DAKHANE, title of sixty-nine slokas by Guru Arjan, incorporated in his var in the measure Maru, three each with its twenty-three pauris or stanzas. The word dakhne (Skt. daksini) means `southern.` The language of these verses is a dialect of the southern Punjab, now in Pakistan, known as Multani or Saraiki. Dakhane is not the name of any language but of a style of songverse of that region. Guru Arjan, however, has complete mastery of the dialect of that region distant from his own central Punjab and these verses are remarkable for their poetic qualities.
The central theme of the Dakhane is the intense longing of the human spirit for the all pervading Supreme Spirit and they depict, First, the beauty of the Beloved; secondly, the intensity of longing for Him; thirdly, the helpfulness of the Guru, the mediator between the seeker and the sought after; and fourthly, some of the obstacles which bar union between the two. The “woman” (devotee) addresses the all pervading Spirit as `my own good friend` (I); `my good friend and true king` (II. 3); `beloved dwelling with me` (IV. 1); `my close friend who is fond of me and who is friend of all, never disappointing anyone` (VII.2); `the hidden gem which I have found and which now shines on my forehead` (VII. 3 ); `the One who is present in all and of whom none is bereft` (IX. 3); `the colourful One` (XI. 1); `the King of kings` (XII.1); `the One whose light is reflected in all as is the moon in the water in the pitchers` (XIV.2); and implores Him to come and embrace her.This is how “she” expresses the intensity of her longing: `My eyes long for Thee` (I. 1); `I am ready to give my head for Thy love` (I.I);`! am in love with Thee and with none else` (I. 2); `do not separate me from Thee for a moment` (II. 1); `my heart has been charmed by Thee* (II. 1); `if Thoucomethto my courtyard, the entire earth will turn green for me* (III. 1); `while embracing Thee, even the necklace I am wearing creates distance unbearable` (III. 3); `I am longing ever to see how beautiful is Thy face` (VIII. 1); `may I become a couch for the Beloved, my eyes spread on it as a sheet` (XII. 3); `incomparable in beauty is the face of my Beloved` (XVII. 2); `I have looked in all directions, searched everywhere, none is comparable to Him` (XVIII. 1). `Those who take shelter with the ustad (teacher) are saved` (VI. 1); `the saints whose deeds are for the well being of others show the path` (XXI. 2); `eyes which see the Loved One are different from the outward eyes` (XVI. 3); `this is the opportunity and He must be realized here and now` (VII. 1). Maya is compared to a wet stone of jaggery (g”ur) and men to flies which fall upon it and get caught (IX. 2). This is how man is beguiled from the path to union.
References :
1. Shabadarth Sri Guru Granth Sahib, vol. III. Amritsar, 1C59
2. Sahib Singh, Sri Guru Granth Sahib Darpan, vol. VIII. Jalandhar, 1964
Dakhane, the title of sixty‐nine slokas composed by Guru Arjan, outlining its historical context, linguistic features, poetic qualities, and central themes.
Overview and Title Significance
Dakhane—derived from the Sanskrit term “daksini,” meaning “southern”—refers to the sixty‐nine slokas incorporated into Guru Arjan’s var composed in the measure of Maru. These seventy‐minus‐one verses are structured in a distinctive format: they appear in three groups, each consisting of twenty-three pauris (stanzas). While the term might suggest the name of a language, it actually denotes a particular style of song verse drawn from the dialect of southern Punjab, often referred to as Multani or Saraiki. Guru Arjan’s mastery of this style is particularly notable given that his native dialect was centered in the central Punjab region, making his adoption of the southern idiom a testament to his linguistic and poetic versatility .
Historical and Cultural Context
The Dakhane verses reflect a vivid confluence of cultural influences from the southern areas of Punjab (in present-day Pakistan). At the time of composition, the dialect of Multani/Saraiki was widely spoken in that region. Guru Arjan, while firmly rooted in the linguistic traditions of central Punjab, demonstrated an exceptional command over this southern style. His deliberate use of Dakhane underscores his aim to reach a broader audience and to embody the rich cultural tapestry of the subcontinent. The adaptation of the southern idiom not only enhances the lyrical beauty of the verses but also situates them within the diverse socio-linguistic environment of the period .
Literary Features and Poetic Qualities
The sixty‐nine slokas of Dakhane are renowned for their remarkable poetic qualities. Written in a style characteristic of southern Punjab, the verses are both evocative and melodious. They employ a delicate blend of refined, classical expressions interwoven with the earthy nuances of the Multani/Saraiki dialect. This hybrid linguistic texture produces a set of verses that are rich in imagery and emotion. Their structure—divided into three groups of twenty-three pauris—facilitates a rhythmic and immersive recitation, which enhances both contemplative meditation and communal kirtan.
The poetic craftsmanship of Dakhane lies in its ability to capture the essence of devotional longing with elegance and precision. The language powerfully conveys the human spirit’s deep yearning for the divine, a theme that is persistent throughout these slokas .
Central Themes and Devotional Message
At the heart of the Dakhane slokas is the intense longing of the human spirit for the all-pervading Supreme Spirit. The verses articulate a multi-layered vision of divine love and union. Among the prominent themes are:
- The Beauty of the Beloved:
The text vividly portrays the sublime and ineffable beauty of the Divine One—often addressed in affectionate and intimate terms by the devotee. Expressions such as “My eyes long for Thee” and “I am ready to give my head for Thy love” exemplify the deep adoration and personal connection between the seeker and the Beloved. - The Intensity of Longing:
The language is charged with a passionate intensity. The devotee, typically portrayed as a woman addressing the Divine, uses a series of evocative phrases to express her relentless and unyielding desire for union with the Supreme Spirit. - The Role of the Guru:
The verses also underscore the mediator role of the Guru, who guides the seeker through obstacles that bar the way to union. This mediator is depicted as a cherished friend and trusted guide—reinforcing the indispensability of the Guru’s grace in overcoming worldly and internal barriers. - Obstacles to Union:
Lastly, certain passages caution against distractions and pitfalls that impede the devotee’s path. These elements of the text serve as a moral and cautionary framework, inviting the reader to adopt a disciplined and focused approach to spiritual realization . Concluding Thoughts
Dakhane represents a unique and celebrated contribution to the literary and devotional heritage of the Sikh tradition. Guru Arjan’s innovative use of the Multani/Saraiki idiom in these sixty‐nine slokas not only highlights his poetic brilliance but also deepens the emotional resonance of the devotional theme—intensely capturing the longing for the Divine. Today, these verses continue to be cherished both for their aesthetic beauty and for their timeless spiritual significance, offering inspiration to devotees and scholars alike.
