GOSHTI, from Sanskrit goshta (go = cow + stha = place, i.e. cowpen), means, secondarily, an assembly of people engaged in a discourse or debate on some metaphysical, theological, or ethical point, thereby seeking to expound their respective views or tenets and revealing in the process their dialectical prowess and learning. The first recorded goshti in Punjabi literature is Guru Nanak’s Sidh Goshti (“A Dialogue with the Siddhas”), included in the Guru Granth Sahib in raga Ramkali, a musical measure favorite of the yogis. This dialogue in verse brings out the quintessence of Guru Nanak’s teaching, viz.:
How life lived in the world cherishing the Name of the Lord is to be preferred to sannyasa (renunciation) or hathayoga (the practice of austerities). The scope of the genre was broadened in the seventeenth century to include, besides dialogue, a recital of the events of the life of a saint or mystic. This form was popularized by Manohar Das Miharban (AD 1581–1640) and his sons, Hariji and Chaturbhuj, who recorded goshtis while narrating the life story of Guru Nanak in their works Pothi Sach Khand and Pothi Chaturbhuj.
The Guru is presented in these goshtis in conversation with a variety of people—saints, sinners, and mythical characters. The objective in each instance was to elucidate some aspect of his precept. The form was commonly employed to illustrate the teachings of holy men, saints, and Sufis, as well as their lives
Goshti: A Tradition of Spiritual Dialogue and Learning
The concept of “Goshti” originates from Sanskrit, where goshta (go = cow + stha = place) initially referred to a cow pen. Over time, it evolved to signify an assembly of individuals engaged in a dialogue or discourse, often centered around metaphysical, theological, or ethical themes. This rich tradition became a cornerstone in the spiritual and literary heritage of Sikhism and other cultural narratives.
In Sikh philosophy, goshti took on profound significance with Guru Nanak’s Sidh Goshti—”A Dialogue with the Siddhas.” This masterpiece, included in the Guru Granth Sahib in Raga Ramkali, captures a thought-provoking exchange between Guru Nanak and a group of Siddhas (yogis). Through poetic verses, Guru Nanak emphasizes that true spirituality lies not in renunciation or ascetic practices like hathayoga, but in living a life devoted to the Name of the Lord while remaining actively engaged in the world. This dialogue presents the quintessence of Sikh teachings, promoting a balanced life of devotion, service, and humility.
Beyond Guru Nanak’s time, the genre of goshti expanded in Punjabi literature. In the seventeenth century, authors like Manohar Das Miharban and his sons Hariji and Chaturbhuj enriched the form further. They incorporated goshti into biographical narratives of saints and mystics, such as in their works Pothi Sach Khand and Pothi Chaturbhuj. These writings portrayed the Guru engaging in conversations with saints, sinners, and even mythical figures, each dialogue offering insights into spiritual truths and ethical living.
The purpose of goshti transcends mere debate; it serves as a vehicle for education and enlightenment. Through these discourses, profound ideas are communicated in a relatable format, blending storytelling with philosophical inquiry. This approach makes the lessons accessible to diverse audiences while preserving the depth of the teachings.
Today, goshti remains a symbol of the dialogical tradition—an acknowledgment that spiritual and moral growth often arise through the exchange of ideas and mutual learning. Its legacy continues to inspire communities to seek wisdom not in isolation, but through connection and discourse.
