Var Sat (Mahala 3) 2/2

‘Var Sat’ (seven days) is commonly known as ‘Satvar’ or ‘Satvara.’ Satvara is a classical and popular poetic form based on the seven days of the week. In this poetic form, each stanza begins with a particular day of the week and describes an idea, sentiment, or superstitious belief associated with that day.

In the Guru Granth Sahib, the term ‘Var Sat’ is used for this same poetic form. The compositions revealed in this form include those by Bhagat Kabir Ji (birth 1398 CE) in Rag Gauri and Guru Amardas Sahib (1479-1574 CE) in Rag Bilawal.

Sufi poet Bulleh Shah used the word ‘Athvara’ (ath+vara, a poetry composition based on ‘eight’ days) because Jummah (Friday) is mentioned twice in it. According to Dr. Gurdev Singh, this is due to the significance of Friday in the Islamic faith. For this reason, it is called Athvara (eight days) instead of Satvara. It can be considered another name for the Satvara poetic form. Thus Satvara, Var Sat, and Athvara are different names for the same poetic form.

This poetic form was also incredibly popular in Panjabi and folk literature, and the poets who utilized it experimented with its form and structure. For instance, a poet can begin their composition from any day of the week according to their preference and complete it while maintaining the correct sequence and count of days. Most poets have chosen Sunday in the first stanza to begin their Satvara or Athvara compositions. However, Muslim poets typically begin their compositions with Saturday. Although this poetic form is sung even today as part of folk culture, it is not prevalent in modern poetry.

Satvara Poetic Form and Superstitious Beliefs Associated with the Days
According to folk beliefs, certain superstitions are associated with specific days of the week. It is unclear when these superstitions were first associated with these days. They may be as old as human consciousness. It seems that if a person experienced misfortune or an unlikely event on a particular day, it was viewed negatively, while the day someone received good news became an ‘auspicious’ day. Perhaps it is in this way that the individual experiences of a group of people, connected with positive or negative feelings, became associated with these days.

Typically, superstitions and misconceptions are associated with Pandits and astrologers. However, they are not solely connected to them; ideas about ‘auspicious’ and ‘inauspicious’ times and superstitious beliefs are a part of everyday life both historically and in contemporary cultures globally. For instance, some traditions often consider Tuesdays and Thursdays harsh or unlucky days. In the Indic culture, Sundays and Wednesdays are considered ‘auspicious.’ Further, it is considered ‘auspicious’ to wear new clothes on Wednesday and Saturday and new jewelry on Sunday. According to some beliefs, daughters are not sent out of the home on Sundays, and women refrain from washing their hair on Tuesdays.

In Panjabi folk poetry, these superstitious beliefs form the basis of numerous Satvara forms of poetry created and preserved by communities through generations. Furthermore, in astrology, different days are believed to be associated with various celestial bodies, with each planet having its own ‘auspicious’ and ‘inauspicious’ influence on specific days and individuals. In astrology, the relationship between planets and days is understood as follows:
Sunday is associated with the Sun. As the sun is the central and most important celestial body in the solar system, it 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 is associated with the planet Mercury.
Thursday is associated with the planet Jupiter.
Friday is associated with the planet Venus.
Saturday is associated with the planet Saturn.

Satvara Poetic Form in Panjabi Literature
In Panjabi literature, the Satvara poetic form is found both in oral and written forms. Examples of this are also found in the Panjabi folk poetry:
somvār nā jāīṁ pahāṛ
jittī bāzī āveṁ hār.
maṅgalvār dī burī dihāṛ
shurū kamm nā caṛhdā pār.
budhhavār nā ubhe jāīe
je jāīe tāṁ dukh hī pāīe.
vīrvār jo sir munāe
kālakh āpaṇe matthe lāe.
shukkar jihṛā kheḍaṇ jāe
yā goḍā yā latta bhanāe.
chanichar nūṁ jo shanī dhiāi
sabh balāa us dī ṭal jāe.
aitvār nā laṅghīṁ pār
mate jittāṁ āveṁ hār.

In Panjabi folk poetry, these popular Satvara compositions commonly mention the ‘auspicious’ and ‘inauspicious’ outcomes related to different days of the week. There is a greater focus on negative consequences than on positive ones. However, some of these compositions offer specific details or recommendations regarding important tasks or activities to be undertaken on particular days:
somvār sīshā uṭṭh takṇā,
maṅgalvār nūṁ lauṁg phakṇā.
budhhvār nūṁ miṭṭhā caṭṭīṁ,
vīr nūṁ chāh cā gaṭṭīṁ.
shukarvār uṭṭh makkhaṇ khā,
shanicarvār lūṇ mūṁh lā.
aitvār nūṁ khā lai pān,
hosī terā sadā kaliān.

This poetic form is present in both folk and other classical works of Panjabi literature. The early Panjabi poet Gorakhnath adopted this form to convey his teachings to the public. In his collection known as ‘Gorakhbani,’ there is a composition titled ‘Saptvar,’ which literally means seven days. In it, he explores spiritual elevation according to the principles of Yogic philosophy. It is important to note that the principles described in the Saptvar are distinct from those found in the Guru Granth Sahib. Although the vocabulary and style of expression in both may seem similar, the underlying doctrines of Yogic philosophy differ from those of the Guru Granth Sahib:
“somvār man dharivā sunni. nihcal kāyā pāp nā punni.
sasihar barikhai ambar bharai. tau somvār gunṇ itā karai.2.
maṅgal bikhmī māiā bandhi. cand sūr doau sammi kar sandhi.
jarā maraṇ bancau bhau kāl. tau gur pāvau maṅgalvār.3.”

Apart from Gorakhbani, Sufi poetry also includes an Athvara composition written by Bulleh Shah:
“chanichar vār utāvale vekh sajan dī so
asāṁ muṛ ghar pher nā āvaṇā jo hoṇī hog so ho.
vāh vāh chanichar vār vahīle
dukkha sajan de maiṁ dil pīle.
ḍhūṁḍāṁ aujhaṛ jaṅgal bele
adhṛī rain kuvallaṛe vele.
birhoṁ gherīāṁ.1….”

‘Satvara’ Poetic Form in Guru Granth Sahib
The Guru Granth Sahib has compositions based on various time divisions such as seasons, months, dates, days of the week, day and night, and pahar (a three-hour period). Examples are:

• Ruti is based on the six seasons of the year of the traditional calendar.
• Baramaha is based on the twelve months.
• Thiti is based on the lunar phases and dates of the lunar calendar.
• Var Sat is based on the seven days of the week.
• Din Raini is based on the day and night.
• Pahare is based on the four quarters of the day or night.

In the Guru Granth Sahib, there are three compositions related to Var Sat or the Satvara poetic form. The first one is by Bhagat Kabir, whose title is ‘vār kabīr jīu ke 7.’ The other two compositions, each consisting of ten stanzas, are revealed by Guru Amardas Sahib. Their titles are as follows:
bilāvalu mahalā 3 vār sat gharu 10
bilāvalu mahalā 3

The indication that these compositions are distinct is evident from the numbering system (.10.1. and .10.2.) at the end of each composition. Additionally, the stanzas of rahau in both compositions differ, so their central messages also differ.

Building on the thematic flow of the composition of the previous ten stanzas (https://gurugranthsahib.io/bani/VSM3I ), the Guru has revealed this composition in continuation of the previous composition. It is recorded on page 842 of the Guru Granth Sahib. It also contains ten stanzas and a stanza of rahau. Although the title of this composition does not include the term ‘Var Sat,’ the subject matter of both compositions is similar. The only difference is that the earlier composition references days of the week, while this one does not. Its purpose and message align with that of the previous composition. Due to this similarity, this composition is also categorized as ‘Var Sat.’ Regarding the titles in the Guru Granth Sahib, we sometimes find similar compositions grouped under a single title. For example, after Guru Nanak Sahib’s (1469-1539 CE) Alahania composition, four Sabads of Alahania by Guru Amardas Sahib (1479-1574 CE) are included. Although the term Alahania is not used in the title of Guru Amardas Sahib’s Sabads, their subject matter aligns with Guru Nanak Sahib’s Alahania. It is thus classified within the same category.

The composition explains that One IkOankar alone is the creator of the universe. As per Own will, IkOankar bestows awareness to the being. Through the eternal Wisdom (Guru), the being who enshrines the Nam of IkOankar within their heart realizes that IkOankar is both the doer and the cause. The days and dates can become fruitful and pleasant only when the beings remain imbued in the love of IkOankar. The beings who do not remember IkOankar remain attached to transient things, relationships and wander. The beings who experience the presence of IkOankar within their hearts do not fall into illusions of the ‘auspiciousness’ or ‘inauspiciousness’ of particular days. Through the Wisdom, they remain imbued with the Nam.