SHABAD (SABAD) HAJARE, also called Hajare de Sabad, is a collection of seven hymns taken from the Guru Granth Sahib and grouped together for the purpose of daily recitation. The title Shabad Hajare occurs nowhere in the Guru Granth Sahib, though it has found its way into breviaries (gutkas) in which these seven sabads appear under the heading immediately after the Japji (ji). The word “hajare,” or “hazare,” could be derivative of the Arabic word “hijr,” which means separation, or of the Arabic “hazir,” which means present. Shabad Hajare would thus be those sabads uttered in pangs of separation from the Lord or those which constantly bring His presence to one’s mind.
The first hymn, by Guru Arjan, Nanak V, has been taken from Raga Majh. It is a chaiipada, i.e. comprising four stanzas. It is believed that all four stanzas are, in fact, letters written by Guru Arjan to his father, Guru Ram Das. As the story goes, once Sahari Mall, first cousin of Guru Ram Das and elder to him, invited the Guru to attend the marriage of his son at Lahore.
The Guru, unable to go himself, wanted one of his sons to represent him at the ceremony. He asked Prithi Chand, his eldest son, to go to Lahore to fulfill the social obligation on his behalf, but the latter made an excuse and declined to undertake the trip to Lahore. The second son, Mahadev, was of a retiring nature and had little interest in worldly affairs. Arjan, the youngest, forthwith offered to do his father’s bidding and left for Lahore.
He had instructions to remain there until recalled. Receiving no message for several weeks to return to Chak Guru (Amritsar), he started missing his Guru-father. He wrote to him two letters in verse, one after the other, which were intercepted by his brother, Prithi Chand. Arjan Dev then wrote a third one, marking it number 3.
This letter did reach Guru Ram Das, who had the first two recovered from Prithi Chand’s house. Young Arjan was immediately sent for. On his arrival in Amritsar, he recited extempore a fourth stanza expressing his joy at returning to the presence of the Guru. Some believe that this fourth stanza was composed when Arjan was formally installed as Guru by his father, for he could not have used it until then.
The second hymn, by Guru Nanak, has been taken from Raga Dhanasri. It is an invocation to God, the Merciful, who is the Liberator of all and by whose favour alone men turn to Him. To remain attached ever to His Name is the gift sought by the true devotees.
The next two hymns, also by Guru Nanak, are from Raga Tilang. The first of these exalts those who absorb themselves in God’s Name. Thus is maya—or illusion—ended; thus one realizes oneself and attains union with the Divine. The image used to describe this ultimate state of union is that of husband and wife.
In the hymn following, the emphasis is on love and surrender which, according to Guru Nanak, are the ultimate means of attaining discernment and release. Devotion, freedom from greed and attachment, and obedience to the Divine Will are the virtues repeatedly applauded. The fifth hymn is again of Guru Nanak’s composition and occurs in Raga Suhi. It consists of four stanzas with a deeply mystical strain.
Its theme is the illimitableness, ineffability, and all-pervasiveness of God. The last two hymns, again by Guru Nanak, are from Raga Bilaval, each having four stanzas. Both are in praise of God, the Creator, who is infinite, ineffable, and unknowable. His will prevails in the world.
His Word is the music which the seers hear in their moments of ecstasy. By His grace one attains the vision unattainable. Words like “chatrik” and “sararig,” which in Indian poetic tradition symbolize the lover’s longing for the beloved, have been used in these hymns to describe the devotee’s love for the Lord. Likewise, use has been made of some mythological terms as well.
For instance, the word “kaljug” (the dark age of vice and strife) signifies the pangs of separation. The word “maya” (illusion) refers to the transience and allure of worldly attachments and carnal pleasures. On the whole, this is a collection of seven devotional hymns. They are recited in intensely emotional and spiritual terms, celebrating the glory of God, who is the source of love, compassion, and grace.
The yearning of the human soul for the Divine and the means to attain union with Him have found expression in homely, but striking, images and symbols. The language of these sabads is Punjabi, with a mixture of vocabulary and, at places, even of the grammatical constructions of Sadh Bhasa.
References:
- Sabadarth Sri Guru Granth Sahib. Amritsar, 1975
- Sardul Singh, Giani, Nit Neni Satik. Amritsar, 1945
- Narain Singh, Giani, Panj Granthi Satik. Amritsar, n.d.
Below is an in‐depth exploration of the meaning behind the Shabad Hajare Hymns, a distinctive collection of seven sabads drawn from the Guru Granth Sahib that has come to embody a dual emotional and spiritual message in Sikh devotional practice.
A Dual Connotation: Separation and Presence
- Etymological Nuance:
The term “hajare” (or “hazare”) is not explicitly found in the Guru Granth Sahib but has been adopted in later breviaries. It may derive from the Arabic “hijr” (separation) or “hazir” (present). This duality is central to these hymns: on one level, they capture the soul’s deep pangs of separation from the Divine—a lingering sense of longing and loss. On another level, they remind the devotee that God is ever-present, imbuing every moment with the potential for divine communion.
Historical and Devotional Context
- Arrangement for Daily Recitation:
Although the title “Shabad Hajare” is not found within the canonical text, these seven sabads have been grouped together for daily recitation in gutkas. Positioned immediately after the Japji, they serve as an accessible and emotionally charged supplement to the central prayers of Sikh practice. - Authorship and Musical Setting:
The first hymn, by Guru Arjan and drawn from Raga Majh, is rendered as a chaiipada (a form comprised of four stanzas). It encapsulates personal emotion and historical memory—allegedly recounting letters written by young Arjan to his father, Guru Ram Das—imbuing the hymn with autobiographical depth. The subsequent hymns, composed by Guru Nanak, employ various ragas (such as Dhanasri, Tilang, Suhi, and Bilaval) to express themes of divine longing, surrender, and the transformative power of meditation on God’s Name.
Themes of Divine Yearning
- The Pain of Separation:
Drawing on the idea of hijr, these sabads vividly articulate the heartache of being apart from the Divine. The imagery often evokes the life of a lover waiting for the beloved—each verse functioning as an outpouring of the soul’s deep desire for reconnection. The pain of separation is portrayed not as a negative state but as a catalyst that drives the transformation of the inner self. - The Ever-Present Divine:
Conversely, the sabads also celebrate the concept of God’s omnipresence (hazir). Even amid the intense longing, there is an underlying assurance that the Divine is accessible at all times. This dual message offers hope: while the soul may feel the sting of separation, it is never truly isolated. Constant remembrance (Simran) of God’s Name enables the devotee to feel His presence continuously, thereby transforming longing into spiritual fulfillment. - Surrender, Love, and Union:
A repeated metaphor within these hymns likens the union of the devotee and the Divine to the intimate relationship between husband and wife. In this imagery, the soul (the bride) does not remain in perpetual sorrow if it can glimpse or embrace the love of the Divine (the Beloved). The sabads underscore that through love, surrender, and inward meditation, one overcomes the allure of maya (illusion) and attains union with the Supreme, dissolving the pain of separation.
Spiritual Implications and Devotional Practice
- Transformative Longing:
Rather than suggesting that separation is to be endured passively, the Shabad Hajare Hymns call devotees to channel their yearning into a dynamic process of inner transformation. The emotional intensity becomes the fuel for devotion, urging the seeker to meditate on God’s Name and thereby convert sorrow into a joyful encounter with the Divine. - A Call to Remembrance:
The sabads serve as both a reminder and a guide. They evoke the sacred habit of constant remembrance of the Divine—promoting the idea that when one’s heart is set on God, even the grief of separation transforms into a profound sense of His ubiquitous presence. - Integration in Daily Worship:
Due to their accessibility and emotional depth, Shabad Hajare has found a lasting place in Sikh daily recitation. They work to keep alive a sense of personal longing (and eventual fulfillment) that resonates with the universal quest for spiritual liberation, thereby complementing the central themes of the Guru Granth Sahib. Concluding Reflections
The Shabad Hajare Hymns reveal an enduring truth of the spiritual journey: the soul’s earnest longing—whether felt as separation or as the vibrant awareness of the Divine’s presence—is the path to transformation. They encapsulate the paradox that in wanting the Divine, one simultaneously experiences absence and fullness. By meditating on God’s Name, the devotee bridges this divide, turning the ache of separation into the bliss of union.
