The Guru Granth Sahib contains several compositions built on units of time: two on the twelve months of the year, one on the days of the lunar month, one on the days of the week. Taken together they amount to a sustained position, made structurally rather than stated.
The surrounding religious culture assigned qualities to times. Certain lunar days were auspicious and others were not; certain months and certain weekdays were fit for particular acts and unfit for others; almanacs existed to tell people which. This was not a fringe practice but a routine part of arranging a life, and it carried a professional class who read the calendars for a fee.
A composition that takes each day in turn and finds the same thing to say about every one of them dismantles the scheme without arguing against it. The form is the argument: by the fifth stanza the reader has understood that the answer will not change, and the frame has been used up.
The seasonal poems work differently and are the more affecting of the two kinds. There the year is real, the seasons do change, the rains do come and the winter does bite, and what stays constant is the condition of a person separated from what they love. The calendar is granted its power over the world and denied any power over that.
Both devices depend on the reader knowing the frame beforehand, which the original audience did.