twelfth month, she is united. A similar arrangement is described in both the ‘Barah Maha’ compositions recorded in the Guru Granth Sahib. According to the existing research, the oldest ‘Barah Maha’ in Indian literature is the thirteenth-century work in Apabhransh named ‘Dharam Suri Stuti,’ which has been given the title ‘Barah Navau.’ According to Shambhunath, ‘Barah Mahas’ also exist in the literature of the main languages ​​of northern India (Panjabi, Hindi, Rajasthani, Gujarati, etc.). But in Panjabi literature, ‘Barah Maha’ revealed by Guru Nanak Sahib in Rag Tukhari, proves to be the oldest ‘Barah Maha.’

Apart from the two ‘Barah Mahas’ recorded in the Guru Granth Sahib, two compositions of the same name are also found in the Dasam Granth. The first composition is titled ‘Barah Maha,’ and extends from stanza 867 to 879 of ‘Krishnavtar.’ The second ‘Barah Maha’ (from stanza 911 to 925) does not bear the title ‘Barah Maha,’ but the note at its end provides evidence for it qualifying as ‘Barah Maha.’ Bhai Bahlo, a Sikh of Guru Arjan Sahib, is also reported to have composed ‘Barah Maha,’ but its original text is unavailable.

In addition to the above-mentioned ‘Barah Maha’ from the Dasam Granth, Bhai Kahn Singh Nabha mentions another ‘Barah Maha’ written in 1820 by a Sikh named Vir Singh. In this work, he portrays Guru Gobind Singh Sahib as the protagonist and gives details of his battles in accordance with the twelve months. Prof. Piara Singh Padam recorded it under the title of ‘Baramaha Sri Guru Gobind Singh Ji Ka’ in his book.

Panjabi poets of medieval and modern times have built a long tradition of ‘Barah Maha.’ In this tradition, the names of medieval poets like Bullhe Shah, Shah Murad, Gurdas Singh, Hafiz Barkhurdar, and modern poets like Pal Singh Arif, Waryam Singh, Bhagwan Singh, Maula Bakhsh Kushta, and Amrita Pritam, are worth mentioning. Prof. Piara Singh Padam has included a hundred Barah Mahas in his book ‘Panjabi Baran Mahe.’

In the Guru Granth Sahib, like ‘Barah Maha,’ compositions based on seasons, dates, days, and quarters (of the day) are also available, such as:

• ‘Ruti,’ based on the six months of the Indic and Panjabi calendar year.
• ‘Thiti,’ based on the dates (thit) related to the aspects that are counted according to the position of the moon [a fortnight of light (sudi) and a fortnight of dark (vadi) of a lunar month].
• ‘Var Sat,’ based on the seven days of the week.
• ‘Din Raini,’ based on day and night.
• ‘Pahare,’ based on the four quarters of the day or night.

The objective of ‘Barah Maha’ recorded in the Guru Granth Sahib
With the changing of seasons comes a change in the appearance of nature. Sometimes the heat of summer, sometimes the chill of winter, sometimes blooming, sometimes wilting. This change in nature also influences a change in the inner state of a human being. The blossoming of nature evokes happiness and ecstasy in a seeker, and the withering of nature consequently induces sadness and apathy. If these two conflicting tendencies collide with each other in the mind, they become imbalanced, and they can have a profoundly negative impact on life. However, if their power is channeled through the tools of wisdom and devotion and connected to their Origin (IkOankar) then life turns into ambrosial living. The channeling of these tendencies through connection to IkOankar is the purpose of the composition ‘Barah Maha.’

Barah Maha and Sangrand
On Sangrand, the Barah Maha revealed by Guru Arjan Sahib is recited in gurduaras (popularly gurdwaras). Historically, the sangat present in a gurduara listened for the name of each coming month and its corresponding teachings of the Wisdom (Guru) in Barah Maha with deep reverence and utmost respect as it was recited by the granthi (one who knows the Guru Granth Sahib). When someone could not attend the gathering, they would ask for the month’s name from the granthi later. Usually, in the villages, the name was not uttered publicly before hearing it from the granthi. However, this trend has largely ended.

At Darbar Sahib, Amritsar as well, on the day of Sangrand, at dawn (amrit vela) after the first order (hukamnama) of the day has been read, the first lines of the hukamnama are repeated, and then the stanza of Barah Maha Majh related to the current month is recited before the sangat in the form of a hukamnama. On the Sangrand of the first month of the native year, that is, Chet (mid-March to mid-April), the two stanzas from ‘kirati karam ke vīchuṛe’ to ‘tis kai pāi lagā,’ and on the Sangrand of the twelfth month, that is, Phagan (mid-February to mid-March), the two stanzas from ‘phalguṇi anand upārjanā’ to ‘kirpā karahu hare’ are recited before the sangat in the form of a hukamnama. During the Sangrand of the rest of the months, only the stanza related to that particular month is recited. At Darbar Sahib, hukamnama is taken four times a day. The first is taken at the time of the opening of the Guru Granth Sahib (prakash), the second after the end of the kirtan of Asa Ki Var, the third in the evening after the recitation of Rahrasi (popularly Rehras) Sahib, and the fourth at the end of the day, in the evening. On the day of Sangrand, the related stanzas from the Barah Maha are recited along with all four hukamnamas.

In some traditions, the day when the Sun enters a different zodiac sign at the beginning of a month is called ‘Sangrand.’ Those who worship the sun as a deity consider Sangrand to be auspicious. However, this belief creates superstition about certain days or times as being either good or bad depending on the position of the planets and stars. According to the Gurmat (Guru-Wisdom), all months, days, and times are created by the Creator, so all are favorable or auspicious. Hence, there is no particular significance of Sangrand in Gurmat, and beings are encouraged to be in remembrance at all times. Any month, day, hour, and moment spent in remembrance becomes fruitful because only through remembrance does the mortal become the recipient of IkOankar’s grace.

According to the Hindu scriptures, performing a particular deed on each Sangrand day is considered an auspicious or virtuous deed. For example, on the day of Sangrand of Magh (mid-January to mid-February), people belonging to the Hindu community go to shrines like Prayag to bathe. Similarly, many Sikhs also bathe at the sarovar (pool) of Mukatsar. However, according to the Guru Granth Sahib, the principle of the Nam of IkOankar is the true pilgrimage ‘tīrathi nāvaṇ jāu tīrathu nāmu hai. tīrathu sabad bīcāru antari giānu hai.’ alone is to be followed.

The subject of Barah Maha Majh
In this composition, the being separated from IkOankar is encouraged to reunite with IkOankar. The cause behind this separation is the being’s deeds. While performing worldly activities, the being is caught in vices and spends their entire lives separated from IkOankar. However, a union with IkOankar is always possible. IkOankar’s grace and the contemplation of IkOankar’s Nam are the means for this union, and they are found in the company of virtuous beings.

The beings who forsake IkOankar and seek worldly support instead remain unhappy. In contrast, for the beings who remain immersed in the contemplation of Nam, worldly pleasures become tasteless and unappealing. This world is a place where deeds are earned. These deeds become the reason for union with or separation from IkOankar. Therefore, the being who contemplates Nam and joins the company of the truth-oriented beings may unite with IkOankar. In this composition, the Guru affirmed the greatness of Nam, the all-pervasiveness of IkOankar, and the primacy of the conduct while constructing a setting or background through descriptions of nature.

Barah Maha Tukhari and Barah Maha Majh: A Comparison
Guru Nanak Sahib, after his travels, settled in Kartarpur during the last years of his life. While staying there, he introduced the principles of ‘kirat karo’ (earn an honest living), ‘vand chako’ (partake while sharing), and ‘Nam japo’ (contemplate Nam). During the last moments of his earthly life, while he continued to experience the bliss of connection with IkOankar, he remembered the scenery of the Bar region of Panjab he had seen and relished in his childhood. He recorded all these experiences in an incredibly beautiful way in Barah Maha Tukhari. Guru Arjan Sahib composed Barah Maha Majh to pull the Sikhs out of Brahminical practices. Therefore, the emphasis of Barah Maha Majh is on the affirmation of the teaching.

In terms of subject matter, there is great similarity between the two Barah Mahas, such as being engrossed in worldly activities, the being is separated from IkOankar. When the being becomes aware of their situation, this world begins to seem like a mere dream. Without union with IkOankar, everything seems unidentifiable and perishable. The being supplicates to unite with the Divine-Husband. The changing weather increases their discontentedness. Through the eternal Wisdom, they find the company of the virtuous beings. They contemplate Nam, breath by breath. Finally, they unite with the eternal Spouse, IkOankar.

From a metaphorical point of view, there is some difference between the two Barah Mahas. According to Prof. Pritam Singh, the composition of Guru Arjan Sahib, being clearly spiritual and didactic in terms of the subject, deviated somewhat from the original pattern of Barah Maha. Guru Nanak Sahib largely maintained the form of Barah Maha, as well as its content. However, Guru Arjan Sahib only implemented the form of Barah Maha, while he adapted the content almost in its entirety in accordance with his aim and need. Dr. Gurmukh Singh also agreed with the words of Prof. Pritam Singh. According to him, Guru Nanak Sahib has expressed his personal experience, but Guru Arjan Sahib wrote Barah Maha in a conscious state to deliver a teaching to the Sikhs, due to which this difference seems to have appeared naturally.

From a stylistic point of view, there is an obvious difference between the two Barah Mahas. In Barah Maha Tukhari, a concise and formulaic style is used; however, in Barah Maha Majh, an intellectual style is used because of its explanations, elaborations, and imparting of teachings and principles. Both Barah Mahas have an element of melody; therefore, different styles and personalities are discovered in both. This is natural because the styles of two great writers never match.

In Barah Maha Tukhari, revealed by Guru Nanak Sahib, nature is described in great detail. According to Prof. Pritam Singh, it has a personally observed, known, and experienced description of mind-pleasing black bees, the flourishing forests of the region of Bar, cuckoos singing on mango trees, hot lands, burning fires, flashing lightning, chirping crickets, shrieking peacocks, croaking frogs, chirping pied cuckoos, hissing snakes, biting mosquitoes, lit lamps, pleasant greens, deadly droughts, and cold winters. However, in Barh Maha Majh, the description of nature is merely indicative. In this composition, Guru Arjan Sahib has drawn the imageries of the mind with more artistry than the natural scenes.

From the point of view of language as well, there is some difference between the two Barah Mahas. Due to the high regional influence of Barah Maha Tukhari, its language is somewhat difficult. While in Barah Maha Majh, Guru Arjan Sahib uses simple and easy language. Despite this difference, the lines of both Barah Mahas are used as proverbs:

The lines from Barah Maha Tukhari that are used as proverbs:
-nānak jis no ihu manu dīā maraṇu jīvaṇu prabh nāle. -Guru Granth Sahib 1108.
-sahaji pakai so mīṭhā. -Guru Granth Sahib 1109.
-jini sīgārī tisahi piārī…. -Guru Granth Sahib 1109.
-āgai ghām pichai ruti jāḍā dekhi calat manu ḍole. -Guru Granth Sahib 1109.

The lines from Barah Maha Majh that are used as proverbs:
-sacai māragi caldiā ustati kare jahānu. -Guru Granth Sahib 136.
-jini jini nāmu dhiāiā tin ke kāj sare. -Guru Granth Sahib 136.
-jehā bījai so luṇai karmā sandaṛā khetu. -Guru Granth Sahib 134.
-dhenu dudhai te bāharī kitai na āvai kām. -Guru Granth Sahib 133.

Apart from this, some lines of the two Barah Mahas seem similar as well:
Tukhari: tū suṇi kirat karammā purabi kamāiā. -Guru Granth Sahib 1107.
Majh: kirati karam ke vīchuṛe kari kirpā melahu rām. -Guru Granth Sahib 133.

Tukhari: pria bājhu duhelī koi na belī…. -Guru Granth Sahib 1107.
Majh: hari nāh na milīai sājanai kat pāīai bisrām. -Guru Granth Sahib 133.

Tukhari: bhādaü bharami bhulī bhari jobani pachutāṇī. -Guru Granth Sahib 1108.
Majh: bhādui bharami bhulāṇīā dūjai lagā hetu. -Guru Granth Sahib 134.

Tukhari: maṅghar māhu bhalā hari guṇ aṅki samāvae. -Guru Granth Sahib 1109.
Majh: maṅghiri māhi sohandīā hari pir saṅgi baiṭhaṛīāh. -Guru Granth Sahib 135.

It can be concluded that both these Barah Mahas encourage the being to unite with IkOankar. Both have made a profound impression on Sikh as well as Panjabi literature. Under their influence, a long tradition of Barah Maha has developed in Panjabi literature.