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{{History of literature5}}
'''[[Doha (poetry)|Doha]]''' is a lyrical verse-format which was extensively used by [[Indian people|Indian]] [[poets]] and [[bards]] of North India probably since the beginning of the 6th century AD. Dohas of [[Kabir]], [[Tulsidas]], [[Raskhan]], [[Rahim]] and the dohas of [[Nanak]] called Sakhis are famous. [[Satasai]] of [[Hindi (language)|Hindi]] poet, [[Bihari (poet)|Bihārī]], contains many dohas. Dohas are written even now.

==Background==

'''[[Doha (poetry)|Doha]]''' is a very old "verse-format" of [[Indian poetry]]. It is an independent verse, a [[couplet]], the meaning of which is complete in itself.<ref>{{cite book|title=the Sants:Studies in a Devotional Tradition of India|author=Karine Schomer|year=1987|publisher=Motilal Banarsidass|page=62|isbn=9788120802773|url=https://books.google.com/books?id=OkKhOivXrhgC&q=Doha+%28Indian+Literature%29&pg=PA62}}</ref> As regards its origin, [[Hermann Jacobi]] had suggested that the origin of ''doha'' can be traced to the Greek Hexametre, that it is an amalgam of two hexametres in one line. This format had found favour with the [[Abhiras]] or [[Ahir]]s who had greatly encouraged its use, the Abhiras belonged to [[Gandhara]] region now in Pakistan. Jacobi's theory rests on the premise that the Indians possessed a translation of [[Homer]]'s works as asserted by [[Dio of Alexandria]].<ref>{{cite book|title=A history of Sanskrit Literature|author=Arthur Berreidale Keith|year=1993|publisher=Motilal Banarsidass|page=370|isbn=9788120811003|url= https://books.google.com/books?id=GNALtBMVbd0C&q=Doha+%28Indian+Literature%29&pg=PA370}}</ref> Therefore, for a very long time the Doha verse-format was popularly used in [[Gujarati language|Gujarati]], [[Rajasthani language|Rajasthani]] (Duha), [[Maithili language|Maithili]], [[Marathi language|Marathi]] and [[Hindi languages|Hindi]] folk and modern literature of [[India|North India]] and in [[Sindhi language|Sindhi]] (Doho) literature of [[Pakistan]]. The word ''Doha'' is supposed to have derived from the [[Sanskrit]] words ''dogdhaka'', ''dvipadi'', ''dvipathaka'' or ''dodhaka'' that are all Sanskrit couplet forms; it is also known as ''duhaviya'' in [[Apabhraṃśa]] to which the earliest reference is in ''Vikramorvashiyam'' <ref>{{cite book|title=A Dictionary of Indian Literature|author=Sujit Mukharjee|year=1998|publisher=Orient Blackswan|page=99|isbn=9788125014539|url=https://books.google.com/books?id=YCJrUfVtZxoC&q=Doha+%28Indian+Literature%29&pg=PA99}}</ref> of [[Kalidasa]]. Dohas have also been found written and cited in a stray manner in older languages such as [[Prakrit]] and [[Pali]]. They are quotations of worldly wisdom. In ''Duhasuktavali'' it is said that doha should be quoted where talented persons have gathered.

''[[Doha (poetry)|Doha]]'' (''[[Apabhraṃśa]]'') is a particular kind of Apabhraṃśa metre of popular origin that was cultivated by many Apabhraṃśa saints – poets and bards owing to its lyrical qualities, and who gave birth to the Doha – sahitya i.e. Doha-literature. Dohas in Sant literature are known as Sakhis.A doha has two lines, each having 13+11 morae (6+4+3) + (6+4+1) and with its last words ending in a rhyme; it is one of the shortest quantitative metres of Hindi literature. This format has been employed freely since 6th century AD and are seen quoted by Svayambhudeva (circa 800 AD) in his ''Paumachariu'' and ''Harivamshapurana'' and by [[Acharya Hemachandra|Hemchandra]] (1088–1172) of [[Patan (Gujarat)]] in his ''Siddhahema shabdanushashna'', a work on grammar of [[Sanskrit]], [[Prakrit]] and [[Apabhraṃśa]]. The great saint-poet [[Gorakhnath]] (809–849) for his ''Gorakh-bani'' and the great poet Pushpadanta (959–972) of [[Manyakheta]] for his epics ''Mahapurana'', ''Nayakumara-chariu'', ''Adipurana'', ''Jaisahara-chariu'' and ''Uttarapurana'' chose this particular format.

==Compositions==

There was a tradition of composing stray verses in Doha metre, more popular in North India it was popularised through contributions made by the [[Jainism|Jainas]], the [[Brahmins]] and the [[Muslims]] as is seen in [[Epic (genre)|epic]], [[Rasa (aesthetics)|rasa]] and [[didactic]] type of literature. Topics in this literature include eroticism, valour, quietude, morality, common life, eventful scenes, of nature, sayings and proverbs. Some main literary works of the period from the 8th to 13th centuries are ''Sarasvatikanthabharana'' and ''Shringaraprakasha'' of [[Bhoja]], ''Kavyalankara'' of Rudrta, ''Prakritavyakrana'' of Hemchandra, ''Prakritapaingalam'' and ''Neminathachariu'' of [[Haribhadra]], ''Kumarapalapratibodha'' of Somaprabha, ''Prabandhachintamani'' of Merutanga, ''Sandeshrasaka'' of Abdul Rahman.

Religious doha-literature was composed by Buddhists, Jainas and Shaivas which was both, spiritual and moralist. The spiritual doha-literature is devoid of artificial style and is mystico-religious in which symbols are employed and importance of teacher-preacher is emphasised; its authors were saints first and poets afterwards. Its poetic value though not high was sincere in feelings and emotions. [[Natha]], Santa, [[Sahaja|Sahajiya]] and [[Vaishnava]] schools were then very popular.

==Buddhist contribution==

It is traditionally held that Bauddha-dohas were composed by the eighty-four Bauddha Siddhas. Buddhist or bauddha-dohas of [[Saraha|Sarahapa]] (760–806), Sabarapa, Luipa, Darikapa, Kanhapa and [[Śāntipa]], all belonging to the period from the 8th to 12th centuries, are of two types – a) that which establishes and explains sectarian teachings and philosophy, and b) that which criticises [[Rituals]], [[Tantra|tantricism]] and [[Mantra|mantravada]]; both represent two modes viz., ''[[Vajrayana]]'' (thunder-bolt) describing spiritual states and experiences, and ''[[Sahaja]]yana'' (natural and easy) preaching purification of life and criticise Hindu and Jaina practices,

==Jaina contribution==

Jaina doha-literature mainly deals with spiritualism and the supreme self, internal purification, control of the mind and the senses and opposes external ritualism, charms, tantricism, worship of deities and scriptures. Some important Jaina works are ''Pramatamaprakasha'' and ''Yogasara'' of Joindu Yogindra, ''Prabhritadoha'' of Ramasimha, ''Vairagyasara'' of Suprabhacharya and ''Dohaprabhrita'' of Muni Mahachandra. Didactic dohas of Jainas preach the need to raise the moral standard of life, lay stress on duties and obligations, charity etc., ''Shavakadharmadoha'' of Devasena of [[Dhar]] (9th century AD) and ''Sanjama-manjari'' of Maheshvarasuri belong to this kind.

==Brahmanical contribution==

Brahmanical doha-literature is available in ''Tantrasara'' and ''Pratrimshikavrriti'' of [[Abhinavagupta]] which are Sanskrit texts on Kashmiri Shaivism.

==Hindi dohas==

Hindi doha is ''matrik-ardha-sama-chhanda'' metre and have odd and even feet of the same rhythm but the attempt to find a proper identification of the rhythm is evident in all works from ''Chhandamala'' of Keshavdas (1557–1637) to ''Chhanda-prabhakara'' of Jagannathprasad Bhanu (1859–1945). Hindi doha-literature is marked by ''Pahur-doha'' of the Jain-muni Ram Singh, ''Bhaviayatt-kaha'' of Dhanapala, ''Sandesha-rasaka'' of Abdul Rahman and ''[[Prithviraj Raso]]'' of [[Chand Bardai]], and later by works of [[Amir Khusrow|Khusro]], [[Kabir]], [[Tulsidas]], [[Nanak]], [[Dadu Dayal]], Malukdas, [[Malik Mohammad Jayasi]], [[Raskhan]] and [[Abdul Rahim Khan-I-Khana]]. Kabir and Tulsidas used the Maithili doha metre,<ref>{{cite book|title=Encyclopaedia of Indian literature:devraj to jyoti|author=Amresh Datta|year=1988|publisher=Sahitya Akademi|page=1057|isbn=9788126011940|url=https://books.google.com/books?id=zB4n3MVozbUC&q=Doha+%28Indian+Literature%29&pg=PA1057}}</ref> and the great Chishti Sufi shaykh of the thirteenth century Baba Farid (Farid ud Din Ganj-i Shakar; d. 1265) is widely remembered today for his Punjabi dohas.

==Sindhi dohos==

Doha or Doho is an important part of [[Sindhi literature]]. M.Jotwani had traced the Arabic two-lined ''[[Beit]]'' to the likes of ''doha'', ''baro doha soratha'' and ''tunveri duho''.<ref>{{cite book|title=A History of Indian Literature Vol.9|author=Anniemarie Schimmel|year=1974|publisher=Otto Harrassowitz|page=5|isbn=9783447015608|url=https://books.google.com/books?id=oMhmKS73XtIC&q=Doha+%28Indian+Literature%29&pg=PA5}}</ref> The main strain of Sindhi literature has been [[Sufism|Sufi]]-[[Vedantic]] poetry in the form of ''doha'' or ''beit'' that could be sung.<ref>{{cite book|title=Modern Indian Literature, an Anthology|author=K.M.George|year=1992|publisher=Sahitya Akademi|page=371|isbn=9788172013240|url=https://books.google.com/books?id=m1R2Pa3f7r0C&q=Doha+%28Indian+Literature%29&pg=PA371}}</ref>

==References==
{{reflist}}

[[Category:Indian literature]]
[[Category:Hindi-language literature]]
[[Category:Sindhi literature]]

Doha (Indian literature) - Revision history

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