Sri Charitropakhyan

An analysis of the writings of
Sri Guru Gobind Singh Ji
Prabhjot Singh
Word format sewa : Gurinder Singh Mann (UK)
Table of Contents
[Part 1]Charitropakhyan - Introduction and Analysis of Charitar No.1 - Chandi
Charitar .......................................................................................................................................... 3
[Part II] Charitropakhyan - Analysis of Charitars 2 - 16..................................................... 13
[Part III] - Analysis and Clarifications of Charitar 21-23 - (A)noop Kaur ....................... 20
[Part IV] Charitropakhyan - Analysis and Clarifications of Charitars 25 -403 .............. 28
[Part V] Charitropakhyan - Analysis and Clarifications of Sri Sabudh Baach (Charitar
No. 404) ........................................................................................................................................ 41
Summary of the Charitars ........................................................................................................ 47
Acknowledgements and further information ...................................................................... 48
Waheguru Ji Ka Khalsa
Waheguru Ji Ki Fateh Guru Roop Sangat Jeo,
As we all know, there have been a lot of misconceptions and negativity being spread
about this Composition of Sri Dasam Granth Sahib Ji. It is my sincerest hope that the
following article will help to clear some of these misconceptions and doubts that
Darshan lal and his band of followers have been propagating in the Panth. I would
urge everyone, including sisters, to kindly have a read because Charitropakhyan is
definitely not what is made out to be and is no way against womanhood. In this
article, i have borrowed almost exclusively from Dr. Habhajan Singh Ji's book, with
few additions from Gyani Narain Singh Ji's Steek. If this Kirpa of Guruji continues, he
will surely take the next seva too. Thank you for reading this, now on to the article.
Prabhjot Singh
Part 1Chari tropakhyan - Introducti on and Anal ysis of
Charit ar No.1 - Chandi Chari tar
This composition of Sri Dasam Granth - completed at Sri Anandpur Sahib in Bikrami
1753 (1696 AD) - is the most loathed work by this Granth’s adversaries. It mainly
describes the characters of females trapped in pursuits of pleasure; although there
are few descriptions of male characters too. The primary sources of these Charitars
are the Mahabharata, stories from Puranas, Brihat Katha, Saritasagar Katha, Alif
Laila, and Katha Granths etc.; but they also contain famous religious, social and
historical tales from local and international places. These stories are associated with
kings and queens, prince and princesses, wealthy people, sadhus and sanyasis,
prostitutes, etc.; with mostly amatory stories being prominent. There is a moral
message, in one form or another, attached with each of these stories; a message that
is universally applicable to entire mankind. Those who are skeptical of Sri Dasam
Granth believe that, because indecent language flows in this composition, it cannot be
work of Guruji. They consider it to be work of Shaakat poets (worshippers of Maya),
because it is their belief that it includes Shaakatpanthis characteristics of
engrossment in Maya. Although scholars like Bhai Kahn Singh ‘Nabha’ do not doubt
that it is the work of Guruji, they believe that, in the debate that followed within the
Panth after the compilation of Banis in Sri Dasam Granth by Bhai Mani Singh Ji, some
Sikhs were of the view that since it is difficult to read this Bani amongst mothers and
sisters, it should be left in a separate pothi so that while responsible individuals can
read and recite such Banis, wider Sangat does not get to face any moral difficulties of
doing its paath. Even though the author of this Bani has not divided it into sections,
we could divide it in logical categories for our purposes of in-depth critical analysis
and disquisition.
This Bani begins in the following manner:
ੴ ਸ ੀ ਵਾਿਹਗੁਰੂ ਜੀ ਕੀ ਫਤਿਹ
ਸ ੀ ਭਗੌਤੀ ਏ ਨਮ। ਅਥ ਪਖਯਾਨ ਚਿਰਤ ਿਲਖਯਤੇ । ਪਾਤਸਾਹੀ ੧੦।
For the sake of convenience of our readers, we take the liberty of dividing this Bani as
1. It begins with ‘Chandi Charitar’ comprising of 48 verses, in which the Devi has been
2. In the second part, ministers of King Chitr Singh tell him 402 different tales of
crimes originating from sexual desires (Kaam), so that the dreadful veil of kaam
could be lifted from his mind.
3. After 403 tales, there is a composition called ‘Sabudh Baach’ in which ‘Baala’ and
‘Kaal’ clash with demons.
4. In the end, there is the ever popular ‘Kabeyo Baach Benti’ (Hamri Karo Haath Dai
A brief analysis of the above four categories can help in clearing many
misconceptions about this work:
In 48 verses, the character of ‘Chandi’ has been described, but here Chandi is not a
revered Devi of Hindu or any Tantric faith. Chandi is that force of Akal Purakh which,
from the beginning of time, has been active in destroying impious forces. This force is
also the sword, and also the blade. It is one such sword, the rein of which is diverse
and widespread even in far off lands, in all four corners; therefore, it is inappropriate
to group and limit this maternal-force to India and its religions. It is Jogmaya (the
force with which the universe is created), Saraswati (the Devi of knowledge) and
mighty Bhawani. It has brought about the existence of Brahma, Vishnu, and Mahesh,
as per the following:
In 48 verses, the character of ‘Chandi’ has been described, but here Chandi is not a
revered Devi of Hindu or any Tantric faith. Chandi is that force of Akal Purakh which,
from the beginning of time, has been active in destroying impious forces. This force is
also the sword, and also the blade. It is one such sword, the rein of which is diverse
and widespread even in far off lands, in all four corners; therefore, it is inappropriate
to group and limit this maternal-force to India and its religions. It is Jogmaya (the
force with which the universe is created), Saraswati (the Devi of knowledge) and
mighty Bhawani. It has brought about the existence of Brahma, Vishnu, and Mahesh,
as per the following:
ਤੁ ਹੀ ਖੜਗਧਾਰਾ ਤੁਹੀ ਬਾਢਵਾਰੀ ॥ ਤੁਹੀ ਤੀਰ ਤਰਵਾਰ ਕਾਤੀ ਕਟਾਰੀ ॥ ਹਲਬੀ ਜੁਨਬੀ ਮਗਰਬੀ ਤੁਹੀ ਹੈ ॥ ਿਨਹਾਰੌ ਜਹਾ ਆਪੁ ਠਾਢੀ ਵਹੀ ਹੈ ॥੧॥
ਤੁ ਹੀ ਜੋ ਗ ਮਾਯਾ ਤੁਸੀ ਬਾਕਬਾਨੀ ॥ ਤੁਹੀ ਆਪੁ ਰੂ ਪਾ ਤੁ ਹੀ ਸ ੀ ਭਵਾਨੀ ॥ ਤੁਹੀ ਿਬਸਨ ਤੂ ਬ ਹਮ ਤੂ ਰੁ ਦ ਰਾਜੈ ॥ ਤੁ ਹੀ ਿਬਸ ਮਾਤਾ ਸਦਾ ਜੈ ਿਬਰਾਜੈ
ਤੁ ਹੀ ਦੇ ਵ ਤੂ ਦੈਤ ਤੈ ਜਛੁ ਉਪਾਏ ॥ ਤੁਹੀ ਤੁ ਰਕ ਿਹੰਦੂ ਜਗਤ ਮੈ ਬਨਾਏ ॥ ਤੁਹੀ ਪੰਥ ਹ ੈ ਅਵਤਰੀ ਿਸ ਸਿਟ ਮਾਹੀ ॥ ਤੁਹੀ ਬਕ ਤ ਤੇ ਬ ਹਮ ਬਾਦੋ ਬਕਾਹੀ
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) – ਹੇ ਭਗੌਤੀ l ਤੂਹੀ ਿਸਧੀ ਤਲਵਾਰ ਦੀ ਧਾਰ ਏਂ ਅਤੇ ਤੂਹੀ ਟੇਢੀ ਤਲਵਾਰ ਏਂ । ਤੂਹੀ
ਤੀਰ, ਤਲਵਾਰ ਕਾਤੀ ਅਤੇ ਕਟਾਰ ਏਂ । ਤੂਹੀ ਾਮ ਦੇ ਦੇ ਿਹਰ ਹਲੱਬ ਦੀ ਬਣੀ ਹੱਲਬੀ ਤਲਵਾਰ ਏ ਂ ਅਤੇ ਪੱਛਮੀ
ਦੇ ਦੀ ਤਲਵਾਰ ਏ ਂ । ਿਜਧਰ ਵੀ ਮ ਵੇਖਦਾ ਹ ਉਥੇ ਤੈਨੂ ੰ ਿਬਰਾਜਮਾਨ ਪਾ ਦਾ ਹ ॥੧॥
ਹੇ ਭਗੌਤੀl ਤੂਹੀ ਜੋਗ ਮਾਇਆ, ਸਰਸਵਤੀ, ਿਵਕਰਾਲ ਰੂਪ ਅਤੇ ਭਵਾਨੀ ਏਂ । ਤੂਹੀ ਿਵ ਨੂ ੰ , ਬ ਹਮਾ ਅਤੇ ਿਵ ਵਮਾਤਾ
ਦੇ ਰੂਪ ਿਵਚ ਸਦਾ ਿਬਰਾਜਮਾਨ ਏਂ ॥੨॥
ਤੂਹੀ ਦੇਵ, ਦਾਨਵ, ਰਾਕ, ਤੁਰਕ ਤੇ ਿਹੰਦੂ ਇਸ ਸੰਸਾਰ ਿਵਚ ਪੈ ਦਾ ਕੀਤੇ ਹਨ । ਤੂਹੀ ਸੰਸਾਰ ਿਵਚ ਵੱਖ ਵੱਖ ਮਾਰਗ
ਦੇ ਰੂਪ ਿਵਚ ਆਈ ਏਂ ਅਤੇ ਤੂ ੰਹੀ ਪ ਭੂ ਦੇ ਨ ਦੀ ਚਰਚਾ ਕਰਨ ਵਾਲੇ ਲੋ ਕ ਨੂ ੰ ਪੈਦਾ ਕੀਤਾ ॥੩॥
In above verses, we can see that this force manifests itself as the source of creation of
not only numerous Devis but also the three main Devtas. In no way it is a Devi of
Hindu faith, for it is the creator of this entire universe and also of people of different
faiths and beliefs. Not only that, the spread of different faiths and religions is its own
expansion. All those who live in remembrance of Akal Purakh are created by this very
force. It has got extremely horrific appearance and it is also like an extremely
beautiful, virgin girl. These paradoxical forms presented above are worth
contemplating on. Here, instead of being a Devi, the source of creation, or the Primal
Force, it takes on the form of a female. The protagonist of 403 Charitars is a nymph of
ugly proportions whereas the protagonist ‘Baala’ of ‘Sabudh Baach’ is pure and chaste
girl that is decorated with pure qualities; she is someone whose chastity can never be
violated. This virtuous ‘Baala’ takes the position of ‘Kaur’ in Sikh faith. It is a mistake
to call ‘Kaur’ princess of the Guru. The word ‘Kaur’ (ਕੌਰ) is derived from ‘Kunwar’
(ਕੁ ੰਵਿਰ), which means ‘A chaste female’ i.e. a female whose purity remains intact
forever. Thus, its ugly form is associated with a nymphomaniac, while its beauty is
associated with high moral character.
The Chandi of Charitropakhyan is the source of creation, the Devi, the force of Maya,
slayer of demons in the form of deadly weapons, and in the form of cultured and
virtuous woman too. Not only it is the destroyer of demons like ‘Sumbh-Nisumbh’,
‘Chand-Mund’, ‘Rakhatbeej’, etc.; it also is the source of the enunciation of all four
Vedas. This primal force is also the creator of all struggles and conflicts in this world.
It manifests as ‘Narsingh’ and destroys the demon ‘Harnakash’. This force also takes
on the form of brave men and courageous women. It is creator of this universe and
also its destroyer. It takes on the form of Ram in order to destroy ‘Ravana’ and it also
takes on the Avatar of Krishna for the destruction of demon ‘Kans’. In these
situations, it does not remain the primal force of Shaakats and Tantriks; instead it
emerges as the constructive force of Akal Purakh Waheguru Ji, the mention of which
appears in ‘Anand Sahib’ Bani of Sri Guru Granth Sahib Ji Maharaj:
ਿਸਵ ਸਕਿਤ ਆਿਪ ਉਪਾਇ ਕੈ ਕਰਤਾ ਆਪੇ ਹੁ ਕਮੁ ਵਰਤਾਏ ॥
Similarly, there is also mention of this force in Guru’s Arjan Dev Ji’s Bani ‘Maaru Di
Vaar’. Here, we are told of Waheguru Ji’s dominance and command over this force of
creation. In ‘Devi Bhagvat Puran’ too, the Devi is the force of creation – ‘Namō Devai
Parkaritai’ (ਨਮੋ ਦੇਵਯੈ ਪ ਿਕ ਤਯੈ). In reality, the Devi of Hindu Shaastras is both the force
of ‘Sankhai Shaastar’ as well as the force of God. It is present as the force of Maya of
God, above the forms of wife of Devtas and those of numerous Devis. This quote from
‘Devi Bhagvat Puran’ verifies the above stated fact - “Brahma asked: ‘Are you male or
female?’ To this, Devi replied: ‘The One and Only truth is Brahm, there is no
difference between us. Whatever He is, I am that. Due to ignorance, people
differentiate between me and Him. Only that Brahm is supreme, He is indestructible
and has been present even before the beginning of time (Snatan). During the process
of creation of this universe, it takes up countless different forms and that is when we
both appear different, like a reflection in the mirror. At the end of the universe, I
cease to exist as a male or female.... “. This Devi, the force of Maya, is definitely
different from the Devi that is worshipped as the wife of Devtas. In some areas of the
Tantric faith, it appears to have superiority over the male or Shiva. According to Sri
Guru Granth Sahib Ji Maharaj however, this force performs its actions as per the
Hukam of Akal Purakh Waheguru:
ਹਾਠਾ ਦੋਵੈ ਕੀਤੀਓ ਿਸਵ ਸਕਿਤ ਵਰਤਾਈਆ ॥
ਿਸਵ ਅਗੈ ਸਕਤੀ ਹਾਿਰਆ ਏਵੈ ਹਿਰ ਭਾਈਆ ॥
(Ang 1096, SGGS Ji)
The girl ‘Baala’ of Charitropakhyan is also shown to perform her actions within the
sweet Hukam of Waheguru, although absolute victory in ‘holy war’ initiated by the
male is depicted to be impossible without ‘Baala’ bursting into the battle scene. To
win over ‘Kaal-Purakh’ in husband form is her penultimate goal. In this case, she is
the soul-bride and Kaal-Purakh Waheguru as husband. In contrast to the indecent
and ignominious union of male and female that was mentioned in the dialogues of
minister ‘Bhoop’, this establishes the male and female union of limitless purity and
pulls mankind out of the sorry state of that disgraceful situation; and even though
narrative style may appear to be different from that of Bani of Sri Guru Granth Sahib
Ji, the similarity in the levels of purity depicted in its final form is unparalleled and
In this first Charitar, that primal force is in the form of Vishnu resting comfortably on
the bed of Shesh-Naag’s coil and that very force is in the form of lion-riding Durga too.
That force is also the red-clothes-wearing Usha (in the form of red colours of Dawn)
i.e. a highly virtuous woman has the capacity to destroy darkness and deliver new
verve and freshness to life. It is also the wearer of white clothes (in the form of bright
light in high skies) and it is also the yellow-colour-clad evening (in the form of pale
yellow light of Dusk). Thus, woman depicts limitless beauty in all three stages of life –
Childhood, Youth and Old age. Without any doubt, this Devi is Guru Gobind Singh Ji’s
vision of utopian virtuous woman, and is totally different from the Devi mentioned in
Puran-Shaasters. These sentiments are in no way different from those depicted in the
verses of universally accepted ‘Akal Ustat’, where Waheguru has been described as
diversified in various forms of Devi:
ਕਹੂ ੰ ਦੇ ਵਬਾਨੀ ਕਹੂ ੰ ਸਾਰਦਾ ਭਵਾਨੀ ਕਹੂ ੰ ਮੰਗਲਾ ਿਮ ੜਾਨੀ ਕਹੂ ੰ ਿਸਆਮ ਕਹੂ ੰ ਸੇ ਤ ਹੋ ॥
In these verses of ‘Akal Ustat’, Waheguru has been referred to as forms of Devi,
because according to Sikh philosophy the force of creation, Maya or primal-force is
nothing but diversification of The Brahm. In reality, upon reading descriptions of
Chandi Charitars at different places of Sri Dasam Granth, it appears as if Guru Gobind
Singh Ji, by saying ‘Only Thou!, Only Thou!’, is describing various forms of Akal
Purakh Waheguru and is seeing Him omnipresent in everything around. The
following verses of ‘Chandi Charitar’ exemplify this state:
ਆਿਦ ਅਪਾਰ ਅਲੇ ਖ ਅਨੰ ਤ ਅਕਾਲ ਅਭੇ ਖ ਅਲਖ ਅਨਾਸਾ ॥
ਕੈ ਿਸਵ ਸਕਤ ਦਏ ਸ ਿਤ ਚਾਰ ਰਜੋ ਤਮ ਸਤ ਿਤਹੂ ੰ ਪੁ ਰ ਬਾਸਾ ॥
ਿਦਉਸ ਿਨਸਾ ਸਿਸ ਸੂਰ ਕੈ ਦੀਪਕ ਿਸ ਸਿਟ ਰਚੀ ਪੰਚ ਤਤ ਪ ਕਾਸਾ ॥
ਬੈ ਰ ਬਢਾਇ ਲਰਾਇ ਸੁਰਾਸੁ ਰ ਆਪਿਹ ਦੇਖਤ ਬੈਠ ਤਮਾਸਾ ॥੧॥
Meaning – The one who is Primal, Infinite, beyond any description, limitless,
deathless, garbles, invisible, and eternal; (who) created Shiv-Shakti, four Vedas, rajo-
tamo-sato three modes of Maya, and pervades in all three worlds; (who) created day
and night, the lamps of Sun and Moon, the whole world and the five elements; (who)
extended enmity and fight between the gods and demons and Himself seated
(separately) watches over it. [The author has made a footnote here stating that original Gurmukhi translation of the
verse presented above is taken from Dr. Rattan Singh Jaggi’s Steek (staunch adversary of Sri Dasam Granth) so that no allegation of
wrong meanings could be levelled against him.]
ਦੋ ਹਰਾ ॥
ਿਕ ਪਾ ਿਸੰਧ ਤੁ ਮਰੀ ਿਕ ਪਾ ਜੋ ਕਛੁ ਮੋ ਪਿਰ ਹੋ ਇ ॥
ਰਚੋ ਚੰਿਡਕਾ ਕੀ ਕਥਾ ਬਾਣੀ ਸੁਭ ਸਭ ਹੋ ਇ ॥੨॥
ਜੋ ਤ ਜਗਮਗੈ ਜਗਿਤ ਮੈ ਚੰਡ ਚਮੁ ੰਡ ਪ ਚੰਡ ॥
ਭੁ ਜ ਦੰਡਨ ਦੰਡਿਨ ਅਸੁਰ ਮੰਡਨ ਭੁ ਇ ਨਵ ਖੰਡ ॥੩॥
Meaning – O Ocean of mercy! If Thy Grace is bestowed upon me, (then) I may
compose the story of Durga and my poetry (Bani) could be the best |2| (whose) light
is shining in the world, (who) is the mighty destroyer of demons like Chand-Mund,
(whose) mighty arms punishes the demons and (who) is the creator of the nine
regions of this universe.
ਸ ੈਯਾ ॥
ਤਾਰਨ ਲੋ ਕ ਉਧਾਰਨ ਭੂ ਮਿਹ ਦੈਤ ਸੰਘਾਰਨ ਚੰਿਡ ਤੁ ਹੀ ਹੈ ॥
ਕਾਰਨ ਈਸ ਕਲਾ ਕਮਲਾ ਹਿਰ ਅਦ ਸੁਤਾ ਜਹ ਦੇ ਖੇ ਉਹੀ ਹੈ ॥
ਤਾਮਸਤਾ ਮਮਤਾ ਨਮਤਾ ਕਿਵਤਾ ਕਿਵ ਕੇ ਮਨ ਮਿਧ ਗੁ ਹੀ ਹੈ ॥
ਕੀਨ ਹੈ ਕੰਚਨ ਲੋ ਹ ਜਗਤ ਮੈ ਪਾਰਸ ਮੂਰਿਤ ਜਾਇ ਛੁਹੀ ਹੈ ॥੪॥
Meaning – It is you Durga, who ferries across the people; you are the redeemer of
earth and slayer of demons. You are the cause of Shakti of Shiva – Parvati, and Shakti
of Vishnu – Lakshami. You are the Rajo-Tamo-Sato qualities essence of which is the
poetry, latent in mind of the poet. You are the philosopher’s stone in the world, which
transforms the iron that it touches into gold.
The same feelings are also seen in ‘Chandi Di Vaar’:
ਖੰਡਾ ਿਪ ਥਮੈ ਸਾਜ ਕੈ ਿਜਨ ਸਭ ਸੈਸਾਰੁ ਉਪਾਇਆ ॥
ਬ ਹਮਾ ਿਬਸਨੁ ਮਹੇ ਸ ਸਾਿਜ ਕੁਦਰਿਤ ਦਾ ਖੇਲੁ ਰਚਾਇ ਬਣਾਇਆ ॥
ਿਸੰਧੁ ਪਰਬਤ ਮੇਦਨੀ ਿਬਨੁ ਥੰਮ ਾ ਗਗਿਨ ਰਹਾਇਆ ॥
ਿਸਰਜੇ ਦਾਨ ਦੇ ਵਤੇ ਿਤਨ ਅੰਦਿਰ ਬਾਦੁ ਰਚਾਇਆ ॥
ਤੈ ਹੀ ਦੁ ਰਗਾ ਸਾਿਜ ਕੈ ਦੈ ਤਾ ਦਾ ਨਾਸੁ ਕਰਾਇਆ ॥
ਤੈ ਥ ਹੀ ਬਲੁ ਰਾਮ ਲੈ ਨਾਲ ਬਾਣਾ ਦਹਿਸਰੁ ਘਾਇਆ ॥
ਤੈ ਥ ਹੀ ਬਲੁ ਿਕ ਸਨ ਲੈ ਕੰਸੁ ਕੇ ਸੀ ਪਕਿੜ ਿਗਰਾਇਆ ॥
ਬਡੇ ਬਡੇ ਮੁ ਿਨ ਦੇਵਤੇ ਕਈ ਜੁਗ ਿਤਨੀ ਤਨੁ ਤਾਇਆ ॥
ਿਕਨੀ ਤੇ ਰਾ ਅੰਤੁ ਨ ਪਾਇਆ ॥੨॥
Meaning – The supreme authority first created Shakti in the form of double-edged
sword; (then) created the entire world. After creating Brahma, Vishnu and Mahesh,
(then) created the play of Nature. (You created) the oceans, mountains and land and
suspended the skies without support of any columns. (You then) created Devtas and
Demons and created strife amongst them. You also created Durga and (through her)
destroyed the demons. Ram Chander received all his might from You, who then killed
Ravana with arrows. Krishna received the strength from You, who threw down Kans
by grabbing his hair. Great sages and Devtas practiced great austerities for many
Yugas, (but out of them) no one could find Your end.
Similar expressions can be seen in the beginning of Raas-Leela (dance and
celebration) episode of ‘Krishnavtar’. It is important to explain here that progression
and social development of women was Sri Guruji’s first priority. At the end of
‘Bachitter Natak’, Guruji gives hint of writing about tales associated with Avtars;
however, he also states that he will write ‘Chandi Charitar’ before ‘Avtar-Leela’. In
‘Raas-Leela’ of ‘Krishnavtar’, the amorous portrayal of Gopis was an inseparable part
in traditional puranic texts, and as such, its mention was crucial for the poet. Before
that description however, Guruji writes about ‘Devi Di Ustat’ (eulogy to woman). The
real puporse of this narrative is to clarify that, although mention of sexuality of Gopis
was crucial, it is not the only facet of woman; rather, her true form is that of a
virtuous, brave, fierce (like edge of a sword), and pure Devi. In the above narrative,
Guruji, by saying ‘Only Thou! Only Thou!’ creates such a majestic impression; it’s
almost as if he is praising Akal Purakh with each description of female form. In
concluding verses of ‘Devi Ustat’ in ‘Krishnavtar’, Guruji makes Akal Purakh and Devi
indistinguishable, just like in Gurbani, where all the Avtars and their names point
towards that one and only Akal Purakh Waheguru:
ਤੁ ਹੀ ਬ ਾਹਮੀ ਬੈ ਨਵੀ ਸ ੀ ਭਵਾਨੀ ॥ ਤੁ ਹੀ ਬਾਸਵੀ ਈ ਰੀ ਕਾਰਤਕਯਾਨੀ ॥ ਤੁ ਹੀ ਅੰਬਕਾ ਦੁ ਟਹਾ ਮੁ ੰਡ ਮਾਲੀ ॥ ਤੁ ਹੀ
ਕ ਟ ਹੰਤੀ ਿਕ ਪਾ ਕੈ ਿਕ ਪਾਲੀ ॥੪੩੦॥
ਤੁ ਮੀ ਬ ਾਹਮਣੀ ਹ ੈ ਿਹਰੰਨਾਛ ਮਾਰਯੋ ॥ ਹਰੰਨਾਕ ੰ ਿਸੰਘਣੀ ਹ ੈ ਪਛਾਰਯੋ ॥ ਤੁ ਮੀ ਬਾਵਨੀ ਹ ੈ ਿਤਨ ਲੋ ਗ ਮਾਪੇ ॥ ਤੁ ਮੀ ਦੇ ਵ
ਦਾਨ ਕੀਏ ਜੱਛ ਥਾਪੇ ॥੪੩੧॥
ਤੁ ਮੀ ਰਾਮ ਹ ੈਕੈ ਦਸਾਗ ੀਵ ਖੰਡਯੋ ॥ ਤੁ ਮੀ ਿਕ ਨ ਹ ੈ ਕੰ ਸ ਕੇ ਸੀ ਿਬਹੰਡਯੋ ॥ ਤੁ ਮੀ ਜਾਲਪਾ ਹ ੈ ਿਬੜਾਲਾਛ ਘਾਯੋ ॥ ਤੁ ਮੀ ਸੁ ੰਭ
ਸੁ ੰਭ ਨ ਸੁ ੰਭ ਦਾਨ ਖਪਾਯੋ ॥੪੩੨॥
ਦੋ ਹਰਾ ॥
ਦਾਸ ਜਾਨ ਕਿਰ ਦਾਸ ਪਿਰ ਕੀਜੈ ਿਕ ਪਾ ਅਪਾਰ ॥ ਹਾਥ ਦੈ ਰਾਖ ਦੈ ਰਾਖ ਮੁਿਹ ਮਨ ਕ ਮ ਬਚਨ ਿਬਚਾਰ ॥੪੩੩॥
In Charitropakhyan, majority of the charitars written in dialogues of ministers
“Bhoop” present an amorous picture of females. The only motive of writing ‘Chandi
Charitar’ in the beginning of this composition is to state that the real image of females
in the mind of the poet is not of a sexual nature. That form is only created by wealthy
people and pleasure-seeking libertines like King Chitr Singh. In her true form, she
adopts that active force which is fully capable of eradicating all crimes and evils from
this world. On one hand, there is a social structure that gladly hands her the sword
for the destruction of tyrants, and also gives her equal opportunities to excel and
touch the peaks of success in all walks of life. On the other hand however, there is that
primitive male-dominated social order which treats her like an object of sexual
desire and keeps her confined to the parameters of the house. Such social structure
pushes her towards destructive activities. Her extremely sharp intellect and limitless
strength is capable of breaching walls of the house; even in that confinement, she has
the capacity to destroy the biggest of kings, wealthy and powerful people without
using even a single weapon. Therefore, it is up to the male society to decide whether
it wants to choose destruction or progression. The path of equality of men and
women leads to progression, while inequality will most certainly bring about
destruction and chaos. If male society chooses the road of progression and gives her
equal opportunities in constructive tasks, evils, oppressions, and immorality will be
destroyed. But, if she is sidelined and forced to live under shadow of males, she will
keep reminding male society of her limitless force even while treading on the path
forced upon her. Male writes at length about her characters, yet he is the one
responsible for her destructive form. When male society is aware of the fact that
female intellect is capable of transforming any impossibility into plausible situation,
then why does it look down on women? Why does it not use her peerless strength for
growth and betterment of humanity? In Charitropakhyan, she, with her sharp
intellectuality and limitless capability, destroys the enemies of Faith with her fierce
tigress bites; she also eradicates fears from the minds of meek and oppressed
Brahmins. Dasam Guru Pita Ji tells us that this Devi, this force, has appeared in the
form of Sri Krishna, Lord Buddha and avatars like ‘Machh’ and ‘Kachh’. He describes
some of her capabilities in Charitropakhyan:
ਭਾਨ ਸੇ ਤੇ ਜ ਭਯਾਨਕ ਭੂ ਤਜ ਭੂ ਧਰ ਸੇ ਿਜਨ ਕੇ ਤਨ ਭਾਰੇ ॥
ਭਾਰੀ ਗੁ ਮਾਨ ਭਰੇ ਮਨ ਭੀਤਰ ਭਾਰ ਪਰੇ ਨਿਹ ਸੀ ਪਗ ਧਾਰੇ ॥
ਭਾਲਕ ਜਯੋ ਭਭਕੈ ਿਬਨੁ ਭੈ ਰਨ ਭੈ ਰਵ ਭੇ ਿਰ ਬਜਾਇ ਨਗਾਰੇ ॥
ਤੇ ਭਟ ਝੂ ਿਮ ਿਗਰੇ ਰਨ ਭੂ ਿਮ ਭਵਾਨੀ ਜੂ ਕੇ ਭਲਕਾਨ ਕੇ ਮਾਰੇ ॥੧੮॥
Meaning – The demons were as radiant as the Sun, and their bodies were mighty as
the mountains. They were so full of ego that they could not place their feet on the
ground. They roared like big, grizzly bears and fearlessly played horrific sounds on
the war-drums and Nagaras. These demons fell down spinning when Bhawani
attacked them with her arrows.
In reality, with Sri Dasam Granth Sahib Ji as base, an effort has been made to inform
the whole world that no other religion or philosophy can match the praise and
respect given to women in Sikh faith. In Sri Dasam Granth Sahib Ji, the battlefields, in
which even king of men ‘Indra’ becomes unsuccessful in defeating the enemy, woman
comes out victorious. We get to see an exquisite descriptive example of this in ‘Chandi
Di Vaar’. The following appears in Charitropakhyan:
ਜੇ ਨ ਿਮਟੇ ਿਬਕਟੇ ਭਟ ਕਾਹੂ ਸੌ ਬਾਸਵ ਸੌ ਕਬਹੂ ੰ ਨ ਪਛੇਲੇ ॥ ਤੇ ਗਰਜੇ ਜਬ ਹੀ ਰਨ ਮੈ ਗਨ ਭਾਿਜ ਚਲੇ ਿਬਨੁ ਆਪੁ ਅਕੇ ਲੇ
॥ ਤੇ ਕੁ ਿਪ ਕਾਿਲ ਕਟੇ ਝਟ ਕੈ ਕਦਲੀ ਬਨ ਜ ੋ ਧਰਨੀ ਪਰ ਮੇ ਲੇ ॥ ਸ ੋ ਨ ਰੰਗੀਨ ਭਏ ਪਟ ਮਾਨਹੁ ਫਾਗੁ ਸਮੈ ਸਭ ਚਾਚਿਰ
ਖੇ ਲੇ ॥੨੯॥
Meaning – The horrible warriors could not be destroyed; even ‘Indra’ could not
manage to push them back. When they roared in the battlefield, everyone except
‘Kali’ fled the scene. Kali (whose form is stigmatised by society) got enraged and
chopped the warriors down; like forest of bananas trees chopped and spread on
ground. Their clothes got drench with blood; it’s as if everyone is merrily dancing
during Holi.
This is how woman’s valiant (constructive) form is depicted in the parable of ‘Chandi’
in the first Ang of ‘Charitropakhyan’.
Closing folio of Charitropakhyan Pothi
dated 1780 vs/1723
[Part II] Charitropakhyan - Analysi s of Chari tars 2 - 16
With Waheguru Ji's blessings, here is part 2 of the ongoing series of articles on
Charitropakhyan. This article provides plot descriptions of the Charitars 2 - 16, their
importance, lessons to be learned, and clarifications of the misconceptions being
spread by anti-panthic forces by twisting some of the meanings of these Charitars. It
also contains analysis of Charitar 16, which the haters make the blasphemous
mistake of associating it with Sri Guru Gobind Singh Sahib Ji Maharaj. As in previous
article, I have extensively used Dr. Harbhajan Singh Ji's book as reference and Gyani
Narain Singh Ji's steek for some of the gurmukhi meanings. Ok, here's the article:
Although even the first part of Charitropakhyan (Chandi Charitar) is not acceptable to
Sri Dasam Granth's adversaries, however it is mainly the second part that is the
subject of intense hatred as most of the stories deal with amorous events, and it is
their belief that they are of lewd, sexual nature. The plot of the second part is
something like this: A fairy from the heavens gets enchanted upon seeing the king
Chitr Singh of 'Chitravarti' state and eventually marries him. This queen fairy gave
birth to a beautiful son but went back to heavens after a few years (or we can infer
that she passed away). King Chitr Singh became very sad. He ordered his ministers to
find him a girl with similar beautiful looks and qualities. The daughter of King of
Orissa was almost similar in looks and personality as that of fairy Queen. In order to
obtain this girl, king Chitr Singh attacked the king of Orissa. Chitr Singh's son,
Hanwant Singh, supervised and led his father's army in the battlefield. The king of
Orissa was defeated and killed in the war. And so, Chitr Singh won the princess and
married her. In reality, however, the new Queen was attracted to king's son – the
handsome, youthful Hanwant Singh.
The king sent Hanwant Singh off to a learned Brahmin for higher education but he
always remained quiet and aloof. The king tried talking sense to him, but all his
efforts went wasted. When the helpless king presented this issue in front of everyone
in his courtroom, Queen Chitramati secretly took Hanwant Singh to her room. She
said to him, "You are so charming and indescribably handsome, like the God of love
Kama-Dev. O my friend! Your eyes mesmerise me and bewitch my mind... I am not
satisfied with the king. Drop your fears of him and copulate with me." The prince,
however, flatly refused her offer. The Queen, embarrassed by his refusal, retaliated
by instigating the king, "O King! Your son is most evil! He tore my clothes off and
scratched and scarred my whole body!" The king, totally blinded in her lust, ordered
the execution of the prince without any investigation. This is when his wise ministers
tell him tales that describe the carnal desires of females, although there are a few
stories that deal with equivalent male characteristics too. Majority of these stories
are based on crimes originating from amorous sentiments. Following are the facts
that emerge from the above plot:
1. After attaining power of the State, the ruling faction forgets its primary
responsibilities and engages itself in carnal pleasures and other similar immoral acts.
2. The rules shove innocent people into battlefield for their own corporal wants. As a
result, the humanity has to suffer in the aftermath.
3. According to the story, king's son had reached that state of youth where he was
able to lead an army by himself i.e. the king was far older than him. Despite his old
age, he married a girl much younger than him, while ideally she should have been
married to his son instead. Whenever a man uses his wealth and power as influence
to establish illicit relations, the results will always be devastating.
4. The mention of aloofness of Hanwant Singh is a portrayal of a child whose parents,
like Chitr Singh, make immoral decisions blinded by the influence of amorous
desires. The indication of full mental and physical growth of Hanwant Singh is given
when he provides leadership services during the war. But the king is ignorant of his
son's mental and physical development. It was natural that all this would have
adverse affect on Hanwant Singh. The moral learnt from this incident is that decisions
made by people like sexually engrossed Chitr Singh effect their own family first.
5. The moral character of princess was not bad. It is the excesses of man that drives
her towards wrong-doings. As a result of these excesses, inappropriate conduct of
females projects an illusion of inherent impurity within the society. It is this illusion –
the result of male excesses and oppression - that glitters as obscene in the eyes of
adversaries of this Granth.
6.In the story, the model, responsible ministers of State have been portrayed. Thus, if
a ruler goes astray from the righteous path, it becomes the duty of the ministers to
use diplomatic means to persuade him back on the right path – to bring him out of
darkness and into the light.
7.It is important to note that the composer of this Bani has deployed intricate,
abstract reasoning while creating the plot; he has narrated the ethical content not in
first person, rather used ministers for the narrative, which indicates that it is not
compulsory for Beebis to read the Charitars. These tales can however be used for the
emancipation of people that are trapped in blind faith. Charitropakhyan is a treatise
on ethics; it is meant to be quoted wherever need is felt. The first, third and fourth
parts of it, however, are highly inspiration for both men and women.
The 401 Charitars that appear in the second part of Charitropakhyan have not been
narrated by the ministers for king's amusement; rather, there aim is to put the king
back on the path of righteousness and virtue. The opposing faction of Sri Dasam
Granth has serious objections against some of the language used in these stories. A
brief critical evaluation of this issue is important. In the first story i.e. third Charitar,
the protagonist is a woman whose husband is quite aged, because of which she forms
illicit relations with a younger person. Minister says:
ਹੋ ਤ ਤਰੁ ਨ ਕੇ ਤਰੁ ਿਨ ਬਿਸ ਿਬਰਧ ਤਰੁਿਨ ਬਿਸ ਹੋਇ ॥
ਇਹੈ ਰੀਿਤ ਸਭ ਜਗਤ ਕੀ ਜਾਨਤ ਹੈ ਸਭ ਕੋ ਇ ॥੬॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) – ਇਸਤ ੀ ਜੁਆਨ ਆਦਮੀ ਦੇ ਵੱਸ ਿਵਚ ਅਤੇ ਬੁਢਾ ਆਦਮੀ ਇਸਤ ੀ ਦੇ ਵੱਸ ਿਵਚ ਹੋ
ਜ ਦਾ ਏ, ਸੰਸਾਰ ਦੀ ਇਸ ਰੀਤ ਨੂ ੰ ਸਾਰੇ ਜਾਣਦੇ ਹਨ ॥੬॥
Meaning – Women get bewitched by a youthful male, while an aged man gets lured by
a woman. This is the custom of this world, (which) everyone knows.
In the second Charitar of this part (ਘੁਰਕੀ - Ghurki), Mahanand is an old man, because
of which his wife commits adultery with younger males. The fact that old age is the
cause of her wife's meanderings is crucial to note, because these stories commence
with aged men marrying younger women. The abuses hurled at the composer of this
work without analysing minute, intricate facts like these are most unfortunate. In the
third Charitar (ਸਿਹਜ ਕਲਾ- Sehaj Kalaa), the evil, perverted mentality of people
impersonating as saints is delineated.; a character, that pretends to live in cavity of a
tree in the woods, while in reality he absconds with a beautiful girl of a nearby city. In
the fourth story (ਮਾਲਮਤੀ – Maalmati), a character of a Muslim lady is painted to
illustrate the fact that these amorous events are prevalent in every social order. Sixth
(ਅਨੁਰਾਗ ਮਤੀ – Anurag Mati) and seventh (ਜਗ ਜੋਤਮਤੀ – Jag Jogmati) Charitars depict
the killing of a couple having illicit relations and eight (ਿਚਤਰਕਲਾ – Chitarkala)
Charitar tells the story of a characterless woman who commits heinous crimes of
killing her son and husband.
The adversaries of Sri Dasam Granth are particularly critical of the sixteenth (ਛਜੀਆ –
Chhajia) Charitar because the events in this story create an illusion of it being
associated with Sri Guru Gobind Singh Ji. The story goes like this: A king lives happily
on the banks of river Satluj. A prostitute, in greed of money, comes to the king's
house. She gets smitten by king's good looks, but her beauty does not have any effect
on the king. She even tries sorcery on him, but all attempts prove unsuccessful. One
day, she comes to the king's court disguised as a Yogi. The king decides to establish
contact with her so that he can learn some magic Mantra (i.e. verify her true internal
qualities). The prostitute, disguised as a yogi, tells the king to come see her at
midnight at her place. Upon king's arrival, the yogi orders everyone else to leave and
asks for incense, candles, rice, flowers and wine, which the king makes available. The
prostitute in yogi's disguise says to the king that she has got magical power of
converting her physical form; that she will disclose the Mantra in male form but will
copulate with him in her female form. The king refuses and says, the givers of
Mantras are like parents, one cannot dream of having pervert relations with them.
The prostitute then says, "That man, who refuses to satisfy the sexual desires of a
passion ridden woman, should be thrown in hell. If you do not copulate with me, I will
scream that you are a thief and get you arrested... People from all corners come to
you for rewards, then why do you disappoint me?" The king argues, "Why should I
destroy my virtues by having immoral relations with you?" Upon hearing this, the
woman screams and gathers everyone but quickly changes the version of her story
and says she was just murmuring in sleep. Everyone leaves, and she starts
pressurising the king again to copulate with him. The king devises a plan and gets the
woman drugged; after she falls unconscious, he returns back to his home safe and
sound. The king says, "The Mantra that I have learned from this yogi is that I will
never have any sexual contact with her. This woman does not know the meaning of
love and affection; her only aim in life is to obtain more money and physical
gratification." –
ਰੀਿਤ ਨ ਜਾਨਤ ਪ ੀਤ ਕੀ ਪੈ ਸਨ ਕੀ ਪਰਤੀਤ ॥
ਿਬਛੂ ਿਬਸੀਅਰੁ ਬੇ ਸਯਾ ਕਹੋ ਕਵਨ ਕੇ ਮੀਤ ॥੪੩॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) – ਇਹਨੂ ੰ ਪ ੇਮ ਦੀ ਰੀਤ ਦਾ ਪਤਾ ਨਹ , ਪੈਸੇ ਵਾਸਤੇ ਹੀ ਇਸਦਾ ਇਹ ਪ ੇਮ ਹੈ । ਿਬੱਛੂ ,
ਸੱਪ ਅਤੇ ਵੇਸਵਾ ਦਸੋ , ਇਹ ਭਲਾ ਿਕਸਦੇ ਿਮੱਤਰ ਹੁ ੰਦੇ ਹਨ ॥੪੩॥
The king had returned home after leaving 60 coins on the bedside of the unconscious
woman. Upon coming home, he swore, "With great effort, I have been able to protect
my virtues. I will never, ever look at any woman other than my wife. This pledge is
now etched deep in my heart."
ਤਬੈ ਰਾਇ ਿਗ ਹ ਆਇ ਸੁ ਪ ਣ ਐਸੇ ਿਕਯੋ ॥
ਭਲੇ ਜਤਨ ਸੌ ਰਾਿਖ ਧਰਮ ਅਬ ਮੈ ਿਲਯੋ ॥
ਦੇ ਸ ਦੇ ਸ ਿਨਜੁ ਪ ਭ ਕੀ ਪ ਭਾ ਿਬਖੇ ਿਰਹੌ ॥
ਹੋ ਆਨ ਿਤ ਯਾ ਕਹ ਬਹੁ ਿਰ ਨ ਕਬਹੂ ੰ ਹੇ ਿਰਹੌ ॥੪੯॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) – ਤ ਰਾਜੇ ਨ ਘਰ ਆਕੇ ਪ ਣ ਕੀਤਾ ਿਕ ਇਸ ਵਾਰ ਤ ਮ ਜਤਨ ਕਰਕੇ ਅਪਣੇ ਧਰਮ
ਨੂ ੰ ਬਚਾ ਿਲਆ, ਹੁਣ ਮ ਦੇਸ ਦੇਸ ਤਰ ਿਵਚ ਉਸ ਪਰਮੇ ਰ ਦਾ ਜਸ ਫੈਲਾਵ ਗਾ ਅਤੇ ਕਦੇ ਵੀ ਿਕਸੇ (ਪਰਾਈ)
ਇਸਤਰੀ ਵਲ ਨਹ ਤੱਕ ਗਾ ॥੪੯॥
ਦੋ ਹਰਾ ॥
ਵਹੈ ਪ ਤਗ ਾ ਤਿਦਨ ਤੇ ਬ ਾਪਤ ਮੋ ਿਹਯ ਮਾਿਹ ॥
ਤਾ ਿਦਨ ਤੇ ਪਰ ਨਾਿਰ ਕੌ ਹੇ ਰਤ ਕਬਹੂ ੰ ਨਾਿਹ ॥੫੦॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) – ਉਹੀ ਪ ਣ ਉਸੇ ਿਦਨ ਤ ਮੇਰੇ ਮਨ ਵਿਸਆ ਹੋਇਆ ਹੈ ਅਤੇ ਹੁਣ ਕਦੇ ਭੀ ਪਰਾਈ
ਇਸਤ ੀ ਨੂ ੰ ਨਹ ਵੇਖ ਗਾ ॥੫੦॥
Skeptics associate this story with Sri Guru Gobind Singh Ji. There is one more story
before this one, that story is associated with Amritsar and Kiratpur Sahib. The
opposition has several arguments – They say that how could it be possible that
characterless people lived in cities of Guruji. But even to this day, do only religious
people live at holy places? Pilgrims at major holy places get their personal belongings
stolen. Therefore, Guruji is giving this caution that immoral people not only enter
religious places, they can also try to deceive innocent pilgrims. The protagonist of
Guruji does not go to Chajjia to learn any Mantra, because there is nothing but "sex
Mantra" in her possession. In the story, a great attempt has been made to expose the
real facet of a sexually obsessed woman impersonating as a holy person. The real
Mantra (lesson) to be learnt was to reach deep down and expose the intrinsic
character of such perverted individuals disguised as yogis. That is why Guruji says
that only Mantra that's learnt from this episode is that no immoral relations should
be established with such a woman.
ਰਾਇ ਤਬੈ ਿਚਤ ਭੀਤਰ ਿਕਯਾ ਿਬਚਾਰ ਹੈ ॥
ਯਾਿਹ ਨ ਭਿਜਹੌ ਆਜੁ ਮੰਤ ਕਾ ਸਾਰ ਹੈ ॥
There is a specific meaning and purpose behind giving 60 coins to Chajjia. It has been
told in the early parts of this Charitar that this woman became immoral because of
her greed for money. The primary reason for entering prostitution has always been
money. The act of giving 60 coins symbolises that help should be provided to these
daughters of humanity who have fallen into immoral trades because of their poor
economic situations; that they can become women for high moral character. The next
message the rational composer wants to give through the Charitar is that whenever
there is a situation where prestige and faith are at stake, a man should always defend
his faith and religious duties. Whenever such tricky situations surface in other
Charitars, perverted people do not hesitate from killing even their own loved ones; in
contrast, the protagonist of this Charitar shows immense sympathy for the sorry state
of that woman. At the same time, he reiterates his unshakable pledge:
ਰੀਿਤ ਨ ਜਾਨਤ ਪ ੀਤ ਕੀ ਪੈ ਸਨ ਕੀ ਪਰਤੀਤ ॥
ਿਬਛੂ ਿਬਸੀਅਰੁ ਬੇ ਸਯਾ ਕਹੋ ਕਵਨ ਕੇ ਮੀਤ ॥੪੩॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) – ਇਹਨੂ ੰ ਪ ੇਮ ਦੀ ਰੀਤ ਦਾ ਪਤਾ ਨਹ , ਪੈਸੇ ਵਾਸਤੇ ਹੀ ਇਸਦਾ ਇਹ ਪ ੇਮ ਹੈ । ਿਬੱਛੂ ,
ਸੱਪ ਅਤੇ ਵੇਸਵਾ ਦਸੋ , ਇਹ ਭਲਾ ਿਕਸਦੇ ਿਮੱਤਰ ਹੁ ੰਦੇ ਹਨ ॥੪੩॥
The king had returned home after leaving 60 coins on the bedside of the unconscious
woman. Upon coming home, he swore, "With great effort, I have been able to protect
my virtues. I will never, ever look at any woman other than my wife. This pledge is
now etched deep in my heart."
ਤਬੈ ਰਾਇ ਿਗ ਹ ਆਇ ਸੁ ਪ ਣ ਐਸੇ ਿਕਯੋ ॥
ਭਲੇ ਜਤਨ ਸੌ ਰਾਿਖ ਧਰਮ ਅਬ ਮੈ ਿਲਯੋ ॥
ਦੇ ਸ ਦੇ ਸ ਿਨਜੁ ਪ ਭ ਕੀ ਪ ਭਾ ਿਬਖੇ ਿਰਹੌ ॥
ਹੋ ਆਨ ਿਤ ਯਾ ਕਹ ਬਹੁ ਿਰ ਨ ਕਬਹੂ ੰ ਹੇ ਿਰਹੌ ॥੪੯॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) – ਤ ਰਾਜੇ ਨ ਘਰ ਆਕੇ ਪ ਣ ਕੀਤਾ ਿਕ ਇਸ ਵਾਰ ਤ ਮ ਜਤਨ ਕਰਕੇ ਅਪਣੇ ਧਰਮ
ਨੂ ੰ ਬਚਾ ਿਲਆ, ਹੁਣ ਮ ਦੇਸ ਦੇਸ ਤਰ ਿਵਚ ਉਸ ਪਰਮੇ ਰ ਦਾ ਜਸ ਫੈਲਾਵ ਗਾ ਅਤੇ ਕਦੇ ਵੀ ਿਕਸੇ (ਪਰਾਈ)
ਇਸਤਰੀ ਵਲ ਨਹ ਤੱਕ ਗਾ ॥੪੯॥
ਦੋ ਹਰਾ ॥
ਵਹੈ ਪ ਤਗ ਾ ਤਿਦਨ ਤੇ ਬ ਾਪਤ ਮੋ ਿਹਯ ਮਾਿਹ ॥
ਤਾ ਿਦਨ ਤੇ ਪਰ ਨਾਿਰ ਕੌ ਹੇ ਰਤ ਕਬਹੂ ੰ ਨਾਿਹ ॥੫੦॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) – ਉਹੀ ਪ ਣ ਉਸੇ ਿਦਨ ਤ ਮੇਰੇ ਮਨ ਵਿਸਆ ਹੋਇਆ ਹੈ ਅਤੇ ਹੁਣ ਕਦੇ ਭੀ ਪਰਾਈ
ਇਸਤ ੀ ਨੂ ੰ ਨਹ ਵੇਖ ਗਾ ॥੫੦॥
Skeptics associate this story with Sri Guru Gobind Singh Ji. There is one more story
before this one, that story is associated with Amritsar and Kiratpur Sahib. The
opposition has several arguments – They say that how could it be possible that
characterless people lived in cities of Guruji. But even to this day, do only religious
people live at holy places? Pilgrims at major holy places get their personal belongings
stolen. Therefore, Guruji is giving this caution that immoral people not only enter
religious places, they can also try to deceive innocent pilgrims. The protagonist of
Guruji does not go to Chajjia to learn any Mantra, because there is nothing but "sex
Mantra" in her possession. In the story, a great attempt has been made to expose the
real facet of a sexually obsessed woman impersonating as a holy person. The real
Mantra (lesson) to be learnt was to reach deep down and expose the intrinsic
character of such perverted individuals disguised as yogis. That is why Guruji says
that only Mantra that's learnt from this episode is that no immoral relations should
be established with such a woman.
ਰਾਇ ਤਬੈ ਿਚਤ ਭੀਤਰ ਿਕਯਾ ਿਬਚਾਰ ਹੈ ॥
ਯਾਿਹ ਨ ਭਿਜਹੌ ਆਜੁ ਮੰਤ ਕਾ ਸਾਰ ਹੈ ॥
There is a specific meaning and purpose behind giving 60 coins to Chajjia. It has been
told in the early parts of this Charitar that this woman became immoral because of
her greed for money. The primary reason for entering prostitution has always been
money. The act of giving 60 coins symbolises that help should be provided to these
daughters of humanity who have fallen into immoral trades because of their poor
economic situations; that they can become women for high moral character. The next
message the rational composer wants to give through the Charitar is that whenever
there is a situation where prestige and faith are at stake, a man should always defend
his faith and religious duties. Whenever such tricky situations surface in other
Charitars, perverted people do not hesitate from killing even their own loved ones; in
contrast, the protagonist of this Charitar shows immense sympathy for the sorry state
of that woman. At the same time, he reiterates his unshakable pledge:
ਤਬੈ ਰਾਇ ਿਗ ਹ ਆਇ ਸੁ ਪ ਣ ਐਸੇ ਿਕਯੋ ॥
ਭਲੇ ਜਤਨ ਸੌ ਰਾਿਖ ਧਰਮ ਅਬ ਮੈ ਿਲਯੋ ॥
ਦੇ ਸ ਦੇ ਸ ਿਨਜੁ ਪ ਭ ਕੀ ਪ ਭਾ ਿਬਖੇ ਿਰਹੌ ॥
ਹੋ ਆਨ ਿਤ ਯਾ ਕਹ ਬਹੁ ਿਰ ਨ ਕਬਹੂ ੰ ਹੇ ਿਰਹੌ ॥੪੯॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) – ਤ ਰਾਜੇ ਨ ਘਰ ਆਕੇ ਪ ਣ ਕੀਤਾ ਿਕ ਇਸ ਵਾਰ ਤ ਮ ਜਤਨ ਕਰਕੇ ਅਪਣੇ ਧਰਮ
ਨੂ ੰ ਬਚਾ ਿਲਆ, ਹੁਣ ਮ ਦੇਸ ਦੇਸ ਤਰ ਿਵਚ ਉਸ ਪਰਮੇ ਰ ਦਾ ਜਸ ਫੈਲਾਵ ਗਾ ਅਤੇ ਕਦੇ ਵੀ ਿਕਸੇ (ਪਰਾਈ)
ਇਸਤਰੀ ਵਲ ਨਹ ਤੱਕ ਗਾ ॥੪੯॥
And finally the following verse, which the adversaries of Sri Dasam Granth Ji are
calling the ideas of the writer, and use it to launch attacks against the Granth are in
fact uttered by Chajjia and not by Sri Guruji:
ਕਾਮਾਤੁਰ ਹ ੈ ਜੋ ਤਰੁ ਿਨ ਆਵਤ ਿਪਯ ਕੇ ਪਾਸ ॥
ਮਹਾ ਨਰਕ ਸੋ ਡਾਿਰਯਤ ਦੈ ਜੋ ਜਾਨ ਿਨਰਾਸ ॥੨੩॥
ਤਨ ਅਨੰ ਗ ਜਾ ਕੇ ਜਗੈ ਤਾਿਹ ਨ ਦੈ ਰਿਤ ਦਾਨ ॥
ਤਵਨ ਪੁ ਰਖ ਕੋ ਡਾਿਰਯਤ ਜਹਾ ਨਰਕ ਕੀ ਖਾਿਨ ॥੨੪॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) – ਕਾਮ ਦੀ ਦੁਖੀ ਕੀਤੀ ਹੋਈ ਿਜਹੜੀ ਇਸਤ ੀ ਿਪਆਰੇ ਪਾਸ ਆ ਦੀ ਏ , ਜੋ ਿਪਆਰਾ
ਉਹਨੂ ੰ ਿਨਰਾ ਕਰਦਾ ਹੈ ਤਾ ਐਸਾ ਿਮੱਤਰ ਘੋਰ ਨਰਕ ਿਵਚ ਿਡਗਦਾ ਹੈ ॥੨੩॥
ਜੋ ਆਦਮੀ ਕਾਮ-ਰਤੀ ਇਸਤ ੀ ਨੂ ੰ ਭੋਗ ਦਾਨ ਨਹ ਦ ਦਾ , ਉਸ ਆਦਮੀ ਨੂ ੰ ਨਰਕ ਦੀ ਖਾਨ ਿਵਚ ਸੁੱਟ ਦੇਣਾ ਚਾਹੀਦਾ ਹੈ
If Guruji Maharaj wishes, the next article will attempt to present analysis of the
(in)famous (A)noop Kaur Charitar and more..
[Part III] - Anal ysis and Clari fi cations of Chari tar 21-23 -
(A)noop Kaur
With Guruji's blessings, here is an analysis of the (in)famous Charitar - The story of
(A)noop Kaur. This is the Charitar that Darshan ragi used to distort the essence of
Charitropakhyan at Rochester, NY. We all know what happened after that, so let's not
go into that. This article, based on Dr. Harbhajan Singh Ji's book, is an attempt to
present descriptions of the plot as well as clear many of the misconceptions being
spread by jeonwala and other anti-pantic pseudo-scholars regarding Guruji's role in
this Charitar. As in previous articles, I have provided Gurmukhi meanings done by
Gyani Narain Singh Ji to the quoted verses. It is my sincere hope that after reading Dr.
Sahib's article, we will be able to understand this Charitar (and Charitropakhyan) in
the way Guruji want us to understand it. Ok, please read on:
The plot of Charitar number 21 is associated with Sri Guru Gobind Singh Sahib Ji. The
story of this Charitar is quite similar to the story of Charitar No. 16 'Chajjia'. In the
verse of this story, the name of this wealthy woman has been given as Noop (or
Anoop) Kaur, who gets attracted to Guruji (as protagonist in the story). This wealthy
lady bribes a servant of Guruji and gets a message delivered to him saying that she
has got one Mantra that Guruji would want to learn. Guruji goes to the lady. Anoop
Kaur makes arrangements for flowers, beetle-leafs and wine. It is important to
remember here that Chajjia had also asked for similar ingredients. Actually, Guruji
are exposing the real face of such Tantriks who are absorbed in magic and sorcery. As
soon as Guruji arrives, the lady tells her passion-ridden state of mind and starts
begging in front of Guruji to copulate with her.Guruji says to her, "Why should I give
up my faith and virtues; why should I drown in hell?" That passion-struck lady says:
ਕਾਮਾਤੁਰ ਹ ੈ ਜੋ ਿਤ ਯਾ ਆਵਤ ਨਰ ਕੇ ਪਾਸ ॥
ਮਹਾ ਨਰਕ ਸੋ ਡਾਿਰਯੈ ਦੈ ਜੋ ਜਾਨ ਿਨਰਾਸ ॥੧੮॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) – ਕਾਮ ਦੀ ਦੁਖੀ ਕੀਤੀ ਹੋਈ ਇਸਤ ੀ ਜਦ ਪੁਰ ਪਾਸ ਆ ਦੀ ਏ ਅਤੇ ਜੇ ਊਹ ਪੁਰ
ਉਸਨੂ ੰ ਿਨਰਾ ਭੇਜਦਾ ਹੈ ਤ ਉਸ ਪੁਰਖ ਨੂ ੰ ਵੱਡੇ ਨਰਕ ਿਵਚ ਸੁਿਟਆ ਜਾਣ ਚਾਹੀਦਾ ਹੈ ॥੧੮॥
To this, Guruji says, “You always bow to my feet in respect, you worship me, and now
you get obsessed (to your own Satguru) and want to have sexual relations with him?
Don’t you feel ashamed of yourself?”
ਪਾਇ ਪਰਤ ਮੋਰੋ ਸਦਾ ਪੂਜ ਕਹਤ ਹੈ ਮੋਿਹ ॥
ਤਾ ਸੋ ਰੀਝ ਰਮ ੋ ਚਹਤ ਲਾਜ ਨ ਆਵਤ ਤੋਿਹ ॥੧੯॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) – ਲੋ ਕ ਮੇਰੇ ਪੈਰ ਤੇ ਿਡਗਦੇ ਨ ਮ ਪ ਸੰਨ ਹੋਕੇ ਤੇਰੇ ਨਾਲ ਭੋਗ ਕਰ , ਕੀ ਇਸ ਤਰ
ਕਿਹੰਿਦਆਂ ਤੈਨੂ ੰ ਰਮ ਨਹ ਆ ਦੀ ? ॥੧੯॥
In fact, the intention in these verses is to illustrate the pious relationship that exists
between the Guru and his Sikh. Anoop Kaur has become neglectful of this pious
relationship. Guruji is reminding this relationship to her follower who is drowning in
sea of immoral desire. The story also shows how sexually obsessed people twist the
meanings of religious texts to uphold their actions. The lady says, “Sri Krishna was
respected by everyone even after getting intimate with Gopis. He did not go to hell.
God has made our bodies with five elements, and attraction between males and
females has also materialised by Him, then how can physical relationships be called
ਿਕ ਸਨ ਪੂ ਜ ਜਗ ਕੇ ਭਏ ਕੀਨੀ ਰਾਿਸ ਬਨਾਇ ॥
ਭੋ ਗ ਰਾਿਧਕਾ ਸੋ ਕਰੇ ਪਰੇ ਨਰਕ ਨਿਹ ਜਾਇ ॥੨੦॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) – ਿਕ ਨ ਵੀ ਸੰਸਾਰ ਲਈ ਪੂਜਨੀਕ ਸੀ , ਪਰ ਉਸਨ ਵੀ ਰਾਸ-ਲੀਲ ਾ ਕੀਤੀਆਂ ।
ਉਹਨ ਰਾਿਧਕਾ ਨਾਲ ਭੋਗ ਕੀਤਾ , ਿਫਰ ਉਹ ਨਰਕ ਿਵਚ ਨਹ ਗਏ? ॥੨੦॥
ਪੰਚ ਤਤ ਲੈ ਬ ਹਮ ਕਰ ਕੀਨੀ ਨਰ ਕੀ ਦੇਹ ॥
ਕੀਯਾ ਆਪ ਹੀ ਿਤਨ ਿਬਖੈ ਇਸਤ ੀ ਪੁਰਖ ਸਨ ਹ ॥੨੧॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) – ਪ ਮਾਤਮਾ ਨ ਆਪ ਹੀ ਪੰਜ ਤੱਤ ਤ ਪੁਰ ਦਾ ਸਰੀਰ ਬਣਾਇਆ ਏ ਅਤੇ ਆਪ ਹੀ
ਉਸ ਿਵਚ ਇਸਤ ੀ ਪੁਰ ਦੇ ਪ ਸਪਰ ਿਪਆਰ ਦੀ ਰਚਨਾ ਕੀਤੀ ਹੈ ॥੨੧॥
ਪ ਥਮ ਛਿਤ ਕੇ ਧਾਮ ਿਦਯੋ ਿਬਿਧ ਜਨਮ ਹਮਾਰੋ ॥
ਬਹੁ ਿਰ ਜਗਤ ਕੇ ਬੀਚ ਿਕਯੋ ਕੁ ਲ ਅਿਧਕ ਉਿਜਯਾਰੋ ॥
ਬਹੁ ਿਰ ਸਭਨ ਮੈ ਬੈ ਿਠ ਆਪੁ ਕੋ ਪੂ ਜ ਕਹਾਊ ॥
ਹੋ ਰਮੋ ਤੁ ਹਾਰੇ ਸਾਥ ਨੀਚ ਕੁਲ ਜਨਮਿਹ ਪਾਊ ॥੩੨॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) – ਰਾਜੇ ਨ ਿਕਹਾ ਪਿਹਲ ਤ ਪ ਮੇ ਰ ਨ ਮੈਨੂ ੰ ਖੱਤਰੀ ਦੀ ਕੁਲ ਿਵਚ ਜਨਮ ਿਦਤਾ ਹੈ ,
ਅਤੇ ਸਾਡੀ ਕੁਲ ਦਾ ਸੰਸਾਰ ਿਵਚ ਬਹੁਤ ਮਾਣ ਹੈ । ਿਫਰ ਸਾਿਰਆਂ ਿਵਚ ਬੈਠ ਕੇ ਮ ਪੂਜਨੀਕ ਕਹ ਦਾ ਹ , ਹੁਣ ਜਦ ਮ
ਤੇਰੇ ਨਾਲ ਭੋਗ ਕਰਦਾ ਹ ਤ ਮ ਨੀਚ ਕੁਲ ਿਵਚਜਨਮ ਪਾਵ ਗਾ ॥੩੨॥
There is no effect on Guruji despite the lady’s abetment. In this very episode, Guruji
utters such pious words which can be aptly called ‘mega-Mantra’ for freedom of
humanity from horrible diseases resulting from such immoral actions:
ਸੁ ਿਧ ਜਬ ਤੇ ਹਮ ਧਰੀ ਬਚਨ ਗੁਰ ਦਏ ਹਮਾਰੇ ॥
ਪੂ ਤ ਇਹੈ ਪ ਨ ਤੋਿਹ ਪ ਾਨ ਜਬ ਲਗ ਘਟ ਥਾਰੇ ॥
ਿਨਜ ਨਾਰੀ ਕੇ ਸਾਥ ਨ ਹੁ ਤੁ ਮ ਿਨਤ ਬਢੈਯਹੁ ॥
ਪਰ ਨਾਰੀ ਕੀ ਸੇਜ ਭੂ ਿਲ ਸੁ ਪਨ ਹੂ ੰ ਨ ਜੈ ਯਹੁ ॥੫੧॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) – ਜਦ ਤ ਮ ਹੋ ਸੰਭਾਲੀ ਹੈ , ਤਦ ਤ ਹੀ ਮੇਰੇ ਗੁਰੂ ਨ ਮੈਨੂ ੰ ਿਸਿਖਆ ਿਦਤੀ ਹੈ ਿਕ ਹੇ
ਪੁੱਤਰ l ਿਜਨ ਿਚਰ ਤੇਰੇ ਿਹਰਦੇ ਅੰਦਰ ਪ ਾਣ ਹਨ , ਉਤਨਾ ਿਚਰ ਤੂ ੰ ਇਹ ਧਾਰੀ ਰਖਣਾ ਹੈ ਿਕ ਆਪਣੀ ਇਸਤ ੀ ਨਾਲ
ਤੂ ੰ ਸਦਾ ਪ ੇਮ ਵਧਾ , ਪਰ ਪਰਾਈ ਇਸਤ ੀ ਦੀ ਸੇਜਾ ਉਤੇ ਭੁੱਲਕੇ ਸੁਪਨ ਦੇ ਿਵਚ ਵੀ ਨਹ ਜਾਣਾ ਹੈ ॥੫੧॥
Meaning – (The king i.e. Guruji says- ) Right from the age of understanding, (my)
Guru has taught me; O son! Keep this pledged in your heart till the time you are alive,
(that) keep increasing love and affection for your own wife, but never, ever go to
someone’s else bed even in wildest dreams.
ਪਰ ਨਾਰੀ ਕੇ ਭਜੇ ਸਹਸ ਬਾਸਵ ਭਗ ਪਾਏ ॥
ਪਰ ਨਾਰੀ ਕੇ ਭਜੇ ਚੰਦ ਕਾਲੰ ਕ ਲਗਾਏ ॥
ਪਰ ਨਾਰੀ ਕੇ ਹੇ ਤ ਸੀਸ ਦਸ ਸੀਸ ਗਵਾਯੋ ॥
ਹੋ ਪਰ ਨਾਰੀ ਕੇ ਹੇ ਤ ਕਟਕ ਕਵਰਨ ਕੌ ਘਾਯੋ ॥੫੨॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) – ਪਰਾਈਨਾਰੀ ਨੂ ੰ ਭੋਿਗਆਂ ਇੰਦ ਨ ਹਜਾਰ ਭਗ ਪਾਏ ਸੀ । ਪਰਾਈ ਨਾਰੀ ਦੇ
ਭੋਿਗਆਂ ਚੰਦ ਮ ਨ ਆਪਣੇ ਆਪ ਨੂ ੰ ਕਲੰ ਕ ਲਗਾ ਿਲਆ ਸੀ । ਪਰਾਈ ਨਾਰੀ ਦੇ ਵਾਸਤੇ ਦਸ ਿਸਰ ਵਾਲੇ ਰਾਵਣ ਨ
ਆਪਣੇ ਿਸਰ ਗਵਾ ਲਏ ਸੀ । ਪਰਾਈ ਨਾਰੀ ਦੇ ਵਾਸਤੇ ਕੌਰਵ ਦਾ ਦਲ ਮਾਿਰਆ ਿਗਆਸੀ ॥੫੨॥
Meaning – Because of illicit relations, Indra had received 1000 female genitals as
symbolic punishment. Because of illicit relations, the moon got blemished. Because of
illicit relations, Ravana had to lose his heads. (Similarly), because of someone else’s
woman, entire army of Kaurvas got killed.
ਪਰ ਨਾਰੀ ਸੌ ਨ ਹੁ ਛੁ ਰੀ ਪੈ ਨੀ ਕਿਰ ਜਾਨਹੁ ॥
ਪਰ ਨਾਰੀ ਕੇ ਭਜੇ ਕਾਲ ਬ ਾਪਯੋ ਤਨ ਮਾਨਹੁ ॥
ਅਿਧਕ ਹਰੀਫੀ ਜਾਿਨ ਭੋ ਗ ਪਰ ਿਤ ਯ ਜੋ ਕਰਹੀ ॥
ਹੋ ਅੰਤ ਸ ਾਨ ਕੀ ਿਮ ਤੁ ਹਾਥ ਲ ਡੀ ਕੇ ਮਰਹੀ ॥੫੩॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) – ਪਰਾਈਨਾਰੀ ਨਾਲ ਪ ੇਮ ਿਤੱਖੀ ਛੁਰੀ ਵ ਗ ਜਾਨ । ਪਰਾਈ ਨਾਰੀ ਨਾਲ ਪ ੇਮ ਦਾ
ਅਰਥ ਮੌਤ ਦਾ ਆਉਣਾ ਸਮਝੋ । ਆਪਣੇ ਆਪ ਨੂ ੰ ਬਹੁਤ ਬਲ ਵਾਲੇ ਸਮਝ ਕੇ ਜੋ ਪਰਾਈ ਨਾਰੀ ਨਾਲ ਭੋਗ ਕਰਦੇ ਨ ,
ਉਹ ਅੰਤ ਨੂ ੰ ਡਰਪੋਕ ਆਦਮੀ ਹਥ ਕੁੱਤੇ ਦੀ ਮੌਤ ਮਰਦੇ ਹਨ ॥੫੩॥
Meaning – Consider love relations with another woman like a sharp edged knife.
Consider such relations as a sure invitation to death. Those who consider themselves
powerful and have such relations with someone else’s woman, they are eventually
delivered dog’s death by cowards.
ਬਾਲ ਹਮਾਰੇ ਪਾਸ ਦੇਸ ਦੇਸਨ ਿਤ ਯ ਆਵਿਹ ॥
ਮਨ ਬਾਛਤ ਬਰ ਮਾਿਗ ਜਾਿਨ ਗੁਰ ਸੀਸ ਝੁਕਾਵਿਹ ॥
ਿਸਖ ਪੁ ਤ ਿਤ ਯ ਸੁਤਾ ਜਾਿਨ ਅਪਨ ਿਚਤ ਧਿਰਯੈ ॥
ਹੋ ਕਹੁ ਸੁ ੰਦਿਰ ਿਤਹ ਸਾਥ ਗਵਨ ਕੈ ਸੇ ਕਿਰ ਕਿਰਯੈ ॥੫੪॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) – ਹੇ ਇਸਤ ੀ l ਸਾਡੇ ਪਾਸ ਦੇਸ-ਦੇਸ ਤਰ ਤ ਇਸਤ ੀਆਂ ਆ ਦੀਆਂ ਹਨ ਅਤੇ
ਮਨਭਾ ਦੇ ਵਰ ਮੰਗ ਕੇ ਸਾਨੂ ੰ ਗੁਰੂ ਜਾਣਕੇ ਿਸਰ ਝੁਕ ਦੀਆਂ ਹਨ । ਉਹ ਿਸੱਖ ਮੇਰੇ ਪੁਤਰ ਹਨ, ਿਸਖ ਦੀਆਂ
ਇਸਤ ੀਆਂ ਮੇਰੀਆਂ ਧੀਆਂ ਹਨ । ਹੇ ਸੁ ੰਦਰੀ l ਤੂ ੰ ਹੀ ਦਸ, ਇਹਨ ਨਾਲ ਭੋਗ ਿਕਵ ਕੀਤਾ ਜਾਏ ? ॥੫੪॥
Meaning – O disciple! Women from various states come to me; accepting me as their
Guru, they bow their heads in front of me and get their wishes fulfilled. I consider
Sikhs as my own sons and (their) women as my own daughters. O maiden! How can I
have wrong relations with them?
ਿਦਜਨ ਦੀਿਜਯਹੁ ਦਾਨ ਦ ਜਨ ਕਹ ਿਦ ਸਿਟ ਿਦਖੈ ਯਹੁ ॥
ਸੁ ਖੀ ਰਾਿਖਯਹੁ ਸਾਥ ਸਤ ਿਸਰ ਖੜਗ ਬਜੈਯਹੁ ॥
ਲੋ ਕ ਲਾਜ ਕਉ ਛਾਿਡ ਕਛੂ ਕਾਰਜ ਨਿਹ ਕਿਰਯਹੁ ॥
ਪਰ ਨਾਰੀ ਕੀ ਸੇਜ ਪਾਵ ਸੁ ਪਨ ਹੂ ੰ ਨ ਧਿਰਯਹੁ ॥
ਗੁ ਰ ਜਬ ਤੇ ਮੁਿਹ ਕਿਹਯੋ ਇਹੈ ਪ ਨ ਲਯੋ ਸੁ ਧਾਰੈ ॥
ਹੋ ਪਰ ਧਨ ਪਾਹਨ ਤੁ ਿਲ ਿਤ ਯਾ ਪਰ ਮਾਤ ਹਮਾਰੈ ॥੫੮॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) – ਬ ਾਹਮਣ ਨੂ ੰ ਦਾਨ ਿਦਤਾ ਜ ਦਾ ਏ ਅਤੇ ਖੋਟੇ ਆਦਮੀਆਂ ਨੂ ੰ ਅੱਖ ਿਵਖਾਈਆਂ
ਜ ਦੀਆਂ ਹਨ । ਿਮੱਤਰ ਨੂ ੰ ਸੁਖ ਿਦੱਤਾ ਜ ਦਾ ਏ ਤੇ ਦੁ ਮਣ ਦੇ ਿਸਰ ਤੇ ਤਲਵਾਰ ਮਾਰ ਕੇ ਵਾਰ ਕੀਤਾ ਜ ਦਾ ਹੈ ।
ਲੋ ਕ-ਲੱਿਜਆ ਨੂ ੰ ਛੱਡਕੇ ਕੋਈ ਭੀ ਕੰਮ ਨਹ ਕੀਤਾ ਜ ਦਾ , ਇਸ ਲਈ ਪਰਾਈ ਇਸਤ ੀ ਦੀ ਸੇਜ ਤੇ ਸੁ ਪਨ ਿਵਚ ਵੀ ਭੁਲਕੇ
ਪੈਰ ਨਹ ਰਖਣਾ ਚਾਹੀਦਾ , ਗੁਰੂ ਨ ਜਦ ਤ ਮ ਨੂ ੰ ਇਹ ਸੱਚਾ ਪ ਣ ਕਰਵਾਇਆ ਹੈ , ਤਦ ਤ ਪਰਾਇਆਧਨ ਮੇਰੇ ਲਈ
ਪਥਰ ਦੇ ਸਮਾਨ ਅਤੇ ਪਰਾਈ ਇਸਤ ੀ ਮਾਤਾ ਦੇ ਸਮਾਨ ਹੈ ॥੫੮॥
Meaning – Give donations to Brahmins* (i.e. virtuous people, see below) and glare
threateningly at enemies. Keep your friends happy and (always) keep striking your
enemies on the head with sword. Do not do anything that goes against society’s
decorum. Do not place your foot on someone else’s woman, even in dreams. From the
moment my Guru has taught me this; I have made this pledge that I consider someone
else’s money useless as a stone, and someone else’s woman as a mother. * [THERE ARE
The clever words of Guruji not only cut the net of perverseness of the woman who
had threatened to blemish Guruji and wanted to establish physical contacts with him,
but also accused her actions as being wrongful. This woman apologised to Guruji for
her behavior. At this juncture, this episode takes an extremely tragic turn. Guruji
intention could never be to make woman feel inferior. That is why Guruji apologises
for his behavior that originated from helplessness, and makes arrangements of half
yearly grant of 20 thousand takkas to her so that she can live a respectful, virtuous
ਿਛਮਾ ਕਰਹੁ ਅਬ ਿਤ ਯ ਹਮੈ ਬਹੁਿਰ ਨ ਕਿਰਯਹੁ ਰਾਿਧ ॥
ਬੀਸ ਸਹੰਸ ਟਕਾ ਿਤਸੈ ਦਈ ਿਛਮਾਹੀ ਬਾਿਧ ॥੧੨॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) – ਹੇ ਇਸਤ ੀ , ਹੁਣ ਤੂ ੰ ਮੈਨੂ ੰ ਮਾਫ ਕਰ, ਮ ਵੀ ਇਸ ਝਗੜੇ ਨੂ ੰ ਹੋਰ ਵਧਾਉਣਾ ਨਹ
ਚਾਹੁ ੰਦਾ, ਇਸ ਿਪਛ ਉਸ ਇਸਤ ੀ ਨੂ ੰ ਵੀਹ ਹਜਾਰ ਟਕੇ ਿਛਮਾਹੀ ਬੰਨ ਿਦੱਤੇ ਗਏ ॥੧੨॥
From the instances in these stories, where Guruji is shown to give monetary
assistance, an indication is received that not only he gave inspiration to sexually-
obsessed women through the Charitars, but he would also provide monitory
assistance for their rehabilitation, so that the aim of Guru Nanak Dev Ji, 'ਗਾਵਹੁ ਪੁਤ ੀ
ਰਾਜਕੁ ਆਿਰ। ਨਾਮੁ ਭਣੇ ਸਚੁ ਦੇ ਿਤ ਸਵਾਿਰ।'could be achieved.
Sri Dasam Granth manuscript
Anandpuri Bir
Sri Charitropakhyan, corrected by
Sri Guru Gobind Singh Ji
[Part IV] Charit ropakhyan - Anal ysis and Clari fi cati ons
of Chari tars 25 – 403
With Sri Guruji's kirpa, the fourth article in the Charitropakhyan series is now
complete. This article provides a summary of important Charitars, from no. 25 - No.
403, and attempts to refute the baseless and illogical arguments raised by ragi
darshan and his band of nindaks from time to time. It is an important read in my
opinion, because allegations like Sri Dasam Granth Sahib ji promotes Brahmanical
ideas are aptly refuted with proper quotes. As with the previous articles, this one is
also extensively based on Dr. Harbhajan Singh Ji's book while translations are from
Gyani Narain Singh Ji's steek.
The king in Charitar No. 25 (ਪ ੇਮ ਕੁਮਾਰੀ - Story of Prem Kumari) is an infertile aged man
. Concerned about the lack of heir, his politically conscious wife makes physical
relations with another man. It is important to note that it is the adulterous nature of
the king that has brought about this situation. In Charitar No. 27 (ਿਬਓਮ ਕਲਾ - Story of
Beom Kalaa), a similar story is depicted where the protagonist queen is forced to
drop her morality because her husband is an old man incapable of procreating. The
woman in Charitar No. 28 (ਸੂਰਛਟ - Story of Soorchatt) is extremely beautiful while
her husband is disgustingly ugly. 30
Charitar (ਚਾਚਰ ਮਤੀ - Chaachar Mati) tells the
story of a queen whose husband is one-eyed and she falls for a wandering juggler. In
Charitar No. 32 (ਰਸ ਮੰਜਰੀ - Rass Manjari), the wise protagonist woman Rass Manjari
kills the thieves. 49
Charitar (ਨੰ ਦ ਮਤੀ - Nand Mati) is the story of a woman named
Nand Mati, who lives with her husband in Anandpur. Her husband keeps idling in
Guruji's court the whole day while she keeps her engrossed with other men:
ਤਾ ਕੇ ਧਾਮ ਬਹੁਤ ਜਨ ਆਵੈ ॥ ਿਨਸ ਿਦਨ ਤਾ ਸੋ ਭੋ ਗ ਕਮਾਵੈ ॥ ਸੋ ਜੜ ਪਰਾ ਹਮਾਰੇ ਰਹਈ ॥ ਤਾ ਕੋ ਕਛੂ ਨ ਮੁਖ ਤੇ ਕਹਈ ॥੨॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) -ਉਹਦੇ ਘਰ ਬਹੁਤ ਲੋ ਕ ਰਾਤ ਿਦਨ ਆ ਦੇ ਸਨ ਤੇ ਉਹਦੇ ਨਾਲ ਭੋਗ-ਿਬਲਾਸ ਕਰਦੇ
ਸਨ, ਉਹ ਮੂਰਖ ਸਾਡੇ ਕੋਲ ਬੈਠਾ ਰਿਹੰਦਾ ਸੀ ਤੇ ਉਸ ਇਸਤ ੀ ਨੂ ੰ ਮੂ ੰਹੋ ਕਦੀ ਕੁਝ ਨਹ ਕਿਹੰਦਾ ਸੀ ।
The message being given through this story is that it is not a religious obligation to
keep sitting in places of worship; it is important to live in and take care of the
household affairs too. This is an appropriate admonition for those people who ignore
their household responsibilities by staying only at religious places. The story of
Charitar No. 80 (ਰਾਧਾ - Radha) is worth paying proper attention to. Under the
influence of pessimistic talks of a Yogi, the king in the story makes up his mind to
become yogi too. But his thoughtful wife correctly guides him thus:
ਜੋ ਿਨ ਪ ਨ ਾਇ ਕਰੈ ਨਹੀ ਬੋਲਤ ਝੂ ਠ ਬਨਾਇ ॥ ਰਾਜ ਤ ਾਗ ਤਪਸ ਾ ਕਰੈ ਪਰੈ ਨਰਕ ਮਿਹ ਜਾਇ ॥੯੧॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) -ਜੋ ਰਾਜਾ ਇਨਸਾਫ ਨਹ ਕਰਦਾ ਤੇ ਝੂਠ ਬੋਲਦਾ ਹੈ , ਰਾਜ ਛੱਡਕੇ ਤਪੱਿਸਆ ਕਰਦਾ
ਹੈ , ਉਹ ਨਰਕ ਿਵਚ ਜ ਦਾ ਹੈ ।
In this Charitar, woman's extremely sharp and constructive reasoning is portrayed;
the prudent character of queen is able to bring the king back from the path of
renunciation and onto the path of Raj-Yog:
ਮਹਾਰਾਜ ਜੈਸੀ ਸੁਿਨ ਬਾਨੀ ॥ ਿਚਤ ਕੈ ਿਬਖੈ ਸਾਚ ਕਿਰ ਮਾਨੀ ॥ ਿਦਨ ਕੌ ਰਾਜੁ ਆਪਨੌ ਕਿਰਹੌ ॥ ਪਰੇ ਰਾਿਤ ਕੇ ਰਾਮ ਸੰ ਭਿਰਹੌ ॥੯੬
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) -ਰਾਜੇ ਨ ਇਹ ਆਕਾ ਬਾਣੀ ਸੁਣਕੇ ਉਹਨੂ ੰ ਮਨ ਿਵਚ ਸਚ ਕਰਕੇ ਮੰਿਨਆ ਿਕ ਿਦਨ
ਸਮ ਮ ਰਾਜ ਕਰ ਗਾ ਅਤੇ ਰਾਤ ਸਮ ਪ ਮੇ ਰ ਦਾ ਭਜਨ ਕਰ ਗਾ ।
Charitar No. 119 (ਰਾਜਕੁਮਾਰੀ ਰੁ ਦ ਕਲਾ - Rajkumari RudraKalaa)has been a particular
target of intense criticism. It's story is associated with the practice of sorcery, black
magic, incantations, Rudra-Kala and Sambraatra in a state called ਿਤਰਹੁਤ (Terhut). In
actuality, the word ਿਤਰਹੁਤ is a corrupted form of word ਿਤ ਪੁਰ+ਹਤ ( Tripur+hatt), used
for Shiva. ਸੰਬਰਾਿਤ ( Sambraatra) is again used for Shiva and Rudrakalaa, the
protagonist of the story, is 'ਰੁਦ -ਿ ਵ' (Rudra-Shiva), the wife of Shiva. The real motive
of this story is to negate and criticise the Yantra-Mantra-Tantra (to possess and
control, use of magic mantras, sorcery as specified in tantra-shastars) meditation
techniques practised by the worshippers of Shiva. The abundance of vulgar words in
this story is to reflect and highlight the filth propagated by Tantric faiths. The episode
has been written with the specific purpose of repudiation of Shaatvik and similar
faiths, therefore it is absolutely inappropriate and irresponsible to associate
Charitropakhyan with practitioners of such belief systems. The next Charitar (No. 120
- ਿਵ ਨੂ ੰ - Vishnu) is also linked to Shiva, in which his rage is depicted as the root cause
of creation of demons.
Charitar No. 266 (ਰਨਖੰਬ ਕਲਾ- RanKhambh Kala ) needs to be analysed in detail
because there are lots of questions raised against it by the opposers of Sri Dasam
Granth. They also love to distort the meanings of this Charitar in attempt to register
an obscene version in the mind of readers, whereas in reality, this lengthy and
important Charitar inspires the readers to renounce false beliefs of idol-worship and
live in the remembrance of that one and only Akal Purakh Waheguru Ji. This advice
comes from the female protagonist of the Charitar, which signifies their highly
sensitive and conscious mind. In fact, it is a perfect tribute to the female's intellectual
awareness and rationality against idol-worship, an example which is extremely rare
to find in other religious texts of the world. King Sumatt Sen (In most stories, the
characters have been named in accordance with their characteristics and personality
traits) has one extremely beautiful daughter named Rankhambh Kala and four
gallant sons - Saardul Dhuj, Naahar Dhuj, Singh Ket, and Har Ket. The king, in order to
get his daughter educated, had given lots of money to a KARAM-KAANDI Brahman
expert in religious texts, their grammar and Vedas. One day, the princess goes to the
Brahman. With folded hands, the Brahman kept bowing his head repeatedly in front
of an idol. The princess laughed and asked him, 'Why are doing praying in front of
this stone with folded hands?'. The Brahman replied, 'O Princess! The idol you are
referring to is not a stone, it is God.' It is very important for the readers to know the
replies made by the princess to refute the Brahman, because it is a vital component of
the moral lessons delivered by the Charitars:
ਤਾਿਹ ਪਛਾਨਤ ਹੈ ਨ ਮਹਾ ਜੜ ਜਾ ਕੋ ਪ ਤਾਪ ਿਤਹੂ ੰ ਪੁ ਰ ਮਾਹੀ ॥ ਪੂਜਤ ਹੈ ਪ ਭੁ ਕੈ ਿਤਸ ਕੌ ਿਜਨ ਕੇ ਪਰਸੇ ਪਰਲੋ ਕ ਪਰਾਹੀ ॥
ਪਾਪ ਕਰੋ ਪਰਮਾਰਥ ਕੈ ਿਜਹ ਪਾਪਨ ਤੇ ਅਿਤ ਪਾਪ ਡਰਾਹੀ ॥ ਪਾਇ ਪਰੋ ਪਰਮੇ ਸ ਰ ਕੇ ਪਸੁ ਪਾਹਨ ਮੈ ਪਰਮੇ ਸ ਰ ਨਾਹੀ ॥੧੨॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) -ਰਾਜ ਕੁਮਾਰੀ ਨ ਿਕਹਾ ਿਕ ਮੂਰਖ ਲੋ ਕ ਪ ਭੂ ਨੂ ੰ ਪਛਾਣਦੇ ਨਹ ਹਨ ਿਜਸਦਾ ਪਰਤਾਪ
ਿਤੰਨ ਲੋ ਕ ਿਵਚ ਿਵਆਪਕ ਹੈ । ਜੋ ਇਸ ਪੱਥਰ ਨੂ ੰ ਪ ਭੂ ਸਮਝਕੇ ਪੂਜਦੇ ਹਨ, ਉਸ ਨਾਲ ਪਰਲੋ ਕ ਹੋਰ ਵੀ ਦੂਰ ਹੋ
ਜ ਦਾ ਹੈ । ਪਰਮਾਰਥ ਦੇ ਨ ਤਾ ਏਨ ਪਾਪ ਕਰਦੇ ਹਨ ਉਨ ਪਾਪ ਵੱਲ ਵੇਖ ਕੇ ਪਾਪ ਖੁਦ ਰਮਸਾਰ ਹੋ ਜ ਦੇ ਹਨ
। ਹੇ ਮੂਰਖ ਪਰਮੇ ਰ ਦੇ ਚਰਨ ਿਵਚ ਿਡੱਗ , ਇਨ ਪੱਥਰ ਿਵਚ ਪਰਮੇ ਰ ਨਹ ਹੈ ।
Meaning - O fool!; Do you not recognise God, who is omnipresent in all three worlds?
You worship this stone, which pushes you (further) away from God. You perform sins
on pretext of faith, looking at which, even sin get ashamed. O fool! Drop at the feet of
Lord, there is no God exclusively in stones.
ਜੀਵਨ ਮੈ ਜਲ ਮੈ ਥਲ ਮੈ ਸਭ ਰੂ ਪਨ ਮੈ ਸਭ ਭੂ ਪਨ ਮਾਹੀ ॥ ਸੂਰਜ ਮੈ ਸਿਸ ਮੈ ਨਭ ਮੈ ਜਹ ਹੇ ਰੌ ਤਹਾ ਿਚਤ ਲਾਇ ਤਹਾ ਹੀ ॥
ਪਾਵਕ ਮੈ ਅਰੁ ਪੌਨ ਹੂ ੰ ਮੈ ਿਪ ਥਵੀ ਤਲ ਮੈ ਸੁ ਕਹਾ ਨਿਹ ਜਾਹੀ ॥ ਬ ਾਪਕ ਹੈ ਸਭ ਹੀ ਕੇ ਿਬਖੈ ਕਛੁ ਪਾਹਨ ਮੈ ਪਰਮੇਸ ਵਰ ਨਾਹੀ ॥੧੩॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) -ਪਰਮਾਤਮਾ ਸਭ ਿਵਚ ਵਸਦਾ ਹੈ । ਜਲ ਿਵਚ ਥਲ ਿਵਚ ਸਾਿਰਆਂ ਰੂਪ ਿਵਚ,
ਰਾਿਜਆਂ ਿਵਚ, ਸੂਰਜ ਿਵਚਚੰਦ ਮ ਿਵਚ ਭਾਵ ਉਹ ਹਰ ਥ ਹੈ , ਜੇ ਉਸ ਨੂ ੰ ਮਨ ਲਾਕੇ ਭਾਿਲਆ ਜਾਵੇ । ਅੱਗ, ਹਵਾ,
ਿਪ ਥਵੀ ਅਤੇ ਭਲਾ ਉਹ ਿਕਥੇ ਨਹ ਹੈ , ਉਹ ਪਰਮਾਤਮਾ ਸਭ ਿਵਚ ਿਵਆਪਕ ਹੈ । ਇਸ ਲਈ ਹੇ ਮੂਰਖ ਉਹ ਕੇਵਲ
ਪੱਥਰ ਿਵਚ ਹੀ ਨਹ ਹੈ ।
Meaning -(That) God has manifested Himself everywhere; in water, on land, in all
lifeforms, in every king, in the sun, in the moon, in the sky; He can be realised with
love and grace in any of them. In fire, in air, on land; there is no place where He is not
present. (He) is omnipresent in everything, and not just in stones.
ਕਾਗਜ ਦੀਪ ਸਭੈ ਕਿਰ ਕੈ ਅਰੁ ਸਾਤ ਸਮੁ ੰਦ ਨ ਕੀ ਮਸੁ ਕੈ ਯੈ ॥ ਕਾਿਟ ਬਨਾਸਪਤੀ ਿਸਗਰੀ ਿਲਖਬੇ ਹੂ ੰ ਕੌ ਲੇ ਖਿਨ ਕਾਜ ਬਨ ਯੈ ॥
ਸਾਰਸ ਤੀ ਬਕਤਾ ਕਿਰ ਕੈ ਸਭ ਜੀਵਨ ਤੇ ਜੁ ਗ ਸਾਿਠ ਿਲਖੈਯੈ ॥ ਜੋ ਪ ਭੁ ਪਾਯੁਤ ਹੈ ਨਿਹ ਕੈ ਸੇ ਹੂ ੰ ਸੋ ਜੜ ਪਾਹਨ ਮੌ ਠਹਰੈ ਯੈ ॥੧੪॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) -ਜੇ ਸਾਰੀ ਧਰਤੀ ਨੂ ੰ ਕਾਗਜ਼ ਬਣਾਇਆ ਜਾਵੇ ਅਤੇ ਸੱਤ ਸਮੁ ੰਦਰ ਨੂ ੰ ਿਸਆਹੀ
ਬਣਾਇਆ ਜਾਵੇ ਅਤੇ ਸਾਰੀ ਬਨਾਸਪਤੀ ਨੂ ੰ ਕਲਮ ਬਣਾਇਆ ਜਾਵੇ , ਸਰਸਵਤੀ ਖੁਦ ਬੋਲੇ ਅਤੇ ਸਾਰੇ ਜੀਵ ਦੁਆਰਾ
ਸੱਠ ਜੁਗ ਤਕ ਵੀ ਿਲਿਖਆ ਜਾਵੇ , ਤਦ ਵੀ ਉਸ ਪ ਭੂ ਦਾ ਰਿਹਸ ਨਹ ਜਾਿਣਆਂ ਜਾ ਸਕਦਾ । ਹੇ ਮੂਰਖ ਤੁਸ ਉਸ ਨੂ ੰ
ਪੱਥਰ ਿਵਚ ਿਕਵ ਮੰਨ ਰਹੇ ਹੋ ।
Meaning - (If we) make the whole earth (our) paper, and seven seas the ink; the
entire vegetation cut down to make writing devices; (if we) get Saraswati as the
narrator and entire mankind as scribe, (if we) get them to write continuously for 60
yugs (ages), (even then) nobody can find out the mysterious ways of the Lord. O fool!
(and you think) you have got Him manifested in this stone.
ਏ ਜਨ ਭੇ ਵ ਨ ਹਿਰ ਕੋ ਪਾਵੈ ॥ ਪਾਹਨ ਮੈ ਹਿਰ ਕੌ ਠਹਰਾਵੈ ॥
ਿਜਹ ਿਕਹ ਿਬਿਧ ਲੋ ਗਨ ਭਰਮਾਹੀ ॥ ਿਗ ਹ ਕੋ ਦਰਬੁ ਲੂ ਿਟ ਲੈ ਜਾਹੀ ॥੧੫॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) -ਜੋ ਪੱਥਰ ਿਵਚ ਪ ਭੂ ਨੂ ੰ ਮੰਨਦਾ ਹੈ ਉਹ ਉਸ ਦਾ ਭੇਤ ਨਹ ਪਾ ਸਕਦਾ । ਿਜਵ ਿਕਵ
ਉਹ ਲੋ ਕ ਨੂ ੰ ਭਰਮ ਿਵਚ ਪਾ ਦਾ ਹੈ ਅਤੇ ਲੋ ਕ ਦੇ ਘਰ ਦਾ ਧਨ ਲੁੱਟ ਕੇ ਲੈ ਜ ਦਾ ਹੈ ।
Meaning -Anyone who believes God is only established in idols will never be able to
realise His true nature. (You) misguide people in one way or another and vanish after
robbing them off their wealth.
ਜਗ ਮੈ ਆਪੁ ਕਹਾਵਈ ਪੰਿਡਤ ਸੁਘਰ ਸੁਚੇਤ ॥ ਪਾਹਨ ਕੀ ਪੂ ਜਾ ਕਰੈ ਯਾ ਤੇ ਲਗਤ ਅਚੇ ਤ ॥੧੬॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) -ਸੰਸਾਰ ਿਵਚ ਤ ਇਹ ਲੋ ਕ ਆਪਣੇ ਆਪ ਨੂ ੰ ਪੰਡਤ, ਸੁੱਘੜ ਅਤੇ ਸੁਚੇਤ ਕਹਾ ਦੇ
ਹਨ ਪਰ ਪੱਥਰ ਦੀ ਪੁਜਾ ਕਰਦੇ ਇਹ ਬੀਲਕੁਲ ਮੂਰਖ ਲਗਦੇ ਹਨ ।
Meaning - (You) claim to be scholar, agile and wise; (you) worship the stones, that is
why (you) look like a fool.
ਿਚਤ ਭੀਤਰ ਆਸਾ ਧਨ ਧਾਰੈ ॥ ਿਸਵ ਿਸਵ ਿਸਵ ਮੁ ਖ ਤੇ ਉਚਾਰੈ ॥
ਅਿਧਕ ਿਡੰਭ ਕਿਰ ਜਿਗ ਿਦਖਾਵੈ ॥ ਦ ਾਰ ਦ ਾਰ ਮਾਗਤ ਨ ਲਜਾਵੈ ॥੧੭॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) -ਮਨ ਿਵਚ ਹਰ ਵੇਲੇ ਧਨ ਦੀ ਆਸ ਲਾਈ ਰੱਖਦੇ ਹਨ ਪਰ ਮੁ ੰਹ ਤ 'ਿ ਵ ਿ ਵ '
ਉਚਾਰਣ ਕਰਦੇ ਰਿਹੰਦੇ ਹਨ । ਜਗਤ ਿਵਚ ਬੜੇ ਪਖੰਡ ਅਤੇ ਚਿਲੱਤਰ ਵਖਾ ਦੇ ਹਨ ਪਰ ਦਰ ਦਰ ਮੰਗਦੇ ਰਮ
ਨਹ ਖ ਦੇ
Meaning - In (your) heart, you hope for money (etc.) while chant 'Shiv, Shiv' from
(your) mouth. (You) take up many appearances to trick the world, (but) are not
ashamed to beg from door to door.
ਨਾਕ ਮੂ ੰਿਦ ਕਿਰ ਚਾਿਰ ਘਰੀ ਠਾਢੇ ਰਹੈ ॥ ਿਸਵ ਿਸਵ ਿਸਵ ਹ ੈ ਏਕ ਚਰਨ ਇਸਿਥਤ ਕਹੈ ॥
ਜੋ ਕੋ ਊ ਪੈ ਸਾ ਏਕ ਦੇਤ ਕਿਰ ਆਇ ਕੈ ॥ ਹੋ ਦਾਤਨ ਲੇ ਤ ਉਠਾਇ ਿਸਵਿਹ ਿਬਸਰਾਇ ਕੈ ॥੧੮॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) -ਨੱਕ ਬੰਦ ਕਰਕੇ ਇਹ ਚਾਰ ਘੜੀਆਂ ਤਕ ਖੜੇ ਰਿਹੰਦੇ ਹਨ ਅਤੇ 'ਿ ਵ ਿ ਵ ' ਇਕ
ਪੈਰ ਤੇ ਖੜੇ ਹੋ ਕੇ ਕਿਹੰਦੇ ਹਨ । ਜੇ ਕੋਈ ਇਨ ਨੂ ੰ ਆਕੇ ਇਕ ਪੈਸਾ ਵੀ ਿਦੰਦਾ ਹੈ ਤ ਇਹ ਓਸੇ ਵੇਲੇ ਿ ਵ ਦਾ ਿਸਮਰਣ
ਬੰਦ ਕਰਕੇ ਉਸ ਦਾਨ ਨੂ ੰ ਚੁਕਣ ਿਵਚ ਲਗ ਜ ਦੇ ਹਨ ।
Meaning - (You) keep holding you breath for few moments and keep chanting 'Shiv
Shiv' by standing on one leg. If someone comes and gives (you) even one paisa, (you)
forget your chants and get busy picking it up with your teeth [like a greedy dog].
ਔਰਨੁ ਪਦੇ ਕਰੈ ਆਪੁ ਧਯਾਨ ਕੌ ਨ ਧਰੈ ਲੋ ਗਨ ਕੌ ਸਦਾ ਤਯਾਗ ਧਨ ਕੋ ਿਦ ੜਾਤ ਹੈ ॥ ਤੇ ਹੀ ਧਨ ਲੋ ਭ ਊਚ ਨੀਚਨ ਕੋ ਦ ਾਰ ਦ ਾਰ ਲਾਜ ਕੌ ਿਤਯਾਗ ਜੇਹੀ
ਤੇ ਹੀ ਪੈ ਿਘਘਾਤ ਹੈ ॥
ਕਹਤ ਪਿਵੱਤ ਹਮ ਰਹਤ ਅਪਿਵੱਤ ਖਰੇ ਚਾਕਰੀ ਮਲੇ ਛਨ ਕੀ ਕੈ ਕੈ ਟੂ ਕ ਖਾਤ ਹੈ ॥ ਬਡੇ ਅਸੰਤੋ ਖੀ ਹ ਕਹਾਵਤ ਸੰਤੋ ਖੀ ਮਹ ਏਕ ਦ ਾਰ ਛਾਿਡ ਮ ਿਗ ਦ ਾਰੇ
ਦ ਾਰੇ ਜਾਤ ਹੈ ॥੧੯॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) -ਦੂਸਿਰਆਂ ਨੂ ੰ ਉਪਦੇ ਿਦੰਦੇ ਹਨ, ਖ਼ੁਦ ਉਸ ਉਪਦੇ ਵਲ ਿਧਆਨ ਵੀ ਨਹ ਿਦੰਦੇ
ਅਤੇ ਇਹ ਲੋ ਕ ਦੂਸਰੇ ਲੋ ਕ ਨੂ ੰ ਿਤਆਗ ਦਾ ਉਪਦੇ ਿਦੰਦੇ ਹਨ । ਪਰ ਓਸ ਧਨ ਦੇ ਲੋ ਭ ਖਾਤਰ ਇਹ ਊਚਨੀਚ ਦਾ
ਿਵਚਾਰ ਕੀਤੇ ਿਬਨ ਦਰ ਦਰ ਿਫਰਦੇ ਹਨ ਹਰ ਇਕ ਅਗੇ ਤਰਲੇ ਕਢਦੇ ਹਨ । ਆਪ ਕਿਹੰਦੇ ਹਨ ਿਕ ਅਸ ਪਿਵਤਰ
ਹ, ਪਰ ਅਸਲ ਿਵਚ ਅਪਿਵਤਰ ਹੁ ੰਦੇ ਹਨ ਿਕ ਿਕ ਆਪ ਇਹ ਮਲੇ ਛ ਦੀ ਨੌ ਕਰੀ ਕਰਕੇ ਰੋਟੀ ਦਾ ਟੁਕੜਾ ਪ ਾਪਤ
ਕਰਦੇ ਹਨ । ਆਪਣੇ ਆਪ ਨੂ ੰ ਕਿਹੰਦੇ ਹਨ ਿਕ ਅਸ ਬਹੁਤ ਸੰਤੋਖੀ ਹ , ਪਰ ਅਸਲ ਿਵਚ ਪਰਮ ਅਸੰਤੋਖੀ ਹਨ । ਉਹ
ਇਕ ਪ ਭੂ ਦੇ ਦਵਾਰ ਨੂ ੰ ਛੱਡ ਕੇ ਹੋ ਰ ਲੋ ਕ ਦੇ ਦਰਵਾਿਜ਼ਆਂ ਤੇ ਜਾ ਕੇ ਮੰਗਦੇ ਹਨ ।
Meaning -(You) lecture others but do not follow the teachings (yourself) and (you)
keep preaching others to renounce the love for money. In the greed of that money,
(you) shamelessly keep begging at every door and from everyone, without
considering their status. (You) say I am pure, but (in reality you) are highly impure
(because) you work for the MALECHHS for bits of food. (You claim to be) content but
in reality (you) are highly discontent (because you) leave God's door and beg at every
other door.
ਮਾਟੀ ਕੇ ਿ ਵ ਬਨਾਏ ਪੂਿਜਕੈ ਬਹਾਇ ਆਏ ਆਇਕੈ ਬਨਾਏ ਫੇਿਰ ਮਾਟੀ ਕੇ ਸੁ ਧਾਿਰਕੈ ॥ ਤਾਕੇ ਪਾਏ ਪਰਯੋ ਮਾਥੋ ਘਰੀ ਦ ੈ ਰਗਰਯੋ ਐ ਰੇ ਤ ਮੈ ਕਹਾ ਹੈ ਰੇ
ਦੈ ਹੈ ਤੋ ਿਹ ਕੌ ਿਬਚਾਰਕੈ ॥
ਿਲੰ ਗ ਕੀ ਤੂ ਪੂ ਜਾ ਕਰੈ ੰ ਭੁ ਜਾਿਨ ਪਾਇ ਪਰੈ ਸੋ ਈ ਅੰਤ ਦੈ ਹੈ ਤੇ ਰੇ ਕਰ ਿਨਕਾਰ ਕੈ ॥ ਦੁ ਿਹਤਾ ਕੌ ਦੈ ਹੈ ਕੀ ਤੂ ੰ ਆਪਨ ਖਬੈਹੈ ਤਾਕੌ ਯੌ ਹੀ ਤੋ ਿਹ ਮਾਿਰ ਹੈ ਸਦਾ
ਿ ਵ ਖ ਾਰ ਕੈ ॥੨੦॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) -ਇਹ ਿਮਟੀ ਦੇ ਿ ਵਜੀ ਬਣਾ ਦੇ ਹਨ , ਉਸ ਦੀ ਪੂਜਾ ਕਰਦੇ ਹਨ ਅਤੇ ਿਫਰ ਉਸਨੂ ੰ
ਪਾਣੀ ਿਵਚ ਰੋੜ ਿਦੰਦੇ ਹਨ, ਿਫਰ ਦਬਾਰਾ ਿਮੱਟੀ ਨੂ ੰ ਗੋਹ ਕੇ ਉਸ ਨੂ ੰ ਬਣਾ ਦੇ ਹਨ । ਤੁਸ ਉਸ ਦੇ ਪੈਰ ਪ ਦੇ ਹੋ , ਮੱਥੇ
ਰਗੜਦੇ ਹੋ: ਹੇ ਮੂਰਖੋ ਉਸ ਿਮਟੀ ਦੇ ਬੁੱਤ ਪਾਸ ਕੀ ਹੈ ਜੋ ਤੁਹਾਨੂ ੰ ਦੇਵੇਗਾ । ਤੁਸ ਉਸ ਦੇ ਿਲੰ ਗ ਦੀ ਪੂਜਾ ਕਰਦੇ ਹੋ
ਅਤੇ ਿ ਵਜੀ ਸਮਝਕੇ ਉਸਦੇ ਪੈਰ ਪ ਦੇ ਹੋ । ਿਫਰ ਤ ਉਹ ਤੁਹਾਨੂ ੰ ਉਹੀ ਕੱਢ ਕੇ ਦੇਵੇਗਾ ਿਜਸਦੀ ਤੁਸ ਪੂਜਾ ਕਰਦੇ
ਹੋ । ਕੀ ਉਸ ਿਲੰ ਗ ਨੂ ੰ ਆਪਣੀ ਪੁੱਤਰੀ ਨੂ ੰ ਦੇਵ ਗਾ ਜ ਖ਼ੁਦ ਹੀ ਚੱਬ ਲਵ ਗਾ ? ਿ ਵਜੀ ਤੈਨੂ ੰ ਉਥੇ ਹੀ ਿਖੱਚ ਕੇ ਮਾਰੇਗਾ

Meaning -(You) make clay Shivas and throw it in water after worshipping it and then
knead clay to make some (more). (You) fall in the feet (of that idol) and rub
foreheads; O (fool!), just think what it has got that it will give (you)? (You) worship its
phallus and fall at its feet thinking it is Shiva. (Then) you will only get the thing that
you worship (as reward). Will you give it (phallus) to your daughter or chew on it
yourself? This is exactly how SadaShiv (God) will humiliate you.
ਪਾਹਨ ਕੌ ਿਸਵ ਤੂ ਜੋ ਕਹੈ ਪਸੁ ਯਾ ਤੇ ਕਛੁ ਤੁ ਿਹ ਹਾਥ ਨ ਐ ਹੈ ॥ ਤ ੈਯਕ ਜੋਿਨ ਜੁ ਆਪੁ ਪਰਾ ਹਿਸ ਕੈ ਤੁ ਿਹ ਕੋ ਕਹੁ ਕਾ ਬਰੁ ਦੈ ਹੈ ॥
ਆਪਨ ਸੋ ਕਿਰ ਹੈ ਕਬਹੂ ੰ ਤੁ ਿਹ ਪਾਹਨ ਕੀ ਪਦਵੀ ਤਬ ਪੈ ਹੈ ॥ ਜਾਨੁ ਰੇ ਜਾਨੁ ਅਜਾਨ ਮਹਾ ਿਫਿਰ ਜਾਨ ਗਈ ਕਛੁ ਜਾਿਨ ਨ ਜੈ ਹੈ ॥੨੧॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) -ਹੇ ਮੂਰਖ ਿਜਸ ਪੱਥਰ ਨੂ ੰ ਤੂ ੰ ਿ ਵਜੀ ਕਿਹੰਦਾ ਹ ਉਸ ਪਾਸ ਤੈਨੂ ੰ ਕੁਝ ਨਹ ਿਮਲੇ ਗਾ
। ਪੱਥਰ ਦੀ ਜੂਨ ਿਵਚ ਿਜਹੜਾ ਖ਼ੁਦ ਿਪਆ ਹੈ , ਉਹ ਪ ਸੰਨ ਹੋ ਕੇ ਤੈਨੂ ੰ ਕੀ ਵਰਦਾਨਦੇਵੇਗਾ ? ਉਹ ਪੱਥਰ ਵੀ ਤੈਨੂ ੰ
ਆਪਣੇ ਵਰਗਾ ਪੱਥਰ ਬਣਾ ਲਵੇਗਾ ਅਤੇ ਤੈਨੂ ੰ ਪੱਥਰ ਦੀ ਪਦਵੀ ਦੇ ਦੇਵੇਗਾ । ਹੇ ਮੂਰਖ ਹੁਣ ਹੀ ਸਮਝ ਲੈ , ਬਾਅਦ
ਿਵਚ ਤੈਨੂ ੰ ਇਸ ਦੀ ਸਮਝ ਨਹ ਆਉਣੀ ।
Meaning -O fool! The stone that you think is Shiva, (you) will not receive anything
from it. That who itself has been reincarnated as stone, what can it give (you) if its
pleased? It will make (you) like itself, then (you) will be conferred the title of stone. O
fool! Be aware of this now!; (for you) will not be able to understand it later.
ਬੈ ਸ ਗਈ ਲਿਰਕਾਪਨ ਮੋ ਤਰੁ ਨਾਪਨ ਮੈ ਨਿਹ ਨਾਮ ਲਯੋ ਰੇ ॥ ਔਰਨ ਦਾਨ ਕਰਾਤ ਰਹਾ ਕਰ ਆਪ ਉਠਾਇ ਨ ਦਾਨ ਦਯੋ ਰੇ ॥ ਪਾਹਨ ਕੋ ਿਸਰ ਨ ਾਤਨ ਤੈ
ਪਰਮੇ ਸ ਰ ਕੌ ਿਸਰ ਨ ਾਤ ਭਯੋ ਰੇ ॥ ਕਾਮਿਹ ਕਾਮ ਫਸਾ ਘਰ ਕੇ ਜੜ ਕਾਲਿਹ ਕਾਲ ਕੈ ਕਾਲ ਗਯੋ ਰੇ ॥੨੨॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) -ਲੜਕਪਨ ਤੇਰਾ ਉਸ ਤਰ ਬੀਤ ਿਗਆ ਅਤੇ ਜਵਾਨੀ ਿਵਚ ਤੂ ੰ ਉਸ ਦਾ ਨਾਮ ਨਹ
ਜਿਪਆ । ਤੂ ੰ ਦੂਸਿਰਆਂ ਪਾਸ ਤੇ ਦਾਨ ਕਰਵਾ ਦਾ ਿਰਹਾ ਏ ਂ , ਪਰ ਆਪ ਹੱਥ ਚੁਕ ਕੇ ਕਦੀ ਵੀ ਿਕਸੇ ਨੂ ੰ ਦਾਨ ਨਹ
ਿਦੱਤਾ । ਪੱਥਰ ਅਗੇ ਿਸਰ ਝੁਕਾ ਕੇ ਕੀ ਤੁ ੰ ਪਰਮਾਤਮਾ ਦਾ ਿਸਰ ਨੀਵ ਕਰ ਿਰਹਾ ਹ , ਤੁ ੰ ਕਾਮਨਾਵ ਦਾ ਜਾਲ ਿਵਚ ਹੀ
ਫਿਸਆ ਹ , ਹੇ ਮੂਰਖ ਕੱਲ ਕੱਲ ਕਰਿਦਆਂ ਸਾਰਾ ਜੀਵਨ ਹੀ ਸਮਾਪਤ ਹੋ ਿਗਆ ਹੈ ।
Meaning - (You) spent your life (unaware) in childhood and (you) did not remember
Him in (your) youth. (You) kept getting others to donate, while (you) never lifted
your hand to give donations (yourself). (You) have lowered God's head by bowing in
front of idols. O fool! (you) remained trapped in web of desires, saying 'tomorrow,
tomorrow'; (you) have wasted life away.
ਦ ੈਕ ਪੁ ਰਾਨਨ ਕੌ ਪਿੜ ਕੈ ਤੁ ਮ ਫੂ ਿਲ ਗਏ ਿਦਜ ਜੂ ਿਜਯ ਮਾਹੀ ॥ ਸੋ ਨ ਪੁਰਾਨ ਪੜਾ ਿਜਹ ਕੇ ਇਹ ਠੌ ਰ ਪੜੇ ਸਭ ਪਾਪ ਪਰਾਹੀ ॥
ਿਡੰਭ ਿਦਖਾਇ ਕਰੋ ਤਪਸਾ ਿਦਨ ਰੈਿਨ ਬਸੈ ਿਜਯਰਾ ਧਨ ਮਾਹੀ ॥ ਮੂ ਰਖ ਲੋ ਗ ਪ ਮਾਨ ਕਰੈ ਇਨ ਬਾਤਨ ਕੌ ਹਮ ਮਾਨਤ ਨਾਹੀ ॥੨੩॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) -ਹੇ ਪੰਡਤ l ਤੂ ੰ ਇਕ ਦੋ ਪੁਰਾਣ ਪੜ ਕੇ ਮਨ ਿਵਚ ਫੁੱਲ ਿਰਹਾ ਹ । ਤੂ ੰ ਉਹ ਪੁਰਾਣ
ਨਹ ਪਿੜਆ ਿਜਸ ਦੇ ਪੜ ਨ ਨਾਲ ਸਾਰੇ ਪਾਪ ਨ ਟ ਹੋ ਜ ਦੇ ਹਨ । ਪਖੰਡ ਿਵਖਾਕੇ ਤੁਸ ਤਪੱਿਸਆ ਕਰਦੇ ਹੋ ਪਰ
ਿਦਨ ਰਾਤ ਤੁਹਾਡਾ ਮਨ ਤ ਧਨ ਿਵਚ ਵਸਦਾ ਰਿਹੰਦਾ ਹੈ । ਮੂਰਖ ਲੋ ਕ ਭਾਵ ਤੁਹਾਡੀਆਂ ਗੱਲ ਨੂ ੰ ਪ ਮਾਨੀਕ ਮੰਨ ਲੈ ਣ ,
ਪਰ ਅਸ ਤ ਇਨ ਗੱਲ ਨੂ ੰ ਨਹ ਮੰਨ ਸਕਦੇ ।
Meaning - O Brahman! By reading one or two PURANAS, (you) have become arrogant.
But (you) have not read that Purana, reading which entire sins of the world are
eradicated. You pretend to meditate, (but your) mind is engrossed with thoughts of
money day and night. Fools may believe your theories, but I do not believe in any of
ਕਾਹੇ ਕੋ ਕਾਜ ਕਰੋ ਇਤਨੀ ਤੁਮ ਪਾਹਨ ਕੋ ਿਕਹ ਕਾਜ ਪੁਜਾਵੋ ॥ ਕਾਹੇ ਕੋ ਿਡੰਭ ਕਰੋ ਜਗ ਮੈ ਇਹ ਲੋ ਕ ਗਯੋ ਪਰਲੋ ਕ ਗਵਾਵੋ ॥
ਝੂ ਠ ਨ ਮੰਤ ਉਪਦੇ ਸ ਕਰੋ ਜੋ ਊ ਚਾਹਤ ਹੋ ਧਨ ਲੌ ਹਰਖਾਵੋ ॥ ਰਾਜ ਕੁ ਮਾਰਨ ਮੰਤ ਿਦਯੋ ਸੁ ਿਦਯੋ ਬਹੁਰੌ ਹਮ ਕੌ ਨ ਿਸਖਾਵੋ ॥੨੪॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) -ਿਕ ਏਨਾ ਕਾਰਜ ਕਰਦੇ ਹੋ ਅਤੇ ਇਸ ਪੱਥਰ ਲਈ ਸਭ ਕੁਝ ਪਹੁ ੰਚਾ ਰਹੇ ਹੋ ? ਿਕ
ਇਸ ਜਗ ਿਵਚਪਖੰਡ ਕਰ ਰਹੇ ਹੋ ਤੁਹਾਡਾ ਇਕ ਲੋ ਕ ਤੇ ਿਗਆ ਤੁ ਸ ਆਪਣਾ ਪਰਲੋ ਕ ਵੀ ਗਵਾ ਲੈ ਣਾ ਹੈ । ਮੈਨੂ ੰ ਝੂਠ
ਮੰਤਰ ਅਤੇ ਉਪਦੇ ਨ ਦੇਵੋ ਜੋ ਤੁਸ ਚਾਹੁ ੰਦੇ ਹੋ , ਉਸ ਧਨ ਨੂ ੰ ਲੈ ਕੇ ਖੁ ਹੋ ਜਾਵੋ । ਤੁਸ ਰਾਜ ਕੁਮਾਰ ਨੂ ੰ ਹੀ ਇਹ
ਮੰਤਰ ਿਸਖਾਓ ਮੈਨੂ ੰ ਕੁਝ ਵੀ ਿਸਖਾਉਣ ਦੀ ਲੋ ੜ ਨਹ ।
Meaning - Why do (you) make such effort, for what do (you)worship this idol? Why
do you deceit the world? (Your) current life is destroyed; (now you) will lose afterlife
too. Do not preach (me) false mantras. Whatever amount of money (you) want, take it
and be merry. The mantras you have taught the princes has been taught, but do not
teach me (any mantras).
The readers can now make up their own mind whether these supreme, inspirational
precepts have been given by some AVATAREE PERSON or by some ordinary poet.
Decide for yourself whether slander of such words is the path to emancipation or the
path to hell? There are lots of similar motivational verses given in this long story. It
appears as if it is neither the minister Bhoop dialogue, nor the advice given to the
Brahman; instead, it is a divine message delivered to us by some enlightened soul:
ਮੰਤ ਦੇ ਤ ਿਸਖ ਅਪਨ ਕਰਤ ਿਹਤ ॥ ਜ ੋ ਤ ੋ ਭੇ ਟ ਲੈ ਤ ਤਾ ਤੇ ਿਬਤ ॥ ਸਿਤ ਬਾਤ ਤਾ ਕਹ ਨ ਿਸਖਾਵਹੁ ॥ ਤਾਿਹ ਲੋ ਕ ਪਰਲੋ ਕ ਗਵਾਵਹੁ ॥੨੮॥
ਸੁ ਨਹੁ ਿਬਪ ਤੁਮ ਮੰਤ ਦੇਤ ਿਜਹ ॥ ਲੂ ਿਟ ਲੇ ਤ ਿਤਹ ਘਰ ਿਬਿਧ ਿਜਹ ਿਕਹ ॥ ਤਾ ਕਹ ਕਛੂ ਗ ਾਨ ਨਿਹ ਆਵੈ ॥ ਮੂ ਰਖ ਅਪਨਾ ਮੂ ੰਡ ਮੁ ੰਡਾਵੈ ॥੨੯॥
ਿਤਹ ਤੁ ਮ ਕਹੁ ਮੰਤ ਿਸਿਧ ਹ ੈਹੈ ॥ ਮਹਾਦੇਵ ਤੋ ਕੌ ਬਰੁ ਦੈ ਹੈ ॥ ਜਬ ਤਾ ਤੇ ਨਿਹ ਹੋਤ ਮੰਤ ਿਸਿਧ ॥ ਤਬ ਤੁਮ ਬਚਨ ਕਹਤ ਹੌ ਇਹ ਿਬਿਧ ॥੩੦॥
ਕਛੂ ਕੁ ਿਕ ਯਾ ਤੁ ਮਤੇ ਭਯੋ ॥ ਤਾ ਤੇ ਦਰਸ ਨ ਿਸਵ ਜੂ ਦਯੋ ॥ ਅਬ ਤੈ ਪੁ ੰਨ ਦਾਨ ਿਦਜ ਕਰ ਰੇ ॥ ਪੁ ਿਨ ਿਸਵ ਕੇ ਮੰਤ ਿਹ ਅਨੁ ਸਰੁ ਰੇ ॥੩੧॥
ਉਲਟੋ ਡੰਡ ਿਤਸੀ ਤੇ ਲੇ ਹੀ ॥ ਪੁ ਿਨ ਿਤਹ ਮੰਤ ਰੁ ਦ ਕੋ ਦੇ ਹੀ ॥ ਭਾਿਤ ਭਾਿਤ ਤਾ ਕੌ ਭਟਕਾਵੈ ॥ ਅੰਤ ਬਾਰ ਇਿਮ ਭਾਖ ਸੁਨਾਵੈ ॥੩੨॥
ਤੋ ਤੇ ਕਛੁ ਅਛਰ ਰਿਹ ਗਯੋ ॥ ਤੈ ਕਛੁ ਭੰਗ ਿਕ ਯਾ ਤੇ ਭਯੋ ॥ ਤਾ ਤੇ ਤੁ ਿਹ ਬਰੁ ਰੁ ਦ ਨ ਦੀਨਾ ॥ ਪੁ ੰਨ ਦਾਨ ਚਿਹਯਤ ਪੁਿਨ ਕੀਨਾ ॥੩੩॥
ਇਹ ਿਬਿਧ ਮੰਤ ਿਸਖਾਵਤ ਤਾ ਕੋ ॥ ਲੂ ਟਾ ਚਾਹਤ ਿਬਪ ਘਰ ਜਾ ਕੋ ॥ ਜਬ ਵਹੁ ਦਰਬ ਰਹਤ ਹ ੈ ਜਾਈ ॥ ਔਰ ਧਾਮ ਤਬ ਚਲਤ ਤਕਾਈ ॥੩੪॥...
ਕਾਹੂ ਧਨ ਤ ਾਗ ਿਦ ੜਾਵਿਹ ॥ ਕਾਹੂ ਕੋ ਕੋ ਊ ਗ ਿਹ ਲਾਵਿਹ ॥ ਮਨ ਮਿਹ ਦਰਬ ਠਗਨ ਕੀ ਆਸਾ ॥ ਦ ਾਰ ਦ ਾਰ ਡੋ ਲਤ ਇਹ ਪ ਾਸਾ ॥੪੧॥
And extremely materialistic and greedy priests have been rebuked as:
ਏਕਨ ਜੰਤ ਿਸਖਾਵਤ ਹੈ ਿਦਜ ਏਕਨ ਮੰਤ ਪ ਯੋ ਗ ਬਤਾਵੈ ॥ ਜੋ ਨ ਿਭਜੈ ਇਨ ਬਾਤਨ ਤੇ ਿਤਹ ਗੀਿਤ ਕਿਬਤ ਸਲੋ ਕ ਸੁਨਾਵੈ ॥
ਦ ੋਸ ਿਹਰੈ ਧਨ ਲੋ ਗਨ ਕੇ ਿਗ ਹ ਚੋ ਰੁ ਚਕੈ ਠਗ ਦੇ ਿਖ ਲਜਾਵੈ ॥ ਕਾਿਨ ਕਰੈ ਨਿਹ ਕਾਜੀ ਕੁ ਟਵਾਰ ਕੀ ਮੂ ੰਿਡ ਕੈ ਮੂ ੰਿਡ ਮੁਰੀਦਨ ਖਾਵੈ ॥੫੭॥
Meaning -To some, these Brahmans teach the art of Tantra and to others, they teach
the use of different Mantras. Those who do not get influenced by any of these, they
sing songs, sloks and kabits for them. (These Brahmans) are daylight robbers who
steal money from people's houses. (Their dexterity) amazes thieves and puts
swindlers to shame. They have no fear of the priest or the law, and (they) do not
hesitate to rip off even their own disciples.
The adversaries of Sri Dasam Granth Sahib Ji make a big accusation that the spiritual
head of this story is the Maha Kaal of Shaakat Panthis. It is important to mention here
that the Brahman in this story worships Rudra-Shiva. It is also Shiva as Bhairo,
husband of Bhairavi, he is also Mahakal and Rudra, etc. Following are a few
references from other granths as proofs:
"He who sees wine, fish, meat, woman should salute the Bhairavi Devi and say Om!
Salutation to the beloved of Siva, the remover of all obstacles"[Chapter 25, Shaakat
"Sankara has as many aspects as there are Mahasaktis, He who worships Her ever
worships Him as husband... He who worships the Devis pleases Rudra."[Principles of
Tantra, P.63]
"If it vexes Thee, drown me with a thrust of Thy foot, but then in so doing thou must
first raise Thy foot from the breast of Mahakala (Siva). The Devi is represented as
standing on Siva, who is, as it were, corpse, for he is BHOKTA only, whilst she is
KARTARI."[Principles of Tantra, P.63]
The Mahakal mentioned in the above story is the formless Waheguru - the creator of
Brahma, Vishnu and Rudra-Shiv. It is the same Waheguru who, in the bani 'Jaap', has
been referred to as 'Sarb Kaal'; or 'Kaalaan Kaal';. The protagonist Rankhambh Kalaa
preaches the Brahman to stop worshipping Rudra-Shiv and idols, and inspires him to
worship the formless Mahakal instead. This Mahakal is different from Rudra-Shiv.
See verse no. 96 below:
ਏਕੈ ਮਹਾ ਕਾਲ ਹਮ ਮਾਨ ॥ ਮਹਾ ਰੁ ਦ ਕਹ ਕਛੂ ਨ ਜਾਨ ॥ ਬ ਹਮ ਿਬਸਨ ਕੀ ਸੇਵ ਨ ਕਰਹੀ ॥ ਿਤਨ ਤੇ ਹਮ ਕਬਹੂ ੰ ਨਹੀ ਡਰਹੀ ॥੯੬॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) -ਰਾਜਕੁਮਾਰੀ ਨ ਿਫਰ ਿਕਹਾ ਿਕ ਮ ਕੇਵਲ ਇਕ ਮਹ ਕਾਲ ਨੂ ੰ ਹੀ ਮੰਨਦੀ ਹ , ਮ ਿਕਸੇ
ਮਹ ਰੁਦਰ ਨੂ ੰ ਕੁਝ ਨਹ ਸਮਝਦੀ । ਮ ਬ ਹਮ ਿਬ ਨੂ ੰ ਦੀ ਵੀ ਸੇਵਾ ਨਹ ਕਰ ਗੀ ਅਤੇ ਇਨ ਪਾਸ ਰਤਾ ਭਰ ਵੀ ਨਹ
ਡਰ ਗੀ ।
Meaning -(The princess then said) I only believe in One Mahakal, I do not give any
importance to any Maha Rudra. I will (also) not worship Brahma or Vishnu, (nor) will
I be fearful of them.
It is absolutely baseless to accuse Sri Dasam Granth Sahib Ji of having tendency to
promote pro-Brahmanical philosophies. This Charitar staunchly criticises the ways of
Brahmans and their deities, as:
ਜੌ ਇਨ ਮੰਤ ਜੰਤ ਿਸਿਧ ਹੋ ਈ ॥ ਦਰ ਦਰ ਭੀਿਖ ਨ ਮ ਗੈ ਕੋ ਈ ॥ ਏਕੈ ਮੁ ਖ ਤੇ ਮੰਤ ਉਚਾਰੈ ॥ ਧਨ ਸੌ ਸਕਲ ਧਾਮ ਭਿਰ ਡਾਰੈ ॥੧੧੪॥
ਰਾਮ ਿਕ ਸਨ ਏ ਿਜਨ ਬਖਾਨ ॥ ਿਸਵ ਬ ਹਮਾ ਏ ਜਾਿਹ ਪ ਮਾਨ ॥ ਤੇ ਸਭ ਹੀ ਸ ੀ ਕਾਲ ਸੰਘਾਰੇ ॥ ਕਾਲ ਪਾਇ ਕੈ ਬਹੁ ਿਰ ਸਵਾਰੇ ॥੧੧੫॥
ਕੇ ਤੇ ਰਾਮਚੰਦ ਅਰੁ ਿਕ ਸਨਾ ॥ ਕੇ ਤੇ ਚਤੁ ਰਾਨਨ ਿਸਵ ਿਬਸਨਾ ॥ ਚੰਦ ਸੂ ਰਜ ਏ ਕਵਨ ਿਬਚਾਰੇ ॥ ਪਾਨੀ ਭਰਤ ਕਾਲ ਕੇ ਦ ਾਰੇ ॥੧੧੬॥
ਕਾਲ ਪਾਇ ਸਭ ਹੀ ਏ ਭਏ ॥ ਕਾਲੋ ਪਾਇ ਕਾਲ ਹ ੈ ਗਏ ॥ ਕਾਲਿਹ ਪਾਇ ਬਹੁ ਿਰ ਅਵਤਿਰ ਹੈ ॥ ਕਾਲਿਹ ਕਾਲ ਪਾਇ ਸੰਘਿਰ ਹੈ ॥੧੧੭॥
Meaning - If they had any powers in their (false) mantras, they would not beg at
every doorstep. (They) chant mantras from mouth and (with that deceit) are able to
collect large amounts of wealth. Ram, Krishna, Shiva, Brahma, etc. have all been
destroyed and resurrected by Kaal.
By labelling the following verse of this Charitar-story, opposers do widespread
slandering of Sri Dasam Granth Sahib Ji. Actually, they derive wrong meanings from it
to project indecency. In reality, however, Rankhambh Kala, after getting fed up with
the Brahman's obstinacy and baseless logic, throws the stone phallus on his face and
says the same phallus you worship everyday has struck you on your face today. The
verse and its meanings are as follows:
ਕਹੋ ਿਮਸ ਅਬ ਰੁਦ ਿਤਹਾਰੋ ਕਹ ਗਯੋ ॥ ਿਜਹ ਸੇ ਵਤ ਥੋ ਸਦਾ ਦ ਿਤ ਛੈ ਿਤਨ ਿਕਯੋ ॥ ਿਜਹ ਿਲੰ ਗਿਹ ਕੌ ਜਪਤੇ ਕਾਲ ਬਤਾਇਯੋ ॥ ਹੋ ਅੰਤ ਕਾਲ ਸੋ ਤੁ ਮਰੇ
ਮੁ ਖ ਮਿਹ ਆਇਯੋ ॥੧੧੦॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) - ਉਹ ਕਿਹਣ ਲਗੀ ਹੇ ਬ ਾਹਮਣ l ਹੁਣ ਮੈਨੂ ੰ ਦੱਸ ਿਕ ਤੇਰਾ ਿ ਵਜੀ ਿਕਥੇ ਿਗਆ ?
ਿਜਸਦੀ ਤੁਸ ਸਦਾ ਹੀ ਪੂਜਾ ਸੇਵਾ ਕਰਦੇ ਸੀ ਉਸ ਦੇ ਮ ਦੰਦ ਤੋੜ ਿਦੱਤੇ ਹਨ । ਿਜਸ ਿਲੰ ਗ ਦੀ ਪੂਜਾ ਕਰਿਦਆਂ ਤੂ ੰ
ਏਨਾ ਸਮ ਨ ਟ ਕੀਤਾ ਹੈ ਉਹ ਹੀ ਤੇਰੇ ਮੁ ੰਹ ਤੇ ਆ ਕੇ ਵੱਜਾ ਹੈ ॥੧੧੦॥
Meaning (From Dr. Jaggi's translation) (..and she said) O Brahman! Now tell me,
where has your Shiv gone now? Whom (you) used to worship all the time, he has
broken (your) teeth. (you have) spent so much time worshipping the phallus, (that
same phallus) has struck you in the face.
Therefore, there is no indecency in this verse nor anyone other than Akal Purakh has
been given the status of the Supreme Being. Rebuttal of fake rituals of the Brahmans,
idol-worship and deity-worship and the motivation for the worship of Only
Waheguru Ji instead has been issued via the female protagonist of this Charitar. For
rest of the world, it sets a prime example of the awakened state of women and issues
an important message that a woman can play important role in spreading true faith
as well as in the eradication of baseless traditions. Most Charitars deal with, and
successfully portray, kings engrossed in wasteful pleasures, the sexual urges of
people impersonating as yogis and great renuniciators, widespread exploitation on
the pretexts of Jantra-Mantras, the co-relations between sex and drugs, actions of
immorality emerging from incompatible marriages, and the evil nexus of wealth,
power and intoxicants. The moral from all of the above is to abstain from such
situations and to live a honest, virtuous life. In some stories, Guruji has attached
himself as the protagonist to try to convey the message that such attacks of kaam
happen on men of God too, and they are able to destroy them with their superior
intellect. The following verse beautifully illustrates sharp power of reasoning of
ਗੰਧ ਬ ਜਛ ਭੁ ਜੰਗ ਗਨ ਨਰ ਬਪੁਰੇ ਿਕਨ ਮਾਿਹ ॥ ਦੇ ਵ ਅਦੇ ਵ ਿਤ ਯਾਨ ਕੇ ਭੇ ਵ ਪਛਾਨਤ ਨਾਿਹ ॥੧੩॥
It is unfortunate that influential people like Chitr Singh have turned woman of
immense talents into Kamini, a symbol of desire. If aged people like him will
forcefully establish physical relations with young girls like Chitravarti, it will result in
immoral actions in the society as the desires of beautiful and young women cannot be
fulfilled by weak, aged, and ugly people:
ਧਨੀ ਚਤੁ ਰ ਅਰੁ ਤਰੁ ਿਨ ਤਰੁ ਿਨ ਜੋ ਪਾਇ ਹੈ ॥ ਹੋ ਿਬਰਧ ਕੁ ਰੂ ਪ ਿਨਧਨ ਜੜ ਪੈ ਿਕਯੋ ਜਾਇ ਹੈ ॥੧੫॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) -ਜਦ ਕੋਈ ਜੁਆਨ ਇਸਤ ੀ ਧਨੀ , ਿਸਆਣੇ ਤੇ ਜੁਆਨ ਪੁਰ ਨੂ ੰ ਪਾ ਲਵੇਗੀ ਤ ਭਲਾ
ਫੇਰ ਉਹ ਬੁੱਢੇ , ਕੋਝੇ , ਗਰੀਬ ਤੇ ਮੂਰਖ ਮਨੁੱਖ ਪਾਸ ਿਕ ਜਾਵੇਗੀ ॥੧੫॥
Another accusation made by the opposition is that charitars give instructions to not
disclose secrets to women, which is not in accordance with Gurmat. See the following
verses from 12
and 13
ਜੋ ਿਨਜੁ ਿਤ ਯ ਕੋ ਦੇ ਤ ਪੁ ਰਖ ਭੇ ਦ ਕਛੁ ਆਪਨ ॥ ਤਾ ਕੇ ਿਬਧਨਾ ਲੇ ਤ ਪ ਾਨ ਹਰਨ ਕਿਰ ਪਲਕ ਮੈ ॥੩੦॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) -ਜੋ ਮਨੁੱਖ ਆਪਣੀ ਇਸਤ ੀ ਨੂ ੰ ਥੋੜਾ ਿਜਹਾ ਵੀ ਭੇਦ ਦ ਦਾ ਹੈ , ਪ ਭੂ ਪਲ ਿਵਚ ਉਸਦੇ
ਪ ਾਣ ਨ ਟ ਕਰ ਿਦੰਦਾ ਹੈ ॥੩੦॥
Meaning -The person who gives even smallest of secrets to his woman, God takes
away his life in a second.
ਜੋ ਨਰ ਅਪੁ ਨ ਿਚਤ ਕੌ ਿਤ ਯ ਕਰ ਦੇ ਤ ਬਨਾਇ ॥ ਜਰਾ ਤਾਿਹ ਜੋਬਨ ਹਰੈ ਪ ਾਨ ਹਰਤ ਜਮ ਜਾਇ ॥੯॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) -ਜੋ ਆਦਮੀ ਆਪਣੇ ਮਨ ਦਾ ਭੇਦ ਇਸਤਰੀ ਨੂ ੰ ਦਸਦਾ ਏ, ਬੁਢਾਪਾ ਉਹਦੀ ਜਵਾਨੀ ਨੂ ੰ
ਚੁਰਾ ਲ ਦਾ ਏ ਤੇ ਜਮਰਾਜ ਉਹਦੇ ਪ ਾਣ ਕਢ ਲ ਦਾ ਏ ॥੯॥
Meaning -The person who tells the secrets of heart to woman, old age snatches his
youth and Yamraj takes away his life.
It is our opinion that these lines appear in those stories where woman has been
blinded by sexual desires. It is instructed to not give away heart's secrets to an
immoral woman as the consequences of it can be devastating. Even today, youthful
female spies are deployed to spy on other countries. If someone gets lured in their
trap and gives away any secrets, then destruction is inevitable. We have seen in
previous verses that Sri Guruji has given immense motivation to increase love and
affection with one's own woman, but has given stern warnings against falling for
lustful women, as:
ਕੋ ਟ ਕਸਟ ਸ ਾਨ ਸਹਿਹ ਕੈ ਸੌ ਦਹੈ ਅਨੰ ਗ ॥ ਨ ਕ ਨ ਹ ਨਿਹ ਕੀਿਜਯੈ ਤਊ ਤਰਿਨ ਕੇ ਸੰਗ ॥੨੭॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) -ਿਸਆਣੇ ਆਦਮੀ ਨੂ ੰ ਭਾਵ ਿਕੰਨਾ ਹੀ ਦੁਖ ਸਿਹਣਾ ਪਵੇ ਅਤੇ ਕਾਮ ਵੀ ਭਾਵ ਿਕੰਨਾ ਹੀ
ਿਕ ਨਾ ਸਤਾਏ, ਜਵਾਨ ਇਸਤ ੀ ਦੇ ਿਪਆਰ ਿਵਚ ਕਦੇ ਨਹ ਫਸਣਾ ਚਾਹੀਦਾ ॥੨੭॥
Meaning - No matter how much pain a wise man should go through and no matter
how much kaam torments him, he should never fall in the trap of any youthful
woman. (Charitar 17)
ਪ ੀਿਤ ਕੈ ਿਸਯੈ ਤਨ ਬਢੈ ਕਸਟ ਕੈ ਸਹੂ ਹੋ ਇ ॥ ਤਊ ਤਰੁ ਿਨ ਸੌ ਦੋ ਸਤੀ ਭੂਿਲ ਨ ਕਿਰਯਹੁ ਕੋ ਇ ॥੧੦॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) - ਭਾਵ ਿਕੰਨਾ ਹੀ ਪ ੇਮ ਵਧੇ ਅਤੇ ਸਰੀਰ ਨੂ ੰ ਿਕੰਨਾ ਹੀ ਖ ਿਕ ਨਾ ਹੋਵੇ , ਪਰ ਜੁਆਨ
ਇਸਤ ੀ ਨਾਲ ਭੁਲਕੇ ਵੀ ਪ ੀਤ ਨਹ ਕਰਨੀ ਚਾਹੀਦੀ ॥੧੦॥
Meaning -No matter how much love increases and body goes through torments, (one)
should not fall for any other woman (except one's own) even by mistake.
Sri Guruji also gives the important message to mankind that it is not only woman who
is responsible for widespread immorality in society, in fact it is male who is more
responsible for this epidemic. That is why, it is inappropriate to be harsh on any
woman for her immoral behaviour. As far as possible, It is befitting to forget about
her mis-deeds:
ਚਾਕਰ ਕੀ ਅਰੁ ਨਾਿਰ ਕੀ ਏਕੈ ਬਡੀ ਸਜਾਇ ॥ ਿਜਯ ਤੇ ਕਬਹ ਨ ਮਾਿਰਯਿਹ ਮਨ ਤੇ ਿਮਲਿਹ ਭੁ ਲਾਇ ॥੪੨॥
ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰਘ) -ਨੌ ਕਰ ਅਤੇ ਇਸਤ ੀ ਦੀ ਇਕੋ ਹੀ ਵੱਡੀ ਸਜ਼ਾ ਹੈ ਿਕ ਇਨ ਨੂ ੰ ਜਾਨ ਤੋ ਮਾਰਨ ਦੀ ਥ ,
ਿਦਲ 'ਚ ਕਢ ਦੇਣਾ ਚਾਹੀਦਾ ਹੈ ॥੪੨॥
Meaning -This is the biggest punishment for the employee and woman - instead of
physically hurting them, (one should) throw them out of heart.
[Part V] Chari tropakhyan - Analysi s and Clarificat ions
of Sri Sabudh Baach (Charit ar No. 404)
Guruji has shown immense kirpa - the fifth article in the series is now complete.
SABUDH BAACH is a deeply engaging story, with many important moral lessons to be
learnt from it. It provides a nice, in-depth analysis of various metaphorical verses,
along with brief description of the story itself. Attempt is to answer many important
questions like Concept of Mahakal, implicit references to Puranic texts, etc. It is a
sincere hope that this pious composition of Sri Guruji be read by critics and curious
alike. As with previous articles, this one is also extensively based on Dr. Harbhajan
Singh Ji's book + Gyani Narain Singh Ji's Steek along with massive help from Mahan
Kosh by Bhai Kahn Singh Ji Nabha.
The third section of Charitropakhyan has generally remained neglected. Dialogues of
minister 'Bhoop' end at Charitar 403 and the composition begins under a new title
'ਸਬੁਧੀ ਵਾਚ' (Sabuddhi Vaach). The word 'ਸਬੁਿਧ' is shortened form of 'ਸਦ-ਬੁਿਧ' which
means 'ਚੰਗੀ ਬੁਧੀ' (good intellect). The metaphorical meaning is that King Chitr Singh
eventually came to his senses with persistent inspiration from his wise ministers. A
more comprehensive and global meaning is, when wise and responsible people
present before society the dangers of crimes originating from kaam in a proper
manner, people become prudent and pleasing atmosphere is created. The writer of
Charitropakhyan tells that with the advent of prudence, Satjug-like age dawned again.
Negating the age of Satjug as given in Shastars, it has been described as an age where
expansion of positive reasoning takes place, ending society's seemingly inexhaustible
preoccupation with bad habits. The pitch black night of Kaljug in which inexorable
sexual misconducts take place is pleasantly transformed into Satjug by the light of
positive intellect. In fact, this ideology is in complete harmony with that of Sri Guru
Granth Sahib Ji, who tell us that it is not time that influences good or bad behaviour in
society, rather it is human conduct that make time appear good or bad. With the end
of Kaljug and rise of Satjug, a character named 'ਸਿਤ ਸੰਿਧ' (Satt Sandh) appears in the
story. Word 'ਸਿਤ ਸੰਿਧ' (Satt Sandh) is a combination of two words - ਸਿਤ meaning 'truth
'and ਸੰਿਧ, which means 'union'. Thus, 'ਸਿਤ ਸੰਿਧ' is someone who has merged and
become one with truth. Because Satt Sandh is a truthful person, as such he is king of
Devtas. He ruled as a righteous king for long time but then a monstrous demon took
birth and clashed with him. Many horrific battles were fought between them, with
battlefields drenched with blood of thousands of perished soldiers. In Sri Dasam
Granth Sahib Ji, wherever war scene are described, reader is also provided
rendezvous with horrors of war. We are also told that, even if one faction might
decide to fight out of sheer desperation to defend its faith, sadistic souls will always
look to find cheap pleasures out of misery of others. Devils, foxes, dogs, vultures, etc..
are only satisfied when they see rivers of human blood flowing in front of their eyes.
This important trait can be seen prevalent in almost every episode of Sri Dasam
Granth Sahib Ji and the message delivered is universal: aftermath of war is never
positive. Righteous men of faith have to pick up their swords in self-defence, a
beautiful example of which is by Sri Guru Gobind Singh Sahib Ji in his eternal
composition "Zafarnamah":
ਚੁ ਕਾਰ ਅਜ਼ ਹਮਹ ਹੀਲਤੇ ਦਰ ਗੁ ਜ਼ ਤ ॥ ਹਲਾਲ ਅਸਤ ਬੁਰਦਨ ਬ ਮ ੀਰ ਦਸਤ ॥੨੨॥
Meaning -"When an affair is past every other remedy, it is righteous, indeed to
unsheath the sword." Contrary to this, evil forces tirelessly make efforts to create
atmosphere of discontentment and unrest in society.
For twenty long years and through day and night, the torch-bearer of righteousness
king Satt Sandh kept fighting with 'ਦੀਰਘਦਾੜ ' (Deeragh Daarh), the king of demons.
Eventually, both armies clashed with each other one final time and ended up wiping
each other out. Thirty thousand KHOOHNI soldiers got killed (Khoohni is a unit used
to measure size of an army - 1 Khoohni = 21,870 elephants, 21,870 chariots, 65,610
horses and 1,09,350 foot soldiers, it totals to 2,18,700 units. Multiply this number by
30,000 = 6,56,10,00,000 total soliders killed). After that, both kings ferociously
clashed with each other. Horrifying battle ensued and there were flames of fire
everywhere. Out of these flames, a girl named 'Baala' was born. Dictionary meanings
of word 'Baala' are - girl, female younger than 16 years of age, youthful girl. It is
important to keep in mind here that surname 'kaur' of Sikh women also represents
same meaning. Baala's emergence from fire has a special metaphorical meaning -
With the advent of Satjug, man became 'Satt Sandh' (pure, virtuous), and
consequently, woman abandoned her corruptness (as depicted in Charitars) and took
birth in a new, pure form. When virtuous Baala stepped into the battlefield with
arsenal of weapons in her hands, she started slaying enemies, as:
ਚਾਰਹੁ ਿਦਸਾ ਿਫਰੀ ਜਬ ਬਾਲਾ ॥ ਜਾਨ ਨਾਗ ਰੂ ਪ ਕੀ ਮਾਲਾ ॥ ਐਸ ਨ ਕਤਹੂ ੰ ਪੁ ਰਖ ਿਨਹਾਰਾ ॥ ਨਾਥ ਕਰੈ ਿਜਹ ਆਪੁ ਸੁ ਧਾਰਾ ॥੩੦॥
Meaning - When Baala ran about in all four directions (it appeared as if she was) like
a garland of snakes. There was no such male in sight, who could make her his own.
This is the ultimate aim of the creator of Sri Dasam Granth - to bestow women with
power, to raise them from pits of helplessness and sexual exploitation and establish
them at a level of power much higher than that of men. From this revolutionary
successful attempt of Sri Guruji, brave and powerful women like Mai Bhago, Bibi
Harsharan Kaur, women like those who lived in brutal conditions of the prisons of
Mir Mannu, those who kept their devotion unwavering for Guruji even while having
garlands of chopped babies around their necks, those who braved strenuous labour
in captivity chanting 'satnaam', were born in Gurughar out of the bright flames of
Chandi. By referring to women by names like Chandi, Bhagauti, Tulwar, Teer, Guruji
blessed them with form of Maha-Chandi. In Guruji's composition "Sabudh Baach",
protagonist 'Baala' has only one objective - to marry the lord of universe - Waheguru
Ji. There is absolutely no affect of sexual urges on her body, mind and spirit. She has
become like the soul whose only aim is to be one with The Supreme-Purity. The
following verse shows her eagerness to obtain the Lord:
ਿਫਰ ਿਜਯ ਮੈ ਇਹ ਭਾਿਤ ਿਬਚਾਰੀ ॥ ਬਰੌ ਜਗਤ ਕੇ ਪਿਤਿਹ ਸੁ ਧਾਰੀ ॥ ਤਾ ਤੇ ਕਰੌ ਦੀਨ ਹ ੈ ਸੇ ਵਾ ॥ ਹੋਇ ਪ ਸੰਨ ਕਾਿਲਕਾ
ਦੇ ਵਾ ॥੩੧॥
Then she considered in her heart - I will marry the lord of this universe. Now how do I
serve her so that Kaalka Deva is pleased (with me)
This Kaalka Deva is not Mahakaal, but the creator of 'Kaal' - Akal Purakh Himself. The
story gets immensely deep and absorbing from here on. Akal Purakh said to Baala
that you will be able to attain me when the demon 'ਸ ਾਸ ਬੀਰਜ' (Swas Beeraj) gets killed
by you.
ਅਰਧ ਰਾਿਤ ਬੀਤਤ ਭੀ ਜਬ ਹੀ ॥ ਆਗ ਾ ਭਈ ਨਾਥ ਕੀ ਤਬ ਹੀ ॥ ਸ ਾਸ ਬੀਰਜ ਦਾਨਵ ਜਬ ਮਿਰ ਹੈ ॥ ਿਤਹ ਪਾਛੇ ਸੁ ੰਦਿਰ ਮੁ ਿਹ ਬੁ ਿਰ ਹੈ ॥੩੫॥
Meaning -After midnight had passed, lord command - when demon Swas Beeraj gets
killed (by you), after that you will be able to marry me
The verse means that when lustful tendencies get destroyed from the breath (Swas)
of society (i.e when even minute dormant urges are eliminated), woman's only
motive would be to attain Akal Purakh. According to the story, Baala fought
ferociously and as a result many infamous demons got killed.
She has been given the name 'ਕਾਲਕਾ' (Kaalka) in verse no. 52, i.e. woman has been
depicted as competent Devi. At this stage, 'Kaal Purakh' manifests himself in front of
Baala, who bows in reverence and requests his help to eliminate demonic forces. Kaal
Purakh agrees and they both join hands together in destroying the demons. It is
worthy to note that in almost all episodes of Sri Granth Sahib Ji where Devi is
mentioned, the prime motive is to provide befitting veneration and infuse such self-
determination in woman so that she could even outperform men in the destroying
the evil, i.e. men and women could be of assistance to each other. Guruji is not in
favour of any sort of imbalance in society; he neither favours male-dominant nor
female-dominant social structure. He is staunch supporter of absolute equality and
fair justice to everyone. The plan to uproot sexist attitudes and gender discrimination
comes to fruition in 'Sabudh Baach'. If these stories appear to have Puranic
connotations, it is simply because during the time of Guruji's social revolution,
Puranas and their contents were deeply imbibed in society's psyche for centuries.
The only motive of Puranic references in Sri Dasam Granth Sahib Ji is to infuse
passion for Dharam Yudh in minds of people. In the story, when Shiv (the Mahakaal of
Shaakatpanthis) witnesses formidable alliance of Kaal and Baala proving relentless
in war, his throne starts to shake:
ਮਹਾਦੇਵ ਆਸਨ ਤੇ ਟਰਾ ॥ ਬ ਹਮਾ ਤ ਸਤ ਬੂ ਟ ਮਿਹ ਦੁਰਾ ॥ ਿਨਰਿਖ ਿਬਸਨ ਰਨ ਅਿਧਕ ਡਰਾਨਾ ॥ ਦੁਰਾ ਿਸੰਧ ਕੇ ਬੀਚ ਲਜਾਨਾ ॥੮੦॥
Meaning -Mahadev (shiva) got scared and left his throne; Brahma got scared and hid
in his lotus; Vishnu also got petrified; (and) hid under the ocean.
The poet has also exemplified 'Kaal Purakh' in the following verses, as:
ਤੁ ਮ ਹੋ ਸਕਲ ਲੋ ਕ ਿਸਰਤਾਜਾ ॥ ਗਰਬਨ ਗੰਜ ਗਰੀਬ ਿਨਵਾਜਾ ॥ ਆਿਦ ਅਕਾਲ ਅਜੋਿਨ ਿਬਨਾ ਭੈ ॥ ਿਨਰਿਬਕਾਰ ਿਨਰਲੰ ਬ ਜਗਤ ਮੈ ॥੯੧॥
ਿਨਰਿਬਕਾਰ ਿਨਰਜੁਰ ਅਿਬਨਾਸੀ ॥ ਪਰਮ ਜੋਗ ਕੇ ਤਤੁ ਪ ਕਾਸੀ ॥ ਿਨਰੰਕਾਰ ਨਵ ਿਨਤ ਸੁ ਯੰਭਵ ॥ ਤਾਤ ਮਾਤ ਜਹ ਜਾਤ ਨ ਬੰਧਵ ॥੯੨॥
ਸਤ ਿਬਹੰਡ ਸੁ ਿਰਿਦ ਸੁ ਖਦਾਇਕ ॥ ਚੰਡ ਮੁ ੰਡ ਦਾਨਵ ਕੇ ਘਾਇਕ ॥ ਸਿਤ ਸੰਿਧ ਸਿਤਤਾ ਿਨਵਾਸਾ ॥ ਭੂਤ ਭਿਵਖ ਭਵਾਨ ਿਨਰਾਸਾ ॥੯੩॥
ਆਿਦ ਅਨੰ ਤ ਅਰੂ ਪ ਅਭੇ ਸਾ ॥ ਘਟ ਘਟ ਭੀਤਰ ਕੀਯਾ ਪ ਵੇ ਸਾ ॥ ਅੰਤਰ ਬਸਤ ਿਨਰੰਤਰ ਰਹਈ ॥ ਸਨਕ ਸਨੰ ਦ ਸਨਾਤਨ ਕਹਈ ॥੯੪॥
ਆਿਦ ਜੁਗਾਿਦ ਸਦਾ ਪ ਭੁ ਏਕੈ ॥ ਧਿਰ ਧਿਰ ਮੂ ਰਿਤ ਿਫਰਿਤ ਅਨ ਕੈ ॥ ਸਭ ਜਗ ਕਹ ਇਹ ਿਬਿਧ ਭਰਮਾਯਾ ॥ ਆਪੇ ਏਕ ਅਨ ਕ ਿਦਖਾਯਾ ॥੯੫॥
ਘਟ ਘਟ ਮਿਹ ਸੋਇ ਪੁ ਰਖ ਬ ਾਪਕ ॥ ਸਕਲ ਜੀਵ ਜੰਤਨ ਕੇ ਥਾਪਕ ॥ ਜਾ ਤੇ ਜੋ ਿਤ ਕਰਤ ਆਕਰਖਨ ॥ ਤਾ ਕਹ ਕਹਤ ਿਮ ਤਕ ਜਗ ਕੇ ਜਨ ॥੯੬॥
ਤੁ ਮ ਜਗ ਕੇ ਕਾਰਨ ਕਰਤਾਰਾ ॥ ਘਿਟ ਘਿਟ ਕੀ ਮਿਤ ਜਾਨਨਹਾਰਾ ॥ ਿਨਰੰਕਾਰ ਿਨਰਵੈ ਰ ਿਨਰਾਲਮ ॥ ਸਭ ਹੀ ਕੇ ਮਨ ਕੀ ਤੁ ਿਹ ਮਾਲਮ ॥੯੭॥
ਤੁ ਮ ਹੀ ਬ ਹਮਾ ਿਬਸਨ ਬਨਾਯੋ ॥ ਮਹਾ ਰੁਦ ਤੁ ਮ ਹੀ ਉਪਜਾਯੋ ॥ ਤੁ ਮ ਹੀ ਿਰਿਖ ਕਸਪਿਹ ਬਨਾਵਾ ॥ ਿਦਤ ਅਿਦਤ ਜਨ ਬੈ ਰ ਬਢਾਵਾ ॥੯੮॥
ਜਗ ਕਾਰਨ ਕਰੁ ਨਾਿਨਿਧ ਸ ਾਮੀ ॥ ਕਮਲ ਨ ਨ ਅੰਤਰ ਕੇ ਜਾਮੀ ॥ ਦਯਾ ਿਸੰਧੁ ਦੀਨਨ ਕੇ ਦਯਾਲਾ ॥ ਹੂਜੈ ਿਕ ਪਾਿਨਧਾਨ ਿਕ ਪਾਲਾ ॥੯੯॥
Like the theme of compositions like 'Krishnavtar', in Subudh Baach too, characters
like Khan, Mughals, Sayyed, and Sheikhs enter into battlefield to contend against Kaal
Purakh. From the fire of Demons khans are born; and Mughals are born out of the fire
from mouths of Pathans. Similarly, from the raging breath of Mughals, angry Sayyeds
and Sheikhs are born. The opposers of Sri Dasam Granth find these descriptions
meaningless while the fact is, these metaphorical statements exquisitely portrays
similarities between the monstrosities of Mughals in India and evil Demons of
Puranas. When Pathans invaded India, they burnt the Hindustanis with their fuming
rage; when Mughals invaded, they put entire sub-continent into despair and turmoil.
Similarly, Sayyeds and Sheikhs showered the locals with their extreme anger and
hatred. No one came to India to establish peace and prosperity amongst the
population. Just as demons like Nahar, Khan, Jharajhar Khan, Nihang Khan, Bharangh
Khan, Jharangh Khan, Bairam Khan, Bahadur Khan, etc. fight against Mahakal,
Mughals kept launching vitriolic attacks against religious beliefs of the people of
In the story, Mahakal has been portrayed in contemporary context, which provides
clear hints that this Mahakal is certainly not Mahakal of Shaakats, because there are
absolutely no references to wars between Mughals and Mahakal in any earlier
historical or mythological episodes. This Mahakal is the One who has been constantly
battling against unholy and impious forces right from Satjug to Kaljug, the present
time of Guruji. Therefore, the Mahakal of Sri Dasam Granth Sahib Ji is none other than
the ever-omnipresent Akal Purakh Waheguru. In the story, Mughals do not get scared
when Mahakal first destroys Pathans. However, they flee when He starts annihilating
them too. Then, He wipes out the Sayyeds and next in line are the Sheikhs. The word
Sheikh refers to those sufis who had a definite, albeit implicit, religious agenda of
initiating massive wave of conversions in India. They had totally different
methodology of converting people than someone like Aurangzeb, nevertheless
motives were the same. Descriptions of Mahakal destroying the very existence of all
'Turks' represents Sri Guruji's wish to eradicate the process of conversions, because
they were inhumane and downright ugly. The opposers of Sri Dasam Granth Sahib Ji
should never forget that someone who can turn any war episode to fit contemporary
issues most certainly cannot be a Pandit of Puranas. He can only be a far-sighted
leader whose aim is to break free the people of india from shackles of contemporary
problems. There is another important facet to be kept in mind about Sabudh Baach -
The protagonist Baala, who fought with immense courage on the advent of Satjug
does not appear anywhere in this present episode for a long time. This, again, is a
subtle hint that the present social order has rendered the otherwise capable woman
absolutely powerless. However, she reappears in the form of Bhawani and joins Kaal
Purakh again in war efforts once all the 'Turk' Demons have been destroyed. (A clear
inspiration delivered through this event is, if women of today get up to fight against
oppressors, they can also put an end to evil regimes.) In the end, the following verses
appear, which we read daily in Chaupai Sahib:
ਪੁ ਿਨ ਰਾਛਸ ਕਾ ਕਾਟਾ ਸੀਸਾ ॥ ਸ ੀ ਅਿਸਕੇਤੁ ਜਗਤ ਕੇ ਈਸਾ ॥ ਪੁਹਪਨ ਿਬ ਸਿਟ ਗਗਨ ਤੇ ਭਈ ॥ ਸਭਿਹਨ ਆਿਨ ਬਧਾਈ ਦਈ ॥੩੭੫॥
ਧੰਨ ਧੰਨ ਲੋ ਗਨ ਕੇ ਰਾਜਾ ॥ ਦੁਸਟਨ ਦਾਹ ਗਰੀਬ ਿਨਵਾਜਾ ॥ ਅਖਲ ਭਵਨ ਕੇ ਿਸਰਜਨਹਾਰੇ ॥ ਦਾਸ ਜਾਿਨ ਮੁਿਹ ਲੇ ਹੁ ਉਬਾਰੇ ॥੩੭੬॥
Summary of the Charitars
The stories in these Charitars are not sexually provocative; On the contrary, they
provide awareness of the social pain, criminal mentality, and exploitation of women
that result from intense lust. The wealthy and ruling factions of society have been
ridiculed by portraying the sorry state that emerges from their indulgence in lustful
actions. The capitalistic mentality in which the only aim of earning and storing money
has been shown to have adverse effect on the family network. Those who wear
religious attire and pretend to be great renuniciators have been shown to be worse
than a family man; they abandon their own houses and wish for others' wealth and
bodies. People who believe in black magic and Tantra shastra have been portrayed
rightly as sexually obsessed and of criminal tendencies. Incompatible marriages
(aged man marrying young woman, ugly person getting married to beautiful, pleasant
woman, a fool with clever woman, a poor man with materialistically ambitious wife)
have been shown to bring about devastating consequences. The young widows who
find it difficult to remarry have been shown to stray away towards wrongdoings.
Conversely, a man marrying multiple women has been shown to develop bad
character. And anyone who gives his secret to a nymph has been shown to be
completely ruined. The unholy and unbreakable alliance of drugs and sex is told and
most importantly, the male society has been held squarely responsible for the birth
of immoralities in women. It is almost impossible to find any other such superb
literary composition that has provided eloquent and minute disquisition of the
psychology of sexually obsessed people the way these Charitars have.
Acknowl edgements and further information
Dr Harbhajan Singh, Project Director Panjabi University, Patiala, Dr. Balbir Singh
Sahitya Kendra Panchabati, Dehradun. His book: Shri Dasam Granth Sahib: Karta
Sambamdhi Vivad Punara-Samikhya
Gyani Narain Singh Ji’s Steek (Sri Dasam Granth Sahib)
Anandpuri bir and Charitropakhyan pictures courtesy of Gurinder Singh Mann,
Leicester, UK.
Visit: www.sridasamgranth.comand for more information on
Sri Dasam Granth.