Suraj Prakash

The Suraj Prakash is written in Braj Bhasha language in Gurmukhi script, with significant use of Sanskrit words.[7] Generally when spoken about it includes the author's previous work on Guru Nanak, the Nanak Prakash (1824). In total the text has 1281 chapters spread across twenty two sections.[8] Jvala Singh explains and comments on the structure of the text:

"As written by Santokh Singh, when including the sections related to Guru Nanak in the Nanak Prakāsh (1824), the entire collection is constructed in twenty two sections, Guru Nanak’s portions called the sun rise and sun set, pūrabāradh and uttarāradh, Guru Angad to Guru Tegh Bahadur are located within sections called the twelve rāśī, zodiac signs, and Guru Gobind Singh’s sections within the six seasons, che rutān, and two solstices, do ayan, with each chapter within these sections called aṇshū or sunray. Titled the Gurpratap Suraj Granth, the Sun-like-Illumination of the Guru’s Glory, the structure’s micro to macro expansion of the solar experiences represents a continuity between the Gurus themselves via changing forms and manifestations."[9]

Structure

Section	Guru
Nanak Prakash (sunrise & sunset )	Guru Nanak Dev Ji
Raas 1-12 (twelve zodiac signs)	Guru Angad Dev Ji to Guru Tegh Bahadur
Rut 1-6 (six seasons)	Guru Gobind Singh
Ayan 1-2 (summer & winter solstice)	Guru Gobind Singh

Kavi Santokh Singh constructs his text by utilizing a broad range of source material including:[10][11]

• Guru Granth Sahib
• Dasam Granth
• Writings of Bhai Gurdas
• Janamsakhis
• Writings associated with Bhai Mani Singh:
  • Sikhan Di Bhagatmala
  • Gurbilas Patshahi 6
  • Gurbilas Patshahi 10
• Mahima Prakash
• Sau Sakhi of Ram Koer

Above all, Kavi Santokh Singh writes that he has written the history according and pursuant to Guru Granth Sahib - ਗ੍ਰੰਥ ਅਨੁਸਾਰ ਕਥਾ ਮੈਂ ਰੀਤਾ (I have written these stories according to the Guru Granth).[12]

By the 1880s the text had received widespread appraisal and became the foundation, "go-to" source, to draw from.[13] The renown Patna Sahib Mahant and Braj poet, Sumer Singh (1847-1903), writes, “[T]here is no other text which is equivalent, understand it as the treasure trove of the guru’s praise, the exalted Santokh Singh received great admiration for creating this vessel to liberate all the Singhs”.[14] However according to W. H. McLeod the Suraj Prakash contains "somewhat higher proportion" of Sikh history, but it is mostly ahistorical mythology and untrustworthy source of Sikh history.[2][15] Max Arthur Macauliffe extensively but selectively used the Suraj Prakash, in cooperation with Kahn Singh Nabha, for his six-volume The Sikh Religion series that presented Sikh scriptures and history to the Western world in early 20th-century.[2] While Macauliffe used it extensively in his Sikh Gurus and history sections, he added that the Suraj Prakash is of doubtful trustworthiness, because the education and heritage of its author Santokh Singh was "largely tinctured with Hinduism".[2][16] Vir Singh however notes that Suraj Prakash essentially became the foundation for historical texts written in the late 19th and early 20th centuries:

"The writers, namely Baba Banesha Singh Ji Bedi specifically took from this text [Sūraj Prakāsh] to write his Gur Nanak Sūrayodai. Giani Gian Singh took so much from this text that his first portion of his historical text has the second name of Vārtik Sūraj Prakāsh. Pandit Giani Bhai Hazara Singh Ji wrote and published a brief of the text named Sūraj Prakāsh Cūrṇakā. From reading the works of Baba Prem Singh it’s clear that their text is also based on this text, and its clear countless other authors have written small texts based on this text [Sūraj Prakāsh]. Khalsa Tract Society has also taken from this source, along with other research, created Punjabi literature. Maccaulfie did look into other sources and research but his main source was this text. Khursaid Khalsa in Urdu also took from this text. Khursaid also means Sūraj [sun]. Other poets who would write in baitan or lovely chand metres have taken from this text and continue to do so."[17][18]

Illustrations on both sides of a page depicting Guru Tegh Bahadur and Guru Gobind Singh from the "Gur Pratap Suraj Granth", printed copy, ca.1884

Suraj Parkash is a popular text in the Sikh community, profusely poetic, and it is sometimes recited in a katha form.[2] Vir Singh in his introduction to his printed publication of Suraj Prakash writes:

“In Gurdwaras, Deras, Dharamsalas, courts and in houses, the katha spread so widely and many copies of this text spread and became established in Gurdwaras. In the late afternoon a tradition started in villages and cities where people would go to Gurdwaras to listen to this katha. This tradition remained alive and withstood the grasp and effect from the Singh Sabha movement”.[19]

Scholars such as W. H. McLeod and Max Arthur Macauliffe found fault in the text due to mythological components. Others viewed the material included as Vedantic doctrines of Udasis and Nirmalas.[2][20] The text also incorporates some ideas of the Hindalis considered heretical by Khalsa Sikhs. According to Pashaura Singh this may have been the result of the traditional Sikh schools in Amritsar of the 18th– and 19th–century including Vedanta with standard Sikh teachings.[2] The text since McLeod and Macauliffee's critique has been understudied; Anne Murphy writes, "this is not a text that has been used a great deal by historians, probably due to its reputation for being “Hinduized”— somewhat unfairly, perhaps, given the prevalence of “mythological” elements within other comparable texts that are referred to more often."[21] Bhai Vir Singh remarks that the mythology and Puranic references within Suraj Prakash are utilized as metaphors, in a way to explain the deeds, role, and powers of the Gurus.[22][23] Bhai Vir Singh writes that in the context of texts related to spiritual personalities, like the Gurus, stories including miracles (karāmāt) are used to "open the locks of the heart" of the listener/reader, in a way that purely scientific historical literature could not do.[24][25]

The text has been criticized as being "Hinduized", however it clearly articulates the Khalsa as the 'Third' (ਤੀਜਾ / ਤੀਸਰ ਪੰਥ), distinct from the Hindu and Turk (Islamic) duality.[26] The confusion pertains to 18th century texts like Gurbilas as well, Murphy notes the problem related to context:

"we can see in eighteenth century Punjabi Brajbhasha texts that express Sikh communitarian perspectives that Sikhs were contained within a sense of ‘Hindu’ in broad contrastive terms, at the same time that Sikh positions were portrayed as representing a clearly separate religious/cultural tradition alongside other traditions that were portrayed as similarly distinct (some of which are now included under the umbrella term ‘Hindu’) "[27]

Suraj Parkash was first edited by Vir Singh 1926-1935 in 14 volumes, with Punjabi footnotes.[28][2][29] Jvala Singh in his work argues that Vir Singh’s publication of the text in 1935, safe guarded the text from attack by iron-cladding the text within a western critical apparatus[30] The critical apparatus included a lengthy 250 page introduction, explanatory footnotes, and additional historical resources supplementing the text, softening the attacks and shaping the audience's expectations, reactions and modes of appreciation of the text. Jvala Singh suggests Vir Singh is pushing back against Max Arthur Macauliffe and other Singh Sabha intellectuals who attack the text and author.[31]

The Suraj Prakash is currently being translated in a podcast format by Jvala Singh on the Suraj Podcast, which is a chapter by chapter translation and summary.[32][33]

• Panth Parkash
• Twarikh Guru Khalsa
• Mahan Kosh

• Bhai Daya Singh Library
• Suraj Prakash Granth Translations
• Suraj Podcast