The Poetry of the Dasam Granth - Dr. DHARAM PAL ASHTA

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The Poetry of the Dasam Granth

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THE POETRY
OF
THE DASAM GRANTH
Bv
Dr. DHARAM PAL ASHTA, M.A., Ph.D.
Foreword By
Dr. S. RADHAKRISHNAN, ,L A., D. L1rr.
''rcE-PRESIDENT OF INDIA
1959
~ I~ lUJ INI
NEWDELHl-3

Published by
ARUN PRAICASHAN
J➔ 6, Jor Bagh Road,
Ne\v Delhi-3.
All rigbts re served. No part of 1his book may be reproduced

or trao1lated witb,.out die-. rmission of the author.
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FOREWORD
Shri Dharan1 Pal Ashta's ,vork on 'The Poetry of the
Dasam Granth' is a careful a □d co,npetent exposition of tbe
teaching of the 10th Sikh Guru Sl1ri Gobind Singh.
[t is generally held that difl"erent parts of this work were
composed al different ti,nes by different ,vrilers who 1vere engaged
for the purpose by ~hri Gobiod Singh. The author discusses
this question of the authorship 1vith great learning and objectivity
and holds that ''ail the parts of the Dasam Granth were co111posed
by Guru Gobind Singh hinisel[ 1."
Frotn a study of tbis work we learn the prolound influence
which Hindu tradition and mythology bas hall on the developrnent
of Sikh re]igion. It acc.:-p.~ the vie\V tbat th~ o □ e reality assumes
many forms and the purpose of relig10n is to realise the Supreme.
To gain tbis objective we 1nust rise above secLarian vievi1s. Prayer
js the easiest method acceptable to us. "The dumb ,vould recite
tbe six s/zastras; cripples wculd climb niountaios.// 1 be blind ,vould
see, the deaf hear, if God '1-VOuld only favour 2 . "
We live in an age when to many life has becon1e meaningless.
There is an increasing cleavage between i11hat men profess and
believe and what they do in tile name of tbeir beliefs. Never before
bas n1an bad such vast oppo rlun1ties, never before has h~ been
bereft of sustainjng traditions. Man JS today without illu~ion and
\Vitbout faith. The present predicarnent j.::, a call to the accepLunce
of a religion which 1s t-p1rnual and non-sectarian. Life has a meaning.
Otherwise why do we \\'ant to !JV&! even when 1,ve denounce life 'l
Failure lies not in ouLward event& but 1a one's O\vn 1.1.1i.va1d life.
Religion avails nothing if 11 does not av,,1<1.ken lb~ heart, ~trengthen
character aod elevate Lh.; :,p1rn.
This book gives a t:atholic aad co1uprehensiv~ vie\v of
Shri Guru Gobind 1s teaching.
Nev; Delhi,
~ l\ilarch, 1959. (Sd.) S. Rodhakrjshnan
1. p.lS

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INTRODUCTION
Dr. Dharam Pal Ashta's thesis on the Dasa111 Gra111h is a piece

of real research work. It is an original, important and valuable
contribution to the Hindi literature.
It is really surprising that the Dasan, Granth, the second most
sacred Granth of the Sikhs and associated with their Tenth Guru,
Guru Gobi □ d Singh, should have escaped the notice of the band of
research ,vorkers in Hindi. Here and there, i □ the works of the history
of Hindi literature. the Great Guru's name is mentioned and a few
illustrations of bis poet.ry cited as specimens of his creative literary
~enius but that does ncl expose the real importance of this great
work.
Dr. Ashla is the first scholar to have taken pains to analyse the
entire work in a scientific manner. His thesis has thrown open this
rich treasure of Braj Bhasha poetry to the scholars of Hindi. One is
struck with wonder at the variety of poetic forms, colourful rhythm,
expressive tone, apt and striking imagery, beautiful pen-portraits
and descriptions, richness of vocabulary, intense suggestiveness of
verse, exuberance of different human sentiments and spiritual wealth
of the Granth, admirably brought out by Dr. Ashla in his work.
Dr. Ashla's labour has convincingly met the arguments of
reputed scholars who, for certain reasons 1 hold that not all that is
preserved in the Grantk is written by the Guru himself. But even
if the secular parts of the Gran th are taken to be the compositions
of the court-poets of the Dasa,n Patsah, they are important in the
field of Hindi and Panjabi literatures being a rich collection of
metrical compositions imbued with much of the old Indian thought
and culture and some representing forgotten poetic forms of Braj
Bhasha poetry.
The Dasarn Granth is a rich treasure-house for the students of
literature, religion, culture and history of late Medieval India which
lay obscure so long. Dr. Ashla has brought it out from this
obscurity and added one more brilliant star of a very high altitude to
the galaxy of saint-poets in the firmament of Hindi and Paojabi
literatures. T congratulate him 011 his publication of this scholarly
work and pray to Almighty to give him excellent health and long life
to enable him to contribute much more to the domain of culture and
literature.
Varansi.
May 26, 1959 Hazari Prasad Dwivedi

PREFACE
The DCJsam Granth, the Book o[ the Tenth Guru. is the second most sacred g,anth of the Sikhs.
There are three most well-kno,vn birs (compilations) of this Granth, viz., Bhai Mani Singh wali Bir, Pnt11a.
Sahibji di M'lsl and San1;rur wali Bir. The.y are rare manuscripts. too tender and fragile for consultation.
There are other manuscripts of the Gra,ith found in certain libraries and with certain individuals, but they
-ca nn ot be considered authentic. There is, further, a large variety of printed versions both lithograpl1ic
and stereo-typed. Giaui Kartar Singh 1-Iitkari mentions nine suc!:l versions, some of which a're without title~
pages. It is, therefore, difficult to trace them or give any authenticity to them. One of these is Sri Dauim
Grandi Sahib ,Ji published by the J\halsa National Agency, AmritsH.r. But this is out of print. I ha,·e, there.-
fore, depended upon Sri Gi:ru Granth Sal11b Ji Dasam Patsl1a/1i, published by Rai Sahib Munshi Gnlab Singh
& Sons, J.a11ore, Sam vat Sri Gura Nanak 444. Its manuscript, as indicated on the title page, was prepared by
a Sodhak Committee at Akal Takbat, Har l\1:andir, Amritsar, after consulting thirty-two old ,nanuscripts.
Dr. Indu Bhusban Banerjee bas also consulted it in his work, Evolution of the Kllal~a (1947). I bavc ii1yself
compared this printed work with Bhai I\Iani Singh's Bir in possession of S. Guiab Singh Sethi, New Delhi, and
found it dependable. I have, therefore, accepted its text Ior my work.
This Bir has 1::.99 foolscap pages with 19 lines on each page. The total number o[ verses in it goes
,·up to 17,165. It is a collection of various ,vorks dealing with a variety of subjects, viz.,
1. Japu, popularly known as Jap (arq), is a prayer to be read or repeated in the n1orning, as it
continues to be, by pious Sikhs.
2. LJ5tat, con11uonly kno,vn as Al,al Ustat, is a hymn in praise of the Timel ess, to be recited in
the morning.
3. /Jac}11tra Natah GTanth, oiten known as Bachitra Natak, is an incon1plete autobiography of
Guru Gobind Singh.
-L Chandi C/ia.1itr11 U kti Bi/as, popular as C/wndi Charitra Paliila or Clu111d 1 Charitra Chhata,
describes the exploits of Chandi, performed in he.r wars with delnons.
-6. Chandi Cha1itra known as Chandi C/ia.nt:-a Do.o.1a or Cha nd1 C.iant1a V11dd11, treats the same
theme i1t a different n1etre.
'6. Var Sri Bhagau ti Ji Ki, known as Chand~di Va~, is a ballad in praise of the goddess Bhagauti, .'1
a supplement to the Chandi CharitTas .
7. Gian Parbod/1 Grantll is devoted to the praise of God, with illustrations fran1 ancient leg-en ds.
8. Chaubis Avta'I' describes in quatrains and coup lets tbe twenty-four incarnations of Vishn u.
9. Mehdi Mir Badh is a supplen1ent to the Chaubis Avta r.
I 0. Brahma AvtaT describes seven incarnations of Brahma.
l I. Rudra Avtar is an account of the two incarnations of Rud ra, i.e., Shiva.
v 12. Ram Kali Patshahi JO, widely know11 as Shabad Haza.re, is a collection of ten hymns in seven
rags.
13. Sri Nlu/,/iibak Swai)1a is o. co llection of Lhirty-two hymns. They give an exposition of the divinity
and of different religions {oUowed .in India.
14. Jo Kich/1 Lekhu. Likhiyo B1d/1na Swai)•t1; generally known as Khalse di Mahima, is a poem in a
couplet and three sta1izas .in praio,e of the Khalsa.
15. Sri Sastra Nam J..1a1a P1,rnn gi ves a catalogue and description of the weapons of war.
16. Pakh)'ati Charitra relates 40:i: tales of men ancl women.
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thi1,c r,i\•en jn the P, kh,, 1 Ch ,ritra.
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lht:- l-;rt1121 •• T"11 · i~ sug,:;,·,.td by t; e --.ur:.e c.L.u ·'uJ1ng n:1n.11l.: ~fh;., L l at t.l1e er d 1..., a , r,111!
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h~ro1•· "l!lltiin~nr 17 tl1t· ~ 11... 11"', tin·. liy c Jet••· ,i1 •~ d1< , ,, h=-'•l L~.1i11.:t 1Jf lil ,, ' .cr ..1< !Ly ,t.1c.. , 1 1011.
Ac,·urcling to B, ll ._,bl~ <...111<,h, 1a-(iT ,h Dr- ,.11 Lh ,,r 1c • o f-.•1 ~.1c- r1ti1 t: 11 , 11111- 0 u,~,• 11 1<. 1 ,•1:.
of cnane<:t~d n1v• ,, wr n· 111 t, Jdu tJ, 1t.tv,. 11 w ,1 11 unr <'C u_i.!1. 1... 1 l• ,~<-r). 1.,111u (__,, ,i.1J ,•,h Ji
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and th1. 1•.l. y.
rbe \\'II ,!.c fl( t'it c,. ,,1 1 ,,·i.h ,l] lr (• V L. ·t\ l f c,tylL~tic J-\·icit,. , run. t ,r • 1 1,L or
' j I •• ,. · ••
,·icw vi ti l'm ', th, \ .._ 1, 1-, ,-.or·-, it 11 r ,t:.11 • 111, v be l rn,. lh ('l' • 1t., d 1n. • u 1J • iv,' ..... rtil n,>J 1,;!1 l 1 try.
The ch."/1,);!nnai wor'. like th, f.1~, A L rr_ t t, fl ,1t1 ('/ ~ II, Sh b IU }/tr~... ,~. de,, c11r, C Urt( t'l' ~t 11 H\C 1
p r~etrv \ ,. ry Jl.lJ l •.1:11 c1n1 'l ._,f, 11; . • 1 <1 r·r I t'i
'L 1 , r , , l ) i;ornr,c• H, Ht tI d turt t cf 'l ..u u1,\,1nt •
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Tht.' n i.r , tl\'• cllmp<,.,1t1n1 r;.l ,t, 1~, c, 1, ,, t,'' Avt, ,, , t rar,
Rut"fr l Att2r, 1{11 J~. • .\.[,zl•. •11 l, f[ L ._ r , ,' t ,• ,\! rt: ' 1 I•, C 11 ' C, 1 } , ' ~, ('Ji THU i.JI \ ' .f, ( l , vJli
a nd Pukliy-:J.n Clt'Jrttr;, Thes1~ n1J.y bc:;snid tQ C'lllt" under l1b1•rtif\' p,Jc.try.
'fhe Granth re\ eal:; ,,n tl..1.borlle U'.,t: of J1 6 ur"', ,II. pee-di. It~ v,inety ul ..ipt anc• 1n1•11 r< u, ·11t"lres
coupl~d ,vi.h sumc c.trikini;:y ,Jri;ir ti ,)n ',, a:.i~I it:s f ,rceJul cLct,on lp\; unique in th~ liu:ratutt· ot che I' llJ;·Lb.
The Graritil i'> cou1po;;~ r/ tn n1~re Lhan one 1an 1,.'11 :1..;e. Jof, 1namali ancl HiliaJa ts arr in Pl:!r .,io•1 ; .T'-' p,
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A ll.1l Ust..1t, Baclut,-a Natak, Chaubis A,•tar, Rrahn1.1 :\t•la1, Rudru. t111ta'r, Sri l\1i1hlnb1 I J •L' iyu:~ ..ind
l' FJRll'\'an C'1ar1t1u a.re i 1 Braj: Chandi J1 Vur 1s in Lehnt.li' P1n•aL1 -tJ,1e ,ve:;tcu1 diali::i;t vi th•· P. u;J.b,
wl11lt! tlil hvn1n bkc i\.h ! , a P1ar., nun .. . l!. 1n the Gentr.i.l Pn.njab1. J'he scnp t, ho\,\~v r, 1>f ctll th ... works
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i:. Gunnul.l 1.
The pl'Oplc in the Panjab i,nu d it Llift .- L'lt ttl uu l~r ,L:iu,1 Hraj, J. di,dl l t QJ l Iindi, :r \,hie·, r 05t
of the ,vorl,s ,lff' co1rpor,ed, wlte1cno; non-l',1nj.1l:,," Cf•111r1 r,,t l.:1,e ncce~c. LO 1t 1 'i.;J.U'>I! o th ('l'J\t,·c1,tl
c:haractfr nf Gurn1uklii script 11f th€' Gra ith. Con,.,1-,1u~ntly,. t.d, led . hnost to J. tot.ii {' lip;,t' of Ll,• ,, 1olc-
1
G ra11t/1 so far a;; its literary conl rih11tim1 v,as c.onc.,•rut J .•\•1 enunent .,d1"lJ.t hke JJr. ,tllh.Jn Sing!' J11w na
p uts it ralh'"r p11ngc 1l'y \\ l..:11 hP ::iay':>, "'1 h, Ji, t•)rl.tll;, ur H, di lit •ratur" h. \'t: d, hl>c:1,1telv in,t,lr ti h1, ti,uru
1Jf 1nrlu li,,, hfJt r,1ur•' than 1 dozr ~ 111_~
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Gob1n<l Sincrh\,)
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by C"itl:ier JIYIIOriu
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rm1 I,, 1. r1 lU•1lf•d
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aud "-l!lcttetl fron1 a•nr-,n~!>~~ the ru1np.1r.1ti\•ly tr11111n~ n~nt purt~ .,f lti!s wut?!>.' It,:-, 1111 < (•II ' , . . u, to ,11ne
c xt~nt th~t the poetry of thr> l),zsc.1m Gra11t11 n1'- bvl'1 iJ11t11 v 01 1n,11R1.ctC"nLiv t·tlen 11Jti- ~{lf hv tbo: h,•lnri ..111-;
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of I{ind1 literatur~ lik(> ::-hiv Si,~~h Sen~er, \Ii ...;,r,L ;) u1dl 11. l. rkr-.,0•1, I..t!> .... , ..,lilil • L 1-1· 1. ir: Pr, ... ,,cl
!l 1 't('i,
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,vhile other:; like Shyan1 SunC:.,lr l)ci<;s l1i1v..-, tak,•n no 11oucc 1, IL JL ,di ,_:nt thl '· 1...ir~ t n! 1hnnri1 r it
I
deli berately ic; r.ttl1cr unL.1.ir. The re..tl c.1.11-,1: oi I Id:-. nr· ,lLL t h ,i.,,, 11,,\\t>,er, bl'• n u ,·i ·1, It Ht nt•.
Gurmukhi script ,,·a~ origiunl1y :1<loy1t,,f] hy tl1e ::,ikh Gui us tn rcror.J ttr( ir ton,positi,Jns in ,t.
Con1positions of the non-Sikhs were, howevt.r, wrnt,:n in tlit• P1:..r-:ian or D,,1:•1ara•1 !:'O:r1pt Bu·.iu ' of tl 1c «11 r:;c-J
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sectarian cl11.r:i.ctcr or' the c;cripL, it w15 not a Jcntcd by n ..hl'ri. ft Wil!;, therefore, believed th1.t all cornpol'>1t1ons
in Gurmukh1 c;cript, r,•late.fl lo Sikh religinn, theo1o~y and hi-.1'm-l•. The D•uam GrU11tli w,i,; ;1ccor<l1ngty treated
as such 13 •inf! in G1irn1uklai script, its conte·it.:; renuLinecl ob.;care to the st11clents an•l scholars o( Jiindi. Xor
<licl the Sikh scholars the-rir,c>lvrs take p:till!'; to cx,1mint! tl1e text cnilically or appreciate itc; litC'r:try values. It
was 011ly recently that the Shirumani GnrJw:1rc1. Prabandbak Comn1itt~e. A1nnt5.ar, hrou~ht out Dc1111ngari
t ransliterntiL1ns of the .fup, the Akal Tj5lt.1.t and the Bid1ic1,1 Natuk. It is, b<ilVC\'Pr, hoped that the llindi
kuowin; p"ople would nnw ,:ome forth to appreciate the literary \\'l.';1Hh of the Da; 1111 Gu1nt'1. The r,•,l,ons
for the obscurity of the Granth h,1ve, therefr>re, heen i11 th€' n1a1n, the 11rovinc1al ch 1ractcr of the script. the
paucity of Braj scholars in the Punjab and tlH• text being conli1!uou;, and l,Lcr.1116 i11 :;1•,1(1n..: hetwe,-.:11 words.
1'1y ol;jccti\'c in t,1king up the stnily of this G,tznth is tc, unfold iL;, ex,.p11:i1LP l>~auttcs and to 1e\·1ve
and re-orientate the study c,f iL by at.tempting a d~pas~ionat~ ~5tiui,ite ,,f 1Ls lttcra1y vctlue~. In my ~Ludy of
1
t he Grunth. I h.1ve tried to de..il with its author:;hip, it,; pot::tic bn,~11.-g10und, a hnel rr1Lic·1 5tudy of 1b work;,
it-. thonght value and "'rt \'alue, its stylistic features and finally its pl,tC(! in 1-11ndi lit~r.1tu c. ln the end, I
1
h,1ve ,1h,u given .i buef !He-sketch ,..,f the author f0r the proper u11der5ta11~1J1g of lJ1s ft.rsnnalil).
1ly .1ppr,),1ch tu the G1u.11!h o 1,1rin1.1rily oril'.11tal, Lhvugh, ,,1 cuur:,c, hl,te anJ tlJL•rc I h,LVC iollow~tl
weslcrn :,landdtd-s of literary c11t1c1sm.
ln or,1,•r to gi,c tl.o~e wl:o arc Hllcrc~ted u1 "i..;ceper study oJ tl11s G,1111d1 an opportunity vf 11r'-t-harn..l
ac,1un111tari.ce ·with the aulh1Jn,hip1 thought and .. rt of the po1;try of the D unm Grunt/,, J li,rve givt.:n quutatiuns
liocr,dly in the footnotes in l)e1.,rwg.1ri s..:rir,r. closely and fa1thfully Iullow111g tlit •J 1g1nal text, as far as
1
possibl~. lire texts 1n tlit <1pptndi~-: arc extract:,, rom th1;; K•isurzal!tur, GHL, f'u,bodh and Pa d1Ja1t Cfil1rhr11,
,vhic!J, r\·c t,l lllu-,lrate discns"ions on pages S:i, !2. 1.2, 1.,0-165, ~~S-2.:iO, anrl .31JG. These J.rc the tra...1lional
fonn, .,f pnet1y c1 .ten1pted 1r. tl1c uasam Circ1r1d1 be!i,d ~s mar1y ot:1cts ::on,e of wluch have already coml' in
their pr1J ,er contC'xt-;. Tlw nec..i fc r a re1.dy reft-renc~ to tht.>"P t ...xts ior the Jnt.,pt.:r evaluatiun an<l
1
critic l-in.1yi-; ()f thnuJhl 1d .1rt ( nLd;1t,i th HlJ1, h.1 olli,td 1ne t;1 1 ul Lhem ,u~uch. ln gi\·ing
rl·f r• 110 .... [ 1 1, 1~ U"'c•l tlfllr1.., n lJtatkt>t, to iaJic.11~ ,c.:, •., a•, llgu,c!> witliouL brJ1• 1... t>t'i to u.J1cate
p ,gC•DU 'll ,rs.
~tt:'re: 11<1 tl-11;re '>OJ c. TC'f•l:litin11~ 1n;iy b uo•icc·d in tt.c L... ni;twg', thought, tn:aLn1ent anJ quotations
of pl • • • • -~ln•<" are 1111:iv ,id !ll)P as rcy cri ·o in d•-.ctTs--1011 lll (~id rent ft l.·va11 t context,,, art j serve n.s
gunJ 1ll11-.t r,1tions.
,\c; is Wl'll kn,)v,n, tr,tnsltter,1tion of wo J,;, ~)•ind., u1<l .;yJ t~ols wit11 corrcctnl.,s and consi!.tcncy in
a forf'irn lanr.nn1;t' is diff c.ult. ~cl,ulcirs haYC' arlopttd c.'1<1t;r1t1c-:i' .. ..i.r\.1 to l.i ..n6 Jl'l e:,.ict rrprE:-t,rdation of
te-:-.tc;. Otlv ·c;, however, Ii iliC' ,~ed C,)[fC''po •c~i1 , ~) 11 tblv, h tt,11 to a1eet tn • c;a:ne erd, I cuul,I not u ..,e
the c1 i •t·ri• ic ii rnr rk., i1 1 1l1 , rc11,·i.entrllior. nf ,1,ords arc, tl'xtu;J uuot,1tions for want of facilities 111 the press.
I h::tvE thcr -fore follower! the lutt1"r mc.tho,l, 1.e., \\ithoul tie d,acriticul n1:.. rl,s. .\ccordingly, I have uc;eJ the
f.JllowiBJ c har,Lctcrs for the II ndi trttu:.hteration or the t,,xt and <•tl er l lindi and ~all'iknL wort.ls :
(a) a tor ~ (b) ch for ~~
aa fo1 ""f chb for ~
..
for " 5 for fl
('(' for !' sh for :;TI q
l1 f11r :a r for ,: and ~
for sh rh for
00
"'~,
C: for ,1 d for ~
a1 for (~ Jh for ~ an(] 'q

....
OU for m t for ff and e.
ng £or th fur 1'f and ;i;

nJ for
~
'-'I n for ., and <"1J

ksh for i;T
T have, however, deviated from Lhe above svsten, in the following cases :
(a) Ra::a, Guna. etc , fur Ras. Gun, etc.
(b) J~an1 for R.ama.
Digitized by Panjab Digital Library/ www.panjabdigilib..org

Xll
(c) Conventional spellings of s01ne words like 'Lila' ba.ve been kept intact.
(d) The forms of spellings used in the translations and text; of certain authors have also been
preserved.
For a faitbful representation of the text, the spelli.ngs of words are in confonnily wltb the spellings
in the original-Gurnu1kbi script-\vhich vary not only among themselves in the case of a single word but
also from their spellings in Hindi frequently, even on the san1c page. ··r-fl-1 ·•
I have consulted and frequently f]_Uoted translation in English or Sri Mukh1bo,~; Swayia by
Principal Jodh Singh: of the Jap and ten Sw,.11yas in the Akal Ustat and S/1<1bad fiu~are by S. Brijindar S111gh;
of various texts by :\lacanliffe given in The Sikh Raligio 11 , anU the translations by Dr. i\lohan Singh Diwnna,
Dr. Trilocha11 Si11;;h, San1a.r Khusbwant Si11gh and Pru[·. Teja Singh, etc. A.t ti1nes these \Vritcrs have
translated the snrne passage differeatly. I have :ldopted the tri'ln,;lation which has u,ppealed to 1ue the ,nost
in a particular context. In other crises, I 1ny-;ei( have atten1pted the translation in EngLish of differe11t
pieces of the Dasd1n Grauih and also have tned to improve upon the existing English translations here ::i.n.d
there where I felt tbe rea! spirit \Vas not brought out. 11•Iy ack.no,vledg1nents, ho-.vevcr, an.:: due to the
scholars on ,:,,hose trane,lations I have drawn \Vith gratitude.
I ::i.m gratefnl to Or. Nagendra, ill. A., n. l.itl., 1:Iead of lhe Depart1nent of IIindi, Delhi
University, and Dr. i\lohan Singh Diwan,L, ;\I. \ , Ph. D, D. Litt., 1-lead of the D~pc1rtn1ent of Panjabi, Pan jab
University, who gnlded n1e in the se-lection of the subject of rny research : tri Giant I-I.1rna1n Singh Uallabh
,vho placed his personc1.l library ar niy disposal, lent rne. the bluck o( the lctLer of Bhai 1\Iani Singh
addressed to .:\[ata Sundari given on page i of this book and helped n1e in re;;olving n1any a knotty point
in the Dasam Grunth; to S. Randhir Singh, Librarian, Guru Rain Vas Library, .\n1ritsar, Ior lending n,e
the blocks oI a page fron1Bha11-t.tni Singh':; 8ir and Guru Gobind Singh's handwriting produced on page
11 and 11 respectively: to lnte Dr. B:marsi Dass, ::H . ..\.,Ph.D., who was my supervisor for son1e tin1e until
hi,; sad demise, for his initiati11g me into this research work: to Dr. Rushan Lal Ahuja, l'rI. .A., Ph.D.,
Principal, Sohan. Lal Training College., An1bHla Citv, \vho succeeded Dr. Banarsi Das as my supervisor, for his
valuable guidance till the co111pletion of n1y thesis, to l)r. Indnr N,1.th !\Iadan, .Ill. A., !Jh. J)., J-Iead of the
Depa.rtn1ent. of 1-findi, Panjab University, Ior l1is useful suggestion<; from time to time in iny research ;
and to several others who have helped n1e in various ways.
~Iy gratitude no less great a.ttd no Jess deep is du~ to Dew::r.n Ano.nd K.t1tn1.r, '.U .. \. {Cantab}, iormerly
Vice.Chancellor oi the Panjab University, now mcn1ber of the University Grants Commi:;sion, for his kind
patronage, without which I wo11ld not have been able tu bring out this work.
New Delhi
April 13, 1959 Oba.ram Pa! Ashta

CONTENTS
PAGE
Chapter I
AUTHORSH[P 017 T}[E DASA![ GRANT}[ :
Two views, l -Views exan1ined, 3-External Evidence, 3-Internal Evidence, 9:
Text and Style, 19-Conclusion, :; l. 1-31
Chapter II
THE POETIC BACKGROUKD :
Influence of Gurbani, 32-of l{abir, Sur, Tutsi and other 13hakta poets , 3::!:
-ofBraji Tradition-;, 3~-of Riti School , 3::l-of Blni:;han, 33. 32-3<
Chapter 10
BRI EF CR [T!CAL STUDY OF Tc!E ,VORKS [N Tf-!E J)ASA!J GRA)ITH :
Jap, 35-Akal Ustat, 37- Bachilrn .:Xatak Gran th , 41-130: Bachitra Natak, -12
-Chandi Ch:iritra I ::tnd IT, 50-Chaubis Avbu, 57-~Jehdi rilir. 114 -Brahma.
Avtar, 114-HudraAvtnr, 12l--Var Siri Bhagauti Ji Ki, 130-Gian Parbotlh
Granth, 13~ -Shabad I-Iazare, l..J l-Sri liukhibak Swaiya, 144--Swaiya Jo
I(ichh Lekh Likhio Bidl1na, 14-l -Sast ra Na.n.1 ~f ala, l-17-Pakhyan Cbaritra, 150
-Jafarnamah, 166-l-Iikayats, 1'17. 35-168
Chapter IV
THOUGHT VALUE:
Introduction, A Retrospect, 169. Religious Poetry, 169 : Doctrinal, 171-
Devotional, 191-Didactic, 20l-Satirc, 205. Secular Poetry, 218-26; Heroic. 218-
Au to-biographical, 22 l-l'l1yt hological, ~23 -Charactl.'lro logical, :!24-Conclusion,
2:!6. 169-226
Chapter V
ART VALUE:
Introduction, 227. Rasas, 228-Guna, 241-Dhwani, 243-Alankar, 250-1Ietre,
26!-!'l'lt1si.c, Rag and Raglnis, 277-Language, 280-Diction, 282-Dcscriptions,
295- of Nature , 2~6. 227-304
Chapter VI
LOOKING BACK\\IAR.D AND FOR\\IARD:
1-fistorical Retrospect, 305- The literary, religious, Paun1nic and romantic
t raditions; 305-Poetic conve nti ons, 307- Three-fold importance of the Gran th :
Historical, Forr:nal and Poetic, 30cl-Literary estin1ate, 309-A sugges tion, 310. 305-10
A Brief Life-Sketch of Guru Gobind Singh 311-12
Appendix
EXTRACTS FRO,[ THE DASA~I GRANTf-1
f(rishna ki Ba:.in::.uri, i-Baralunah I, i~i3aralunah II, iii-I\laan-Lila, v-Acrostics:
Ant-l{akehra I , xix ; Ant -Kakehra JI, xxix ; Ant-Swar xxxiv ; Acli-Kakehra,
xx.-:vi -Pakhyan Charitrn : Triya Charilra I, xx.xvii,-Triya Charitra If, xxxviii-
Purakh Charitra I, XL-Purakh Charitra II, XLi-I{ri5hna-Gopi-Prem-Lila : Sanyog f,
XLii, Sanyog II, .xi.iii. Vipralan1bh, XLv,-Virah \'jrJap, xLvii-Jal-Vihar XL viii. i..._XLViit
Bibliography ' \•IV

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A. l;. Al,.il l ':-.tat
A.\\". Th(• \rt o1 \\'o• I worth
H. Har,, 1w.11i N.1..r,<1 lJa...an1-l\1tshaia.n ka
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1
l~.K. 13hct1.tl I~ us111n Lill 1 i

n.~. .Dachitr,, )hrcl
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C.S. Pr,Ll,i, ka! ~ hand. ~1 ~hr.;h.a
Ch..\. Cli,H10i-. Avt u
('h. fh. T. fha1vl1· .l1dt tr:, l ,-;t1 t:1la.)
l'h. •-h. I[. Cha11di rh,.r rr
(I
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ll. A. Ddtt l \,•l,ll
D. I>. lla-.1 1 u•e<.l1 ll.irpan
I>. G. S~
(r. f),LS..tm Guru (,r,1.ntb. Sahib !:iatik
D.G.I. Da-;arn l,r,u1th l>,1 Itilrn.s
D. V. S. Ila-. \' ,trll.1 ~ ... ~11,
E. J(. Evolutior "f ti1e 1(hal-..L
G. 13. li LIT P.ilu.c;
G. l). Guru I hhan 1 Iliw,1kar
G. G. Git G1,viJ1d,L
(".•. l . s 1• .._ ..
G11.tt1 Gol.,•r,d Sin~h (a pamphlet)
G.G.G.S. i'he Gospel of tl1e Guru Granth,;;ahib
<~. P. Ginn Parbo<lh lJranth
G. 11. L. Gra1nmur of the Hindu Langu::tge
l,. :,. A. G 1111 ~]1,lb.td .\lankar
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fl. P.. Hincli Sahitya ki L~hun1ika
ll C. P. l·linJi Cltluu1J P•,1k:,sh
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f •
11. L. l lind1 L1tt>r,'ilt1re

A l{l!aory of 1',1nj.1lJi Liter,Lhtre
11. P. L.
ll. K. P. C. Hindi-Ka, y,1-m1.n-l'raknti-l:hHran
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11. ~-
!L R. ~- l'liniii R1ti S •.l1itya
I 1. S. .\ H1-.tvry ,1 ::-.1khs
H. S. A. I. H111d1 ~,d1•tya 1,a .\at.Jchanatrnnk flih:t;,,
11. S. I. Hi11ui S.ihity:1 ka Itihas
• How'the Sikhs bei.:,,n1c a )1il1tant Race
H. S. 11. R.
I l.S. V. Il1ncli Sahitya ka. \'ikas
I. E. P. ln<ligenous Education in Punjab until \nnexation
I. P. & !\I. C. Indian Philosophy and :.fodern Cnlture
•
xv

X\"l
I. P. L. An introduction of Panjabi Literature.

I. S. L. An Introducticn to the Study of Literatu re
J.D.\'. J ayadan1an-Haritosamala No. 1- Vela.nkar
J G. Jayasi Granthav.:1.li
J. N. Jafarnamab
J. s. Jiwan Sandes
I'\. t\. Krisanavtar
'.
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L. G. G. S. Life of Guru Gobind Singh
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11. .\ , , . I. The ;'lfystics, A"ce lics and Sriints of India
fl'l. K. J\Iaban Kosh Guru ~habad Ratn a kar
)f. i\L I. J\Tedieval lHysticis1n of India
:-1 . .\. Nih kalanki Avtar
N. S. Nntya Sutra
J)_ Ch. Pakhvan Charitra
P . D. 1·. Prt11jab Dian Yaran
P. L. C. Princip les of Literary Cri ti cism
P. N. Paras Nath ·\ vtnr
P. P. Paulll Pa rln1sh
P. R..-1. Paras Rarn :\ vtnr
P.R. Prithviraj J{asso
P. S. Pbilosopliy of Sikhism
P. S. P. Pan jabi Sufi Poets.
P. V. Pa111 abi \ 'aran
R. A. Ramavtar
R. ~- D. Ra.hat Nama Desa Singlt
R. N. G. ]{ahat Karna Guru Gobiu<l Singh
R . S. P. R.epor t Sodhak Comrnitt ee Dasam Patsahi Shri Guru Gra.nth Sahit-
R. V Rag Vigyan Pa.rt I
s. Sri ::\lukhibo.k S\,,aiya
S. A. Suraj Avtar
S.C.A.S. Son1e Concepts of the Alankara Sastra
S. D. Tbe Sahitya Darpan of Vishwanath
S. D. K. The Sabitya Darpa n of Vishwanath-Kane.
S. D. K. P. Sbri Dashm es h I{avya Pradip
S. E. D. Sanskrit English Dictionary
S. H. Sabad Hazare
Sh. lf_ Shabad Hazare
S. I. r. Sikhism -Its Id ea ls and Institutions
S. :n.orS. ~. Sast ra Nan) J\'[ala
s. ~1. rt Tbe Sikh 1\Iartycs-Bhagat Lakshman Singh
S. R. The Sikh Religion
T.G. K. Tari kh Gi.1ru IZh alsa
T. S. Trnnsfonnation of Sikhism
1·. T. 13- Trump's Translation of Siri Guru Granth Sahib. ' 'ol. I
Up.A. Intro. Up Avtar Introduction
Vedant Sutra
' '· s.
Yaj. Yajur Ved
Z. N. Zafarnamah

CHAPTER I
AUTHORSHIP OF THE DASAM GRANTH
The Dasa1n. Granth is variously known to be Daswen Padshah ka Granth, The
Book of the Tenth King, Tl1e Granth of the Tenth Guru, The Granth of the Sahib Tenth Gurut
The Grant!, of Gobind Singh, and as Sri Dasan, Guru Gran th Sahib Ji.'
It is) therefore, held sacred and treated as one of the holy books, second in
sanctity only to the Adi Granth, or a ''S ister Volume2 " to it. In certain gurdwaras, it
is also given a place of honour. Some parts of it, like the lap, the Sivaiyas, Akal
Ustat and Benti Chaupai are jncluded in nit-ne,11 or daily recitations by pious Sikhs. 3
But "vhile the tradition about authorship of the Dasa,n Granth is so strong,
there are historians who hold that all tbe works included in the Dasam Granth were
con1posed not only by Guru Gobind Singh himself but a lso by some other poets kept
ln his service at Anandpur. 4
On tbe authority of Suraj Parkas/, by Santokh Singh, Macauliffe in his The Sikh
Religion1 says :-
"The Guru kept fi fty-two bards permanently in his employ and others occasionally visited hi1n.
They wrote on all tlie nine subj e:;ts"' which iD the opinion of the orientals are suitable themes ror
poeLry; but the composition of eulogies on the Guru occupied most or their attention. The
Guru once had the curiosity to weigh their co111positions. They amounced to about two and a.
half bu odredweight. They included them in a compilation which he called Vid yadhar. He so
valued the book that be ever kept it by him-even when he went into battle-but it was lost in
one of his engagements. Some or the bards' con1pilations are preserved in the Suraj Patkash,
where they 111ay be perused by the curious. " Ii
Cunningham in his History of the Sikhs, also holds the san1e view :
"Five chapters, or portioos only and the commencement of a sixth are attributed to Gobind him~
self; tile remainder, i.e. , by far the larger porti on, is said to have been composed by four scribes
in the service or the Guru ; partly, perhaps, agreeably to liis dictation. The oa111es of Sham aod
Ram occur as two of the writ ers, but, in truth, little is known or the authorship of the portions in
questi on. " D
J. H s.. ~56 ; s. R . Vol. v., 223, 2GO; T . s .. 33{i; l-I. I LL., 64; G. G. s., 3; nL hf , I. , i 05; D . D ., 2f ; A. G., CX XV I.; P. s. s s.
JH K , I 1145.
2. T. S. 336, 3~2; D. D. 3; I n New Delhi. 1[1m11mo r1 Roa.d, l(ot,hi No. 4.7 . I ha.ve not ic(ld a man us cri p t of the D(,lsam Gram/,
bounrl t.ogetlwr wj~ ll one of t ho Adi Grr111rh in Lhe as.me vo lume in the po>,session of H.~j a Gu lnb Si11gb S~thi w h o bas
aeourecl it from N1J.cler . T hie fnct is rul' t.her co r rnborated by n write r in J iwnn Sa.ndesh, May, !!)51. page 145.
Bhni l:i:o.lmn S ingh on phge 12ii2, phoio.stat No. 5, of G ur u Sha.bad R o.10.nakar l\Johan Kosh, Vol. II, refers to an edit.ion of U1e
Damm Gra11t!r IJ.t. Ha-·i tu• St1hib o.m.l bas given a photo8~fl.t of po.!?e 74C, of this Gmnth. Thia very editio n is now in lhe posaea•
s itn"I of Ho.ju S. Gnl nb Sing h S,;Lhl ,
3. R. N. G. (13), R , N . D., 32; S. J. I., 100; J u.p, i. ~rofu,ce.
-1:. T. S., 31~, H. R . L. , 64; S. R. Vo!. V., .161; IL S. 3-0G; H.P. L ..!Q; P. S., 39.
•The nine s1.1 bjo~tg are love, mirth, pity, u.nger, ber oiem, tarror, hate, wonder, an d ,:,on tent.mi:mt. S. R. Vol. V,, 161.
5. S, R. Vol. V., 161. Ill his Mahan Ko~h Vol. IV; p. 2530, Bhni Kahan Siogb bus given the no.mes of l,heae fifty -two poot.s.
{i . B . S., 356.

2 THE POETRY OF THE DASAM GRANTH
The critics of th is scl,ool firn1ly beli eve that certain portio11s of the Gran/Ir could
never have been the composition of Guru Gobind Singh. The works like Pakhya11 Clraritra
and Hikayats, they argue, seen1 to be quite out of harmony \vith the deep religious and
philosophical portions of t.he Granth. A poet, they add, ,vho had ,vritten ex tren1ely
devotional verses could not have indulged in purely ea rlhly ,natters, relating to women and
their c•,viles".
Macauliffe also record s jn Volun1 e V of 1 1/te 1..)ikh Relfgion that the sentin1ent
of disapproval was voiced by several learned Sikhs at Talwandi Sabo or Dan1da1na who
1
met to examine the compilation of the Dasa111 Gra11th after Mani Singb s execution in
1734 A. D. (1791 B). He says :
"Several intelligent Sikhs \vere of opinion that the. tales and translati ons i11 lhe volume, as at
present round, ought not to have been included jn it, for .many of the1n are or Hindu origin, others
not fit ror perusal and none comparable v,ith byn,n s contained in Adi G1antli, The Sikbs, therefore,
n1aintaincd that tbe H ikayats or Persian tales, and the whole of the Triya Clwritra or stories
illustrating the deceits or women, should be ornit ted aud included in a. separate volume " 'hich
might be read not ror religious purposes but ior the entertainment and delectation of the
public1 . "
Dr. Mohan Singh Diwana is of the opinion that :
"Ra,na aad Shyama of the fifly•tWO poets said to have lived at the socio-religious court of the
Guru at Anandpur, arc the writers of the anthology Triya Charitra, won1e[l'S wiles 2 . "
It is probably this composition which provokes a similar opinion in .D r. G. C.
Narang:
"It is a miscellaneous collection and only a part forn1s the Guru's own work the rest being
wrhten by a 11un1ber of Hindi poets, whorn the Guru kept in l1i s se rvice. The collection docs not
do credit to Guru 's name and [nucb of it, except the G11ru 's own composition, n1igbt well have
been omitted. The book does not command nn1ch respec1 an1ong. cultured Sikbs who look upon
most or its contcots as spurious3. "
Fron, all this it appears that there is a strong difference of opinion on the authen-
ticity of the Dasa,n Gran th.
Besides the question of the autbe111ieity of the Granth, \here is another difficulty
about the date and the place of its composition and compilation. The critics generally put
it in 1706 A. D. (171'3 BJ, at Damdan1a.
Quoting Cunningham, Jndu Bhushan Bannerjee 1,vrites in the second volu1ne of his
Evolution of the Khalsa :
" That at ·oau1da01a the Guru occupied hiniself in composing tbe supplemen tary or Lhe
Book afth~ Teuth King, to rouse the energies aad sustain the hopes of the foi 1bful'' . " But thjs,"
adds Bnnnerjee, "cannot be true. The Dasam Granth is a huge unwieldy 111edlcy of hetero-
geneous n1atter aod lhere is clear internal evidence that difl'erent parts of it were wriuen b:,
different writers at different times. The Guru is said to have kept fifty-two bards jn his employ,
L S. R. Vol, V. , '.!60. 2. H.P. L.,40,

,.
------- r----- /
3
AUTHORSHIP OF THE DASAM GRANTH
the nan1es of son1e of whon1 are given in the Panth Parkash 1 • Toget..her \vith these, the Guru
had co 1nn1enced 3b[idged versions of the 1norc interesting works on the Hlndu n1ythology and
fr om a few references, here and there, it appea rs 1hat n111cb of it had been completed even
before 169911."
This, however, does not rule out the possibility that a part of it might have been
written at Damdama.
Dr. Narang says that the Guru co111piled the Dasa,n Granth at Damdama3, but we
know fro111 the Sikh records that the coo1pilation by Bbai Mani Singh took place t,venty-
six years after the Guru's death"-.
We shall now carefully examine this fo r,nidab\e body of evidence and try to find
out as to wl:tich of the wor ks included in the Dasa,n Gra11th are from the pen of Guru
Gobind Singh, and which others, if any, may have bee n contributed by b.is court poets.
External Evidence
There is sufficient external evidence to contend that the Dasani Granth ,:vas
written by Guru Gobind Singh himself:
1. Kesar Singh Chhibber 0, who clain1s to be a grandson of Dhara111 Chaad 0, a
De,van in the court of Guru Gobind Singh, and the son of Bhai Gurbaksh Singh,
Darogba, Darbar Sahib, Amritsar, wast in bis early life, intimately associated with Mata
Sundari\ wife of Guru Gobind Singh. He wrote his work Bansa~vaJi Nan1a Dasan
Patsha/Jian ka* (Geneology of the Ten !Zings) in 1826 B. and revised it in 1830 B•
(1779 A.D.).
1. P.P .. j(i,i;S.R.op.cit-Vol.V, 67.
:.!. E.K., IS\l. :J , T. B., IGG. 4. 8. R. Vol. V., 223 f, n.
v. H o aeema ~o ho.ve bean either unfortunately ignored by, or most probably unknown to, the authorities quoted nlroody.
6. !J~ .:fl: ll• ;a'\ ~fufflr s:'lsr.r ,ro'l!,ri!f qra 1 fl.••~

"1Fo: !]~ ,~ f'I>~ "II qlrm =. 'lST 'I@! r.Tli'IT ~ "Trr1iii 1
i{\sf'I mf~ 'l'q 'TT'f[.r ,r~,r sis ify:rr,i <:Bil qrfum, ii; 11 B., (l<lG)
ffiR 'Rr if at\si\ ai l\s 'lSijJ 'll!!fi I

TT(o!T ~R '11<1! snl ~ air, am ~ ,mi.) ~ ,r.r s>Jlf 11 B. (i2D )
*Thia work, tbough not of high ord er from poetic point of V"iew, is vBry useful in determiniug the a\lthenticity of the
Da{jaJII Granth.
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;I
• THE POETRY OF THE D ASAM GRANTH
The manuscript is in the possession of Bhai Vir Singh, and an incomp!eLe copy of it
is available in the Khalsa College, Sikh History Research Library, Amritsar. He tells us in
this n1anuscript that Guru G u bind Singh completed his Grant!, in the year 1755 B'.
(1698 A. D.) at Aoandpur. He tells us further that it was con1posed by tbe Guru
himself:
Sahiba11 nu11 si pyara apne /wtJiin li Rltia ate khida,;ae.
(It ,vas dear to the Lord who wrote it himself and got acted.)
He rnay have dictated, partly at least, to his court poets :
Ate ap rasnan thi ttcha-r bana}'il.~
(And the con1position he utter:d from his o,vn Ups.)
He further adds that sorne of his courtiers requested the Guru to ridd the 1Jasan1
Granrh to the volume of the Adi Gra111h which he had already co n1pleted in the san1e
year, but he declined to do so•.
2. The vie,v that the Das,1111 Gra111h was finally completed at Anaodpur :s
farther confirmed in tbe Report of Sodhak Con1mittee Dasam Patsbahi Sbri Guru Gran th
Sahib Ji, Khalsa Dewan, Amritsar, Katak J, 1054 B. (Nanak Shahi ~28 or ISfJ7 A.D.).
"Bacliitra Natak, Chandi Cliaritra Vadda, (.:h/10ta, Var, Gian Prabadh ad sabh banian da uchar
Anandptir men /10J1a5 ."'
(Bachitra Naiak, Chaudi C/w.ritra [ 6; 11, Va r, Gian Prabodh, etc , all the poc1ic worklt.
"Ba11iya11" were recited at Anandpur.
3. Still further light is thro\vn on the sancLily nnd the Guru's authorship of the
Dasau1 Granrh by the Report \Vhich says in clause 20,-
lf this Grant/1 (Bard) had ool been the Guru's, the 1en swai}•as beginning with SrutJag
sudh, etc., and the quatrain (Benti C/iaupai), Ha.mri kato hat/1 de rachha would not
have been recited at Lbc time of the Sikh baptisn1; lhe recitations fro1n Ramavtar would not
bave bee11 given on the Dussebra days, lhe recitations from Charidt CharitTa would nol have
~6~ 'lITTrent iji \:lH:r 1

. ~ . fls'sl'f f<¥-IT1:
e+ia aaHJ e 'l"lcf~r, i:l~
- ;afll I I B., (.22~)
,. iill~f 'l ,ii r<1"1RI "lql!)) &.i~T fu,f@~I ii' f~:sp:n 1

13., {29+1
'·
[(1<:i'fl.-j" "4'.'f I n.. (!?H)
•• iilf"I"! 'llc'!S, siii "ITTS!, 'lssT, !1;1'1, '!R, il'!T'l !jqJ"s, "1Ts "" 'll'1.TT'<lf sr ~'s'T( '<AS:3( if
it1;11 I R. S, P. lf, cl.~.

AUTHORSHIP OF THE DASAM GRAtlJTH
been given duri □ g Nauratas (t he nine nighls p,recediog Oussebra), the recitations fr:>m K rishan
Av~crr w•ould not have been given al the tfarma.ndir during Hola Mohalla1 •
It appe ars that historians li ke Narang, Cunningh arn and 1'1acauliffc did not
come acro ss thi s piece of evide nce, \Vhich is dated 1954 B. and a printed co py of which is
with Principal Jodh Singh , now at Ludhiana.
4 . In 194--l, from Dece,nber 2 1 to December 2:'i, on the occasion of the birthday
celebrations of Guru Gobind Singh, there ,vas held ao Akhand Path of the Dasa1n Granrh
at the A.k al Takhat by Jathedar Mohan Singh who was then the Jathedar of Akal Tak bat
Sahib as well as the President of the Shiromaoi Gurdwara Prabandbak Comn1ittee'.
5. During his retreat at Damdama (I i04-7)* in the Patia!a State, bet,vee □ Feroze-
pore and Han si, it is said by Dr. Narang and Cunningham that the Guru con1piled the
Dasan1 Granth 3 •
But as Indu Bhushan Bannerjee has pointed out, the Sikh records
no where confirn1 the view. The writer himself has gone tl1rough S11raj Parkas/, by Santokh
Singh > Panth Parkash by Gyani Gian Singh, Tn 1arikh Guru Khalsa, but has found no
n1entioo of Dasan, Gr(ln/h having been compiled at Damdan1a Sahib. Dr. Indu
Bhushan Bannerjee bi1nself, however, is of the view that a part of it n1ight have been
written at Damdama'1• It is, no doubt, true, as Trumpp says and Gur Bilas confirms it,.
that Damdama became a new centre of literary activities and the Guru called it "Ha1nari
]Casi•" (our Banaras). The study of the Granth became much in vogue there and the
"Gurmukhi" writers of Dan1dama ca111e to be regarded as the best, for lhe Guru hin1self bad
blessed the place saying that ho,v soever foolish a roan n1ight be, he could become ,vise by
his stay thereij. But there is no evidence to prove that the Dasam Grant/, was con1piled there.
On the authority of Bbai Kahan Singh and Macaulilfe, it may be contended that it was
here, in 1705, that Guru Gobind Singh wrote his Bachitra Natak which was later
incorporated \vith his other literary labours of Anaadpur into Dasan1 Gra11rh~. But there is
no evidence to prove the san1e. The account of the events narrated in the Bachitra
Natak precedes 1099 A.D., lon g before Anandpur Sahib was evacuated. Sikh tradition ,
however, n1aintains that the Adi Granth, not the Dasan·1 Granth, was thus dictated ta
Bhai Mani Singh by the Guru fro1n n1en1ory in as mu ch as his personal copies of the
Gran.th \vere lost in the confusion that foJ.lowed the battle near the Sirsa. It was on the same
I. "al~~ '!1'111 m!ll'f'll'li ;ir @'1f1 or jc e~it cit'!'! fe:,;: "''l~ "IT'-:,"'~ "I( "ITqi, l[<T() '!i{l i[T'I it ~w
"'r, ,rrQf\ ,r q1;,; e,if<J;o "<~·'•<!! e1i< "'' ,r<r1sai, ,r qt;,; ,el%.~ it fe.., "'' '!•<fr "lf-z,i ii: qr;,; .rcrofo"li ii
01.'lof q( ffl: illss.ll'fol( ~ .isif Viii <r;;:ilf f,ra ,:fu!fe,( ~1 ".('II( 'ill~'! '<if<lo'3{ 'If g.'(1 I 'if "'12: ,'i
1(,r l fl;; ~~ <!T !l'if'll'li ~ 1 " R s. r. J J cl. ,o
•) The u ietirnu 11 y ,~ relinble bc..:ai.,11e it. wt111 gtl't;n t-o me by :':;. g,rnclhir ::Singil. J{eimarch Scholar, Sikh R'i~lory Sooicty, in the
employ ,;if Shiromant Gurdwo.rn l>rabruhll1ak Couuniht.ee ,:md who WBB one of the recioora of the .<\kband Pat.h (a oontlnuou.s
roeitll.tion) of ~he Dasam Grcmth.
• "According to Gfani Cinn Singh, lhe 011r11 slayed l11ere for nine monl bB Bnd iiille days only." T. G. K. , and a.ccordiog to Blio.L
Kn.ban Singh for nine mont,ha !lnd 11. Im.Jr.' ' i\1. h:, 1867.
3. T.8.,15\:l;R.S.P.,SO. 4. E . K.,190. 5. G.B.,488;M. K.,1857.
13. E. IC, 130 A.G. XClll ; I. E. P. 219. 7. l\[. K., 220, 282 ; 8. R "\'ol. V. ~23, 22(i, 2/ilJ; T. E. P. 218:.

·--------&--~------------ - I
t -I I 1
• THE POETRY OF THE DAS/\M GRANTH
occasion lbat the Guru's n1other, Gujari, with her two younger grandsons, Jujjhar Singh aod
Fateh Singh had got separJted fron1 tbe Guru's party'. Unfortunately the t,vo copies of the
Adi Granrh prepared here are believed to have been lost in l(ulba Bahmani Gbalu Gbara
in J7G2 B'.
6. Kesar Singh C hbib ber tells us.further in his Ba11sa11•ali Nar11a that Bhai Mani Singh'
ca,ne to An1ritsar and compiled the G,-anlh (178~-92 B). Dr. Kshitimohan Sen, in his
Mediel'al Mys1icis11r of f,rdia, also supports the same'. Here Macauliffe also bolds the sa1ue
view abont Mani Singh's achievementsr,_ Macauliffe, ho\¥ever, adds that it was compiled at
Amritsar". Mani Singh made a long search and cast his net wide in order to find out tnanu-
script-co pies of the Ua,·arn Granth from everywhere. He spared no pains and no expenses in
achievin g his object'. He secured five of tbe leaves fron1 a Sikh, in Lahore, found folded
three times aod tied up in a piece of cloth . Seven more leaves were found ,vith another
person lu Delbi. T l1ese manuscript~leaves were genui ne, beca11se th ey were in the haod\vrit~
ing of Lhe Guru hin1self•. The original co111pilat1on made at An an dpur was not bound in
a single volurne~. On acco un l of a hurried evacuati on of Anandpur and the sudden attack,
-fron1 behind, of the: in1peri.al ar,nies 011 the evacuees, the works of the Dasa,n Grantlt. were
almost cast to the winds". And Bbai Mani Singh collected these ,vith the help of n1any
Sikh follower s and friends.
J. E.J\., 137. 2. J, S., l;JI f; P. P., :l:!U
,. .. ...... ·'~F;, ~·=-.:r ~o:.fd[:C i:!Jiqfl' i:;r ~) ~tfT ll
,;if +iri: ll•'f"I Tel~ m j\\~i ~'li~I 'li~'ll~"ff 'lla:'f <ill'\ II
ll•>ro m!Rf oii ['i'Slf"11 cf'! 'l~ 11
as i;r~ i!af m,:i ;a'\ •~iil "If~ ,i~ '<!l'l<T +1~ 11 B. (371>)
4, 1\L M., 105. Acoordi11g to Dr. Kd1itimolurn Soot.he Oro.nth wns compi locl in J?:l,l. A. D ( l7 !J2 B.)
0. S. R. Vol. V, 200. 6. S, R. Vol. V, 233.
1.
,;;_"Ir, '<lr>'!oa, ofl si\ilt
f'f"! ~ 'IR!!'<!T 11
'ff'l
'1!~ i!'ll fa,i "IT !,;Bi,! •nfo ct:ail, lll\'T fm1'i fcisr 'ffi!!"lf 11
i f fa,;r "r~'<!T ?i~ •i"
t m "1Ta'ITT 11
~i ;, '!!,'I ,;'!'I ~ ~ iifT!!JT ~T~f 11
S.
all f.:J'I '<T'!aR .ft.rr fur\'!! <it G'l_~'l II
Rill f'!Sf ,;), fom' 'ITT<f! ll'l tj~;, 11
«'\,;-f:;r,i~ ,;t,:i (\ 'l1 lfi ,i)~ II
ti@ qSf '3B <('! ~ ~cyTT ~ ~l'T "1<IT +i"t ari 11 B . (37:1)
q;;; q'! <,1rn_n: ,:'Ii [B's( q1,;r==•TT "11~ II
'SJ~ ofu. ,tla,'\ iifif ~~ I<ii mf~ II
,.,·a qa '~ ~21 • ,;'\"Ii 11
a'sri'<TI +!1 ~ f~ 'Tf'!Tf II
'-"''"
•'&J
<,""10'\ q"~
f,jr~ ~Fl
'!Sli ~ .UiifR: 'Iii!! ll'l aJTt1JT .r{ fom'!'l
'ITT~ 11
11
B, (374)
~<R'\ ssl'li •ll 'TT.ii '1.r <:ii ~ 11

art 'wm 'ffl!JT' 'W-f 'lift f.rift ,i"t .i\{ 11 B., 1377)
-9. B., (37.'3) JO. S. R. Vol. V, lfll.

AUTHORSHIP OF THE D/\SAM GRANTH 7
Tbc tradition says that Bhai Mani Singh n1ade copies of the n1anuscript that be
recovered, ,vhile he se nt the orieinal to Mala Sundari per Jh anda Singh lo be delivered to
Shi an Singh. Bhai M ani Singh kept the copies with hin1self. In thi s way there were
compiled, in course of time. two copies of the Dasa,n Granth, one n1ade by Mani Singh
him self at A1nritsar and the olber by Shian Singh at Delhi, under the supervision of Mata
Sundari. The forn1cr manuscript copy is no,v in lhe possessil)O of Raja Guiab Singh Sethi
of New Delhi and the latter i s in Gurd\vara, Sangrur. The index of e ither is the same
and their paging is continued from the Adi Grant!t. In otber \vord s: there is a continuity
in pages fron1 the Adi Granth to the Dasa1n Granth indicating that both for111 t\VO parts of
tbe san1e Scripture. Both lhe manuscripts are found existing to this day and it can be
verified by any critic.
7. By far the most valuable evidence is available in the historic manuscript let ter by
Bhai Mani Singh, a playn1ate, classfello,v and a devoted disciple of Shri Guru Gobi ad Siogi1
Ji and a top-rankiag scholar of bis tirne, who survived the Guru by many years and was
n1artyred at Labore'. He wrote it from Amritsar to Mata Soodari Ji (the vlife of Sbri Guru
Gobind Singh Ji) at Delhi in April 1716. This manuscript is in the possession of Giau i
Harnam Singh ' 8al\abi1', Gurdwara Rakab Gunj, New Deli1i, a photostal of ,vhich is given
below, along with a pbotoslat of i:01nanized copy of th.is letter taken from The Sikh Revie,v
April, 1955.
'L ti:"""'""" ~ ..:i, ,

'
';f,' '<'3' ~ .>'\_ ~ "'10 LO ><i) (\1,,.1 at"! j';j Romanl1.ed copy of Bhai Ma.nl Slngh's
qza "'~'~ 't' ,3 t,'fe /!:c:.o:i >'1-1 'fh'-li'l~
.J!ri:. ]'\' '' letter to Mnta Suodri ji
·p; m ~ ~ ~ •-....fha.f,:_a:' ;f\ ~ d ~ " ~ 1f"!Ulfll'3
~a;~~ --q,"S\ ~.;'\•1 Lr.I ~<t1
r-• ./) f\fr>H, 1(3"'tj
a: o,ikiir akiil salu,e
TI"""{'~-~,~ ,-,.Fl11~j~ ~ "'V'Q)l.
~fe. .¢.."'b--f" ~ 11fi,..'ti---11,f,f'<),',' .qqwf.:_~<o!. ,'t"l\~ W-1~,, pfij mfllii Ji de aa noiii'i par rn1rnl ,i,.19h H /jv1iefa.1,f t,aR,fai'i.. b<Jhoro
-int .t\ " - . A ~ ~ ~ii QA 51.~·q•v.• ~~~'.Tsfl sarniicii; uiici,ii l.:~ 1r/h.ar ii.on por ~<icfci. sari, l>Gyil kii- adhik viViiri lr.oe
R-,.,... 8 7i--rl\ I"' .....,~·~~ ~\d ~ ~,.,,1.,1d ,t.Jfh.fl ga,ii /111i-8t1a.,1 niih; ho~ii iiip Iii l:,t{(i do bar fll7li, por ma,1cz'ar /ti,
ijF ~--R~~ -~ ~;, i;,~•:l\~~~~•--,:;pf\ urii ""'" l.:lli rilal.: t1ahi. du v>c khii.lH dB b11l ckut g11t.i ha1.
~ ¾,1 :fi'<.fl~ ~~Te_~•~~ •6\~l);i-,.,11 .ti•i!Jh parbarii,; babii)1ii(, 1•ic jGe ba,e hain. 911a/uoofi ki d~, mMi d,.Ji;
-41) t..f;l~~3~of'<~},jc(?,t\~~·· hai ba.s1< m~•·• b'ii./a k j tw'ii. Utri tol'ii.mra 11'ii.M. mlJch. fTU<~h J.-ar m/i.,rle
~ ~ ~ 1 '1-fO.¾,RfA-.c {~~VT~ x-~ h,,,n ""'' ii, dlAroh1 bi unli:i', de .tanl_! mil 'Jiu hain. hoiid"ii.i'it ,ml ka r
'°'2'sf;, 1111>- ";,-'l,-~ s°\ ,l'z, fl!l,u_ ,,fl,'!-..'! ,t],, mukban k11rdt !111ir, _ tob"i eak cmoa i,ae hain_ "'"'~adi MW} gat !tam
.tii<)e pr:i.r ribi to akiil ki raM1i. hat. ka! ki N1 aba r 7liihi. iiih.i/Jiif, de
~ftf,;, wf\"<I'~ Jo,-.,/lr,,i-01<f>,Mm,-efl ;,,,1 kuk11m a/al Miu . binod ui,gh d.e pulrelf d"ii. hukam ~al hr,n. r,otii hai.
~~ ~H'"\;, \\:\"4-i~ ~~~½~1-,.n-ll--fl'h"'.fl -pathriiii jo jhat1;Jii ;nngl, Mi.th bhfJ'i /hi u"(hi v,c silJiibii,~ dt J03 rorilar
~ ,tl_ '1-tqa ...~~ l,'.fl 1 1 $r~h 1 0 1d_':0 up1'hiyiin di polhi jo ha, ~o ~ih.ii01 lliiu,}li Ri.', mafia/ u,c dntii ;I 11 ,i.,,,
CJ ,;i:T\?.t\~ ;-,o 5.:s•a9 v-:f1,1 ~~)\n-ft~~•1 mii/.ii Li pol/ii di khabcr abi mitf. m'ihi. h 1rt,rn1ivlar pfirbiirodh 1.o milii.
~ft{'3 J'tF JA. ~-~ ~.3:3fu.w-a,~~l\fl ?1 11 11!rii.rndh 11ah1. jt nu/ii II.ff bheJ t:kt ii·i<ge. /Ut vie !Jf)fl'o. ha, kc l>awit..
i.1 tf.iqO~;!,'\ ~~h~'~ ~~• 1-i._;F.Jq~;ft~ baildhan ,11ukol Jioe bha!} gOl!O. hai. tlihib biiJn,(li ~·ornn ye. 10/U par
~ K.fl~-,_y'\ 1:Y"t~'t\-1" cf3?,~~ ., ,, ,., r,t3l-ft, conii tiih.1bjiid~ l..i &'h,.n.i k, ii/JhUklia" lei gur'ii hil khanif.Ur 4t bhefo ha,
,;:f\ !,-"j,ffiw ~~UT'!.,~ ~ ~ fn\'! Pi •~..n~ 17 riijat,:,an. bi jh1.1~ si,i.Jh u Ma, pii.,u'IL. .S rajatpaia. I.If !(l,ll'ii diii u
l\c,' i ...-,.= l'.l'-'l "rt,:,, '11 \),Ii,'""--;,,~ ~ii,'i ll(&droka bi ha,. 1~ te t1/kj1i.,'itiei, ge. m.ula/laio,i Tit hitiiti m,hi ({;ii,
t v:.-... ,"-1 "'-:A -_f\.....p,•~ n ~ ~ ~a~?.tt jo d~fide. l'ii.ii batJ.e A,,h,r u huf.di kariii bhijde. U-1Jil4-t .w,i, .ti rach,0-
3~i< '~"";) wt,_ ti ~ a-ll:;,..;

a;,<'f; rahi. ra."\ b,ii, dr mah.inc- ii.Vo,M,1e. miti t'Uiaiickb 2'2. d1Uk/11,-t I/I07'Lli...gh
~ ~ \--r-fn. ~~'\1f\-r1l'z-m~ "l <" {ll<ffi wk bmiyii. j uab port mail"",
~""bQ ....... ~~hl_l~'doi .j,1,1r\\~~

,. - - -
1.
""
S.f<.. Vol.I,lV,V; M,K.,2846; P.S.,S f;S.M.ll6f.

8 THE POETRY OF THE OASAM GRANTH
The English version of this letter by the learned Giani runs thus :
"May A!migl1ty help us!
Mani Singh n1akes his humble prostraLion at the holy feet of his venerable n1other. Further news is
that th:. climate of this place has aggravated ,ny rheun1atisn1 and my health deterjorales fast.
Twice l have heard the healing parable of the terlio.11 fever. But n,y illness has caused no slack-
ness in.the performance of 1hc holy scrvi,e of the 1--lari Mandir (Golden Temple). The Kbalsa
oo more holds sway over lile country and its power has waned. The Sikhs have migrated to
the 1nou11tain retreats . The ~1alechbas reign supreme in the country. There is no security for
the (Sikh) children and wo1nen in any habitation. They are hunted out. aad k.illed. The
apostates have also joined hands with then1. The Hindalians spy on lhe Sikl1s. All the Sikhs
have deserted the Cl:iak 1 • The mulasaddLs (priests) have also fled. So far the Irno1ortal Lord
hns protected n1e. Tomorrow is u11certain. What is ordained by Lord shall prevail. The
adopted son of Sinod Singh has passed away. Aroong the books I sent per Jhanda Singh, there
is one entitied 303 Charitra Upakhians by the Lord (Guru Gobiod Siogb). Give that 10
Sbian Singh in the Mahal 2• So far there is no trace of the book Nam Jvlala. l found the
first part of 1he Knshua AvtaT but not the second. I shall send it when available. There
is a ru1nour in the country tbtn Banda (Bahadur) has made good hls escape from the En1peror's
jail. r-.1c1y the Guru protect him. The Guru's family, 3 at Kbandur has sent five tolas of gold as
a g1fL ror your son's~ bride. Recover sevenleen rupees from Jbanda Singh. l gave him rupees
five to meet the expenses of the journey ...... ? These expenses will be incurred by hiln . The
01ustasaddis have not yet settled accounts, otherwise I wotild have sent you a draft from the
big city". Jf my health in1proves, 1 shall co1ne in the month of Asoj,
Baisakh 22
Sd/· Maoi Siogb
Gurucha.k, Bunga.
P. S. Reply in bamboo stick G
I. The eorlicut nnmoof Amriho.r. 2. 1,l11ti11 A[aho.l i. e, in t,hCI iutefiOrQf llie ci~y.
:l. The descendants of the Q.1rus.
4, An odopte<l i,ou of ~fatn Ji ELB 11,U her four i,ons were ITIEL'l'tyro<l al.re-11dy. O. l' resum11 bly I,n.hore.
ll • •",,11 being conllde.nt.iA.l."*
In this document, Bhai Mani Singh says that he is sending her a 111anuscript contain-
ing "303 tales'" of ,vomen by lhe Guru and another 1nanuscript containing the first half of
Kris/ 111 avtar, the second part of whicil has not yet been traced out. Further, he regrets
that he has not been able to recover so far any manuscript copy of the Sastra Nam
Ma/a. Tbe year of the co1nposi1ion of the letter is most probably 1774 B (April 1716 A.D.)
as it niakes reference to what appears to be the death of Banda .in the same year. It shows
that Pakhyan Charitra and Kris/11,avrar were ,,ritten by Guru Gobind Singh himself. This
evident~ is as definite and authoritative as any.
Sununary:
After weighing the external evidence given above we arrive at the hypotbesis that
(i) The Dasanz Granth was composed at Anandpur;
··------ .. -
•.,..,,,. ..... ..-..lX-. - - - - - - - - - -- ----------- - - - -
Digitized by Panjab Digital Library / www.panjabdigilib.org

AUTHORSHIP OF THE DASAM GRANTH 9
(ii) The Dasa111 Granth was recompiled by Mani Singh at Amritsar, after a
long research covering a period of about nine years;
(iii) Charitra Upakhya11 and A vtars were regarded, and recovered by Mani Singh,
as genuine writings of tbe Tenth Guru ;
(iv) Te□ swaiyas of the Akal Ustat and Chaupai, Ra,navtar, Chandi Charitra,
Krisa11a1 1tar being laken as the Guru's compositions were in the beginning
recited on sacred occasions by the Sikhs.
Internal Evidence
No,v with lbe help of the internal evidence we shall try to establish that all the
contents of the Dasa,n G,-a11th, found in the authentic copy compiled by Bhai Mani
Singh and now in the possession of Raja Guiab Singh Sethi, are genuine works of the
Tenth Guru :
1. Some of the works included in the D1.1sa111 Grant/, begin with the phrase
Sri Mukinvak Patsahi Das (Fron, the lips of the Tenth King). These are :
(i) The Jap, (ii) Bachitra Natak, (iii) Swaiya and (iv) Sabad Hazare.
All these four are unquestioned as genuine writings of the Tenth Guru. The (i),
(iii) and (iv) are, as stated in the beginning, parts of tbe Sikh scriptures, recited daily and
especially on all sacred occasions. The (ii) is quoted by all historians as an authentic
document.
The introductory phrase suggests that the Guru dictated these words (Wak) to
amanuensis. i.e. to some of his fifty-two court poets. Such a pttctice was not uncommon
in those days, for, gurus, saints and other scholnrly sanyasis s01uetin1es dictated their
thoughts or hymns to their disciples. It ,vould, therefore, be too much to suggest that all
tbat the court poets wrote were their own compositions. This introductory phrase warns
us against such a presurnption. 1
2. In the Bachitra Natak ,vhich is a fragment of his autobiography, the Guru
says :-
"Just as intuition awakened in 111e the knowledge of the A1,tars, so I composed my works in
giving their accounts.
I will describe what l have learnt of Sacyug in my account of the Goddess (Debi Charitra)."
I first composed Chandi Cha-ritra, I related it fro,m the beginn.iog to the end io proper order ....
Theo I dealt with it at length. Now I wish to re-compose it in praise (of ber) 2 •
--------
L R . S,P.ll,ol. 12 .
.2. "fiq~-f.m: f"!, f•>T "1s'ls g~ '<rri I @ll @ll 'Ii~ f,r '>! •<ITT: II
l!'ll\" >ofo ':!" f"li[ fsrf>T '""1 I l!'-11! 'ii;f.r "ff<:~ ,iii 'Ii,) II B N., XlV (IOI
qf;f.t "!',fl "ffa:s! i!i!l'TT I sls /ms~ ""' 'lJlil' l);i!l'll I I
e11, 'Ii"'-!! a'! l!'TT! !fl~ 1 "1'! "fr,;:a f>til .,~) ..-rt 11 B. N.. xrv 1n1
Dr. Triloobo.n Singh, Giaoi Na.raio Singh and others however troasla. te the lllSt liI1e as "lt wo.s Q short veraion. Now I wish
t.u give a mor• detailed versioo. '' This trllonsla.tion does oot eoom to be correct as would be clear from examples given
under Evidence of Style, (i) 24, in this Chapter.

THE POETRY OF THE DhSAM GRhNTH
This bit of evidence is a plain statement about the composition of Chandi Charitrff
I and II. The first version contained 23:l stanzas and couplets, while tbe second version has
262. Secondly, th is evidence tells 11s tt,at the Guru had composed the stories of incarnations
even as tl1ey sugg~sted theaisel ves to hirn. In other wordsi C/i(l11di Charitra- two versions,
and storles of Av tars, according to his own adn1issio □ , are his own compositions.
3. At the end of the story of Ra111av1ar, the author gives his uame as •Go bind'
and gives also the date of completing tbc story as 1755 B (or 1098 A. D.) at the foot of
the Netra Tung (Nai11a Devi) n1ountai11, besides the S11//aj>. It n1ay be recalled tbat in the
following year, i.e. 1099 A.D, the Guru was re -christened as Gobind Singh by bis founding
the Khalsa Baptism of the Khanda (t,vo-edged s,vord). This confirms Guru's own statement
of the co,nposition of Avtars before the Baptis,u in 1699 A. D.
4. T he compositio n of Krisanavtar throws considerable ligbt on several impor-
tant points.
In the first place, the. poet says that he com posed 11~2 chhandas:
Je Je Kisan cltaritra dikhaye Das.'lm bich sabh bltakh sunaye,
Gyara sahas banve cI1/w11da ka!ie Dasam Pur baith Artandn 2•
At the end of KriJanavtar he fu rther adds:
Satrah se petal mahi Sawan s:udi thiti dip
Nagar Panvata subh /:in.ran Jama na ba/1e samip 3 ,
Dasam kaiha BhagtJut ki blwkha kari banae
Auar basana nahi P,rllbh dh.aram jud/i he chae4.
T hat is, he 6uished the composition in Bhakha. of the tenth skandh o[ Bhagwat
at Paunta in 17-¼5 B, besides the Joniana \Vith the intention of the "Holy War" (dha1·cun
judh). T he phrase diiara,n judh Ice chae (for tbe love of Ho ly War ) indicates that ii ,vas
Gur u Gobind and no other poet ,vho bad the high ambition of waging a ho ly war.
T his view is suppor/ed by Giani Harnam Singil ,vho says in his Dasl1111esh Kav;,a Pra.1ip,
that Guru Go bind Singh comnlenced the coin position of Krisanavtnr at the age of 18
and completed it ,vhen he ,vas 22 i.e. io about-lti87 A. D .'
- - - -- - - - - - - - - - --
L '!TCR-tl•"ITTI """ "•" qs.rs;;- 1 lf, sfr fii,1"'! l,'l.,r,1s;;- 11
(S ijl;ll/a: '!<[{ ,(i:r !;['·'!Hf I ;l\il qfT .r\( '11g ']«HI Ii R. A.. 1sool
e).:u- a'!,' ~·rr it. "'""' """-'" ar, "~q 11
oil .'
>!<T'!o g,,'1 ai,~1 Z'l'l, 'f.'IT ~l.,'1 /I R. A.. (BGlJ
.... r- .:, .... ....
c::r~.::r- BiThl ~>SIT{ q';3" ~f~ ::;i:; Tf~~T g~JlJ ~':;fr~ II
,,.._ -, "' "M
9Trn: flil <1-,1 (Y{f:f ~T-f Tf 1T?f~ ?.:TB g~t:i:: II R . .-\,, (S64J
,. Si\,rl:-ai ar f,;B;;- 's"ll:"if fa:'-'11~ I ';'-1'1

- . .....
.fRr '-1'1" 111'-'I Wfl~ II
:,. .
il'illl l.,~tl 'Wis w; a:r 1 "" ',ti<! 3, <(o W!~f 11 K. ~-, (/)
3. <li,,:1- tl'll; H qi[@ 'lffl: Bf'l'1 ~fa: flifu ?.')q II

s ill; Qf'fcl l,'j'I a,,;;- "!'I'll '1? tl+l~Q II K. A. (2400)
~l,lf- ,ti<! 'f.'ff +ll<Ti<f <j(\ '!fffl 'f.U if'!!, I

'>!'I{ 'l!B'll slfu: lf+I SR<! ;sj'[ 'f. 'sill II K. A., 12,011
u. S. D. li. I'., 15.

11
AUTHORSHIP OF THE D1~SA11 GRANTH
ln Bhai Mani Singh's IJir on •

Page ul.'5/i (a photostat copy of which
is given here) in chhandas :!255, 2~;jG,
i257, ~25S, :~,1'14, :3-!-15, a785, ~7Sti,
,- ~ -~-
,'.w~•-,1•-,..·1
.,
L
,
3021, 392~, 3023, 3Y~4, 3H~fi, 4S00, A

~-
480 l, and 4802. Guru Go bind Singh, "!'
.
1,,#
wbUe staying at Paunta, says he had

'k
composed at A11andp11r 118G stanzas -
•
of tbe Dasan1 sl'- 111dh. He rurLher adds • ,
that he has composed more chbandas "
as under :-
,, .
Debi Path ,~ 9"16) •
...."'
-
-- ,._-..
.< ...
l
-.
I /•
875 Judh Prabandh

Ras lvlandal
Gopi Birah
---
1576 l
2038 .4b Ka (now con1posed 1 I >
. 'I.::'
3614 • • . f ....
1
The photostat copy and its • ,, ~-~.., --~•-.f•}::_j~_~!:;:·
•• • ~ "S, -• ~ ~ I , ...., - ~
.. ~\/
-
i
;q,
content5 1 t1e1p us 1o prove tha t G uru ._ • ..• I . · ·- • .,.. . ~ --t·
-,,~ • -"" Y.' •.. ~ • 4!I • ~ ~,l I I
Gobin<l Singh con.1posed i{risana111ar 1 ...., • i· .';,.. ,
partly at Anandpur and partly at . _ •· • . ~ -'-'-~'"-- ...Li

Paunra. The handwriting, as affirmed in his Guru Shabad Ratnakar 1vlaha11 Kosh
by Bhai Kahan Sin gh, the great lexicographer, who has produced a photostat copy
- -
1. ~fli:- ~Gf iRilT f~.;r ~qdf~ I ci;B +:Tf(f qq 'cl"(T +r~~ ..,, ll ,..:,
'R+\" q-rq ~ ~f+l' GU~ I -s~llcJT~ f¢ffl:T i'fH: fi.:p,ff;:JT II (:?255)
~~ffr il'-TT ~1\fijf~ ~~.t 1 ~mr !i-i:~ ~tt~-Ta ~ a~r i1

cfif~) f.q-B~ ~~ f.:r:g ~ffli I f?iiB.f ~~Fff~ c:rir g;;:r ~Ti II (2256)
c;t~r-~ ~,{§{ ~ ~~ ff tja., irr ~~r~ 1

• ' r,. "'~- .. .-..
{!~\T +\'~ cfi fijlef ~.:tff ~~T ~r\ ~ II (22u7)
~~- a ~ ffl>Bii :qf0r ~t~ I '~Bil' .ifT:::f fl+{ +rlf~ ~;:rrct U

frt~T~l a ~ f~~Bl ~ 'TT I cr,~ '~B;:r ' ~~ ~ ~.=r~T I I p25S)
~ ~z::;~ 'qB+r' cfiT f~~~ &l.ITT 11 ~~~'c? ~~-.... II (34 4-4)
(The o.bovc lino clearly abo'li'l"s that the Guru himself wrot.o on l,Josu sh~ets a1111 11nve tho necessary instructions to the copiests.)
~Ni-~ 9.fa ~ iis®' 1 nii f1ff<T tft n1q;:, Bn f~, 11
'QB
~.f Br:fij ~ :.nf~n.=r cfi~ i ~ ~+l '~ra Tfsq{' 41~ ~~ 11 (3~l
~\?o ,lB +i:s~ II ~\.\l~ll, I I ~~· 11 (;
('78.-,)
~-ifgft 'nrct nC{T f~' ~T-HU I ~ firf\:l Tif~G: cfi~m l#I i{i-tfU "
~':fi Bllc'f ~ B ~~JC{ I m ~~·,:, ~ ~"\f~ 11r~ II {3786)
~ ~ ~ II mftlcr filW 11 ~ t '<. ~ II ~Cfi~( 11 (392 H

of another page ln the same haud-wrlLing. fro1n the sarne Bir, is that of Guru Gobind
Singh bi,nself'. It is also clear lron1 the
pbotostat copy of the Guru' s ha □ d-,vrit i ng -!-
produced here. This photostat copy is
taken from tbe article Afghanisran C/,a lk
Mahina by Dr. Ganda Singh, appearing in
the annual number of ltihasik Patra Samvat
484 Guru Nanak =2009B =l952-53 A. D. of
the Sikh History Society (S. G. P. C ). The
evidence is, therefore, authentic and establi-
shes the authorship of the composiUon.
ft confirms further that Chandi

C!,aritra called here Debi Pat!, (...-1 m) is also
Guru Gobind Si □gh's composition.
5. In son,e chhandas of the Krisanavtar, the oa1ne of J?an1a 2 occurs as a narrator
of lhe events of the story. ]a some otl1ers, th e nan1e of Sya1n 3 as a poet, similarly
'sT~-a'!ar;;i1ia ~ s'!ilia 'lffl'l 1 ,a) '<l'f,o( ii; ,ftfq ~m~ 11 ~
'lsR fl '\il'l ~ ;i' <1,u;,r I f'I,: /eit>J ;;R <1~ ,<l! oTilT 11 l''''l
"!To <['I<[ q'I«~ imra\ I ~ !'! ''il" l!'ieT' fusn~ 11
·.rt B>l 'Iii; 'l'lr;;, ei,r I oa'\q = ei, ai;r 'RT " oi;;r 11 130231
'l.f.r q,'\ ;;if,sl!T!); .,~ lll ~ I d~ at .noi'r "1,1; 'l'fli 11
iTT 'l,Tq ill![ ai;far'I 'fil ;;Tl;! I it'!'fi '11:l; ai;Q
:l;'la:lfl II (392<)
"fodT;;ll ii 'l>i(T '!'I[~ I ,n,r eia: si\q~ "!T~ II
B'ITT!si <lisTri m; I 'II <rf. ~ii '112: 'llo ai;;~ II (3U2GJ
i!if!{q) !{I"!
~ II "'fi@ ~sn, ,i1j "iRl ,t I JJf.'lt flr,rru ~"fr, II
~ ~ ~ mfil "1111 , ''TIITT'
,~~ '~~ qro' 11 t:;\.SI~ '~q siiN' II
\!ol, 11 ,,~~ 11
~ ~i::;~
,m
'~«+r' I J
~~o 'u.r Jiar.r' 11 !~~ ''Ti<fi f<I,;;:' 11 ,o~.; "l'!'f; II
')?.:;-oo
---"'
11 ~<£'11
"'''' ;i:iai/; 'I<:
. <f.f
"f'ldl(
~
~
~;jf·
11
. II i?f;RiJT "!f'q~fl: ~<ti'tacrr
~~~~ '<n<r 'll<ITT' II 'IR II~~ II
II r~!!OOJ
). -~ f~l'Wll !J'l!!ffl ,'(lit~~ 'file~ 1.,.ia/1>r,o,1·········,.r fuio1a J'f'iS'f '!gd'fiTSq

f;;i\'f{ .r,i········· ·· ·•· ·1 ai;.iJJ1>T, ~ s'f""rf.r-=ri it ,,a..a ,:.;;:r ;;:1 mo1,r fs"'" ~~"fr
~ '{fr!" I hf. K, Yo!. II, I'.?52.
%. ~ - ' ! ' I fuq .«,;ft-~~ ai;'( ai;/1r ,T'I ai;t 'fi[ "!Td 'I <TR'fl II K. ,,. 111101
~.. B'<lfilia- ai;;aa,; ai;°'t ,;t,i ,r<r ai;t ~" ,i;r "l!J JJT'f 11 "· A. 111,01
Also cf.K. A.. (1116, lll7, 1148, 122'.?, 1300, 1412, 1430, H4ll, 1456, 1481, 163D, Hi62, 1707, 175 1, 1776, 18.'i3, 1872).
3. B~'lr-'fi"1B'lm~,a1\G'l<!i1"'!1, "1'11,: di[[ ,1;1 ~ q,'lt I l<.A. ( 1121 )
'fifli B'IT'I ai;t 'l;;l~'I .r.ivl '!iT f<J.d it '!U ~~ 2:,,u Ii K ••. (11311
Also cf. K • •4. . (368, 369,381, 31,13, 38~, sas, 38!1, ,t4-'.?, 444 ,447,4 41), •154, 458, 11 :t!., 11112, l :?36.)

AUTHORSH[P OF THE DASAM GRANf H 13
occurs. This has led certain critics like Cunningba,11 and Dr. Mohan Singh lo believe that
Ram and Syan1 vvere two of the Gu ru's fifty-two court-poets, \Vho composed entirely or at
least partly some of the works included in the Dasani Granth. Krisanavtar is cited as an
evidence for this co ntention. But this ca nnot be accepted.
(a) Tbe report of the Sodbak Committee throws an interesting light on this point
by telling us that the original name of Guru Go bind Singh ,vas Sya111 as sugge,ted by the
time of his birtlt, It may, therefore, be taken provisionally that Syon, was a favourite pen
name of the Guru and he adopted Ratr1 also as an alleroative to it1.
(b) In bis Dasa,n Gru.nth Da ltihas, Randhir Singh points out that in the two
versions of the Dasani Granth in possessio n of the Patna Gurdwara, there are .:.l,handas
which show that the pen name Rain is used in place of Sya1n in these two, at n1any
places They are interchanged tberejn , i. e., the sa me chhand is associated with Ra,n in
one version and \Vith Syanz in the otber2• This evidence, therefore, suggests tbat Rarn and
Sya,n are most probably two pen names of the same poet.
Dr. Trilocllan Singh also affirms this view wbe □ be says:

"The names Ran1 and Sh yarn are used in some places as pen nau1es. Actually spea.ki..ug, tbey were not
pen aarues but poetic translations of Guroji's names. Guruji's name Go bind is an attributive
name of God; so also arc R am and Sbyam. ln Sikh theology th e three words Gouind, Ram and
Syam wean the same thing as the following quotations froro the Guru Granth prove:
Syam Sunde,- taj nind kio11 ai f{-!'>l l'i ~-~ r:1~ .ft-.;: %1"•• 1.!lf I
Guru Arjan Suhi (,i,, -.;,i'a, 'lit)

... ... . .... ...... . . .. .. . .. ......' ..... .. .
············ ············ ···--······· ········· ············
........ ...... . .............. --
Go'tJlnd Govind Govind Ha-r Govind guni nidhan iilf(;: >iii.,; ffl', ~ >i\la;: !Ff) f.!'lr,j II
Govind Govind Govind jap mukh ujla pa-rdhan >iii.,; >iii.,; mfif;: afq /l!'l """'' 'R'll:l II
Guru Ram Oas : Var Kanru (!J1! ll~l'I, cm: <fiR.~)
Ram Ram Ram ki,-tan gae. Ram Ram Ram sada sahae •Jll \ll.l" Qlf <f~l«!j ~ 11 .::m ,::i:i:i u:i:i 00 ~ 11
Guru Arjrm: Rag Gond (~ !J!~~rf, {Pl 1ff€)
ln aU the above quotations from the Guru Grantb the words Ram, Sj•am and Govi11d mean the same
thing and so also do they in the Dasam Grantb where they stand for Guru Gobind Singh. That
is why two or sometimes all three of these ninnes occur in the same co n1positioo.*
1. iii) 'fi<i\<11'1, ,r:i aft loo f+r@ f.t~ ~ ~ "ll;il f'l"! i'\11! I ~ ,a:;i, ~ aft ?.J "1"'1" i!Til '(TT'f >ft,
a_i "lilil
""iW'flil i!Jc'li s,r~ fll'l Bl "Ii !I< oft 'TR f'l"! ""~ ii, "" ("Ii ;§& <ii@ fu@,n fli"'1t) "" ( ~
i-l'II 'lii't) ilia 'lil'!<ll !J"i '31~'! '1 illc'li 'Ii\ "lllil q,: {t ,:if i'\~ ir,! I '3[ ~ "IT<i! <I •1 ~~ ii ;,a;r ii ,fl'f
'!ill! f.,fui,;;r t I w; ~Rftil '3'!11: mit,r ,l '1][+[ .1 i ,m i ;;_1 i!;f\ II R. s. P. u. ,,. 13
.t~ D. G.l .. 26. f. n.; .K. A. /1930, 1211).
• In tlw r.m11 ~umlli 11ie nriniC' (M l,i11rl ,~ wri11en 110th All Guvind u.nJ Col,iml. But in Guru Gul,ind Singl,'!! , 1·dtin(!~ it
nlwuy!I 1\cr.111·,-, wi1h ;,h" ;1.s (!ohlncl . Guru Gobind Singh $pent most of hi~ life in tli,~ IJur<ha nrc4 uf tht> l'unjr..lJ
\\ IH'r!' wo1·cls wi1 l1 "\' .. lll'c' lll"OIH'll!lt:OU willl "\; ;;~,,,,,,.
~ • ..,, '"t,·,"•' ··,·,,,.,, '' .,
~•· .• ,, •~, .. " ., r ~-, I ,.~ ,. ery Ofl"'rl lfl
· [1i~
"ri1i11!-.'l!, Hi' 11Tile8 h11dr l111d1 for 1al/~ /'(!(/t; mam /,,1iia: for mar11 1a}111; 11/li:,bJ 1·11r a;'igat; RisJ.i:u for l"ir/,m,.
hnrri for r~m: uud in i11nu111rrnblt! olli!'r on.sf'~. Sn Guruji preforrNl rn \1tit,' l,i.._ r11\l11f" 11.S (:!iliind ,iwl 11 ,., 1 ":
(~nn I u t. - Tl1t .~· ik /, Rt; irw . ...\_rr"il, I D,")."i, .l),.;~ :i 1.
Digitized by Panjab Digital Library/ www. panjabdigilib.org

This practice of wnung a synonyn, for the proper noun in lhe Dns£1.m GTanth applies not onl~ to his
own nan1c but tb roany Olher oa1ues also. ln the Dasam Granih, Guru Gobind Siogh writes
Netra Tning for Naina Devi, Satdrav for Satluj, Dasrnpur for Auandpur, Shah Sangram
for Sango Sha.h, and Madra-desh for the Punjab.
(c) This suggestion ,s furlber supported by a Lraclilion amoog the Sikhs tbat the
na1ne ofa ne\v born child \Vas obtaincJ frot11 the lips oftlleGurlL So Guru Tegh Bahndur
,vho was in Assun1 at the birth of his son □ l Patna, \VUs requested to glve a na,ne to the
child. He. it is said, named hi111 ·Gob1nd.' But when tbe child ca1ne to be called
Go bind, his mother still called him by the original name, •SyanJ', since hi,; new nan1e was
si1nila1· to tllal of his grand -father, Har Gob1nd 1 the sixth Guru, and she would not use
thal name out of regard for him, according to the old custon1 among Ihe Hindus. The
,vords Gobind and Syam have tbe san1e tnean1n.g. Because the n1otber hesitated to call him
'"Gobjrid', she prelerred to call hi111 'Syam'.
(dJ In the Introduction to tJ1e Chaul1 is Av!ar, the Guru says ;
"No,v I ~n1 telli □ g you the storits or the twenty rour incarnations as 1 lrn.ve come to understand
them.
O, ye, all saints. Hsta:n carefully. Syaro is going to 1ell you, as he has found them interestingt".
In other words, the stories of the Cliaubis ..4 vtars is being narrated by the poet
'Sya111·, 1:J1t the author of Bachirra Z\'atc.k has told us already that before ,vriting his
autobiography he has written the story of Avtars3 , Jn ot her words, the autbo r of the
Bacfi ifra Natak is also the autho r of the Avtars i.e. Guru Gobiod Singh js the self-san1e
poet as Sya,n.
(e) In Krisanavlar the poet Sya m cxp r~sses his desire to die as a 01artyr4 • He says
that he is not interested in getting rich, fo r riches come to hinJ fro1n all parts of the country
if only he wan1s them5 • He is skilled jn warfare, too, besides being a poet of note. He is
respected by all.
J. The Slld1 Review April. 1055, p,,1-ge Ii~.
2· 'q3'{f-~ ~P-f')fr '3~ ,:qcn1H:r I 1'1\<~ f-,q fa;i 'Ii[ ijilsl "f@U II
>11;:' II Ch. A. lot.i-o, (Ii
..... ..,. ..... 0
l;IR'lg '1<f '1s Rio <ill~ I 'R'!<l W-11'1 '!'If if\!
J. B. N, xn". (lD, 11)
"' .... .... .... ,..._ ,. .:,,,
4,
,s'if-a,{!c!ai f({, "IRr .r, ,., >110, si~ ,i,r "'" m's 'l<ll~ 11
sin a,1;: ,:,,::r ,rn, fa;q1 ,i;fl: «if1'1 ~~ -. ,fl"! rt
"!'I K. "·· c,,001
5,
W!T-'1'l i%w; ~..., 'f.tl >lil 'li\ if'l 'sli'IT '1,l ~l'l'l <:a "llii II a
"l'3 ({'! fi::,;:f,1 fu:,;:,r ~ ,:.,i1 ili[t ~:!j 6.l'll ij\;;!'fl~ II
so:ra, i;i.it ~ ann
f9 ~ ,.f~ """ ~a) aq ~ <l;! a1~ 11
"P.'fi lf,;I s'l ,l ofot J} [Ji! ,t lf"! \•<l'I ri: 'I~ 'l[ef II K, A,(1"0"

A person of 1his sta,np who is venerated and ,vho can con1rna □ d n1oney as well
as influe □ ce all over tbe country. can be no other than Guru Gobind Singh bin1self.
These lines reveal the great awareness that the poet feels about his o,vn fame and name
both as a poet and a ,varrior. An ordinary court poet could not have dared to express his
sentin1ents so strongly and so openly. Therefor~, these lines indicate that Syan1 is no
other a person tha n Guru Go bind Singh bi1nself.
(fl The poet concludes Ra,navtar with the verse :

"Of all the doors,! have chosen to knock at Thine
. '
Th ou shalt honour me by Thy protection, Gobind is Thy slave1 ."
This is a clear indication that Ran1avtar in particular was composed by Guru

Gobind Singh hi1nself. The date of .its composition is furthe r indicated to be 1755 B.'
G, (a) It is on the basis of this assun1pt ion that 1ve agree with the report of the
Sodhak Co □1n1ittee that Pakhyan Charilra' also is the Guru's composition, in as much as
the pen names Ram a □ d Sya1u are also employed in it for the author of tbe coo1posilion".
The cbha □das 14th of the 28th tale, 22nd of tale No. 122, 10th of tale No. 401 bear out
thi s suggestion'. In particular, the chbandas 19 and 3~ o[ the 109th tale contain both the
pen names Ram and Sya111 indiscrirniaately 8•
(b) In Pakhya11 Cliari1ra the peu name Kai (<!il<!f) occurs at th ree places together ,vith
other pen names,' This is interpreted by son1e to be the pet name of so n1e poet
Kalidas or Kali Charan, but this seems to be un,varranted because Kai ('li!<!f) ca □ not be read
as Kali ('lir<ift). Randhir Singh concludes, therefore, that this '!(al' is another pen name' like
l ;n[lJ-B'l"
.'
:.rrr~
~';ff"{
'
'1~
...
'li1 <!fl"!
'
,j!ls 'Ii n,~1'
'i!Fif -~
:rrn~?.."
gi{!U
?.'Tl:£
- <"IR
~
g,r,
II
11 R. ,\. (S61 )
. ; . '
' If !jl'lsT'l'I
"- , 'i.fiG" « -B IJ'i Bll~ ~~Hi{ 'RI'!'! 11 ;;:r, si/J l~~ II
«l <rnr/?.: '
'!SH: ~'I !J:''110:l 11 lriil q,:1 iilg ~ 8 ijs!O:l 11 R. A- (Sim)
0
3 'l'lui reader may recall to l1is mind in t,his conuecl,ion tbJI~ Bbui l\r11,ni Singh had 5er- nrnd 303 women 's tnles nnd sent tl1G
man □ 11cript to Dcll1i pet· ,Jbunda Sinj!h to Shinn Singh through i\Itlta Sundo.ri.
4 D. C:. I., 28.
5. '~Hl' .;~ fu;:r P-f'Q ~~ ~fcl<fi ::JfG~·r ;:{~ P. Ch .. 28 (14,2)
fl '!:R 'i~n, ' '!,_,'! ,ra1 aar ._1 'li'.ff 'l<'ilT 11
••• f-:rf>r ~~ f"S ma "'"' ni: fir, if; ,:i,r 1
!J , ei;fir 'f'!Tll' '!_,'I +l'TT o's , ,1 '!S'lf 'l6lT II P. Ch. -+Oi_(]O. 2)
•~ll'!i '!o wlt 'lJl!<li ei;far ,r,r ti+ri'I <Toll '!IT@ q1,ir 11 I'. Ch, 109, {HI, 3)
<'<lll +l"' '1~ <!li'!S., '!S1 'Ir.lg 'l!'lf.r aii\ lf;j ,i'r;,,i '<TIQ! II P. C h., IO!l {'12, 4)
"!@ 'R all +l'J21 'Wf'!) <l'!'!S 'I in, 'll s,;j,,-
!fl'F, ''IS!i!l' ~" +l'll, a,r .1 '!S'll QiiflT II P. Ch., l!l5 {29)
'5Sf~(if ~
• ~
~-:• f ~C!"l'lfT
t' ~
" ' ,<n. ,
':;:;J1~~ ~HT I
~fir ''!Sli!l' <I'! ii) +l'll ~ '!S'II 'lB'T II P. C.:h., 217 (5:.\')
8. D. G. l., zs.

16
THE POETRY OF THE DASAM GRANTH
'Ram', 'Syam', ·Hari' and 'Gobind• of the Guru who bad a special feeling for the God's
name Akal Pu1·akl, ("l'lSf<;! 3,...-J or Akal ("l'liTQ!).'
(c) There is also another b.it of evidence ,vhich lends support to the view that
Pakhya n Cl,a,-itra is also a genuine composition of the Guru. We □ oticed in paragraph
I, above, that some major co n1po sitions of the Gu rn begin with Sri Jl,Jukl, Wak(.i'\ ~ '11'6).
Compared ,vitb it there is another phrase : "Thus speaketh the poet'." It suggests that the
poet himself emplo ys this phrase speakjng of himself in the third person as the poets in
Persian and Urdu have been doing from the earliest times. While speaking of his birth in his
autobiography, the author writes not the 's tory ofmy birth', but the 'story of the poet's
birth', speaking of hi1n self agai n io the third per so n. But at the same time in the
san1e context, five lines below. be writes,
''There was r born io the city of Patoa~"
In this way, l1e confirms our v;ew that the word Kabi ('6/ai) stands for Guru Gobind
Singh himself. The phrase 'l(abi bach' or 'Kabyobach' occurs twice in the Bachitra Natak.
This leaves no doubt that the phrase 'Kabi bach' or 'Kabyobach' is adopted by Guru Gobind
Singh for himself. Now a very similar phrase occurs in Pakhyan Chri1ra at the end
as the title of the epilogue: The poet's plea (Kabyo bach benti 1oa,i\ 'll"l ,l;rat)•.
1. G. D. 1. 2S.
(i) ll:<:l'lfu <I~ 'old( ,<l: 'I '6\,; I
'!j;<[ "" i(\ "IQ!l ''liTQ!' (God) '6{ ,U i.'rt II P. Ch.,,,. (22)
'![q fq... ~m ~~, ~ i:f'cf"I~ 'Ull' 11 p_ en .. 1ss (10. 2)
'& ITT a;) <!I~ an.\l 'ffi'f' lifi1T~ II P. Cb., l23 (7, 2)
~ i Hflf, '!1~~' .,11<1 ~9i: I P, Ch., 2-l'il (19, 4}
"11 fer • .R q .;ii\ % <!Tdl ,rm ,n:1,
Rf[\ fBar "' 'f.&t lli[!! f.ra +ff{ifi@ II K.A ., (1656),
" ~
(ii) ~ ~~ '~~' ~~~ ~ifi ff~ ~ .il P, Clo., 227 {11.4)

fj'of! ',~rir' '!t.J 'l"<IT i'ls iIT '6'ff ~.,,,. I P. Cb .. 20, ill, 'I
~ 'P-H+r' ;i:Jf ~r cfir cr<if ift +r'TT R~r;:r
ti'"'" 1
~
P. c h., 336 (47, 2J •
'"'" '151'!1 U'f' '6flt '1'!(\

'l'>f;;r ifl'q
!'Id <illif II l', Ch., 18 (1, 1)
fe-, f.r ~r,

=~r,
11
ii!'li'I ii "'' g'f ;:c-,,,r!:
"'• ~ . , 11 B. N., V.[ [30)
ffl ◄ Tit
~1.,r- ai't r.r:n ,r., m a:r) ...r m '6fu: it ii!l1
arr lit~ '1"1 .1't fu<n,: t 'Sic[ fj':'T ,it II B. N,, VI (59)
B. N., VJI (2)
P. Cb. 406(377, head lin~)

This epilogue is in twenty-six quatrains1 • ]n the second quatrain, the poet says :
Ha ma Ti lu1ro hath de Tachha, etc.
'O God g,i\e me Thy hand of protection and the desire of my heart be fulfi.lled,
My mind n1ay renui.in attached to Thy feel. Protect me as Thy owra.
Throughout the epilogue, tbc poet uses for himself the first person plural Ha1nari,'
Hanzara/ Han,re~ as is the fashion or wont with him in other books~ as \Veil. The trans-
lators invariably render this in the first person singular. Jn other words, then, It is Guru
Gobind Singh \vho after finishing his tales of Pakhyan C!taritra offers thanks-giving to his
Creator, using both the terms Kabi and Hanzre for himself.
(d) In Pakhyan Charitra ,ve find echoes of Lhe Bachitra Natak. There is, for instance,
a s\vaiya in Bachirra Nataka in which the poet declares bis Jaitb ln the sword;
"lo this Kali Age and at all 1in1es there is great confidence 1n the powerfu.l ann of the swo rd."
This faith is further affirmed in Pakhyan Charlfra 1•

There is again a couplet in Bachirra Natak in which the poet says that the grace of
,God works wonders :
"The dumb would recite the six shastras, cripples would clin1b mountains ;
the blind would see; the deaf bear ; if God would only favour 9. "
Tbe same couplet with a little change is trausferred to Pakhyan Charitra•.
There is another echo in Pakhyan Charitra of an early ,vork like Chaubis
Avtar
"There is one spirit, one reality assuming fon11s radically different fron1 one another.
Verily, He is in tbe king, i[l a petty chief :l.[ld in the pauper.IQ.''
- - - ------
I. lu ccrtuiu priat.,,J Le,ds th11 oumber jg twent,y-flve.
q ,""'IT I 'l:_,'1 ~ T"l'<f <t\; s~"II II

~ ~
:!-3 "IIGi- ,r,r(\ a.it 'QT~

"1{'1'1 '1'1 ,t ~'II{[ I "1G'1I <1['1 oa;) ~f<m,:r II l'. Ch. 405, (377}
4, ""~ S:'3< ,a,r• g>r ~Fl§ l · · · · · · · • · · • · · • · •• • ' • • •• · · · · •• • l l P. Ch. 405, (31$)
z. ,it;;:,r-'lif\ '
q; a~, # <fi,,r tfjtfl~ I
.rrr,
"l,!'11
Gl'!<T<>;ITT l+f "111< """ij"~f iSo1'f 11 P. Ch., 11 (2, 2)
,. ,ail'IT-lr, aril P-1'1! 'it ,,;f;,: •n~ rrtlTii! il!im "' mu ~arr.r "" m<:\ >roB\ 1
'-Tl 'liii! B.N., I (ti:!)
7, ~r a.fu ll "I>! 'n!@' f'li11'1 'lft m(\ ~o'fFI 'ol >!IU m:ro"I I P. CH.., I (41, •l)
,. a"lt Brnsr ,;rg ftirr fm..r sr~ "IT{ 11
'fl'
s:r'q
- "
••
'
<l'l{l
- -·
""
" .;;')
[G'I
'l,jijf
~
fif.11
rrn:-1 srf.;
'l>':[s II
arr.: II
B. N., 11 (:.!)
'· 'l'"
;;i;;r "'"'"
iif\q
9T<'IS!
'
s'!,T '""
~~ it
WI ...:1 ~5..l'#t 11 P. CL., (I,i2)
10. ,iM-~- <"f "f'l'I '

B<;:'11 1 ~,.- >tlTT u,a ~ 'l;<1 I Ch. -'1, lmr~. (37)

]8 THE POETRY OF THE DASAM GRANTH
The same idea 1s found in the sa me ,vords 111 the epilogue of Pakhya11-
Charitra1.
(e) In the prologue to Bachitra Na.tak_ there is a sivaiya in which the Gurc,
says:
"It is difficult to win the Grace or God by any means ot\Jer tb.an prayer~."
The sao1e spirit of piety a □ d devo tion is found in the same verses in the Palchyan
Charitra. 3
(/) There is another similarity bet,veen Pakl,ya11 Charitra and Ra1Ha.rtar_ In
Ra1navtar, the poet, ;nstead of giving the whole story (of how Kiag Dasharatlt granted two
boons to his \Vjfe), has made oniy a passing refe rence to it as according to him , he himself
had already dea lt with it in Bachitra Natak and also in Pakhya11 Charitra'.
From this it is evident that the author of Ra,navta,· and Bachitra Natak is also the
author of Ra1navtar and Pakhyan Clraritro.
Fron1 this sixfold internal evidence, besides the external evidence given above
011 pages 3 to 8 we can safely assert that Pa/chyan Ch.rtiritra, too, like others is a genu ine
work of Gur u Gobind Singh.
If we add to these the epilogue to Pakayan Charitra, the evidence appears to be
conclusive. T he last Chaupai known as "Kabyobacb Benti" is one of the five daily
prayers of the Sikhs_ This, "poet's invocation", is also used for preparing the An,rit in the
init iation of a person into Kha lsa brotherhood.
T his is also corroborated by the Nir,nala view that tbe internal evidence of style,
idiom, and general form of presentation bear ample proof of Guru Gobind Sin gh's author-
shi p of Pakhyan Charilra'.
All tbe facts n1entio □ ed above clearly prove tilat all the parts of the Dasa,n
Granth 1vere composed by Guru Gobind Singh hi,nself. Most of his ,vorks seem to have
been 1v ri tten while he 1vas at Anandpur and even the wo rk like the Palchya11 Charitro
came from him. If at all, any of the court poets had any hand in the co,nposition of
the Granth, it was purely of the nature of an amanuensis. It is quite possible that the
G uru dictated his poems to his court poets. This does not necessanly mean that they had
composed any part of tbe Granth. The personality of Guru Gobind Singh, is indelibly
stamped on almost every li □ e of this Gra111h. It ,nay, therefore, in the end, be said ,vith
confidence that the Dasa,n Grant!, is tl1e work of Guru Gobind Si □ gb himself and of no
body else.
L
;,;q -~ ~er, l!'-IT ,rar er,{! 'l_qr 1 P. Cll. 4tJ5 (3!14 )
~ '.
~
'filo! n;;q[;, ['-!'TT '! 'I'> g'l it ijl'{ #'!i R¼-it I B. ~-, l (101)
3. P.Ch.,2!!G (J.1)
,. g;, a:m i;J:,; ol'! .~ I f"lo -.,a_ '! if.{ 11
)~. .A,, (l'J)
'Ii{! 'll2'1i 'l'-1 "!fUI <!i'IT I "I'! .r~a, "I'll II
er. B .
N. J]. (20, ~I) ; P . CJ1., 102.
-0, P. S., {G!l)

The Evidence of Style
The saying that style is the man, holds good in the works of Guru Gobiod Singh, as
does it in the case of other poets of note. The excellencies as well as the peculiarities,
mannei:-s as well as mannerisms, imagery, diction as well as 1netres of his works, bear the
stamp of his versatile gen ius. In his treatment of different themes, the Guru consciously
or unconsciously projects his personality in his \VOrks and gives or lends his personal
touch even to conventio □ al themes. The unity of style in all his works is a further proof
and internal evidence of lhe comn1on authorship of these ,vorks.
(a). After the manner of ancient poets and dra1natists, tbe poet begins his works
with an invocation\ not, however to a god or goddess, but to God Fiiinsel[ seeking his
blessings in his adven turous song. It is a poetic convention that be has adopted, but
.with a different note that is ringing in the voice of the rebel architect. He ends again,
Ra111avtar and Pakliyan Charhra of his works with a thanks-giving to God, expres-
sing his gratitude for successfully accomplishing the \vork with all the bu1nility, as a slave
to God.'
(b). (i) A peculiar feat ure of his style is his Sirkhandi Chhand which is his 01v n
Jnventioo in Punjabi literature. This js the sole metre of Chandi-di-Var\ wbjch is con1po sed
l.
~~ (
.,
'l_,i! '6,T ~~ g~ Bo_r,: I B . N . I, (1)
!:J!1~ 'fl\;:i' ~ Ql.:if "If el I
,sr) SITT;'1 •g;,:i l!'6TB I Ch. Cil. I, (5)
'3Gi B,;1[1 ~n
<fif1T I s. ~1.. (2i)
.,
.. ' ,A '
T.!Icl ~l{lT'r:l '1'fTrft ;;.,_ , ifl~ ij~r~ TE!':il~ I
<Ii. Blf.Q!
'l_,<U af.1'lT "T'Tso fa;qr ~,;irfa; I u. "'·· 1,,,1
qr;, n~ "'' ij g;,i, "' .i'f ,i;),: 'Sll,s a·, 'f{t 'Slli!'ll I
,r,r ,t,1,r ~,f'f ;j,,T'f "fai'f. a;i llo ~'6 'I l!f','ll ii
ftj'5{[i[ sl, fr-! "ii i'r,: q;f ' " ~"' " "l!'llll I
,;![ITT
>;ft 'Sl,;iq)i( femr ;i:11€1
_ Sf.[, fl ;r q;rnr
<?..., B'l iitft. 'f('Jf'f'TI 11 H . A .• (S (.i!!)
B'l<il ';WR 'li'1 !ijITT< sis ,n:,rr i]stii ?);"11, I

'ITf.° ml: 'Ii\ <ilf"l "TB 1Tff'fs 'fr« (lil:f, 11 R. A., JSOI )
1;I'\ 'SlfB:J:"1 "Is ,iq f~"Tliiil I 'l_('I 'lilJ <i.- ff<l'li!i;if 11
+:r.=r ~r~ 'fjijJ qfcr Bl~ I ~ rf RIB /ir~qe i1i ti P. Ch., 405 (403)
,. 9'',9' So) ,(IJ sis! i'fici;;,r ~ sis I 'J!1 f,r"fJ;n & "1 illi Bf~ I
B'l aft, zj,rf'i: 'i:_O[, 'l'![ ~ I "IQ} ijf ~ "!Tt "''iii! .rtl"Tf II Ch v. (tl)

,o TBE POETRY OF THE DASAM GRANTH
io Punjabj, in 55 ver3es. 'fhis ch.band has also been employed io Ra,navtari, and also in
Nihkalanki Avtar 2 \Vhile th·:-se latter compositions are in Braj, not in Panjabi. ln his times
no one else employed nor si oce then , hus any olher poet en1ployed tl1is 1netre in
Braj.
We rnay add to this, his predilections for Persjan Phraseology, which he introdl1ces
in Braj versirication. This again \V as a poetic idiosy ncrasy of no one other than Guru-
Gobind Singh him selr."
(ii) It is customary in the use of the Arilla chhand to add a particle to a word
Such a particle is the peculiar n1ark of a poet who uses it. Invari-
in the very last lin e.
ably while employing this very cbha11d, Guru Gobind Singh adopted 'ho' as a sound
particle. This is found in all the specimens of Arilla chhand, used in the Dasan, Grant/,:'
This stylistic device proclaims his authorship of the works in which it is found.
(iii). In the course of his treatment of a subjec t the poet ,vhen, having dealt with
I. ' ft - •
$~ i:fR ~ f t ;q:rrr ~::i"[,;rf ~'31{<[1 I

,J:rit 'hl{ll.f'II~ 6"1( ,fit iF,";;;itt I! R. A. (-Ui1)
'· '
9~-i'I
11,1
.:fl~
-re1.._,. a(m
f.rwft
sr•111
'jjol'I
,m1•,n
'i\&f
'l"-si
I "1l'fl1!
=
"llll.f
'
f'El'.ift ,i;;:,r 'l~ I
•••~ 'Ill "{1'1<!.fl II N. A., tl79)
Al&O er, N. A. , (.l~O. JS IJ
!J.
>,11e1a1 ~·,- '!aJEol ~ .
fil<il:<jol '!'hf.;'
"' Gi.fG& '11;[(~ I Ja.p., (13::!J
lJcfi(T ~ ~ - sl!Wf {['3:jl'("i!['l '"1"1"11: II
!I('<<lil '!i[ !Jo! fa,;_, 'h.i t II R. A. (60•)
.~. ,-
l<'or rurth1,1r reforencas 8e6 H. A., (Oi>D-03, CitHi-6SJ
. •
"Ill '{'1~?.:
"I '7
<orJr
. Of""
r.,.r
eflTJ{t
;;:if,r:;r
'ht
fa:o1 ""
'
ill
ss\:,r 'nl
"!{~'I
~sil" I
"'""
'
;i: f'Jf '!'If
~'l~i!
!i;'11"11 "T'!ml'!!! '(!~
""1q,ft '!lit'! II
'(lf;_li I
""
;>TT'!
i:fil'({
.-'\..]ao tf. A. U. (2tl0J.
l.J(<lfl +l"R .g fs;;rr
-
"
'lfg (!i>i'l f,i Gf'T [J;':Sl1Q+i ll K. A., {Hll7}
ara.:'\ >,~f !m'l {I"! 'hs qr~,jl I ,to li'il s,sr.t ~~ gol<IT.ai': I
"l'I ,rr;,ai; 'h<if II ~'l "TR 'hi,[{ t I i:r ;;;11a 'lot ai;f{ <llf[ 'R'l <rs <rr,: i 11 " · ... ,v, i'l
'i" ""' 'Iii '![fur ""' "1fi: >,fl'/1t!. I "'" ;;rfu "I_ 'Ii 'Ill! "IT'! aft..- wul'ft<t I
'lf'l fstn'l "" '!if~ '1:! "' asarr,:,\t I ti) "'" I'/~ ii; 'Ill! a,fu al\w '11~~ 11 ,. N. ,,, 1
"f." 'iii""" ll"fo ;;:II s, ,~ ,~r 1 "''" fa:'lia, ~ "1l"l 'ht, if" fmr '1'!1 1
:r;~r W<I ~ r.,'11 oil" q,: 'lib!!~ I it 'Iii~ ,i;t "s R"'ffl ij~'1'r-l ~1,il~ II K. A. (2831
il"T'< ,t/?.: 'ITT "ITfi: ,rt\ o~ ,t I f<1'f fu'I fBeJ i ~ "Ril ,a,f¼ff 'fi? I
0
cir asrs: &m ~~ ~a 'fiR wr,: al( 1ii si<fil iita •oT• fu<r(g: fl!e,1, ~ 11 •· cb,. ' " II•>
Senapati 'baa uaotl 'ji' a-so dieiiuguisliing ll(lt.JJ1d•particle in a.II hie Arilla cblmndai,.

AUTHORSHIP OF T I-I E DASAM GR,~NTH 21
oae point takes up the next, he employs certain phraseology, thereby giviag a hint to his
readerf, thougl1 inadvcrtantly, of the changc-over1•
(c) Lest there should be created any misunderstanding in the mind of the
readers at some future time, the poet cannot help telling us that he does not believe in
incarnations. gods or goddesses of Hindu or Mohammedan religious books :
(i) While treating tbe story of Ra,navtar, he says,
"Since 1 have embraced Tby feet l have paid regard to none besides.
The Puranas and Qurao, Ram and Rahim express various opinions, but l accept noae of them.
The Simritis, Sbastras, and the Vedas all expound different doctrines, but I accept none of them.
O holy God, by Thy fu.vour it is not f who have been speaking; all that hath been said bath been
said by TbeeP'
(ill Similarly in "Introduction to his Hindi translation of the Krisanavtar", as

Macauliffe puts it, we find the touch of poet's personality when he says,
"I do not at the outset propitiate Ganesh; I never meditate on Krishan or Vishnu;
I have heard of then1 buL l Ii.now them not; lt is only God's feet I love.3 "
(iii) In Krisanavtar, be has created ne,v characters: Kha rag Singh, Karam Singh,.
Anup Singh and n1any others with 'Singh' as a second part of their □ ames4, for which there
was ample scope jn the account of ,var jn which many heroes and ,varriors played their
part. But 1hcre is no evidence of such names in the days \'Vhen Krishna lived. It was only
Guru Gobind Singh who could venture to take the liberty of tJsing anachronisms. There
are other similar insta nces also in which ,ve find the touch of Guru Gob!nd Singh.
(d). ·Now we shall see that certain verses and words "vhich are favourites of the
poet, help us to establish his craftsmanship of these ,vorks. In Bachitra Natak , for exao1ple,
we find these lines :-
Nah in jan j ai haclioo nip rek /1am, kahan bas tok o pliirai fniu,1 bhek!ia.m
K aha nam tako kah a kai kah ave, kah a m ri in bakh ano kah a mo na auve.5
I• <p2ff itH I;~ ~a .:rl +=ri II 'lli;l 'qij\' ~ra ~i q~ n~ II Jullundho.r A . \12)
ciJij i'.fi~H 11 ~T(( ~ II %1"~ qj~ =qml fi1&_ Bl~ 'q 11~ I! T-'. Ch., 109. (2:"!)
., \~'lf-'11~ 'T~ Of'f a ij!!~ "" ~ '5i,; "fi<f ol: i'fi[ t "ffi'f'fl I
\!'I \e)'I Tl" iji\fi'f "li\'!i 'lit 'lo u,si !! +11!!'i1 II
fulS!fo "'H'S( ir, "~ "• • it, 'Iii •" ~ " o,r,1,r ,
l;!T "fB•I!! fifiqf ij!!\T 'Ii[\ it!! 'liS:'Ti lc!if cr'r~ i!l'!f'llTT 11
3. S1lq~-,l !! ,ri\Bf,l; f~'.J'I '1St3' I f-a;,Ff f'flc!'I 'liif[ 'I<[ f'f"lf3' I
<liR lJ'1 qf;,"lri'f " frri!<crT I Tiiff lil!~'\ ,r),'.i q,r •""' 11
4. ~oe K . A. ( l:JG!! - 1476)
.rs'\ arfu orr~ ~ «< ~ -1 ..,r 'ITT! <rri'r fq;~ ,rr,i il<s. 11
'Ii,r i!f'I '1!'1il 'lisi ~ '!ii;Ji/ I am ,l ifl'!Iilt ~-~ ~t ;r "flil II

22 THE POETRY OF THE DIISAM GRANTH
These very t\\'O li □ es are repeated in Akal Usrat, with a slight variation in two
words only'. •
Happily, this very stanza occurs again in prologue to Gyan Prabodl,• with no differ-
ence at all, and also in Pakhyan Chari1ra'.
The context of all the four is the same an invocation to God in the same mood and
spi rit. The sameness of their author is unimpeachable and it leads us to hold that all the
four compositio □ s (Bachitra Narak, Akal Ustaf, Gyan Prabod/1 and Pakhya11 Charitra) in
which this stanza occurs bear the stamp of the author.
Theie is again a verse common between Akal Ustat and Bachitra .Natak :
Kite K-risan se heet hata i 11 p1i4 Kit e Kris-rn se keet kotai banatf'
(Millions of K1islinas are created there.) (Millions of Krishnas are made the-re.)
(e). There is another con1n1on point of similarity in Akal Ustat and Upavrars
(containing incarnations of Bra!una and Rudra). There are two verses rhyming together in
the 38th chhand in Akal Ustat, 1vhich is again foL1nd in the introduction to the Upavrars.
The only dj [Jerence bei ng in one word 'BhagaL~ io Akal Usiat' and c Nam' in Upavtar. 1
\
This similarity also points to the same conclusion that Akal Us/at and the Upavtars
are from the san1e author.
Again, a line found in canto XI of Bacl1irra Natak (Apni katba) in the description
of war in which the Guru hin1self was an active participant appears without any alteration
in Clrandi Charitra I I in ,vhich the exploits of the goddess Chandi are narrated•.
Expressions like these, repeated in almost all the works indicate the oneness of the
author of all tbcse compositions.
A;,art from these common verses suggesting common authorship of Bachitra
(f).
Nara!,, Akal Ustat, Gyan Prabodh, Upavtars, the DICTION of the poet also pr .1 vides
evidence of comn1on authorship of ,vorks like Ba, hitra Natak, Akal Ustar, Gyan
Prabodh, Pakhyan Charirra, APlars, S11•aiyas and Sabad Hazare.
l.
'1;0 "11'1 "!Fo 'f'i
~q ~l!i I '6~1 ""' af<tl fq;t "''" >'lcr' II
"-. ~ ~
EJ;F.T olJii 81.:.f 1 ~T <ti <fif f':l" I <fi&T <ii Ei"t-Jf;J1 <fi~
°'~ ;i:r~ '1 ~lef~ II A. U., (03)
;ifi "1!'1 "ITf.... 'fol ~ ~<si I
,.::. ~
'li e! •Ill:
~
ffiS61
...
f?nt 'li1'1 >'fr,(
"' ti. .,
9 6f ;,r.T i;f!<f;I cf.◊l <fi ,3fisf<j I cf.g:T lf ~(cfl.:JT <fi~ +I .J ~f~ Ii G. P. (O l
0
•• ai[l "11['1 "!!~ 'f.\!j ~q 't!'!T I 'l>ll 'Ir'! nllil Pli{ 'fil'I ll"!T II
. ._ ' ... ::.. ..::,, .... ~ ~ ~
q,r ;,1.r ,n,T "'~r"' s.i!)s 1'Ii<! s;-• .:ra-r;,1 ,.._ '11 "'<Its P. Ch. 266 (87)
... f;i;-~ f'nl3'1 ~ <tie eisl~ "'1ll~ 11 A. U. ('16)
•- f~~ /a;g;, ~ s}c ais1~ '!'1!~ I D. N. I (i2)
•• 'Ii~ ,l<f fat!!'! {(l.ol I P-1:j; l;'l'f 'I "'\ol 11 A. U ., (38 )

7, Up. A,. Intra (12)
" 'Ii'(" II
.r.i n. N., xr (48)
•• II
'Ihle verse is fouocl repeated in Ch. Ch. II, (1G2).

As a religious reformer Guru Gobind Singh condemns what be regards as

(i).
corrupt practices, ceremon.ies and customs. He expresses this attitude of his towards
them, by employing a set of these ,vords: jar (•Hf), pa,u \"'!), and n1vrh ('N)-
(ii) These very ,vordsjar (an,), pasu (~) and n1urh ''!J) are made use of under
similar circumstances in the secular works also of the Dasa1n Granth1.
,. <i\"G
~<I i: ~<I "l<a! :sfl-.i ~ "fl if.fol WIT f.,; 'fiT'f " "itt I B, N ., I. (98)
<rr, '!CT'l,ii a, ill o,,;, 'lls'i ~ q, il,i,: ar;;i 1 B . N., J. (99)
iiir <!if, ,rrfl; '!' gi<r ai,; "TT'! ef,:r'IT "'l ,nm: I S.H., (Ii)
of ~ '!Si[i fu« t l: <a'! iii~ •ii. "' ~ ~ I 8.1:1.(9)
'II, fi'lr\ f'l"fl, '<T~ <a,;, siio B~ '1'< i\ of'l ~! I s. (15}

'lo '( 'll -.i<io "~ ,.,,, >'1'11 ill .,'r,\ %\'11 " "r~ 1 s. (18)
.,• ,;ir <!'l'fo ,afaim ;i ~ "",, <ti:! ;ft~., ,,,'I~ 'I'll~ I S. (~O )
For Furlhol" references, Eea S. (2,1,, '.J.O, 32)
(ii) Secular Works ari{ q.;r;ia ~ ;i ,r,_r ai,; <a1'l>T ~or'! @[ g,: ,rr;fr 1 P. Ch. 266, (12)
.. r.. ;(l 'f,T!l q,{![ <r,

ii; .,,, a;;r.r ~1 '-Til<'T ,1; 'fT<il '1 :t,: 1 P. Ch. 2G6, (22)
'1lcl ,'.t aJlliT flrmsar l •• 'If i't '!SITT iiif;;: <f.T fuft "it! 1 P. Cb. 2013 (lili)
fe.,. <ai/ ~\! 'IS( i[R fliT< .;q 'file'! if ["Ii[ BS! '11'!1~ I K. A. (2376)
u1:a; "1Ts ol• ,,-,,) a;;:r '"" "1~ fa,"' flr~,, ~ 1 K. A. (238 '1 )
.for further refcrcncca, i;ee JC A., (70}, P. Cb . 37 (11), 43 (2), BU(!!), 91 {1 0), !07 (.'i), l:!O (15), 145 (12), 156 (12), 171 (10),
Hl6 (10, Hl,) 213 (22), 22S (18), 232 {O), 235 (IS), 238 (12), 23!) (10), 201 {l4), 265 (9), 312 (11), 341 {7, 9) 364(ll ).
'1,J
(i) Devotiollll.l \Vorks ~" t qg <!llff'l it 'IS<[ " sil:m ill !l'f rrri.i 1 s. (29)
~" 'l: ~" "<'In >m:TG!! 'oi« 'ii1 sr, -.iils,nl a'\t 1
ai1-.: !'j<lli! it
'l_"l\l ~ 'l!! ai],i f,rof'l a;;, 'j_'la ,rr,.;1 I A. U. (3£1)
m,:;i "''-1 o'!tao t

q!! sir'%: ,,,)·,r a .rrrrl 1 S. H. (SJ
'lo): s\o q!:l silg 'Ii zjfl-r 'if<i!l" i[oll i[< I

'O!"l<I lfsl D. A. (49'.!J
'f,Tey! n'f\ G!); "'" !:!" f.;o, gq mat -.i·lf 1

mt AR'" "'" 'l,&'lir r""
'!, ri1Riil 'O!ai'l 1 P· Ch. (13}
'!gr< f,r or 'j_"lrfa;;:. 'f1: 1 mi: •n, 'TT, qI! qt 1 F. Ch. 275 (IO)
'lJ,;i ir flils <( s11 '!Sl qg ,,ri\ "'?i ~Q ill<! "' "o: ~ 1 P. Cb. 266 (2l)
.(i) De~olional \Vorli.5 "lia"' ~(\ '!_;;- "ll ;;:fu ari\ ""
~-
ii !.., lif\!I)llffi "liif I
o11"r ;,1,; i Siar· ~.t eiifc {1a:i 1,r,r '![,a:i ~,u<1 ei;raiil/ , B. N., XI (3)
,: <ril 'l• ""'l~ •?:I
aRs "!Jq;i ._, a;; .r o\'liiil 1 S. l25)
{ lf.:i ~ ~~ ~t={) !:l'~ g)f.l <li0 f:fi~ ~Ff ijiir ·Jf I 8. (7)
W. "';;- q'\eca-.; ,v,ar i'i i\, q1if 'l"" ;i orf.: airsi i:1<1! ,1%: ~l! t 1 A. U. (74)
{!'! ai\, Gf<I •n.:in "Ills I <Fl 'l• f'IS;· "' i'iain <fl & l A. U. (233)
'[<i """' '11, 'l• '11'1 '!i flrar is.Sir:, qr,a1 f:i~1i! i't f,ro1ri! ii f1r'lf\ ~'.r 1 A. o. 1,s,
'IS!; '!_;;- '<'I 'j_~T .;,'.o I 'Ii!: [lif<l: {!fef \!'.'.Sl flilei3 t A, c. 12a,i)

24 THE POETRY Of THE DAS/\M GRANTll
(g). Tl10 poet employs th e nan1es of the weapons of war for God 1-limself. And
this he does not only in his devotional works but in his secular ones also. These weapons
are Kharag (.r,IT), Kati (sora'"t), Ka1ari (so21U), Asi ("1ITTJ, Bhagattli (>rri'@I), and tbe like'.
(ii) Secula,Wo,ks ~F._,T- <!a ,T<ll :.ru ,rq i:IT'ITT {TT<! f;,;rrft I
P. Ch. 170(4)
'.iR·= "'' ,ir,o . +£'IT cl'fail ;, "'!.."! fqsrrii: 11
,i;fl!~- <iflq 'Iii\! "Ila au 'l'T<i! l,_t '!_'\' '!fu "1lo1TT 'l,+I llT 6J in sol "'1t ITT{ t I IL A., (39)
WiIJ !!'ITo-Cf'iIT ~ iiif !j s,i03,r B+ITU I sn,) '11"! 'IT <TT "~ '3<"! •nu II
9
P. 0.. A., ( )
001- 'i"! ;n;; so\% 'IT <il'"T "'[S!il o!TIJT '1<1, I

'3[ 'I <ilil.l ':!q i ,i\1 ,;q;,i\ 'I ii, i'f'illft I I .P, Cli. 4.5, (91
m- "1flrso ~ i'IT'f) fl!ITT .,,.,,) iis i!ffi: sft;, I

'<11'"'1 ;si;;r;, "ITf"I bl'l llli'I ['l';J .;f, ~Ti! II P. Cl,., 90 (7)
,fr~ - '3M l'!Rl i'l'l f'lq "'•") ail[ {'l'U mR 1

'<l!il ;;." ii; f.i,i;B'll Bsooir ., '!_"! f'!"l1ft 11 P. Cb., 81 (7)
OOT- 1\i'f <FJ srftet 'lg tl'li W"! 'l~ '!Ts I

llsCT '<ll'fso fli'TT, 'Ii 'l"' 1rl< ~ •n:;: 11 P. Ch., 105 (16)
sl~r- ~ U'I' Q~fo1a +1m ""'") " ~ s.@; qr,: 1

13°'ll q;f ,Ta'l ~~ ol\l !'3'11: ~. II I:'. Ch. 0 143 {30)
'(\i[U- 'l" ,T'I' ':!q ;;.'· ,.,) 13'1'~1 ii srii:o f'l'llf( I

Q'lc "1"1T~ ,nfz ea <:Till ~q l.'i•nii: 11 1'. Cli., .L.GS (tli).
1. a'l~r- 'lllt1,,,r, ,i1 l!l•'I l! ~ fsrg iill, 1

si,i 'liU
'li" '"i'.\ f1J("I ;:a: sin
gr~ "''~ c1,:r;: 1 "- N •• 1.11 1
ffSl '1 !!lllo-'1'( i';ijiS'I'\ '!!'ia,fT B~Ti;l 1,;'ifl~T I 'li[I aitq 'Tilol fasqr\!) 'Ti2f(1 I
0
r:r,s: 6q~1"!l· cf.[. ~ ~cyf I cr.g· ?i-qf ~rn- ~~ lt.'ii cfcyf I s. N., 1r11\J)
ff"'l'TT ~lllo-'lm ('I'! ~ef /if.'W;]' 'fic[l· I '-lsl ~so i;;q' <l';I fi!,l'l'liR. I
.,ij) 'Ill/! qi'IJ· ;,It'\ .,.,, ,nr,,.· 1f:;i;'/ sii<i( <i!l'fi sir~ f-a~Tf,,. 1 n. N.. 1. ('''
'f)W- Bi'I 'i\V;f\ ~"' '"1'-l ITT, §'<'Ii o<:'11, I
B'<lfo'li 'lisS/T@ 'Ii, ar.{\(( ,sc!J1 i[lll{ I S. M. (1)
"1B f'f'qTil 'IT,T 'I{\ ~<ii ~ a!'I sl• I

'li'IS!To'li ITTTo so<: ~11 a1, 1 ,. ,1. t'l 1\,'11•
.,,., f'liqrar «i><r .. ,IJ g1'li a,, "It nR 1
,'!'ii BUi't €.~1 ~ i['ITt 91{ I 8. M. 13)
a'\, gi'\ .f/d1 §{\ §,T i'!\'!1, I a,,
.m ra,Tu i'r -a'f<J +1q fesr >rsr "'' 1 •· "- i,,
g(\ ~ zjijJ a'!, 'l f,r.i· 'l "I~ •IT'I I
g;;:'l 'li•rn ito1 '-l+I ~ so,a: ~
Tai~ 1 ,. "· rei
l,r~,i >r'l@T ITT>r{ ai; !J1: 'll'Tso <iii fsr'<IT;: I
!<., "I ·'ls iy it '<l'l<: ;,1e1 ,r,i,1G ~t e,:r;: ! 01,. v. r1i
~lllfu;

(h). The poet has also coined a f~w martial phrases which are found in several of
his works, both devotional and secular. These phrases are :-
Asipan ("!Rl'IT'I)', Asidhuj ("1™'!")', Asidhari ("1ft1'TTrl)', Asiketu (,,,feii;lJ)',
Kharagketu (1.<q<ll~)', Chhatra111-chhatri (IJl;i~'))•. Sntra,n-pranasi (sili-~'!llm)',
Sasatrapane (tl<l'l•li?r) •, Asatrapane (,;rae!'IT'l!)', Dhanurpane ('l;l':~)" ,
K/zaragpane (\<l',ll'IT'l!)", Klzarag-dlzara111 (ls',l!'IT<')", Ba11pana111 ('17'1·'1T<!.i ) " ,
Sarangdlrar ("'1~'1'1()".
a ~ ,.'),. o;r'-"' o'l: ;1;ft "llil'ii ,

l.
"'' n? "'" gll( ""
~fl! ,,,ll
....;. !;{l'l """ ;W'I -
"!lil'!i .,
'!i• 'lo . Q'!i 'I :,. 11
1!1'1'11
f.i'if@ t!T<'l'I its .iii 'lg it,i; 'Iii •" Qii 'I "'1'1"1 I
m '>1«•1"' /ilsqr gm:1 'fifl: ii " ..,>i'r "" or/f; 'l'-"r.r..r 11 " · , .• cs,, 1
2. "If'.! ,r,i ~ ~ ,i.fi:i'/ 1 .,._., .. ,., '!ii msi Rsrnl 1
;,_:'l) tl'f[ ;;_.ril; q,;;;,;i I W '"!ft!lij"l' "I_ 'm'lg ('<iil;l II P. Ch, <Os (381)
m '>IIB't'f' "1'1 +[Q fs'lll<i1l I 'l:!-" '!iU <(" ffif'!il<ilT II
ll'l'lflllo 'fi<il "'~ \'iri I t'-" ii firfl fa!•rr•a '!iT~ 11 P. cJ,., ,,, c,031
3, T'{l;fa!'ISfl: R(§;( f;,;r f.i~ f.rrfffl ;f('fi f'l'IR1 1
/il;qr m'I 'liTul €i '{ra1 ~fi6o 'l'llsi'l'!ilf1 11

l,J'i!('llif l'l!Til
A
'IU'I( "!1'1/lr'!il( '>IIB~IV' I
;i:l 'lfcrlis "l(,l' tl('f11T@ 'fi( 'If. ii\g Ol'lrl'.\ II S. H.. (<)
'lef,: "1!!( '!ii msi '!I'll I i,ri '"lf~fir• "'7fo ii, ,l["1 I
:,;fu,r 'lliT ffl ,i:);; S<r/i;'!ii;! / 'file '('!T "'r"fy." '1( 'TTi[( II P . Ch.,,, ('17 1)
'l.'l~i/;o• fl mf.i fa.r,:1 ~ iif~ a,r1(t
I "111; ![1'4 I
~t.9 w: '1J ~§ 'l"Hi!~ I ~82' ~@ ~ ~@: GI°~ Ii Cii. P., 405 (401/
l'!i aiu<i m;<fi ~ fits •~,ilJleft' ~ I

" .,.., ,... ...
T'!i ~'1 <l<'q I T'!i "!'!+IS "l~q II Jap, (100)
""' <l'l'f!.is 'ff'i°ITTIITITT' 1'firl,Im iAa:r a'l<1g<ii f.i'l!a-11

"f"lfi!'I fa!~~\! 'T~T~'I 'T'!'\it I i[,~•!' 'fi(ffi' 'f-0,!<il ",ii\ 11 J,p. (10>)
8, 9. '!'IT '!!!l'l'il'(/1 I 'llTT ' 'lff'l•IW ' I

,i,n sr'lf'T'lrar 1;a,n ,;1at,rr<1r II
JO. ''T:j!'IR' f~,<illr,I 'l<.['f<. "lliTff'f.!;1, "lffi'll,T I
;:)
Q_ ,rfu<ic. 'Tfi11'l('TT'IT<f '!if 'T"-
lta_ "'"'
\!I ~ a,r" \I 11 S. B .. (4)
JI. t!'f[ ~'!i "lf<'i "1~'\ .i.,q· 11 'fi[f'f'(~,i 'li(T1_•>t<i I
/ir~'fil( f;aP-i " .-q' /;i'l)!)j 1 ,;;,;iiirri/r:i ;,a') 'f-l<f'ISll/1· , 1 "·'·· 11,1
;1,il ~<i 'TTT7 '1.'1~'1~' 1<1,rr Q'fi "1l' 11,t f.r,:'!ii1r· 1
;,11) rf"liii <1ra'!i m<i~st 1 ,a,n f.irf~-irr' -1ir f~~"' 1 "·"'. , 1,, 1
'TTTI f.n:+1,rrl!j Ii '1~1 ~,t I 'l'!il!i +l'!si II
'!ITT ''fl'I/OTl/j' I B.N., I (SO)
'1'11 '-'f','T ~ fi!i<rrl!/ 'lic'fr. I <1e:1 Q'fi~ 'Rsf f.irf.rm• I
'TTTT •r<!l,1l!i ;1ai\ ,·~'TT/l:<i I f'i<i' ;ft'l:~·.,)..,,1<1 f¾,rrR<i I n.N., J 1,,)

•
•
THE POETRY OF THE DASAM GF.ANTH
(i). There are a f<W expression;, ,vcirds and phra$es. which occur here anti' there in
different ,vorks, both devo tional and secular, which see1u to be peculia/ ·· 10- 'tfi<l' paet
and are seldom found in any other poet's works. These expressions are : - . ' ,
Bhagauti (lltTfal", oi113:TT)1, Grant/1 bat!han te ali daru n1aniat or Ka.tha badhan
ie adhik draua or Katha briclh te n1ai rlar, •n etc. \tl~ iliG.-1 'a- m"i!
's~ '!l!il11o '<!~•fl '!i'IT 'lil'if a
'llfsai; ;gus "I"'« ai;,n f,tq iii if "~j
«'IIP.:)', Deg leg (~1T ~~)' , Bhul bhavikh bha,van (i,.,n >1/er..- >T'!T'i}'
~- -·--
lL 'il!T 'll'l P.!,(]S: ~ a,r) far~q f.t,•;;r.i 1
'll>iOJ1l!!"l1f"i!f
'<ra;' '51& "IT<f'ISR
...rn
.,,l
"'"i't' "'•i'l'l 1
"lif['l'I "li°te,:;r I
'<!'Nl;lil '1lsil l "!futaf "l'lWli~ "11Ril I
"l['ll'l'!li[ 'HT('!'li' l!l~'l1'1/ ~'llife.:.<l!I I
.,,,, ;,(B ilrs:'!i f;;r~f'!! ;,ir) ifso! 'lo! 'li!f "ifl.!! I G- P . (35)
l, 'WT«il , ;;ft
{flrt3t lioe~
fsml=i '+nT').ft• fB+f~ <fi ~ ;J].:f~ ~t Rl~~ I Ch. V. (I, i)

.ii '"1<1'1<!1' ;J;l<IHTs: 'I, OJ[llif ><IU II Ch. I' .. 163, H)
'lg fili!ll '!io,l o!lT 'l'illif1""1 I 'i,',r 'lei, a"lfo "' "!.f\"lo' I B. N., 11 {LO, HJ
' OJI foif ii; '!ifs:""' g;,13'. II ''!i'fl 'l• 'l il "lf'l'!i ;gui:' 11 n. N.. 11 1••· 1,1
1
'!i>!l f.iq il ii •CT ~ '!iU 'I~'""' I
f;,,nt_a "'!ltH BT "' 'lt >1ai1 f.tsr-r 1 ""'"; "· <•'· 11
l'!it g ':ji,1JT ;i"\ '!ifi: ""f 11 '<f>r '1-" a· "ll'l'li 'stir• II
,niit "tt\ '!i'IT a'l!,1 11 'l" ii,
'!if'I ~§ g<1ro 11 P. ch., 310 1101
"ft 'I'll 'l"i '!iTT: '!i'fl !;\ilr#. II '<i'<' II J'. Cl,., ;Oo (2U)
..• "!qi,I 'IR lj>1i flio <R:la I ':'jif ':'Ji! {l,i [•ni: '!i.'11< 11
•~n '1'1' 'll1T if l(t,; "l~ I lll.'I "lfq ljf.; "!Sl ii siif I K. A. {<,o)
(Tb.ie ver11e UI 11, par~ of Lhe Reh R.a!!., an evoni r1g pr1tyer. of the tiikbs).
f,rei\il.i ~1"1' ,'J; \lU 11 •a~ ~Q' ;,;t"'rar ..ii: 'l<:r 11 •. ch. 30,. <',
~ q1o1 ~ farqfo q~f{ll 11 ·~" il<1' .,) mf.: '1Utll II P. Ch. 307, (2)
'!'hie e::q1r.:esion i::1 al.so found ueod in the l0Uo11-mg v~rscs 1mpre8fled (>TI I he seal of Bendu Bahndur (J 10S l 71ti) and adopted
by Mubaraj1;1, l'tanjit Singh fo.r bis coinage,
'~1T il,r1' 'm!i;: ~f!U! ~ ~('I II
<!l'lm "'°'
!J':i mfita: ms II
i11'f'!i
1. ''i" 'll'l'il 'l'llil' ii; .i:_qq '""" 'I~ ,&T '"lo fRTt I 1
W'«f ;aft '11T'II" ><Gr for:! s:(o 'Ii• -.r'o ii; ·<Ill! fe·s1t 11 ,. u. t'"
!J •~ >Ifariii ' Wll'l' "IRl'I' II •· u, 1••1
~ctl-Of II B. N. ], (8)
~~ ~
g .i:_<f 1>1fam >1s1~ ' >!'Pi 11 B. N. I, (91
•~ '!~<! 'I'lf'f<'! >l'fR' '!ii;:FTT ii '12' 'le ii, 'lo 'lo '!il 1'ITifl II A, u., {'I

AUTHORSHIP OF THE DASA~1 GRANTH 27
Ant ke dba111 (~rf ~ mir)6, Jatra tatra (~ ~)11, Disa 1•faa or disa bidisa
..,
( ~T f<TTTT ~~T ~T ~P.:HT)1 , Af}11 (~'f.~)8, Phokat dlrarau, ('til<t2
q~lli°. Ji111ill Ja111a11 (f.:fm;r -il~T~) 1u, Di111bll (~)
11
,
1
'1 au·a11 (;:f"~.., )11
,...
Ci , 1{tf +I [9 F.:f }f :rr.;
Wtra F,fi 41fff.lR
.. ,.
,~~ 'R ?f
t ~
~
•
i'f q;
...
" -,.
~,jf i;f.~ ;.n;r' R:t'-TI~ II ,\. u., ( 21 l
;r~m&
.. ~iii~ .,~ fcF1 ~a ir ·~<i iti ~1ir' r~eri,
11 ,\ . u.• {:.'lU)
f"'< ... • I ... ~
rr li ~ITT\ f;iir.rT-, tfiT •~ ii :; l:Tfll'

' qor~ ~ It K. A .. (16115)
f-.mr r.i
..:, . 1tfril~r ,$l~{l~I II .Jap, (llO)
•a~ ii~• P-;J:11 'f.l~ f..~ o?;~ ~~ fuc{F:f II Rudrn. A., (116)
'~~ a~: f~fll f~~T f~tiUvJ T:llvf lilBT( I ~,., ~1.:J ~~1 il~ q;-r ~'tf ~cf 1e:R I
\iff.:t '1fR ~;-l'-.~ 66T ~l: 'IR ~rJ:~ I I il f~;rR B~ ~TT ~.:J ~rf:s i ~~ II Rurlrn. ,\. ( 1:s11)
t
J:.. • ,- .!,..c:; "'
7. vf=;f (f~ '1-.:J:IT rcn::rr ~ 'f,l qi'~ T ~qrr I Jnp. (SO)
f<fi ~.:ti ~+fi i ~ ~~ ';3:ff;:f ~:fi t I ij ~•<t :q·~ [i ~T 'P{ID ftfm' ;J' ~ ~ I N.A, (3RO)
.JtT11 C!I7TT ij 'f?.:Br ~f~r· ilf~ Grrrr ~ faf[ ?r €t I K. A., (2~:?> urt
tfilcyl ~1 en~ ?J~T[{ iiT.~ <f'~9 ~ n.x., I (t'.4}
~~IT •f~r P-IP."BT' I
I!. Thi11 f'1,rainn word 1s used in Damm Gro111/, throughout to ioclkot" tol'11 m111iL~r of YPJtca oad ro tshoi., that llio wu.tter ii.t
t'OntlnuoUB.
!l.
~~ 'ir~ l:R_;J' <lirif ~ ~~ I H• .N. I. (63}
cJiIB ' ;:J Hcfiij ~~ <f. ''{ifqic ~:ruf' ~;r I .B.N. VI (,17)
''lilr.fii:! \I{if' i!J~t <ii, llOO ~~ ~,(f ;:J ti,~ ~T I H.N. \' I, (•HI)
.:rr~f ~~~ r.fii cr.~1 cfir;i I n.N. v1, <o,i

'Rf!JTit 'iTl'f.2' -~~' rf
~ ~
1
~?: \'.Rlt' ~'ftf~ a' q~1 I B.X. Yl. (li2j,
cfiU't I .n:f<1; ~•6
l\if~ ~ir'f.c ~;r' ~it (fflf t I ~ fT.ITT Tsfit{rfu~ ifiT ~ t I A. u. (Hit'>
\'.Rlt ~ ' ecJ \T ~lt O:tfi ~1 ir ~~ -i"<fi sim;:i~r I s.. (J3}
4
q\fific
ar ~ tfit I , : ~ Sl+H.-i ~~ {'1 'it'R ~~) <fl{ If.~ ~iit I s., (18)
· 'itific ' \TT.lt' .rit l'.fi<!i~.:J ~ 'i~ f~mT ~ftr ifiTZ' TJcni I s.. (lY} •
10.
~?.: ~ <ti~Gf ~pr 'M+l1-, ~'lfPI: f:1Eff;:r q:; ffl I A. U. (24)
·'fm:fl ~rf' -~ ~ Hm<f 0:,f; iio ~I ,\. u. (lti6)

(~T ~t / ~U i[(t I 'f;ifqJ ~{T I '1'l.JT ~t' I A. u. (o3)
•f<fi ii ~ 5~g; zn~f~ ~m ,
•~.f1~r "f+ft' u e:-;;;~i:.t q1c1~,r~ , J. ~- t11>
11 . "it f({;r ~ !i ~ 1"~rir f~+T ~ti <f;@. ~~ if <f;U I B. N. \ ' l (liU)
iii~ · cfi1° ~-q ifi{I ~rt'- if S:~C!'Trti 1l7.ff qwlftf. JJ~TcTT I P. Uh. 2Uu (!?J)
;r ~;, Fi'~
f+Iiil ¼, I ., ROO"J: I if ~<f.~+f ~13: I ~ ir{cft t'fi~r~ 1 n ..x., v1 (6!)
~ . ~ ~ cir B+r ktc11~ 1 ~m;:r +L~ ~eTtfi ~ q~ 1 ~.N., v1 (6'i)
12. '1ft' . ~.+r ir ~\itH\ ~~~ ~ I a ~+1 ;:f~tfi ~-G +rft crR ~· I
+rr cfit ~H 'acv,' cfif ~r;,) I ~ ii ~ ;J' ~:q C{~ifl I B.X ., \'l (3:!)
~~ ~Rf f.;q ~fr ~ ,~r I ~, fq 1

ii~ii": cf:t =-?.lf{ fe'l:ll~l I B.N•• IX(:.:)
, r~ ;mrT{ cfif( ~, ij~ cr.rr-, , KR * ~
./9<{/;t' ij~f~ IB ijq-, cfit ij!Pl'a ~~ 1 P. l' h. :!1 c:1t11 !fTT
·~, fW-lf ir ~<\' fr itrr, ~ra '39fR I ar~ §~ +Tl~ ~r ~~ {JiiR?.IT GlR: 1 P. e h., 11 (!!).

fS ThE POETRY OF THE DASAM GRANTH
Keet (.:ta)", 111oond 1111111da11a ('l" ,1·,,-1air)'\ Madra des (w,: a:,;r)", Samapata-
1nasatu subharnasatu (~mqa.i:J~§; ijllii~§:) 16, Kai (qiJQ'f)17, Nlahakal ('1{1<1>1o1)",
l:L ~fijf 3@ err~ ~e '~le' SJO I B. N. VI (5 f)

.iail ffi<l fiijfl! '§ii: '§lf.T ~, o<i 'ilz' ,r(!!" s;<rfl!i fill11:· , n. N. vJJ, ("l
o<{ ,.,1~, <11 .ii siq;·,r fill,n, s.N .. ,x (")
14. iv:q fir=l" it: ~~ rl" ~,m I ill[<fi ~~r I~ !!'GT~~t ' I p, l'h. S:J (14)
15. oil '"'1" ;;:+111:r '1lU I qoi!J B;;:~ flll'f >Ts <il'l\ ,
''f,h a:"' s'f 'ol i/t "If@ iflil"lil if<i[l;T'l I B- N. VJI (2)
"lf<l I lli@
il'I "l><'.'f llil 'llffl: RBT'll '<r, il:ET' ,it 'l" qi,l'IT I "· N ., XI(I (l)
'ff•,.0:.r' 'l,'[l<lll 'lfr <ll'I "If@ >TTR! ij; "fl'f ~ ii'! I B. N., 11 (23)
il!'i,r '"" far.ili,il .,-ij, I "lla[o ' Ill( ~
a:B'
. i!f1; '1'l1 I P. < h. , J7G (2)
'lg,1 f,r.f'r 'IT'I ,;i'\ ~ , fu,r ait '"•h ~"'~ml I P. ch .. 1,• (' ' l
10. 'l'his.expre."Siou is fonnd at t,he eod of a.lmoa~ each purl or work of the Dasam Granth.
)7. 'ai;1.i' ;11 <nil 'l'IT >T'fe!Til 11 <lll~il 'IT "l'f 'll[ 'li1 '!i(ilf t I B. N., I (84)
'lo { "lo s,;r,n ;;l'J"' ~ "'" '"'1.i' /i.<n fs.r '!ill! 'I ~t I B. N., I. (98)
~'l[ <ITT']'! '<Tf'l'li •1:T'TT I ''!irt;l' 'li~I! it I!~ 'I q['l[ I B. N., X!JI [2)
''!ilel' ii\ <n,: Bsr flit'I or lit• a:.r f;q~ '<,'11 ~I! "'1'!ili I s. 12•1
~ ''fil(il' 'Ii! '!:'f"' 'lili f~ <H1:l"fT fall! ll'!i I B.A., Intro. {23)
~ ~ Biif iifff if.t i:fil@' I il'Q! <fir~ ara' ~ EI(!ll I Ch. A. lnLro (9)
1
''!i/<if' i!li,T "flf<r"l'l ,(\'I I aol eta: ;ti['I! 'Ii\.! I

"" m.r 'ira->!r ,r,'1 1 .aft "'1" ;;ir,r,r m:'I I n. A.,'"'"' t''>
"1[ 1'!i1'1!' it ~.; ii[1,; f,iil ~ I i!J~ 'fiT'1! lil'!i< 'fm: ~t I P. Ch. 4U5 (398)
•
Of~ or. ~ '<TR.litR' "l'TTU 11 <Iii o'I ~ - 'l<il "'"" I' I II
'!i!<il .to!il it '1'-" a-l!l'tlr 11 '<i,rg,;;@ ~ ? ;irm 11 oh. A.,,.,•. ('l
'6fiil B•il 'Iii '-':'I qm,:r II '<icl''li@ tn{ l'!)q'[i,RI II
'5[rq'I ,,;q '<f'iil'I 'Thl:1 II "llqfs: l!"l" .ft;i ~ ~;/j II Ch ..,. Int<o. (31
'fiT>l "!19-TI i!T'! i![q~ II "l'l<• ~ raft ~ ~R."lr½ Tl
'5[Tq'[ (r;\! r'l<Jofll Of'! ii II "IT'! ~ <ll!'IT i'/ o• a I Ch. A. Intro. (5)
"l'I oil '!iTii! aft at\ olitara I B. N ., I. {I n
~lli /hrfu '1'!i\ II lit~ i!T.r sri\ 11
ll~ STIB ili:T II ITliS[ 'fif(il 'lil:I II B. N. VI ,! { 4)
' I '~cl ~cf d_..-~~ti
~;;; <:fi:R!f ~if ~lfa' ifilT~T "3i:r-;!'Pn I' Cb, .jJl5 (lJSo)
"1sil 'fi!.i lilil ;TT16 lit'lf{) '1'1~{ ~ i!J/%: i[l!1'f <' Ch, ,00 i' SJ)
='a'a ~ ~er ""1"11 ~~ ~ GJ~ "fi@ TTti1r ~rt "oTif a ~g :-1. 1 (91:1)
IS iii, i,I! "lf'l'li il'lffil"ll m~T I '11,r'liT(il' '{;[(ilif,J "l<Ts . . N ., VI I')

'==
'f/ilin/Of' {\ll'IR
:-.
i['IRI I ~mr, ff
.. ¾ ,._ •
T'!i'!i(
-,.
~ T(T I K. A. (•IJ5)
aol f,:"I
1
/J/il'h/"1' 'lit "'IT'l! I '1IT-1:!T '!~ q!W'I ii <lil.f<i/ I e.Ch.221l(l2<)
ni."1 [I! ''lil.f'{;f<if' '!if m,t I 9~ t/ '!ii 'ti1 ;if. w,;'f I P. Ch . 266 (01)
Q~ 'll{f'fiRll' i,I! ll];'/ I l!illli~ 'Iii, ~ ii "Iii! I P. ch. :!<l6 (!!())

AUTHORSHIP OF THE DASAM GRANT H 29
Akal ("l'lil<il)'", Sarab kal ({!,'! 'liT<i!)'°, Kararn kal or kara1n reklz or Karan, jar ('Ii~
'lil<il "l'l'TI 'Ii,!! i:@ "!'l'!l 'Ii,!! "II,)", Asidhuj l"lfs!~SfJ', Asiketu ('<lrnii.gJ" , Chhor (~,)"
j o. s'R r{~~I© ' ;;Jf~@' ,{Sf' f<!ai 'Sia 'Sia -

'Ii <TIii ful:lj{ II A. U .. (252)
"l'!il<il
"!qn: -
'<I"@@
/e;'<l!<il
saf'l'a- '-:!Ji:filcil'
'"''SIB@'
"Ima "l<ilffl
.ril,.-11
~EH I Ch. Ch., I (t)
,Ju.p, (192)
"lrfu:
20. 'or.\ II Jap. (lOl

'!!ii ""'
'"'• a;r,1' arr if\ ,flo;'<I! ;;11;i "'",i1:;_ ,i'\ if\ esr ,fuim •
~'l I A. U. 111
•
'"'" 'lil<il' e<1 m<r ""* :J:'!! ~all a:)i;t\ sf,{ +fl{ I B. N., XlV {I)
'""' '!il<n' t filar ,iq[l:1 ?RI 'liliif-'ST ;rTT,1 I B. N. XIV I<)
'"'" 'liT<il' 'lil;{!i[ <Is '11; ?l'l'ii "1[fii

~
ot II B. N . XIV (7)
'~t~ cfin!I' G3J ~ i.fili:_rl ~:S-l©" 11 B. N., XIV (U)
~
ffl[>.:['!
.
T'l'il['I 'llf'I'! I fe[i.fl I
ii ~ I B. N. V, (I)
-· <1"\ "~ !,I
<ITT'l'l "!f>t., stlllT ''!>Iii! 'l 'IT'ii I B. N. xur I' )
r""" 'Ila oi ~ (l'1f :!d41i:I I
'!i'II "lot "liifl ~, cfi1' mi:f I X. A. (44)
-re erat <rar, 1 ~fi::BC! ~~ '<f!~tJJJ/l:' II A. u. (272)
Sit · 'l_"ll f,ra l!ITI ..t '!'IF., I

f<l'l qi; -
'"f'l'il ~ri.r ~ 1
~f°G~' ijl°a ~~~ I I:'. Cli. 405, (30 7)
"lG ~['I ~ !Jii: o ~f,:i/ I 'fl'. 'I 'lil<il 'li1 '!Isl f.fi!~ I
['It .rsr ~mi: ~r 1 ,ti '"!fa,~• OJ_ 'liR'l§" --~ I P . Cb. ,o,. (3SJ)
"IT '"1f"!P' "" .,,.,'\ q): fu'l'fit 1J;<l8 [[(si! ..~ Ii( I P. Ch, <05, (301)
f.ro l!fu 'l'lF._ I

~ '"fT{l'iJ;'Sl iif'i:114, 1 P. Cl1. 4Gi'i, (367)
lil'I ''"ff.iii.a• arifif i:er ll 1'. Cb. 405(~70)
~II\! ~'11 '1'1@ "1i! 'lf. "' I '!ll"I,' 'o'I[ .r'I ;j'\ <l'I..~ tl I R. N., n ,S)
4f,,;_i/! af;g] "11,:,l i!,!J'!T I 'I@ fu f.l if if.II >Ill;! !,j'l I '11 I
'it,' 'li'lf <Is ~'fl! !!'l~ I 'Sis "11~ f'lif,; 'lSU "!<I~ I B. N. X IV, (1')
/a!:J ei'f[ 'S!T'!<l 'Po <111: f~'lf ii/; 'Ill: 1
Wf, <Tio ~,.l; ~( o[lf f;i._,i') ,!!(\ \ P. Ch. <G (ti)
'!if !,!R 'Ira i.\fi,; ar;;; ,r~r , 'WR' >t.ri: "'lf::r!i ·s~ "'IT I P. ch. 1-0, 11,1
irfar e,'Rt ar~ fjiffi-ir ~ "'" I 'fi(IJ m>l fu;::;;: ~i] 'WIT P-!'l 'wfl.• Ii'! I P. Ch. 110 (12)
'Wft' "~ !Ii

'Ii"! <ri~
'liN'l <TI me !,!~ I P. Cb. 11, (12)
;;q,:
"fl\ ~u sil, as 'If ~~ ii/; mf. I '~fl.• 'S!i( .,;: ~fril{/ 'l>tt !,I'll~ 'l>Ufit I P. Ch., ,. IO)
'a!TR' ~- 'S(f,ra 'l'l f.<,i) 1 1;;f~ar ~,; f,,r «r;, f¾;,n I r. ch. n• ,,21

Rai or Rae or Ray (,1! "'l'l"'!T ,10:)~, Mahac/in (mr,1'1)", Tapodhan (o'IT'l'I)", Mare reechh
rojh jhankhara (im: fuli (T'li "!i('.lllJ)"', Ka (kaha) bhayo Jo ('or lliil "f>!'II 'nfJ lllll >TT)". an
(j) There are certain words and expressions, frequently used by the poet io his works,
which have left a precedent for tbe Sikhs to follow in every day life. These words and
express1ons are :-
Sattina,n (HR!ii11f)', tk Onkar Wahi~uru ji k i Fa/eh ('<'n "!iai;r, 'IT/m~ aft 'Ii\ 'F(aj',
25. H,'I '-f<il \'Clii! '

Bll'lil<il I o!Ti,(SC,j B('l,T f,lilfii! II
i:16 'I'll cl'f fa>qf <il€TT~ I ~i) fq;i) l3ll"ii w!\ 'irt' Ii B. N. XIV. (OJ
!I"" 'fl•' ai;r 'R'I wf'I f-";t,q '1'1 "lf'la. ft,ar, 1
"IT, a?!, 'nf,: 'fl .;,1 l,l'i'!'I f~,n "I'll, 11 P. Ch. 21 (60)
,.-; e!iif €ff<il 'U.' >ra "II'!! I aisBJ,r flr,q 'il/. Ch. 22 (O)
<a:r,' 'H'IT ~ 'RT'! 'S"IR q'!i,1 '!l+Tl;1 .1: .mi: 1
ml[ f>:i'l'l ail ~lr sore? mot ai;rii! f'lai;a: 'IWi SS!T'!~ 11 P. c•. ,,. 1,1
fai;"l\ TTfiR'I ii afTTo 'lilc~ ar;,ro: ~ 'IJ!f ii itR "ri: ;;qro: 1
•m_is','I' 'l;"l\ filij1 ~j,i; R't B'f "'ll'l'H "[Jq'!) '<if<! '!_0: II B.N,I 1211
~ ~ll q<'! 3(('.I 'il',;ai~ I @ii [a'! '<!q;I m: "liiTIO: II
0
'+fi,la:1.r' of.I ~ll swar, 1 "!,'I ~B air ai;l,n ,TaiJ 11 B. N. vr r2•J

.iR'<IIB'I ''" .sq ai;fl: ai1,rlll I "ll'l'! ~ 011,& ai;ft l!l"lf I
UlfJ;i~, ~\.Jif.:f GifliJT '+lttrfl-1' §.\i:f."1 q~,tf.,f I B.A. 1~agllu Raja \140)
<J,'1 !j(T;/ sf.ei q~,t II '<ll•li~ '<!BT.f "1\'l>t "f~>i I
~a: ..~i{ q/,rsr !il!lif 11 ',r,r;;T'I' ;i:lif "•'"''" ,nit 11 B.N.,, rioJ
.,. an,i ai;rc amo: ,:.iiil'I at\~ •s"-'"
+fi,lfi'lii -.ii: 1
~ f,.ft ..r ..n miit ..
it.i '<f'Jl>.'I' ~.i >TT: 'I R fq.,Ji: 1 A. 0 . 1,,,1
, ,1 "1'11 "!1 "' 'l"' aicr !;! 'a-its'1' 'f.T "l'l it...- fu;l'<r:11 1 K. A. 12'''1
28. i;ifir llITTr •'I €!<ii fwm ,r 1 '•ll°l: \Toi iJ>n ..·fs!1,1' 1 "· N. vm 111
lTI r.(q 'iliiTB 'O~f ('Heon! I ',:llli \ll;l" i!Ti'. lli fs!l(I' IP. Ch. 3<< t<)
0
· of. ~ fu"I "'il :JR 111( J 'i.k ,;!oi' •!< >tifcr f.a;~ I n. N. v1n r•J
• 's;;:1 ll'll' 'I\ a;r.; orrss :(, 1l lira- ,f• .,r
ar;;; f,isrr., iiT'li,"111 •· u. 12•>
';;1 ll'!I' ail ,1, 'lJ" aicr !;! aqr,.r ,.) sm it"' fs'!lT'<II l K. •· ,,,,,1
•'
,,., lliii' ;;;1 ai;r.; wl'i"l '); "'11
0
\' 1.-.
BT ;:ft !:!'I '1Pll I K. A. (t237)
~'f.6.1 >r'ffl air · ~ill 'i!iiT >ti,,;• ,rf.' .u/; I
~ ~ a'! a f.,l,m: @ ',ll; <if\«<! \jl'-lt I P. Ch. ,uo, ISO)
·~1 ll'71' air e"r,; iiTl's'! 'is~ lira- ,Q-.n ii('!; fl<srr'I "''11:l."'T I A. U, (20)
I• @if ;iii ~lji <iij ~q(l~l I f,r'l r<!il! ,;),t sill (fGTT I
'Hll ff '-'qi![ i!l!J G'f'Jf'l\ I 's!@ '11,l' 'fir{ 'I T't,;101 II B. N. , Vl (27)
~ .... -">,p_ ... ::,.
~ B>r .. , 'HT)! ai;r.; G'ff'! I 'B,.., 'l!'l' .. r il~ q;;:r., I
iii 'Hl'l'fi air 'f.°'t .;if<,r qri/ I ai;i;ft ;;;;,,: "~ ;ifi: mlt II P. Ch. 81. Ill)
•,af.r.n,r' "IT f<aai <il'il qi¼ 1 ar~ 'fi@ r.i.,,,- '1ft "11~ 11 P. c• . , , I"'
:J . (;h. I (first Jine) ; Cb. V. (first line) Ch . A. {llTaL line), S. (fi re~ liDe) ; S. M. (first lioe), P. Ch. {fint lin<:), J. N. (.6.rst Jin~).

Ek Onka•· Satgu,· Prasadi (1fti "TT'lil, «~ •~H'',J', Akal Purakh ("''lifi!f ~la)', Kai
Purakl, ('lif<i! g,"1)', Sach lie . Pa1,hah l"""~ ~ 'llo>JT.)'. Yazdan Akal ('1"1'(1
"l'!ir.I)', T1va prasadi (,'I qa1fs)•, Ardas (m~r«)', Kes (:i:«)'°, Sardar (fll:sl'l)u,
Singh (fas:)", Kuar or Kunari · or kaur '(,.ar, "l'l'!T "!'I'll 'liR)". ,.•"1f,
The seven-fold external evidence and six-fold internal one together with that of a
matchless style with a vigorous uniformity of its own, ,vhen fully we,ghed and considered,
leads one to the conclusion that the whole of the Dasa,n Granlh, with all its parts without
exception, is the work of one poet alone and tbat that poet is no other than Guru Go bind
Singh. He is hi1nself Rarn, Sya111, Hari, Kai and Gobind. He was a versatile genius, a
warrior, a saint, a• poet, gifted with a sense of humour and a love for drama as it is evident
fro,n the anecdotes of his life, narrated by Macauliffe. He was himself the greatest actor of
bis time on the stage of the Punjab. In every line of each of the works of the Dasatn Granth,
there is a characteristic ring of bis voice, a characteristic touch of his hand 1 and every
word of it bears a characteristic i111press of his mind.
3. JR p (first live), A. U. (tirat line), B . N. (first line), G. P. (fimt line), B.A. (firat line), R,1dr\lo A (6-rst line) S. H. (first line) .
,. 'lir.I i).r 'liiilf .i'ijnra '•rnR'I' !!(?!I' ,rit« 1
'R'f '1J'f !j >,,'f si\<i' ""l<f "l<i!'s "filB f/ ,Tap, (84)
'"l'lili!f 3' \'!' sl\ ,m;t i\'1'1 I Bs9i!ITTi ,t\ ,f,!'Jll ~ I
<,[1:'fsi[i!f aft sT ,fil;"'1 ~ I a,9"lll\ aft ,i\ <,iil,1,f!!<r i\'l'f II A•, u . (II
"'1'1 .,:a fsi'l'IT it >,11J I 'lg f'lf>r "'!!<:" 'li<:<i' l;isRf I
1E1 m{; W3( 1:i\'ti 1 '<1i'f'ijl" 3'\<'1 1 JJ) ~F.~ lPTT( It .Biahen A. 4
~(
.,.,,, g,\s' 'Iii ~11 "' itfuifi r'lra.r <1~e I

'life (,: "i\<!f f'!iTT " ,l.l'fllg ur;::t.r 'I.II~ I f"l<11-i1 <rnr 'fl"'l;i? '1/i!Zfl~' II J. N. (71 1
7
~ .,i,,
'fl,;<:-" 'R !l<i!'fil '!Ti![ I 9 <!l<l q,ifITT[ ''l"lsr 'af'lil,;t' II J. N . (106)
S. G. P. (:\!I, ~O, 4.J, 42, ~3, 44, 4/i 46. 47, 018, etc.), Jap, (In -i.he very beginning); A. 0. 267:
,,. "'" "'' "II li &I!! am«r I sir .i1 w ijlr 'mq1.ir' 11 B, N. x,v. "l
Gfl~ tf"{<l't ;qi~ ~ q-J;af I ~~~ fiif1ct ~Jq qi\'\ '~~lB\l 11 P. Ch, 336, (14)
JO. <11,'f 'file 'lil~ ,.i.rl'l <1~ '•s'TT'l <r;::tfli<T <flt: I

~ fq;fi:,n 'Iii~ ilH 'aqlq.r' 'ii€' ~,:: .f f,rii i\R A , u. (2>21 l'l'S!li:: II
lil? f>r,\' arr:i: >rt: !jl: m¼ I <i!._(j ~ 'f.'l~I (a/t f'lo <ii\¼ I
'Ii';' {, ,!SS,;j II D, A, Aj R,j,. (681
,r),.., ~ nfil 'li -"' ~T'R 'il'ta R :i: B+T •:i:e• Bq~ I r. ch. ,,, 1,01
I I. ~ WIT <ii: >,jfo 'S!'l'RT I ~=
<il '11\'TT •f«,,1,1' II D, N, XlI, (II
<'t&r 'lil !JSl,:Tfo 'I 'fll<i' l;! <ITT'li 'af'l!~ I
srrf, ,i,:;r fo,,i: oi ~i ,;sr .fts •e~r,' 11 P, ch,"'· (' l
~oi'IT "li::t; ~" 'af'ITIT , «ilW~ <Til{ it 'a,:,ru' II P, Cb, ,,,, 111
.B. N., 1X: (3). XII (3);. ' K. A. (1352-1476). '
I 3. ·msr.r '!J ' ,if%: 'li \"Ii i;:l'l'l .i't.i R :i: "" ~ o'![t 11 P, Ch, ,,,, 1,1
'ITT, ,!i'<lft' 00 ~ wi\ I W\Cf a::!'! <i!ffl '1iR ~,q1.fl I
~ l'llil ~.. \'!O .r~ I <ii: fsim ITT'i faro <rW:111 p. Cb. ,, <•I

CHAPTER II
THE POETIC BACKGROUND
The poetry of the Dasa,n Grant/, is a brilliant, though apparently an isolated pheno •
n1enon in the literary history of the Puojah. The Tenth Guru of the Sikhs (1666-1708) with
a century-old tradition of 'Gurbani• before him, took to Braji Poetry. In bis darbar at
Anandpur, he patronised poets of Braji and him self composed verses in the language of
the east In the Punjab itself, the Poets of Braji, if any, were fe,v and far between and
wooed the Muse in the blissful obscurity of their private lives or in the hills of the north.
Some of them who were touched by the n1artyrdom of the Ninth Guru and admired the
youthful ardour of Gobind Singh, sought his patronage and wrote verses under his
inspiration. The itnpulse to write Braji appears, therefore, to have come from two sources.
In the darbar of the Ninth Gun,, there were according to Kahan Singh, the great Lexicogra-
pher, several poets who attempted verse in Braji. The poetry of the Guru himself is
considerably, if not wholly, Braji in character as it is evident in the last verses of his in the
l1oly Granth.' The other source of inspiration 1nust be tbe contemporary Braji poetry', the
,vaves ofwbich came to the Punjab like tbe waves of light or the waves of thought from
the east, unlike the hordes of barbarians that cau1e ctown upon it from tbe west. The
poetry of Kabir and Sur, like that ofTulsi and other Bbaktas, hdd come in this way and
spread over it like the sun-shine and flooded the parched hearts of the Punjabi Hindus.
It may be, therefore, surmised or even presumed that son1e of the poets who enjoyed
l11s patronage, hailed from the Braji region, bringing with them the gift of charn1ing Braj1
verse of their day.
When the Dasan1 Grant!, was composed, the early Riti School of poetry was flour-
ishing. When Guru Go bind Singh cameo f age, Chiotarnani was dead, Raja Jaswant Singh
had recently, in 1681, been killed in action against the Afghans, and Satasai of Bihari Lal
(1603-1663) had become a rage. The story of how these 700 dobas had coJne to be
composed at the court of Jai Singh, the ruler of Jaipur, had gone abroad to each province
and awakened a universal curiosity about it. Satasai had becoo1e the Bible of young poets
and lovers. Mati Ram and Deva Datta were, however, his contemporaries, though tbe
former was senior to him. Mali Rarn's Rasaraja treated ra.<as in general, and Nayika-bileda
in an elaborate manner and is ·still regarded as one of the classics of Riti poetry:• Deva
Datta, too, a representative of his age, was keenly interested in love and feminine beauty.'
All these were scholar poets, who bad fully studied the art of poetry and its
technique. They bad Jed a new school of poetry, patronised by the court, the rich and the
idle. It was secula r, sensuous and lyrical. It combin ed in itself the various cults like Rasa,
A/ankara and Dhwani.' The poets were not so much inspired by the passion of love, as
J. M. J(. z, Atli Grandi, Sh11 lok 1Ia.b.11lu Na.wa.n. 3. Arif Grarith Bhngt8-n di-Bt1.ni. 4. H. L, 100 £.
6. ibid . O. H . L., !iO.

THE POETIC BACKGROUNl) 33-
were concerned witb Nayika-bh,da, Nakha-s/zikha, tbe minute details or physical features of
tbeir object of passion or praise. Their metbod became, tberefore, descriptive, elaborate
and analytical. Its effect was rbetorical. lts use became, consequently, conventional.
The composition of the Dasa1n Granth bears evident marks of this influence of the
Riti School. The composition of Ras Manda/ Var11a11 and Birah Natak is a specimen
-0f love poetry, the old motif of which is Radha-Krishna romance. The Ras Manda/ Varna/!
contains an account or Krishna's stay at Kunj Gali, his sports with cowmaids and bis
intin1acy ,vith Radhtka, and her Nfaan Li/u. (<rrar.i1.ir .. Birah Natak describes in two Baral,
Mahas' the pangs of separation relt by Radhika and her maids. The poet bas not, bowever,
indulged in any passion of his own. There are no love lyrics in the n1anner of Bihari,
Mati Ran1 or Deva Datta. The wonderful effect of the Xiii School can, however, be traced
in the description of characters or portrait-painting, of which tbere are numerous instances
in the Gra11th'.
The other great tendency of Braji poetry which seems to have exercised considerable
influence on the poetry of the Dasa1n Granlh, and which must have made a greater appeal to
the son of a n1artyr, was the poetry of vir rasa narrated in a long poem. The great exponent
of this school of poetry ,vas Bhushan (1613-1715) who is believed to have entered upon his
<:areer about 19 years before Guru Gobind Singh was born in Patna. He enjoyed the
patronage of Shivaji and Chhatrasa\ of Panna, and paid homage to them in in1mortal
verse. What Dr. D1vivedi says of him 1nay aptly hold good in the case of Guru
Gobind Singh also :
' 'This great poet virtually ignored sringara and dedicated his great Lalents to other rasas,
particularly vira. and raudra. Thus the presence of Bl1ushan who !louted the tendencies of
his degenerate age is an agreeable surprise and a refreshing fact. His bold and clan1aot voice
nu1st have sounded like a clarion call, seeking lo raUy the down•trodden Hindus
suffering fronl despair lO a new effect c1.c revivall.' '
The clarion-call, no doubt. echoed and re-echoed all over the country and had a
,allying effect on the Sikhs of the Punjab. They heard it in the person of Guru Gobind
Singh aud ans,vered it ,vith the voic~ that has not died yet.
Speaking of Bhushan's popularity, Dr. Dwivedi adds :
"81:iushan was not a 1nere court poet but had a large aud1e11ce and touched the hearts of
the i.:on1mon man or his ti1nes ........ Bhushnn's n1n1e is a byword and his poetry is recited in all
parts wl1ere flindi is spo ken~. ''
No wonder that Bhushan' s heroic poetry might have been recited in the darbar
of Guru Go bind Singh, and it stirred tbe hearts of lbe rebellious Puojabis. His Shil·araj
Bhushan, Shiva Bavani, and Ghhatrasa/ Dasak must have been read and recited while the
1. "Barnh :i\lah is i\P account of tho t,w&ln) roonLhs of tbi!l .l:'unj11.b.i yeu r. The poei deacribca i.he p1u1g;i of. ..... l!eparation.
in eaoh oftheaa 1nr,nth11".-P, S. P,, XX.IlL
In Hirtdi it is kuown ru; Barah 1>1Mo. (iiil{ft .rfi3T)

2, &c(/ obopter on Art \'11luo: Art of Descriptia11 3. H, L., !l!l. .i,, ibitl.

Moghul tyranny had made the Hindus sullen and sore. It would, therefore, be not unseemly
to presume that Guru Go bind Singh drew inspiration from th.e revolt of Shivaji, particularly,
fron1 the Raj puts ,vhose name-suffix Singh and saffron-coloured banner be adopted! His three
versions ofChandi Charitra, two in Braji and one in Punjabi (Chand ,-di-Var), bear an eloquent
testimony to this suggesuon. His descriptions of battle-scenes, skirmishes and duels are
nun1erous and met wiLh in almost every part of the Dasa,n Granrh. They are informed with vir
and raudra rasas and are a thrilling fare for the audience which ,vas called upon to wage
an elernal war aga111st political and rejjgjous tyranny of the foreign rulers.
Jo the Punjabi verse, the poetic tradition or the Sikh Gurus and Bbai Gurdas roust
J1ave iDJluenced the minds ol Gui u Gobind Singh, more deeply and intensely. Tbe
Dasan, Granlh itself is a co1npt:nd1un1 of verse in various metres, rags or forms, with a
rich content on numerous themes, ranging iron1 1nystici~m to satire The main body of
the verse is, no doubt, devotional but it is sec off with the didactic on tbe one band and
the satirical on the otber. Guru Gobiud Singh was a profound scholar of 1l1e Adi Gran1!,
and is believed to have dictated orally the whole of 11 to Bhai Man, Singh at Damdama.
It is, no ,vonder, therefore, that he should bave been deeply influenced by the thougllt, the
1nusic, the sentiments and the style of the hyn1ns of tJ1e Gurus, as well as those of tbe
the Bhaklas, the select-pieces from wbom in Braji have been included in the Grant!, in
Gurnu,khi script. lt is, therefore, suggested that bis devotiunal, didactic and sat1£1cal verse
owes a great deal to the Gurbani of the Adi Granth.
·1 be secular culture ol the PunJab in tbe M ugbal period cannot but have exercised
a considerable inlluence on tbe young poet. Romances of love were very popular in those
days and were sung on social or festive gatherings. JL was probably these which provided, to
some extent, the tnotif for Pakhia" Ch(lrllra, popularly known as 1iiya Cl,aritr(I . The Puujabt
n11nd loved ron1ance into \Vbich it escaped Jron1 1he sordid realiLies of il1e poliucal
suppres~ion and religious tyranny, from the despotism of the kings and lhe ever-haunting
shadow of foreign invasions or erupt.ions. Hu 1nour and rotnaoce were, therefore, al\vays
welcomed, next to religion, as the saving grace of life. Once the story 01 Gopi Chana
was recited in a gathering 10 the evening. Some of the Puritans objected to it for JLS secular
exoteric character. Guru Gobind Singb, however, allowed it for its deep moral and spirit-
ual significance'. On another occasion be staged a skit at the expense of the Masands" who
had begun to tyrannise over bis Sikhs as petty rulers and ,vho exercised religious s,vay
over them in his name. The young Guru had a keen sense of humour, satire and irony
as well as ol roniance; and this n1ay be detected 1n abundance in his secular verse.
Tho composuion of the Bachitra Na1ak Gra111h in tbe Dasa,n Gran1h seems to bear
ample marks of influence both in subJect-roat<er and style of ee1rly popular Lila narratives
wb1cb came into vogue as early as Nand Das's Ras Panchadhyayi, .il1aan Lila, D(lan Lila
Vi,ah Mar,jari etc. This approach is supported by a passing remark in the Report of the'
Sodhak Coroniinee Dasaro Patshahi S.ri Guru Grantb Sahib Ji that Hunu,nannutak was so
dear to the Guru that be always kept it in bis Gatra'. Hanu11ra11natak, it may be added
·,n this connection, falls in the category of Lila narratives and is quoted side by side with
the Bachitra N atak Granth•
I. S, R. Vol. V., l l [J. 2, 8, R. Vol, V, 81i f, 3. Scubbard-1:1 tr11p 4-. II- N.-.-
pp- J,-,._-,,--,- - - - - -

CHAPTER Ill
BRI[F CRITICAL STUDY OF WORKS IN THE DASAM GRANTH.
1. JAP \jfpt
The Jap is one of the noblest hymns in praise of God. It is inspired by an ardent
faith in the benevolence of the First Cause.
The Creator and Lord of the Universe (Akal) is formless, invisible, immeasurably
great, King of kings, God of gods, tbe Moon of moons, the Sun of suns. His mystery is
impenetrable. His glory is indefinable. His holiness is uusurpassable. His sovereignty
is eternal and His law is constant.
It is impossible to know Hi1n fully, to represent Him in any form, to identify Him
with any religion, caste or sect, to confine Him to any place. But He manifests Himself in
countless forms and in countless ways. He pervades everywhere in His creation, in its
pertnanent or fleeting phases. He is changeless, im1nortal, everywhere, ever-activeJ ever-
luminous.
He is the Creator, Preserver and Destroyer of all. He is the enemy of miscreants
and strikes down the tyrannous. Yet out of His infjnite mercy He provides daily bread to
all. He redeems man from hell and from birth and death. He hears the prayer of every
heart.
He is Light1 L ove, Good, Bea uty) Truth, Energy. He is Glory of kings, tile Suoport
of the lowly and the Home of grace. Iie is accessible to the so ul alone through a life of
prayer and praise. After playing the wonderful gan1e of creation, He resolves everything into
Himself and becomes the Absolute again. His word to us is the Yoga, His natne the highest
gift and honour. In short, He is the highest ideal to n1an. I-le is more real than all rites and
ceren1onies. He speaks in all things. He is the master -n1ind.
The lap was composed by the Tenth Guru himself for daily recitation as a supplement
to the Japji of Guru Nanak. It was probably suggested \o him by "Vishnu Sahasra Na,n'' -
Vishnu's thousand names, a popular book of religious recitations amongst the Hindus/· It is
a long poem composed in nearly ejght hundred verses1 in 199 distichs, in ten metres:3
Chhappai, Bh,~;an,. Pravat, Cltachar;, Rual, Bhag~vati, Harbobnana, Charpat, /vladhubhar,
Rasaival and Ek,Achhari which are often repeated with varying effects. 3
• 1. A.G., OXIlT; S 1<., Vol. V, :dilfn. - - - -- - -- -------
:!. S. R. Vol. \', 260: H. S., 35(1; H.P. L.t :Ill.
3. Metre Serial No. Total No. Metre SeriaJ No. Total No.
Chlmppai l. J. Rual 7tl- 86= 8 8.
Bhnjl\ng Pmyat. 2- 2'l=27 flhagwoti 103-1:1~=30
44 01 = ls lG0 - 161)= l1 41.
IH- 73 = 10
H(i- R= a Horbolman"' 171- 184-= 14 14.
1 n-Hl'l- 4
1 ·7- lll!l = 3 6G. Charp1.1,t, 74.- 75 = ii
Chach 1ri 2 - Vl J;, I -1-:! U 1- :1 8.
fi2- H:l= :! Modlmhl.ar. Si- H~= 'J
\H- !) =- 2 Uil-170=10 17.
!111-J()~= -~ Rusowa.l. 1'15-14!l= ii !L
] 'l:-l-l-1-1= I) Ek-Achhari l!l!l ~ l9u = S s.
191)

36 TH E POETRY OF THE DASAlvl GRA NTH
Besides its rich variety, the Jap's 1nctrc: is a po\verful jllstrumeot o[ expression as
controlled by the dyaan1ic personality of the Guru and his spirit of devotion. It is, there-
fore, full of vigour, eatbusiasn1 as well as piety and de votion. Vir rasa as well a s sha1H rasa
alternate even as tbe mood of the verse co.ntrols them.
The language of the lap is Braj, a variety of medieval Hindi, ,vitil a mixture of San-
skrit, Persian and Arabic words as ,veil, which form nearly 7% of the diclion 1 . The language of"
the lap. like that of the Akal Ustat or the s.,,a,)>as, is characterized by "Profusion of colour
and sound form". Thjs is due to the rich variety of diction drawn from all possible sources.'
The jap contains Stotra (Mantraic or Iacantational) form of verse' . It is composed
in Sanskrit phraseology, in familiar Hindi rhythms and rhymes. The words are simple and
familiar to a reader of Hindi. The diction consists mosly in substantives which are the
names of God, and epithets which are the attributes of God. The lines are short and the
words vary often from one to four. The rhythm is, therefore, quick. There is often a pause
in the middle of a line and both parts appear to rhyme together. This n1akes the verse
most suitable for recitation·1•
L Co1upar;:, ;
(a) Er11j wiLh So.nski:it
~ ~
'!i'SCTiil ~,: - 'llll' 'IST!l' fei,;\'1 'll.'!eT 'lf'l i( 'Im'. "!Tm'. II ,;T,:Si!T'I ,;[-"'" <f"'l '1T'la arr. Ii
ai"r fiiifi:
0
q~,fa '!!'J'IS,:i:,;r, i!i"r.r ~q 'llil'li II @iii@,! '!!@iil@iiln' '!! 0 q'!i II Jop . { ~I )
ilt("IT, ~~- !J'l'l'I •'-.T, II ilf.<rr '!!qfl: 11 m!!'I Wll'T II ,q,rr "'lai 'I II Jap, (87)
..,, .. ,1 ~;;:- anl'I [ II "1./,r [ I I "'!>Tl.'! "I' II s,r.l<s [ 11 J ap, {l :13)
'<!ll,i! [ II '!!'li(i! [ II '!!'llf¾ t II ~'II fo: t It Jnp n:-ii)

{b) Mi~ed with Sanskrit, Arabio & Persion.
"l'l'!<TT ~,- f,i; ,T'l'!i ,.1" [ 11 f,:i; '!i(ll '!i(li!
i'Tll'~oF:filrn 11 03l'SCjff;;err.1
l 11 f1>
II
<T,ai 'Ii'!!!
;,fl:!' !l"f 'li'1. [ 11 f'!i B( ~
II "
,"lH['!i~'!iR
"-:ii11 [ II Jr1p,
1/
(.110)
Jap, (1~3)
... ~$iitd~'I ( 11 '!lit;;: ( '!!ll'l [ II "f'l~'i!f'l'!T'I i II '1.-f'r!,@fl<,T"I ~ II Jap fl:?4 l

:?. H. l', L., ,10.
;1 111 Hin.Ji literoturo statra forcn of verse en-me from Sa.11.Blu:i~ stu/ros written Hll prayers Io gods onrl godtlos;;es . It wna exh:omolr
popular with the poeta of the Bhakti School and it was n medium or devotional singing. In the Rlti Ka( that followed tbe Bha~·11
Kai, i~ hlls not been a fil,·ourite with the poets or seculer works. There were bowever, peels liere end thore who still coo liaucrl
nttomptiog the mantraio verse, In Ha1111ma111,atak and Hanr1ma11 Balrnk we meot with ex!i,mples of !his verso. Guru Goliind Singh ,
... baa employed tl1ie form of composition in i:n11oy of bis work, i.11 the Da:;am Guwth.
4. Compare:
illlB,4 '!!'!Sr.\ II '1'18,,j fefiqrm ii il'la<i "fc'q II 'll!B ff '<l~q I/ Ja ,-. ('I
'Ill<!,:/ 'l!l'T"I II 'lllW 'Sill-it II '1"1'1<£ '!!'IT it I I 'Iii\'!<! "lol'I II Jn p, (-l l
illll m.. 'lil<il II '!'ITT ffi• fo:"'T<il II il1TT ffi• ~q
II ;;;r) B,'! 'iq 11 Jnp, (l!l)
<r,r) '!ifiil 'lilm II ;;;r,araa fo:'<lrm 11 <r11ffit '!!•~il II o<rmi '!!'I,il II Jap, (23}
"'11 B,'I ui\<i 11 'T'IT B,<1 '!i\<i 11 ;r,ii B,'1 '!i,dl 11 'lill ffiiif ;;,~er JI J np. ( 27)
'%q l
II '!!'l;q t II 'l!"l [ II '!l'i II t J np, (2:))
s,r.il;! ~ II '!lit'-'! i II '!!'!Ill' [ II "'lili!il ~ 11 :lap, (30}
'<l'l' l 11 "fir l 11 "foiia i 11 '!!"1" ~ 11 J np, (31)
f-::nil'I ( 11 f.l>TT'! ~ 11 fsr<J,'1 ~ Ii '!!B('I t ii Jap, (32)
'<l<r'\..- l, =r~ l 11 "far l 11 ,srnnr l 11 J•p, 133}

37
BRIEF CRI f!CAL STUDY OF WORKS [N THE DASAM GRANTH
2· AKAL UsTAT
The Akal Ustal is a hy1nn written i n praise of the Tin1eless (Akal). A portion of
this composition (S,vaiyas: Sravag Sud·i. .. etc.) is also enjoined to be recited by the faithful
1
in the morning together with the Japji and the Jap. It ,vas composed by the Guru hi1nself.
The Akal Ustat, as it appears fron1 its themes, was co,nposed not at one time; its
different parts were rather composed at different times and were later on compiled together' .
The main themes of this long devotional poem are God, religion and rituals, the
world and Chandi. This work may conveniently be sub-divided into six parts, though the
theme of godhood occurs again and again in almost every part.
In the invocation (1-20) to the Timeless (Akal), All-steel (Sarah Loh), the poet dwells
on His Omnipresence, Omnipotence and Supreme Nature.
In the second part (21-30) which is written out in ten s,vaiyas, the poet dwells on
the vanity of worldly pomp, power, valour and pilgrimages, rituals, charities, yoga and
idol-worship.
In the third part (31-200), there is a satire on the various penances and austerities,
practised by various sects in India. This par/ _nds with a bo1nily on the equality of men
and on the Hindus and Mohammedan forms of worship.
--
"!"lil'l ~ 11 "!'!,if t 11 "!1'{ t~- 11 "!lTTif ? 11 Jap, (34)
"!'T"I l 11
•
"!+l"I i[
~
11 "!'r('li i[ 11 ~ t 11 Ja.p, (35)
,'lit.; t l ~
•
'"!lfl'o i II II "!'l'l II "loi'l 11 Jap, (36)
f.t~ l 11 "!'l_+li l II '"f'j;l<il t II "!"11<!1 l ii Jap, (37)
'O!<il!t, t 11 '"!"'fli[ ? II "!~a t 11 ;,ta ( II J 11,p, (38)
"!iill'li l
wi,\ t II
II
-~
f.r<,'\s;
"!oi'l
1 11
t II
f.i;j,r
"!l!_a l
l. II
11
"!6 ll
':Qi[ct
t
t
II
II
J a.p, (30)
Jop, (40)
"'1<!11'6 l 11 "!ffl t II W-li,'f t II "!+l,'f t 11 Jap, (.l l)

S<J"1ld l 11 "!>fur t ii "!'Iii[ l II '"Im, II l Je.p, {42)
'"!l!lif l JI f.r>1li! l 11 "!ii'> l II fl;, '<'- ~ II Jap, (43)

~ • •
"!+! II "!'I
~
II Jap (189)
"'"-"lll.~ i~- "'"' 11
II
"!<if
"'"l
11
II "!i!l{l I I "f'j;l,:t II Ja_p, (190)
""!
~;:;{ 11 S<J>i"I 11 '"f<iff,1 II "1li'i! 11 Jsp, ( Hll )
~cfjfijt I I /a:<=!T<if II "™\s 11 '

"1<'!\s II J<1µ, (1E2)
"l.Jl'l 11 "1'lil'l II ~ir,~ II ~trnr 11 Jnp,, 193}
"!.JT;i- JI '
~'lief 11 '<lili!T 11 '<liil al II Jap, (UN)
l. H . P.L.,40; I.P. L. 63 ;S,H. 261 ;H. S. 336,

Cunningham. however, bolds t,he view that. "the ioitiu.tory verso elJne is the compm>iLioo of Gol>lnd'', but oo other nuthorit.y
su pports \iia state-ment, for both in spirlt o.nd style thfl il1itio.tory verse anJ the ma.in tex.t are of a piece togethor nnd claiin to be
tho work or lho o.uthor of tho Jap. 'fhe orror of judµ;mont on the pa.rt of Cunningham o.ppenrs to be due to the i1ltroduelory line to
tlie in1tiulory verse 'Otnr K.hase daskho.~ KCI, Pa.tsahi Da.'3' (Copy of ~he Tenth King's own ha.ncl.wri~i11g),
:.!. D. G. 1., G.

The fourth part contains ten couplets (20 l-~10). The first couplet (JO!) is an intro-
duction to the rem1ioing nine. In these nine couplets the poet deals with theological queries
on the spiritual aspect of life, popular along with tbe philosophy of the fl iodu Sbastras.
The fifth part (211-230) sings the praises of Chandi , the inca!'natioo of the martial
spirit. This portion is not believed to be a part and parcel or the Akal Ustat, since it has no
link with the remaining subject-matter or the 1vork. It appears to be a misfit here. Its
right place has yet to be established'. This is, in fact, an exact translation in twenty
Tribhangis of the 30 fribl,an gi< in Bhag,v«ri P 1dya Pushpa•,ja/i Stolra by Pt. Ram Krishen.
In some cases the fourth line of each chhand is, except with 1ninor changes, ahnost the
same, both .in the Akal Us/al and the original' .
The poem concludes 1,•ith the sixth part (231-272) ,vith a hyn1n to God in all
His splendour.
The last chhand, viz., 272 is incomplete. It should have had four verses as.
in others under the heading Padhari Chband. The stanzas 267-268, 269-270
and 271-272 go together in groups. The first group ending ,vith stanza 268 and
the second group ending with stanza ~70 have the ending line in eaclt as ;;;;,,;:
'
<r,v•.i <I~•
l:l·s:, !);'If'! I The ttiird group should also ilave ended ,vith the same verse. Accordingly the
third and fourth verses of the last stan za sboL1ld have been :
'f'1" (['f 11"@<, 'f,Q(!Tff'f'll'f,
~Q <fi[Q lf'n<'"f
• '); s",
•
lt"11 ~ I
Io the middle or the poem (l 94 -200) the G11ru gives his conception of divinity
which is after that of the other nine Gurus. Thi s conception is also contained in-
ten swaiyas which bring out the mystery, the benevolence and the po1ver of God. Along
with the ten swaiyas mentioned in the beginning these forin part of the pahu/ or the
baptismal ceremony of the Sikhs. Throughout the poem the Guru lays stress on the-
importance of devotion and the love of God's name.
In the long devotional poem containing a n1ixture of ecclesiastical satires• are-
1. Ur. Trilooht1.11 Singh believe-s that the \·erses 211 Lo 230 fi~ 1nore proper ty inLo soino version of Clumdi Clrarifra than in
1/rr Aka! Usta r-Tbe Sikh R eview, l\fny, 1\155, P . 34_
2. 8. D, lC P ., 06.
3. SE1oti.ro in rt-ligioue verso in Hindi Litor11t.ure appenrs Lo begin with tho :Bht1.kts9 of (ho school of Rn.nrn Nand. :Most of
thetn belonged to t,he lower cl!lss and h,.d inlierit"'i nnconeaiom1ly the spir it of re,·olt. against the formuli~m, cflSte BUporindl,y o.nrl
cultural ari.:.tocrn('y of Bro .. n;uuifo rolicio11 of those dnye. Rams Nand. in his l1ymwJ or ,mngs prot1:st.r-d 11gt1inst the op rrenive
na~ure or religion with its in~ist.onc0 on pilgl'im11-~e, obsr,r,·11noe of vows, worship of image, rituals, etc. l<abir wn.s a ,·e1y powerfu I
represen t o.hive of this eebo ,J n n rl th0 most popnJ11,r or a.II l,ho Bhnktll!> who11e influ{nce <lcmir1 llte(] Ilie P1111jub. ' 'Ee hss lefb mnny
fi ery iinyingF! BJJ;11insl custe, imllge-wotship o.nd seeta.rianism." (1\f. III I, 101) To me lt appe11:rt1 1 lint Kabir is tl,o first rdigiou 8
aa.Hrillt wlio influence d Gu.ru No.na.k and his followers down to 01 ru Gobind Singh in didoct,ic nnd ~utirica\ ,-erse,

BRIEF CRITICAL STUDY OF WORKS lN THE DASA1vf GRANTH 39
found interspersed here and there, gems of pure poetry). There are beautiful pieces imbued
with Shant rasa, typical of tbe style of the poet. One ~uch piece is Jale Bari, thale Hari, ure
Harl, bane Bari, ending in a trance of ecstasy : tuhi tu/ii, tuhi tuhi, tulzi tuhi, tuhi tuhi, tuhi
tuhi2, i e. Thou in truth art Thou, Thou, Tbou; Thou in truth art Thou, Thou, Thou3 ! He
loses himself in the most elevated stat~ of realisation, feeling the entire universe losing
its separate entity and melting into the Supreme Being he is addressing.
I. Compare:
;:fT~a ]Cfi(Q ~~ iflc,', <li~a' 'ilR ~fH•H· ~~~ +Tf'3 ~ft ~r i Efj\Q t 11
~~+JT a
~'\qQT ., B~
c-
~ citta' ij~ ~~ Br ., ~r~r +fq ~ ir +T~ci t II
fBe{ ?I- QqB1 ~rf~ ~~J:Jr il ., ~~ :.:.ir<t ~Fra~itT( maqfffi"~T .:i- ~.;a- t 11
trr~n.; ~ ~1.,- <.fifq1r.fffB ~ ~i:l1.f U{T ~rr;; <fi't :;:;r3 f.~'t ftn~rtt ~ f~ij t tr A. u., (10)
iiff:;:;r:gi") ~.itt C:-1~~ <li~o Blt ~q"T ~.iqr, q.:r <f>R'E5Tl t <lit<f II
cf,~ t
o..;; qy~ or~ l=l<{r «J;; .l t0 ~ 'aii ii; q1q li_ll' ~lctif ~Uf ~ 11
qr~.; -.~en wi t!en ~{ ~rg qi~ tfiflT ~ \ :;:;r1m ~B {B" fat<cf(a- t 11
flf~Tif ~ f~~ ~~rqr~ ij wt [# ~,~ ~rcf;;r ~ti1il q'liJ ~?t ~ ij{;ij t'. tt A. u ., (:ll)
iSlB ~ ~ml tlit Gll~~, ~(m't ~ efiiill «m~r« ~B' Gfi{ <Ii ~.~fcri: II
tfi[ Cfi3.:f~~Jt1 tfi[ ~~ ml~ <fRT <ii[ i1+:r tfil ~{t ~) S5fitili ~ lff~~ II
<ii[ ~~44-..n~) 9i[ ~>.r ~ Qflfl;J ~(1 cli[ ~\S"i:fl(t g~ ~ ~tr.i '3ff:JT~ I/
<fifl{.:ff ~~iwt qRm ;:i-r:;:;ra ~ ;;r~ rr ~T mm.; ~ A"~'t.i ~~ ~~ir~)<fi qtct~ 11 ~
\.. u.,(82)
f;;t_~~ f.:t~q ltl f<-li {f ~t B~'l i'J ~ ~'.{;; ~ ~q ~T Tcfi ~elf +l~T~l-, ~f ll
>rr;; ~ er~~ ~~ ~ <ti f?.:cr~r itrr ~Ill" <Ii fuc~r f-:fi}lt irr;,1 +r~rirr.:f if 11
fGfR~r ~ f4f~T( ~) ffi ~~ ~Ffijf( it ffi ffii:TITT ~T ll<ta ~ ijl:l(IT 9'iT BR in,
'1'TT~rf ~ '11Jqf ir ~ ctr~t ~ <film ~r f-fi w.,t;:J ~ ~elf ~1 f=.fi T;{'f.:f ~ i;(Trf ~T II A. u,. (1ft)
~1;:t;, ctl 5:f<fqfijf ii~ f~n ~ff ~~I~ lf;:fl+fri lflt 11
~ . ,-... ~
~ q~ ~ff .:rrrr .:t,Jq"q B~9 B+f B+T cf;f 5lfd"qJ( IJ

qJ~cf t ufm ~ ~m ij' q~ ~ efiqf qi ;;c{t <fitif f~~I( II
cf\"rf\~~I~ ~~~rf.:lfl:T ?.:l~;:J ~~ff t 'T{ ~;i if itf~ II A, u., (2+3)
~ ~qijf.:f it ij{B' ~;;qrwt <lil' ~B tjiftfl,f <f;S 9->l'~G ofi~-=!lg ( l1
( lTii ~)Ttil UlT ~Cf ~ srift;:i- ~1( cfi~... q .:i- ~1;:r e-rq ~1:11.:r ciis_'t~ t 11
qriq .r qy, ~~-~ iT ~{if, ~af fart({~ ~ -.?~T, l S5fqf~ cf.~1~g i ll
~,~.t't cli't ~[~ q&; q1~ qg~i:f 'ijJ~ ~1tt F.fi1 f¾'cl"T{ qft@ ~ ij-fl~g ~ II A. c., (250)
~1< ~-ar ~1~,cf<l ~1~ ~al ~-srr;l{ ~,:rr:fi~ ia) ~~ <tilf'lf~t ~ tm ?.fi 11
t~;:ft ~ e1~J ~i:r ~ B'l s~qft Tmr ~et ~r~ T,f~T B"rar ffi1:1 ~m ~ 11
q1u l=lT crmr~~ ~err cf.tft ~Jlf~ B"l~r u't fj(lfr~r~ .f1~ ~~1 ~Q'f ~ 11
:;:;rqr Bl 'i.f{{~te :qri{11l R1 :qf{ln~ rlil~ltf fa~T~T ~ +rrmal ~l lil q; II A . u ., l2U1)
~ ~r II ~~ ij_i} II :a~ ~ II ~~ g:~ II A. o. (;11)

. . . .. .. . . . . .. . ... .. . .. . -... . . .. .. .. . .,. ........... .
'"'
. .. .. . . . .. . ... . . .. .. ... -.............. ... . ........

A.U. (69}
3. G. G. G. ~ uli. The beauty of this pieoe oaonot be fully e:-..1)ressed in noy t1'811ijlnt1on,

. . Many of the quatrains or Swaiyas are marvellous compositions, strong in diction,

rich 1n poetic fancies and superb in imagery. Here is, for example, one such piece.
"Tbere are many that swim and many that waddle,
And many that eat them up,
There are myriad birds - the feathered beings
That ia a trice can take to wings.
But up in the sky are many another
1hat on these warblers sup,
Where are the wa ters, where the land ,
Aad where the va ulted blue,
Yet all tha t "Time" has brou ght forth,
Both "Ti.1ne" itself subdue,
As darkness n1ingle.s with the lighl.
As light en1braces dark,
All will at last dissolve in Hin,.
Fro 111 who1n they got the spark1. "
This piece of verse is full of pictures and i,nages. The whole dra □1a of life and
death has been set forth in picturesque and vivid poetry. So compactly the ,vhole thought
has been condensed in just four lines that to translate it aptly ia English it bas taken fourteen
lines. In other words, what a sonnet ordinarily contains, the poet co,npactly condensed
in a q1tatrain. Brevity and lucidity are the outstanding merits of his compositions. His
words not only convey an idea, but, at the sa,ne tin1e, also paint a picture and play a tune.
The poet's power of expressing subtle truths in a familiar picturesque manner is
best illustrated from the verses like this :-
"As sparks flying out of a flame
Fall back in the fire fron1 which they rise ;
As dust risiog fron1 tbe earth
Falls back and on the earth does lie :
As wav(!s beating on Lhe shingle
Go back and in the ocean n1ingle,
So from God come all things under the sun
And to God relurn when their race is run .~"
This long con1positio11 is ,vritten in storra.~ didactic~ and satirical~ forms of ver.~e and
is in1bued ,vith Adbhul' and Sha11t' rasas. The luxuriant fluency and the musicalness of the
0
vocabulary can be felt every\vhere. It is reeking with Prasad8 and Oja gunas •
... ..... - .... ....... .,.
l'f~il 'f.R "" 'li<3 """ ~ 'f.\l Sl'Cil; '!~al s< a:,q~il '"'
1. 'f.<f 'li'Cil;
;i,11
Cl<il
;ri:i ,)s, "1Sel qs,;,; q;,; 'litil -.ra!li ir.a'IS ijo.;;; ~• qs,f•
'!Sill 'lo! '<[f llll'I ii; ,[<3'1 'lii,f 'lil<il ~ "f'lfl! B'f 'lifo!
ffl,
[1
"ffo'l Ii
"lrfu.il II
's'!Tli_il II
i\:si fu, "16"1 /t SlifC! ,;jg i\ar <ill'! \11[1 i:T ,aq"l '3~ \11[1 if '3>11/['1 ii A. u., (SJ )
2. Thia , erae ia a free t r11n1:1lo tion by l:Clmsl, wa nt Singh o u d an im provement uf!on !'.Iacauliffo.
-slB o:'" "11-r "ii '<'l._'f.f aiir" "1f'l .,;; ~"IT~ f'ffl1°< il• ej; iR "1T'l ii f.r.ir[il 11
"1B <!'f. ~ a 'l!~ili ~ '!_lo ~ ~ ;i, 'f.~~f 'Ji, 'l_, i(l Bl'fI5.il Ii
cil?t '<'Ii .;-,; ~ o~'l ai;12e <1q010 ~ qr;r ii; a ;,r ,:,tr <ir.f ti1 'lil[fi\'1 11
~B /ii~, it 'l!'!_<f 'l_a ij~o 8~ of~'\ it 'S'l"l Bir an;'\ it 1c1,n,il II ,. u., 1s11
'fhia pMsage, perl,np~, 11howa the pr1;1domina11 lly 1•iJhisf11adi'ai1a posit ion of t he CJ u ru';i ~h uu~h L.-8 . G, G, S, 33 fn.
3. Coro p are : A. U., {5 1-61t, 2 ll-230, etc),

4, Compare : A. U ., (22-26, 215, "ill etu. )
:j. Com pa re : A. U., (2 1. ~4, 2U, :l O, 71.7:!, 73, 75. 76, 70. S:?., S3, 8 1).
6. Compnre: A . U., (IJ -20, 106-120, 12(.1-140, ltiG}
7. Compare : A. U., (51-69 at e).
s. Comparo : A. u ., (201-:mu, '.?rt 3---2!i l e t e)
!). Campa.re : A. U .. (2JJ. 212, 213,214. 2:15. 223, ate.)

BRIEF CRITl€:AL STUDY OF WORK IN THE DASAM GR.4NTH
The Akal Ustas is composed in twelve metres viz., Swaiya, Kabrt.ra, Cl1aupai, '1 0!(.fk►
1
To,nar, Diragh Tribhangi, D 1/i.ara, Naraj, Padhari, Bhujang Prayat, Rua,nal, and LagF,u
Naraj, very appropriate to the theme and situations. Sivaiyas are repeated twice, Kabitta
and Padhari three times each 1 •
Considerin g from a literary and philosophical point of view, the Altnl' Ustat would
appear to be one of the best 1vorks of Guru Go bind Singh . It shows the poet's mastery
over language and style a nd his deep vision in the etern al glory and self-coinpleteness
of God. This composition is sure to have a pron1ioe □ t place ln the Sant Kavya of Hindi
Literature with the growth of study of the Dasa1n Granth.
BACl~ITRA NATAK GRANTH
While the Bachi/,a Natak is the title of Guru Gobind Singb's autobiography,
the stories of Chaubis Avtar of Vishnu and those of Brahn1a and Budra and Chandi Cha1:itra
I & II, also constitute a part of the Bachitra Natale Gran th. This is suggested by tbe con-
cludtng endorsements made by the author in almost all these compositions, such.as
/ti Sri Bachitra Natak Granthe... ... .. ....... ..... sar11apata1nastu subha1nastu~
Although the Bachitra Natak is an autobiography, this as well as \be otber con1-
positions~ are nearer, both in matter and form \ to the miracle-narratives (@\"&13-~ijJ"' l) which
in Braj Bhasha came ,vith Nand Dass, near abot1t 1625 B. These miracle-aarcatives essayed
to narrate the miraculous aod salient, human as well as supernatural., events of the lives, of
gods, goddesses or other mythological heroes. Ras Pan chadhyayi, Maan Lila, Daan Lila,
Virah M anjari, Ra111ayan Maha Natak, Ha11u1nan11atak, San1ayasar Natak, are some oft-he
popular miracle-aarratives5 • The only reason [or narning ·such compositions as Natak seems
to be that tlley displayed to the devotees the various marvels or wonderful performances
of their favourite deiLy.
The Ba chitra Natak Grantlz also narrates the wonderful deeds o, actions of Guru
Gobind Singh as well as those of gods and goddesses who were sent by Akal Purakl,
on a special missions. This part of the Dasa1n Granth bias, tl1erefo re, been aptly narnecl as
the BachitrJ Natale Grant!, i.. e., the Book of the Wonderful Performances. The word Natak
1. Metre Serial No Total Metre Serial N-o. l!otal
.Uo bnt·a .. 201-210• 10 10.
Swaiyfl.. 21- 30. JO l6J - lSO, 20 20.
~43 - 2t,2. to 20. Nam,j.
P11.dh11.d. 12.1-liO. 10
1\ abittA.. 11 - 20. JO '.:31-212. 12
Chaupai.
71- oo.
2i':13-2 0,
I- JO.
,~
20
10
44.
10.
261 - 272.
Bhujang Pra.yo.t I! 1- 120. 30
6 ,s.
,o.
li.LlO.Illll.l. 181-2b0. 20 2(1.
Tota.k
Tomor
Di.~h
1<11- 100.
31- 50. "'20 20.
20. l, e.gliu :-iraj. 01 - 70. 20 2Q.
,,_,,
'1 ribhon!li 211-~;JO. ,o 20. -'"
2.
J.
II. N. 10,"i.
0Jrnp11,ri, : .,q >JU !l>l !!~a ii\ "-" ,nfs ._, >ir~ 1
"Is .ft.tr 'f<!si1 a,) ijlll ~ 'Ii¥·!!ill~ 11 K. A., (15)
K. A., oonoiluiiflg !We after (15)
t. Ooropare : ffl lift f'l!l'l "f'l<IT~ t!,~ii\ S/<'l~ I
5. H. N. 16¼-0T.
0. B. N. Vl, (28, 20, 42, 43) : Oh. A. S (3), 0 (3, 4), etc.
• Digitized by Panjab Digital Libraiy / www.panjabdigilib.org

has been used by the G11ru as a synonym of the te1m Lila', the ,vooderful perforrnance• and
not in its widely accepted sense i.e., dra1na, a form of literature. Tbis is evident fron1 the
use of the word Natak by the G11r11 in his autobiography•.
3. BACHlTR,'\ NATAK
The first narrative composition of the Bachitra Natak Grant/J is the Bachitra 1Vatak,
Guru Gobind Singb's autobiography, which begins ,vith a couplet invoking the blessings of
the Holy Sword :
"I bow with love.and devotion to lhe Holy Sword.
Assist me that I may complete this ,vork~."
The first canto is devoted, like the very last, to the praises of the Alinighty. The
second canto commences with th e life story of the author in his o,vn words. Jt is
related in twelve sections and in three parts. Tbe tirst part, second to fifth cantos, gives the
genealogy of the Guru's family from the ancient 1in1es. The second part, the sixth canto,
deals with the Guru's divine mission of emancipation and refor,nation. In the third part,
seventh to thirteenth cantos, the author describes his wars with the bill rajas and the
Mogbul armies. Th.is autobiography, like any other, is incon1plete as it holds out a promise
to relate further experiences of the present when it has receded into the past •.
Cantos II to IV give ,vhat may be called a mythological account of the Sodhi and
Bedi sub-castes of the Ksbatriya race, of the rulers or the Panjab at Labore and Kasur,
and the descendants of Lav and Kush, the sons of Ram, who traced his descent through
Dasarath, Ragbu, Suraj and others to Kalsaio, a pritnaeval n,onarch. There is at the end a
prophecy that in Kalyug Nanak would bestow blessings on the Sodbis, aud would, 011 bis
fourth mortal appearance,become one of that tribe•.
In the fifth canto, the Guru says that in co urse of tin1e tl,e castes got n1ixed up. The
Brahmans began to follow the ways of the Sudras, the K shatriya , the ways of the Vaishyas,
the Sudras the ways oftbe Brahmans, and the Vaishyas th e ways of the K sbatriyas.
In good time Naaak came •.vitb a 1nessage or his own. After his death, he was reborn
as Angad, as Amar Das and as Ram Das successively, as one lamp is lighted at aaother.
Apparently these were four Gurus but in truth in each body there was the soul of Guru
Nanak. When Ram Das departed, hi s son Arjun beca me Guru, who was followed in order
by Har Gohind, Hari Rai, Har Krishen', and Teg Bahad ur who gave up his life for the
Hindu religion in Delhi at tbe Mogb ul court'.
The sixth canto takes tbe reade r to flen1 Kunt•, near the Seven Sr'ng (Peaks), where
I. S11.nkiiliiplu Biodi Shal,da $11gor (Nosa.ri Pr11aharioi SJ1.bbe, 1V. Edition, :l002 B. P. 1104). fqf:;;,i~ tfilq
~- Bhaf]l'nvo.'~ St11nd11rd lllulllro.ted DictiOilOry of the Hindi La1•guose (El.icdi•l!.ogliah 6th l~d-, l'. D63) ·,Yoodcrful Pl.'rformanrc,'
3, B. N.,V (14)
•. S. R. Yo!. V, 2SO. Comp,,.. , .flll;!'lil{ ,;Ii l'l~f[ 'lil '!il.f ;j fflg fsrg iill< II
U. B, N .. XIV
~ 'liit frr~"I
6. H. S. 36;, 13. N .. JV (7, 0).
•• g'I !!r.
7.
~,{g'
B. :::I., Y (7-12)
l;!i[I{ II u. t<,,.1 Pi
•· Comp,,, . srrqf- ra.T'li oi1fi. {1<!1 ~'T ijf'I>[ II 'h1iIT s?f 'li"i_ >lffl: RT'ol II
l;!f"sf.r ~fir .<l"t f.if.r ,.{\ II l'l!l]; 1;"'11 q~ !ill 'I •'<RI 11 B. :;.,v p 31
!.I. B.N. Vl, (l,2}. 1n Sa.nakrit •Bomok11ta.' tho Ooldon Peak, is o ohai.n or mounluins betweco 1110 liima.layM and Mount Moru
~-•-~1.v,2,~ -

BRIEF CRITICAL STUDY OF WORKS IN THE DASAM GRANTH
the Pandus exercised sovereignty. The soul of Guru Go bind Singh meditated on the Almighty
and became absorbed 111 the Divine essence. The parents of the Guru performed penance.
God loolced on them with fa\our and (the sou l of) Gobind was called from the Seven
Peaks to become one of mankind, much against his will :
"Tben my wish was oot to reappear,
For my thoughts were beat upon the feet of the Almighty;
But God made known to me His desires."
r\nd....•.......... sent me iato this world1 .
"Th.e Lord said, 'Wheo mankind was created, the Daityas were sent for the puaishment of tho
wicked,
But the Daityas beiog stroog, forgot me as their God.
Theo the Devtas were seot.
But they caused themselves to be \\'orshipped by men as Siva, and Brahma, and Vishnu.
The Sidhs were aflerwards born;
But they, following different ways, established many sects.
Then Gorakhnath appeared in the world.
And he, making many kings his disciples, established the sect of Jogis.
Ramanand later came into the world,
And be established the sect of Bairagis after bis ow □ fashion.
Mahadin {Mohammad) too was bora, and became lord of Arabia.
He establ1shed n sect, and required bis followers to repeat his name.
Thus they who were sent lo guide mankind perversely adopted modes of their own. and misled
the world,
Nooe taught the right way to the iguorant2 "
I. .J:C. S. 368. C01npare:
~q-l-f,;;ra i{ ll<TT ~;ru ~rc:f-t <ti~ 11 ~+rr ,(1 ~},. 5f~ ~~Ff ir~ 11
i<1f, fcr~ sr+:t ~ ir ~HT+rir~t 11 ~ir <t>~ ~ :;:s: mteti q31~r II B. N., vr <v>
2. B. S. 368-89. dompare :
~qi- ~ q ~ ~+r f~& ifi,T! 11 dcr ~~ ~~ ~a:ri 11
~ ~~(!{ q=.J{ ~~ rro: II rr.~ ct(;£ ~~ '{ft rro: II B . N.,VI (6)
~ 6:~ c'fif~ oileti ~ «I ct Il fa'.; tfi't o~ ~cfij"T ~Jq II

am ~& i:m '0\.~11: 1/ ~Tq.:f tt q{~B< cfiITTO: II B. N., VI (7)
~~cf ~ff ~E{rn) II TTfiJil ~fq @ ci)- 6~(1~ II
~E[ilT ~Tq 'il(;\t[+f ~tqf;fT ti Sf;q' ofif Sil!_ ii ~.:f[ \lir-:rT II n. N., V (S)
~ ~ft fu~ ~nq of~TU. II fa;, ~T !R;f ~©" ilU qio: II
~ cm! ~ +l~) ~fl'f f~;;r II fa.; f(f,r ~cr~t l;f~ "qq[li,J II B.N., VI (14)
3f.; ~R llh:~ ~ ~q,~r 11 TW.f~ <fi°t ra.=r t "ijis(TGfl 11
~cr., ttit~ !Jrr l~ isf<T 11 ~ft cfil ~flfcr (\fu ;, ~~ij II B.N..v1 <2")
qf., tR ~:r;rr.:t-:r ~ iii\T 11 ite i('{trft ~ fGi., 'tl<T 11
....,,
<6oT <iirc5' ~o ofil ~il II sr~ ofif f~r ~ cfj~ f~ru II 13. N. Vl (25)
~ sr+l qf+r 3,~ "q~p~ 11 furT fi:r.1 ~q~ <T~ ~ro: 11

.:r~rf'.; af~ sr+r ~q-~rm 11 ~,9 ~~ it etil'ifT ,r~ 11 B.N., vi {26)
..-
m.:r itT ~ i:r~ -:airo~T 11 fflfrr ~.;r offt~ ~~ {T:m 11
~ll ~ ~q.;T .:Jfa G{qJm ll ~~ cfi~ if f~T~ ll B.N., VI (27)
~.r ~qil1 ~.=rt ~,RT 11 qr~~ cmg ;, ~Fil II B.N.,VI (~S)
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THE POETRY Of THE DAS/IN! GRANTH
'Wherefore, thou, 0 Gobi,nd 1 has been called,

Tbat thou mayest propagate the worship of the One True God, and gllide those wbo have lost
the road', -
On lhis account God sent me, then I took birth and came into this world.
As He spoke to n1e so l spe·a k unto n1en: l bear 110 enin,ty to any ooe.
Bat. whosoever regarJs me as the Lord, shall be d.ished into the pit of bell,
For l am but, as other men, a beholder of the wonUers of creation.
Tile religions of the Hindus and tvt:uhan1medaos have becon,e corrupt.
T he Jog ls and tb.e re.adcrs o( Korans and ~urans are but deceivers.
The sanyasls and bairagis no less show the \vroog way.
No fai1h sliould be put in the worship of images and s(ones.
Tbe 1nodes of worstip of Brahmans and Ktishatriyas and others a re 'idle a nd vain.
All shall pass into bell , for God is not in books aod scriptures, b ut in horuiHty and trutb-
fulness1 !·
The next seven ca ntos relate the conflicts in which the Gur u 1vas engaged with the
-rajas of the bills and the in1peria l forces. The following details have been given at length
io the1n :
"An accou nt of the battle of Bh angaoi; the disputcb of Miao Khan and Al if Khan to Jammu and
Nau daun respectively to collect revenue; the viclory gained with the Guru's assistaoce by Raja
Bhi1n Chand over Alif Khan; l'he dispatch of General Dila\\.·ar Kha n against 1he bill chiefs and of
his son against the Guru 1 who was left umnolcsted owing to the son's flight; the dispatch by
.D ilawar Kha n of }fusa-in K'bun to redllce tbe Gura to subjeotien; the fail Ore of Husain Khan to
carry out bis orders; bi s a~tack on the wea:ker of1be bill ca:iefs.; the vic1ory of Gopal, King of
Guler, and of Ra-m Singh, l{ing of Jaswon, over Him1:na.t, one of Husain Kban'-s officers; whom
they pul lo <lt"at h, the sin gle.ha nded oorobat belwee,n R<1ja Ram Singh and Jujhar Singh, Raja of
Chander, in which the la tter was sla in ; lbe dispatch by Auraogzeb of llis son to the Panjah, where
the ruasands, feanog that he would attack the Guru, deserted him and fled to lhe highest moun-
• lains; the dispalcb of an oflicer named Mirza Beg to support the young prince and the subsequent
exped.i1ion of a □ arrny under fo ur ollter officers wbo, believ.i □g tbat the rnasands were men of
2
wealth, desuoyed their houses and plu ndered tbeir properly. "
The fourteenth and the last canto is an invocation. Here is ao abstract of this canto
as given by Cun11inghan1 :
"0 a ·od l Thou who hast alwa-ys preserved Thy ,vershippers from evil,
And hast in Dieted punisb.n1eTit on the wicked;
Who hast regarded me a-s Thy de-voted slave and bast servea me w,ith Thine owo hand.
Now all that J. have be.held,
And all Thy -glories w;hich I have witnessod,
Will J faithf"ully relate.
Whal I beheld i □ the former world,
By the bless·1og of God will I make koown.
tn all my undertakings the goodness of the Lord 'bath been showered upon me.
Loh (iroo) has been 1ny preserver,
Through the goodness of God have I been strong,
And a11 that l have seen during the vari0us ages wil.1 I put .in a book;
Everything shall be fully ma.de known'.,.
l, H. $. 368-69. Compare ; ii Wf ffiffl: fasTe!! 11 q,r ~ ·'61:at 'lis li!To'!T II

s,rq;,t
~ oil:i ~ ~ sr.!li; II '61JN '6~<! ~ ·ollar; i[Zfil: II
B.N.,VI (20)
Afoa, Cornp11Te: B. N. iVI(&l, 32, 33,~etc:.)

:;:, S. R. \ ol. V, 304
3. B . S., B69.

BRIEF CRITICAL STUDY OF WORKS lN THE DASA'.M GRANTH 45
. This all:tobiography relates the chief events of the Guru's life up to the advent of
pr1~ce1 Muazz1_111 (famous in Indian hi~tory as Bahadur Shah)2 io the Punjab. After this
beg1ns the. untorgettable period in the life of the Guru full of wot:s and miseries when he
was a f~L~1t1ve 3• Th1s_period \vhich represents a land-mark'in th~ struggle for lreedom from
the poht1caJ aggre~s1on and religious tyrannies of the Moghul rulers unfortunately ren1a1ns
unr~corded. H?wever, even 111 its Present forn1 the Bac/iirra Narak has attracted the attention
of hterateurs like Dr. Tr1lochan Singh and Dr. Mohan Singh D1\vana:
f o Dr. Trilochan Singh the autobiography appears uuigue for the following
reasons:-
(i) "Guru Gobind Singh gave a detailed account of his previous birlb."
(ii) "Guru Go bind Singh's discourse wilh God when be was not quite willing to leave His lotus
feet, but lo fulfil His will and p'l.Jrpose he bad to go.''
(iii) "The battles_ whi<:b are descri~ed could never have been depicted by other writers in the way
Guru Gob1nd S1ngb has depicted then1, even if he haJ used available contemporary accounts"
(iv) ''Towards the end of the autobiography is given the plan of Bachitra N atak tnat was vet to be
completed. He said, 'I will write about the life story of Avtars as Thou revealest io me 0
God." '
I first wrote Chartdi Cha.ritra. It was a short version. Now l wish to give a more detailed
version' "
'
Dr. Mohan Singh regards Bachitra, N atak as-
"a model piece of the art of self-portrayal and self-estimation for its prophet's self-consciousness
i'ts simplicity of state111ent, its fru&ality of effects2' '
It is, in truth, an enchanting life story told in a confident, serene and charming
manner. By the &weep of his epic imagination, he brings even the pre-historic past to bear
on the grim present. The supernatural seen1s to him as real as lbe hard facts ol his harassed
existence.
The JJachitra Natak reveals the Guru's great love for describing battle-scenes. Out
of fourteen cantos. in the eight he has described battles out of ,vhicb in the ~even be was
clirectly or indirectly connected. In such contexts he has often exhibited good taste in the
employment of figLLres of speech. He modifies the spellings and the forn1s of the words also,
in order to extract musical value from them.
The Guru himself gives the following description of a single combat and of the fighting
in the battle of Bhangani:-
''Mahant Kripal, raging, lifted bis mace anti smote the fierce Haiyat Khan oo the bead,
upon which his brains issued bubbling forth as butter from the earthen vessel which Krishan
broke. Nand Chand raged in dreadfu l ire, lat1nch1ng his spear, then wielding bis scimitar. When
the keen weapon broke, be drew forth his dagger for the honour of the Sodhi race. Then my
maternal unl:le, Kripal, advaoced in bis rage. The brave n1ao's body received many arrows, yel
he emptied tbe saddle of maoy a Turkish chief. Sahib Chand> as a true Kshatri, strove in lhe
battle's fury and slew bloodthirsty heroes, shining lights of Kburasan. Many excellent warriors
were slain, and those who survived (led with tneir lrves. Saogo Shah, lord of battle, gloriously
acquitted himself, and Lrampled underfool bloodthirsty Patbaos Raja Gopal shouted as be stood in
the battle-field, like a tiger in tbe midst of deer. The brave Hari Chand planted his feet firmJy on
1. B. N., XUI.
2. L. U. G. S., 95.
3. Ibid, 226. - •
4. The Sikh Review, Jane 1955, pp -!5-4.7. 1
6. H.P. L,, 40.

46 THE POETRY OF THE DASAM GRANT!-!
the field and in his fury discharged sharp arrows which went through and through his adversaries1••
The Guru himself confronted Raja Hari Chand and afterwa rd s thus described the
combat that ensued :-
"Hari Chand, in his rage, drew forth his arrows. He struck my steed with one and lben
discharged another at rne, but God preserved me and it only grazed my ear in jts .flight. His
third arrow penetrated !he buckle of rnY waist-belt and reached my body, but wounded me not.
It is only God who protected me, knowing me His servant. When I felt the toucb of the arrow,
my aoger was kindled. I took up my bow and began to discharge arrows in abundance. Upon
this my adversaries began to Bee. I took aim and killed the your.lg chief, Hari Chand. When
he perisbed, rny heroes trampled their enemies under foot. The Chief of Korori was seized by
death. Upon this the hillmen fled in consterna tion and I, tbrougb the favour of tbe eternal God.
gained t be victory. Haviog thus held tbe balt!e-field, we raised aloud the song of triuJnpb. I
showered wealth o n tny warr iors 2."
l. S. R, Vol. V, 3:J-+0. \'.ompare:
~IT 11"!1<1 - f'lis@ @oail tj,ni\
i\q'),f 11 ;-.:i\ "1111 ;,,ira if; Bls! ii;rt'l 11
;;itJ f~f•~ ,•~ <!i?,"I <!"I "l,( 11 'l-TT ~'fit '!SF&: <i)t II
Ill ,;r,i B.N ., Vlll (7)
o;;J ,i~si'< <!il'<T ir!:J i,1i'\ 11 lillfl{ 'l~T ['liq1(!j eim~r II

B.N ., Vlll (8)
g,cl .:\IT P-r'f<,/\ ,.,l- "I'll'[' II [ol ,J\<f\,j "''" airi ~"[. 11
o[f 'll\l~>i f<fiql<if W.{i II
~~ i{i;: "ITi [,\ '-'11'1 '5!~4\ 'ij<Jslf'l "1'1 11
.B.N,, VIII (HJ)
a~r 'IT( ,iii; •Fi11 llfR ,irl: 11 ijli feqr{t fa·,irl: 11
'ISi l!T.f
a;-.:i Br. ei,111 <!il'f S!lli!T< 11 'I'! .',ta 'IT ffi• ,;i,;,1 <ilor't 11
r • ,-. • "· • M .,_
B.N., VJII (11)
f,.<i 'TT q<ifl'I ,;ri'\ €lo ITr.ll 11 1~'11:ij a, :irr~1/ 'I'll IB'I {!Ci! 11
o[i "'" s'\( i[\lsi'< <irfir'<T 11 «.ft -,ifo B\'1l <1m qr'[ i'rfqq1 11
<i!lT "!'\a it qrt B.N., vm (12)
l1~i ~'I 'Ii ffi{ olait lloJ( II 01fi\ q,r1t 11
2. B. R• Vol. V. 44. Compure:

lfillT- i;:,t sta: 'f.fq 'liijJ(lT a;i'!T( II ~•~,r ~T"fli II B.N ., VII I {2D)
P-!ol'l 'IT<!! 'll fi:~r 'J 'lit '1""1{ 11 fliflffl f'1"<if,;zi l£"ffql <ITT'. q>TT( II
~'fl f"IS! SR'l.i "IT'! e.:T« •'IT"l'I '11, 'ill~ 11 W:1'1" ~i:!ITO: 11
• B.N., Vlll (32)
" a1fii; 'II'!! II ,f'a,i\ ~'Ii ~"11<!! II
""~~s/1 ITT~ '
11 'J"lfi!T i!!cll( 11
B.N., VIII (33)
'J ~.r?i,; U'l 11 ,i '!in;!
•
II 'IT,j
,<ufomf.r 'llil 11 B~ '1113 qri) II

B.N., VIII (lH )
~ of\<1 it,:! II f<!;qr '!Sli;I i,1 11
{<!! oftfu "!~ II "1"I lfl<I ,.,-~ II
B.N., VIU (35)
'f;j 'ITT ~ 11 ~al <I,<: ~,it 11

BRlEF CRITfCAL STUDY OF WORKS IN THE DASAM GRANTH 47
. The imagery of the Bachitru Natak is varied because the nature of the work is
mythical,' h1stoncal' and realisti c,• while the scope of it is vast. The poet has drawn on
I. Mythioal. Cosmogony i. e, the theory of tha origin of the univ erse a.ml its inho.bitants :-
~~- IT!'-ffl s;r,t "fo( -.,1 q,n(r Ii "!l'oie!iT( \j' [1a'3R" <,q[<[ II
'lil<i1'1<!! Q>.fij 'l\l'al) 11,qf II "![<!'Ii "1§fiil 'l~ {;iq "f.lqf 11 B. N. II, (10)
'tliitilso <;!,( ~c,r >ls•T 11 l!i~ 'l(lil ollil, "1'! o'TT II

'fifij!!J'! "lg,>.r filq ~
<lit 11 @i[ 5 >ill\ ot'lo €'l q;) ~ ii B. N. fl, (1 1)
'3l;:€,liij "liil: ll:'f ml

11 €i['3'1T'-: 01Tils oif 'II(
11
?l.ri!T'l q,: '3~•i1 q;~ 11 ot'l @i[ e<'f '3[\l o"lf 11 B. N.11, (12)
'<'li ~\!! it i'liil R'ITTT 11 orir 'l!J'lil2>, "" >mr II

~"TT 'fiT'I ir tr~
r-r'!iRl tt mir "l fiaf!fe ,:;;: ,ar,;'1 11 B. N. 11, c1,1
fa., '61 '6r,t 'lg'<: '!'cl 'fiU II fsR '61 it, ,,,i's 'II qu II
~'ii <fT'3 "!iii S( fir, (~I II it>ir ill'! o'lf. 1f '!if. II B. N, II, (14)
2. liiEllorical. Hfotory of the origin of the Sodhis :-
fo'l 'IS aili! foM '" 'lOI II ,'lai'3IB: fom:"!'Ill: "1<!!'1111

<flit !!'l U<T >,,i) "!"1'1<: ii 'li[l,,fl "lo lfi[1'7:l(>r<: II B. N. 11, (20)
'"' fa;; it.i ;;i'\,r q;) m<1t 11 <J'!qR ,.,,,r q;) ,111 II
U<T ,r,n >.rfi[ fli;:I >!,!'(>I( II ali! f,m'I ilU l"li' o[Sf<j;( II B. K. 11, (21)
f,r,r" oriil foi . ,rfl ;r,111,r 11 ,,,,, (!1,Ciijl!'f mrT'lsr,r 11

'1"1' 'liliil fuar ,Tot '!i!!l1TI 11 'lilof SPJ:
'
f;;: ffi'<l~l 11 l-!,~, .B . N . 11, (22)
ul<rr \j<l 'f!,[{ ~ '.;a ,Toll I I ,rG!q[2 S'fi\l q;a ~["1[ II

!!~ ~Iii ~Fl,'lT '1(1 'l'l Ii 'lTRr 'lfl<I il: afrrT 'fill( <Jq II B. N. TI, i2J)
<t;1\ fu;'/ ,1;i- '.;a o/'11 II l('li 'li\l, i,;dl<r .rg<:,r II

<!f.r'li g,'\ a ~t,; f.,raf\ II f.!,,;r o'f'li "l'l,T'lo .rraii II U. N, ll, (2 -1.)
"'" 'lil<i1 fc'l ,r'I 'lilll'!I II "l[<i! aar.r a 'Si<I 'lif!l'II II

IB'f a- '.!Sl 'TT'! a '(l( 11 ,f"l 'lil:<I ilO: ot'l 'of 'll( 11
' B. N . II, (20)
SIT<!• <I• ~qr sin '113' II "11! -n'IT'l<f '11& (j''113'. I I .

asr.rtsr '
"!~ 'film,r, "" 11 fG!'l '<I lll( 3• 'l( "lill'J'f II B. N. II, (27)
, .r.rit, fl'll 'liilT <rqr,T 11 'lifiii(T'l: T'lfcr il'f<: Rinf,I II

'l!"l lc!;ni< ~le!a l"]Q II sift 'i_qair /ir<rr,:a 'lQ 11 B. N. ll, (28)
Rfif \J' 3.- 'l'll sii >!ffl[ 11 f!Ji<1 ,r, >1,r furn: '!Ill'[ 11
a( '1 ,r;'fri< <I /?.:ii a ,(\<rf I I S<:fl qf'!S! ~ ,t in'i<rr II B. N. II, (2[1)
:I. Ileo.H11tio. Account. of tile battle of Bhangnni :-
"'sh'l'<T
~
~
'!;!• ot1<1 "Ir, fe~ '1 RF! 3( q'fif 11

~ •
l"JT'I II B. N. vm, (36)
'Iii~ fl "11'1
'.
-~~
' ;;i
;;i ' 'I<: cf;&: il"T f>,, a;);\ '1'1( R'tl, 11
a fu,: ;,;,, ' flo[' f>,~ fair as<t ''
TQ@qr,: 11 B. N. VI.IT, (37 )
'!go li(slil •• ,arfu f'l<lTQ I ,ia a,r,

'.;lif< '1'1 "11( II
2'FT 2r,r <&~ ;;:al f.isr'11 1 'Ji'li, f.,fu f<t-r oil lTT'!T 11 B. N. VII[, (3G)

4ll THE POETRY. OF THE DASA~i GRANTH
his encyclopaedic knowledge of tbe past as well as of the present and bas-enriched his argu-
ments! by drawing on all bis wide resources.
The Bac/1itra Natak is replete with Adb/,111, Ra11dra and Virc, Rasas, and Pias aud
Prasad Guuas, Its verse or metres closely correspond to the poet's dominating mood. Its
beautiful invocation to the s,vord in the beginning of this composition is a toaster-piece of
vrgorous and powerful style rendered into Tribilangi ,netre.• According to Dr. Narang, the
following four verses of Gobind Siogh fanning an invocation to the sword are ao1011g the
finest of their kind to be met with in any literature of the ,vorld and as they are aln1ost
who ll y in Sanskrit they will be easily understood in all parts of India' :-
Khaga Khanda Viliandarn, Kha/a dala 1'.'1iandam ati ran mandam bara bandam.
Bhuja danda akhandam. tej p1acha11da1n, joti•amandam blrnna prabham.
Sukha Santa Ka,-nam dunnati daTnam, Kilb1kh haT11am a,sa s-arnam.
Jai, jt1i, jagkar,ni, .--risti ubharan 111ama pratiparan jai teghi;im 4.
·'Thuu art the Subduer of col,l\lth:s . the Destroyer of the armies of the wicked, in the battle-field
Thou greatly adornest the brave.
T bine arm is infringible, Thy brightness refulgent, Thy radiance and splendour dazzle like the sun.
Tbou besto":"est happiness on the good, Thou terrifiest the evil. Thou scallerest sione.rs, 1 Eieek Thy
protecuon.
Hail ! ha.ii to the Creator of tbe world lhe Saviour of creation, my Cher isher, bail to Lhee, 0
Swo rd !IH' '
But when be describes his mission of championing the cause of truth a nd the
suppressed humanity, he adopts tl1e Chaupai 1uetre in a q uleter tone:
!•And this great mission did Father, then entrust H'unselfunto me; and I took birtb.
A.od as He doth comn1and I speak on eartb sans jealousy, sans hostility, sans distr ust. to any o1,e ...
Those who call me god shnll go to blazing fire of H_ell.
I ndeed, am just His bumble, humble slave let nil men know.
0
Am but his boodsn1an, only con1c. to sec this earthly pantomime-this pageantr) " .
I. ~- ~ilJ <i!if ss ar,'"ti! 'llsl'! I l!fi\llr <lift g,1 q,i all# II

,.., ,.._ ~ .,, ~ 8. N. TI. (-1 )
!Ool :;f;jl! TaTl! '!,O "I 'iii'[ I ,;;1 o'l'if 'ITT >I', '!'lls ii
t
~f,: ~R<l"f j;s ~~ f<r'I li'fi'IR ~ ;uf~ 11
,Ii;! it ;rq"!,r i:l~'T f'1l "1iff ,1 f.rifl fllll/s: II
sll?r ,fat ii; it,i it w '!lN;; a'!<ln, 11
13. K. XI, \7)
,fs'!QI \:j1'; "I "!l;ii "IT'i 'f (l '1,'lls II
~. Campen, R. ,:>. L. 4.0
3. T 6-, 14:!. l ~ i~, howc,vE-r, difficult, to fully oprco with Dr. Nllrang t.h11t. these verae~ ore 11·holly in Sa.nskrit as most of tho wor Js.
11ro in Apbhra11sFra form a.ad t.ile corugo11u(ls a.ncl forms d.o not oompletaly follow ~he Sanakri~ gro.mmn.r n1las.
•. Comp,,•' &:nl;iat ['/~<iliil\'<i!.iai "IK~>ii ' l ~ II
"!"'""' '!l.iai a;,iqsf,i <1Tfa'!l>iai +fl,[ <["[ II
!;!@Hal'l>(Qj :j,'!@e.;,:aj P!i<i!fi.rii'!i):,<!i '!lml,lli 11
B".N.J, (2)
<i/ ~ Gf'l~R'll [t,1(<2d-<I~ '1'1 q1aqi,'1) "i a,t Ii
6. S. R. Vol. Y. 286.
o. Tho SpokOIJD6D, Gur:u. GobindSiogh Numb~1·, ltl!<~, J), lS.
Comp,re' "f'i~~ - \~ 'lil,r" !;'1 111f,\: q;,r~'r II ij<j ii "!'Ta G[a>! 'IR mm II
f"lll fr1;;- ~ ~'! foll atrn: ~ II"!<{ ri,g 11 ;i, "I n/i( it II B. N., vr, (31 )
Oil~ 'lit ,i,:i'r.i, '3'/IR t II 'ii sl>f .r,f~ f!i,S: '!rn. qfr.t II
,it air ,m d'le ij;) "IT<l[ 11 ~T i! il'j; ;j 0( q~1;n II u. N., VI, (32)
ll it qrn ~ 'ffl ,tfll 11 ~\'lr.r '!lfl<J Gf'To ffi!IBl II B. N., vr, 133)

BRIEF CRlTIC/\L STUDY OF WORKS IN THE DIISAM GRANTH
The metres used in the Bachitra Natak are S H,aiya, Totak, Tribhangi, Dohra, Naraj,
B hujang Prayat, Rasa,val, Chaupai, C'hhappai, Bhujang, Arilla, Madhubhar, Padhri_. .Dohra,
Bhu1a11g Prayat , Rasa,val and Chaupai bave been repeated a number of times, as 1s evident
from the data given in the footnote'.
I. Metre Canto No. Serial No. Total Metre Canto No . Serial No. Total
I. 37-14 ,.,.
Dobr& I
II
I.
2,9,18,35.
,. ·•·
I.
,,
70-7fi
l.
JV I.
V :?,4, 10,IG. ••
86
S9-9l ,.
VJ 30,47,56,69,
l il ,,___ 8 ,.
60,M. •• oo
l P,23,36,37. ••
19-38
,.,.
Vlll
15,21 ,. IV
45---48
4-6
IX
X 9,10 ,. VJ lil--52
Xl 4,6,7,63,57-69 vm 13--16 ••
31-35
M,66, 0,
,. '·4.
XII
Xlll
9,11
22 1. ,,. DC
XI.
l l -14.
33---1:2 10.
Doh ta
(f.:burani) Xlll 24,25 ,. ,. xn
60---6aie.
6-- 8
5.
,. !10.
'l'riblrn,agi. l
XI
2.
25.
1,
I. ,. Obaupai. ll J.
,_'
I.
6.
Bhujang-
3-19 17.
10--17 ,.
P rayat I
24-30 ,. 19--34.
30.
]6.
].
36-36 I.
l ll 51
59-00 11.
IV 9-10
76-77 V 3 1.
83-B5
87-88 ,. VI
5--li
1-29 ,,.
10,
5.
,.
Ill- ]- !'j
31-33 3.
• '·I. 41-46.
,.
IV. 1- ~ ,. 4$--50
53--55 3.
vrn . 4--12 9.
17-18
20-22 ,.
2.
57-liEI
61-63 ,.,.
2.
X. 6- 6 1-- 3
Bbu joog.
XJ.
JII.
1- 3
39-1'4
3.
6.
72.
,rr, 1-'
Vll
3.
1.
49.
24-30
J.
7.
lX
38
1- 2 ,.
I.
VJII. 23.
I X. 3- 7
16-22
6.
7. I- 4 ,.
XI. 20-32 7.
,.
6.
,.
8-15 ,.
I•
Swa.iy&• J.
45----52
,,. I.
10. l I.
07--09 ,.
1.
92-101 Xll I-- 5 o.

o. o. 10, J -~ 2.
Tot,e.k. I. 53---58
46-52 ,. xm 1-21
N!'.:11.j I.
78--------81 ,. I.
m. 10 - 18 ,. XIV
23.
1-11 )J. 162.
V. I. J. Ohhnppai. ID 56 I. 1.
VI. 34-40
,_ 8
7. A.rilla. lV 7
,.o.
I. l.
x.
XI. 55-SG
'·
2. ,,. Madhubbnr. L-..;;:
XI
8--10
16-24-.
43-44
l ..
--
Patlhri.
,.••
Rfl.!111, wal , I. :!0-23
Grlllld Total. ·4.7 l.
81----34.

!ill THK POETRY OF THE DASAM GRAN'l'H
The diction of Bac/111ra Natak bas a characteristic of its own. It bas all 1sorts of
'
words; '
monosyllabic as well as polysyllabic, simple as well as compound, currebt as well as
poet's own coinages, btlt words ot Persian and Arabic origin are conspicuous by their
absence. The po.e t's mastery of the. diction is evident from the fact that the poet, though a •
Panjabi, has rarely employed Panjabi ,vords of common usage into this Braji composition
which is influenced by Avadhi and archaic Hindi.
With the exception of Gosa in Charitra by Beni Madhav, Ardh Kathariak by Jain
poet llanarsi Dass and few work s of its kind, biographical poetry in the history of Hindi
literature, as is found at preser,t, is rare*. However, in the Hindi literature of the Panjab,
which, being in Gurmukbi script, still remains unreco rded in the history of Hindi literature,
are to be found two types of biographical poetry, i.e:, biographies and autobiographies.
The works known as Guru Bi/as and Jana>n Sakhis by different a uthors are the poetical
co,upositions of ,ne first kind. Those ,vbich have con1e to light so far are Guru Bi/as by Bhai
Darbara Singh, by Bhai Suk ha Sin gh a nd by Mohan Kavi a nd Janani Sakhi by Baba
Ganesha Singh based on the Jives of the Gurus. But the Bachilra Nalak by Guru Gobind
Singh is an autobiography which is unique in the history of the Hindi literature.
4-5. CHAND! CHARITRA I & II
The then1e of Chandi Charilra ( J& I I), the exploits of Chandi, is the san'te as that of
Chandi-d,.- Var, the ballad of Chandi. Both are the free versions-tile fo rmer in Hiadi' and
the latter in-Panjabi-of Durga Sbapta Shati•, i.e., the seven hundred verses describing the
explo,ts of the goddess Durga in the Markandeya Pura11 in fourteen cantos (~1-94) :
Racho Chandka Ki l<atl1a bani subh s"bh hoi 3
Iti Sri M ar~a11de Purane S1i Chand1 Cha, 1t'fa V hti Bilas ... ... .. . adhyaya samaptamastu subhamastu'
Both the Chandi Charitra, and the Chandi-di-Var ·are Guru's renderings, 10 different
metres, of the wars of the goadess with eight demons: Madbu, Kaitab, Mabikbasur,
Dhun1ar Lochan, Chand, Mund, Rakat Bij, Nisumbh and Sumbh.
Cbandi was the rulin? p, incess of Ujjain. She succeeded to her father's throne on his
death. Being-the only child of her royal parents, she led a secluded life, but had a great repu-
tation for her abil,ty and valour. While on her way to the river for offering ablutions she
was approached by Indra who could not get access to her otherwise. He had been driven
out of bi s kingdom by the demons ,vlahikhasur, Sumbh, Nisurnbh aad others and bad in
bis utter humiliation no other source of help than Durga's. She laughed at him, for, bis
overweening pride lay now in the du st. But then she took pity upon him and riding on a
tiger she mdrcbed her forces into the field in order to destroy bis enemies, the demons. The
demons led by Mahikhasur were very brave warriors but were at last defeated and driven
• li. S. L, 216.
l. am.1 ti" "" 'li~ii >r~'ll fa.o fl 1 Cb. Ch.1. (G}
•-· lil sig'liJ 'Iii 'li'-11 •11!/I Wf "" ~. 11 Cb. Ch. I, f2)
!l '1 ,<li'l\,~T 'fil <lif{'ll . . .. ... .. . .. . II
0
Cb. Oh. I , (233)

'· :l;''ll 'lTo 'RT>"'IT 1,it ~'\'!f 11 Cb. V. {ffO)
•· ,ra l;l\in,,;g~r;\ o!R'<fl<if1 srl'liTof:.,11<1 ·· ·; ''<T"'l"l .i'!:lllil<lg tJ"lil"S I Cb. Ch. I,

BRIEF CRITICAL STUDY OF WORKS IN THE DASAM GRANTH '51
of 1ndra's kingdom. After h~r return they began to harass tbe king again. Sfbis time
Q{lt
'the battle waged fiercer and more havoc was wrought on either side. At last Durga succeed..
ed in ex6rpating them one and all and reinstating (ndra in perfect peace.
The 'first Ohandi Charitra begins with the line :-
Ek Oankar Sri Wahiguru ji ki .fateh. Ath Chandi Charitra Ukti Bilas.
The only ooe God. Victory to the holy Wabiguru ! Now tht: tale (b1las) of the deeds of Chaadi will
be told1
Then comes an adoratjonal invocation. The poet, after invoking blessings to begin
the work, prays for the safe completion of the work undertaken and says ;
Oh, the giver of happiness, the remover of all the fears, called Chandika ! If you grant me li gbf
and intelljgeoce, I sba11 compose a wonderful tale2•
I now start composing the G1anth if you pem1it me.
I shall stud the composion with sentences full of jewel-like choicest words.
Kindly hell> me in putting io a propitious language this entire composition,
Which I think is a wonderful nariative3•
In the end, the poet says :
I have narrated Chandi Charitra in verse. It is imbued with raudra rasa (the martial spirit).
Each verse is more stirring than the other. From the begianiog to the end all the 6imilies are
luscious, fresh and new.4
He says that he did it for amusement&, but adds:
He who heareth or readeth this for any object shall assuredly obtain it 6 •
He further refers to a special object ot his own :
I have translated the book called tl\e Durga Sapta Sati, the equal of which there is none.
• Cbandi ! grant the object with which the poet has translated it.7
The Chandi Gharitra 1 is divided into e1ght adltyayas. Each one of the first, second
third, fifth, sixth and seventh adhyaya ends in :
!ti Sri Markat1de Purane Sri Chandi Charitre ukti bilas......... dhiya1118
And the eighth adhyaya has no such enqiog line at all. But strange enough to say
that the fourth adhyaya ends in :
]tiSri Ba.chitra Natake Sri Chandi Charitre Chand Mund badh Chatrath dhyayi9
Thus ends tbe fourth chapter of Chand Mund ba.dh of Chandi Charitra in Bachitra Natak Granth.
J. S. R. Vol. V., 81..
~ ~f"tiR 9T~~Gflefil (fiij" 11 ~~ ~is't "l'R?J '3cp@~~TR 11 Ch. C'b. ( First line)
2. ~ efifil B+l ~~., ilrll ~~<iiT ~ 1J ,1 ,"l) ~Q:;r ifITT ~ ef.U ~~1:1 !.ltfiTU 11
a. ~r~tJ ~ '5tl w~ ~ ij~ ~ {~'t 11 ,(f.,
~~ e{'qrf ~., arit 11:q-1 II
C'h. Ch. I. (5)
+1m"f ~~ ~~ ~~ cr~i.'t fificf ~ 11 ~~i'f ~?.TT =:g:rqrt ~¥n ~R ~ ~ 11 C'h. Ch. I. (6)
t. ~it "lf{~ :fl"fai a~ ~ ii {~f ~ © , « ~~+r~ ~ II
qc1, ~ ctiii ~~m ~s~r ~lcr ~ fu~ <!T~ -a-•1+rr ij 11~ 11t Ch. Ch. I. (232}
:s. cfi~ ~ ~T cfif~ ~ ~fa-B~T ifiT tfi~ ~~ '!tt ~~ l 11 Ch. Cb. 1. (23~)
0. Gff~ iifir~ q~ ~f-1t ;:i, ~) f.,ij~ <6(, a,~ ~l t II Ch. Ch. I. (:!-32)
7, ~~ ~fae~~r it cJ>Rir "1fr ~ ~cf~ ., ofiT{ 11
~8: .,filer c6fcr ~ <tt%.i1 {! ~~ ~<nT ~r~ 11 Ch. Ch. I. (23:!)
8. Ua ~11,~cfl~~~ ~'t~st~f:~ ~rafif~m···--····ftr~~ II
9. efa- ~i1GJ~=:.cr112ir> ~1~1'1:fR.~ ~~·~c:J~~tl\~ f1:1~r~ 11

62 THF POETRY OF THE DASAM GRANTH
This line alone is sufficient to establish that the Guru had planned this composition
to be a part of the Bachirra Natak Granth'.
The Chandi Charitra I is composed ia 232 couplets and quatraias. The poet bas
made a liberal use or S,vaiyas and Dohras with a sprinkling of Sortha, Kabitta, Totak,
Punha and Rekhta metres in it'.
The Chandi Charitra II begias in the same way as the C/randi Charitra I but without
the words Ukti Bi las.
Tbe prologue of Chandi Charitra II which is in praise of C/randi ends with the
following couplet :
I "Tbe saiots who conti □ ually meditate on thee, 0 Cbaodi,
•
'Shall at last obta\n salvation and find God as their reward3 .'
Even if a foolish person reads tbe life of Cha □ di, immense wealth will be bestowed on him;
lf a coward reads it, he will be able to fight most bravely: .
lfajogi keeping awake the who le night mutters her nnme, he will achieve the highest yog with all
its sidbis4 •
Tf a student reads it, he will be enlightened with knowledge of all the sbastras.
If any jogi, sanyasi or bairagi mutters her name, he will attain the highest virtue 6•
Each adhyaya generally begins with :
"Ath ........................... judh Kathnam 8 ' '
And ends in:
I ti S,,i Bae hit ra. Nata ke Chandi Cha-rit'f'e ......... - ........ .dhiya.yn. sa.mpuranmastu subhm~tu.1
I. Dr. Trilochan Sigh oonttinds that Cliandi Charilra I is not ii. p!!ort of Bachilra Na1ak Grantli-Tbo-Sik.h Bevi0w, .!Ua.y 1055,
pp 36-----il
Chandi Charitra I
Ukti Silas
Cantos 8.
Metre Serial No. Total Metre Sll!lrial No. Total

Sorliha. 1.2, 20, 87, 117. 122, 129. J'i 2, 7 Kabitta.. 52, 89, ! Bl, 209, 210, 227, 230. 7.
Swaiya l , -1, 7 11. 14-1 8, 26, 32, 34-, !l.6, 40, 41, 43,
• ota.k. s, 9• ,.
46-.'iO. 54. 6il, 59, 62, 64-69, '11, 73.75, 7M, Dohr11. 2, 3, 5,110, 19, 21, 23-25, 27-31, 33. 95, 37-
711. 8R 92, 97-lln, 101. 101<, 110-116. 125, 3~. 42, 43, <IA, 45, 51. 63, 66-IiS, 60, tll, 63,
126, 127, 130-135, 137 138, 1.19, 140, l12, 70, 72, 76, 77, 80-86, 90, 91, 93-96, 10(},
)43, 144 14•~. 147,148,140.150, JUI, 153, 10 -107, 109, 118-121, 123. 124,128,136.
) 54, L:5, 156,157,168,150, 160, 161, 162, l"l, l-¾5, 162, 163, 167,174,176, li8, Ji3,
164. 161, Hill, JGS-173, 173, 176, 117, l'iO, 1s1, 20a, :!04-, :ms, 220,222, 22a, 233, eo.
180, IS:!, 184,186, l S6, l ~S. H!9, ,90.JOO, Punba., 6, 13. 2.
21JO, 201,202. 205,200, ~07. 211, 212-218, Rekhto, 22. I.
- -- -- ...
, ,,
-
' " ' ' ' , , ., "'"".,, .,_
'J'lj
' 2"8 ' 229 231,232. 134 Gre.nd Tat.al 233
:i\ ar gll°l: f<rs,;ir;i ii 1.r; .ro fsit i: 1:la 11 '<io .;rti't !!'"• ~ qrs/t<t wiaio II Ch. Cb, IL (262)
•• q~ 'l<' mi\ s.i >TI'! ~ II l,'\'f <[l! ,a)<Ji\ .r~ '!j'il: mi II

~,r ~f<!! oi,>i\ ;;i~ ;;i q ,iii\ 11 >1~ <nll ssnlf "~ fu;;: ,r,i\ 11 ch. ch. IT. 1,aoJ
,. q* '!1'6: f,i,:i1,tl f'ls! ~ff II .;rt ffi'I B!sle!l'I lo! II~ 'if<f II
"Iii cii>T B•QJ<f '1,1'1 'lilt 11 fuil ffi'I !f'l~['I 'lif 9,f;, if[~ 11 Ch. Cb, IT. (261)
,. !ii"~ ........... , . . . ......................... ,~it iifi~;J I

•
,
'· ~@ 1;11<1f"P-l.r!c'I> ,i,:1,;/i:el-........ •... ···"""" 'lv!<i ,1111 "!<10111 f'l"!l'i .i~"l! gmi.ig II

BRIEF CRITICAL STUDY OF WORKS IN THE DASAM GRANTH 53
The Chandi Charitra II is divided into eight arlhyayas as Chandi Charitra I and
is composed in 262 couplets and quatrains. A large variety of metrical patterns, viz., Sortha,
Sangit Naraj, Sangit Bhujang Prayat, Sangit lYiadhubhar, Kulka, Chaupai, Torok, Dohra, Naraj,
Bijai, Beli Bidrurn, Bridh Naraj, Bhujang Prayat, Madhuhhar, Manohar, Rasa111al, Ruanlal and
Rua! metres have been employed to suit the thought, emotion, character and situation'.
To Guru Gobind Si ugh, Durga was an incarnation ofBbagauti (Sword) wbo is herself
a symbol of the divine power. Her spirit, that prntects the weak, awakens the suppressed
and inspires and stirs them into action against injustice and tyranny. Guru Gobind Singh
wanted to revive the ancient spirit of kshatriyas and breathe valour into the veins of the
old dying nation. It was with tbts exalting notion of his national mission that he regarded
heroic literature as a means to this noble end. Jt was in this martial spirit that he regarded
God as All-Steel and Shakti and gave expression to bis burning desire for new sbakti in
both his devotional and secular works, and thus founded the cult of Shakti. He always
invoked the blessings of Shakti to give him strength in order to champion the cause of truth
justice and oppressed humaaity:- ,
"Give me this power O /\!mighty, from righteous deeds I may never refrain.
Fearlessly may I fight all battles of life, full confidence may [ ever have in asserting my moral
victories.
May my supreme ambition and learning be, to sing of Thy glory a!}d victory,
When t.bIS mortal life comes to a close may 1 die with the joy and courage of a martyr."
Well does Dr. Diwana say that Chandi Charitra unveils Shakti in all her affection
and awe1 •
I. Chandi Cbaritra 11.
Cantos S.
Metre Serial No. Total Metre Serial No. fotal
Sortba. 78. I. Bija.i. 109, 111.
Stlngit NarDj. 176. I. Beli Bidr11m, 133 -138, 215-21S, 220. I I.
S&ogi~ Hhuj!lng Bridh Nara.j. 147, l.
}'ray0,t, 112-118. 7. Bhujang Pra.ya.t. 13-Ui, 22-25, ii5-5S,
8(1.ni:i;it II-Iadliul>h&r, ]6(1-l72. 9. 124-126, 157-163, 205,
206, :!11-21-l, ::23.201. 70.
Kulka,.
Clla.t1po.i.
39-42.
26, ~7 -14, 4ci, 66,
'· .l',fadhubliar, 2s-a1,201.20-1.
'·1.
07 79-89 193, Ma.noha.r. J 10.
195-2, 0, ~21-22:t. 20. Rn&1.wa.L 6-11, 49-54, 59-63,
Totak. 16-HI. <· 90.-108, 121, 122,
Dohra. 12. :18, 43, -11:l, 6:l, 127-132, 148-156,
65, 77, 23. 13!1, 10.4, 176-187, Hi9-102, 207-210, 69.
188, l ~i 219, 262.
Ruamal , 32-37. 6.
Nars.j. 1-5. 20. tl, 47, 48,
68-76.
1 J9, 1:co, 140-46, Ruo.1. ••
'.!62
I6!'i, 173, 174 21.
2, The Sikh Reviol\·, Ms.y 1955, p. 39.
it, f,:isr '11: mo l;l'l. "'"'" ~ '!is[ " cit 11

,!
" ~i't "I/,: ,:i) "I'! o11~ <i!<:l f.,,:i,/\ '6,: s;;rrq'l1 "!lo .a:) I I
"f!j m's ti "[q;\ ;it ,r.r il \\<!: o!Tol"f ;;:, ~~ a-a \FR! 11
Cb. Ch. I. (231)
"ls 'll'! ai;'"t "13'! T¥.['l -~ 'Ill i(i '" ii <I'! "!_'Ii 'IU I 1

In the Chandi Charitra (I & fl ), the poet bas shown bis n1aslery of similies and epi-
grams He has not merely told the story of the goddess and her battles but has described in
details all the various incidents ioterlading them with similies and metaphors and thus has
given vivid and lively pictures of the field of battle and the various fighters'. Each verse,
I
each line and each syllable breathes tbe fire of Ii fe in the dead, inspires the cowaradly lo love
war and hingles new courage in tbe blood of both the reciters and the listeners.
In the Chandi Chari/re Guru Gob,nd Singh .ba s forged a new style, an inkling of
which we find in the Bachit,·a Natak in his invocation to the Sword. The rhythm of the
verse, the use of alliteration and the diction, all combined together produce a music, which js
pJayed in accompaniment with the t,vanging of arrows, the clashing of swords, the beating
Chandi Cha.ri~ro. l.
<ft, 'fflll RI{'<]( ~Q !! ail, ,ii fli'fl'l ii

f"'"1fl:"llT II '!I,:\
Q'f; a:,"11 <fir st" qs/;i '1s ~ i/i;;R iii f,u: lf.Tfi:..-) 11
'l." zj>1r, a~ 'l\il~R iii,..-) if~ i!TR 'TU q,: ,nfi'<!I 11
f"IB !ajffll 1;11:<(f 02" ;;q, .jl ~ 9'2" ,i) 9'2" BT"! qilJR'<TT 11 Ch. Oli. I, (34)
& 1nfl: ai« @~" q,;j,r llt\i '!('Is

aif •• II ,.,.i)
~ ii) 'TR f.r;[T, !.'nl( !!'TT( f<l~R ,;ii) s\ij ~ai) II
~ '!'I «I lllfu. !.'1 mm Wil B'I .. far •• I!'! "!RT II
f"IB '!l''l'U"i 'lil esrru:,r;;;;a,m:;i ~ '6TZ ..ar 1nfi: .ft,TI 11 Ch. Cb. I, {36)
'IHI <rll ,.1 ell Bilffl: e,

!;!ill f.IB ,@ list 'liResr) l 11
ar.: qf "[ esr't, ir err.: ai1 w g~ ll'lllf?a: q;fl:esr't ~ 11
lll, ;;:'\ m, !J'liT, ql: esrf.l ~ 1nfl: ti a:\il ,, f,;;f,esr) t 11
srR <ii! "[ "It, "' si" !!~ ll'It q(ai'!I' qf,"llr it 11 Ch. Ch . 1, (~0)
~f'!I' 'Iii m_(slR( «:\ <liR: '1°<, w,·,, qs(,r ,Rsn ~ II

s~,ij1 ;ff'l "!<ii;; '!'I B( 'lilq Wllil'li '!J<r, 'ISf,s,;ir ~ II
. ... .... ._ .... ,..,. .,,_ ....
+Rlil ,r "IT( 'll a.r a ~ s([il qr>;SJIT !. 11
lif3il 6'l.,if
"llo'TT racr ~"<Tci"llT §at ir,i'r 'IT {'I it li/N a\ •TTR"ll ~ II Ch. C!i. l, (41)
'lfil ~ 'll'l<i!Tsl i't l'l"ll'l ~R"TT ii.( 'n[ II

•• llfif 'lil '!Jll:= 'liR'!T =
3f.! "I',: !ii>1r,: •"IT, 'l?.J !a]fil ,jr,, <1>11, .;fi:esr) li!('l;T 1,
ftl, asrf.r iii q,: "'" qfi_ai'[ w i\« qf;;..,'t .;fl:il; '11: .;r 11
"Ii! lirm'i ii <l,<'IT<R ;;;;r, ~!'lo ~ f~iill ol('IST II Ch. CJ,. l, (43)
'R_lfi '1,1 B"I q,1 .rl:'il Gls<!I """I!;{, '!1' 1,:j ,i'TTR~I 11
si,r qa;i,r iii Hf!l/t orr, ll,"fr,.; "IHif'll /);(,< ll"l'liir\esrt 11
?J:ifa:f1a, ll![('!T 11 Ch. Oh. l, {4.6)
"" w zj'!l, .~ !di[ lila ll!.i ii; II

'T,'is q,f'f;li
a;, "J.,•ilo fucr 1'1,~r cr,./l qfl: '!,or fli, "!fui/; "" <F 11
Of'T+Tlo <!o)q ;f.l !;{(<fl'! !l slil'T ~'! iii OIi! ,is 11
ar 2u esrfl: fBg,; i/; a:.r ~" ~ ,;iiri! f;;;;, ~ r ~ 11 Ch. Ch. I, {50)

•
BRIEF CRITICAL STUDY OF WORKS IN THE DASAM GRANTH
of drums, the blowing of couches and the shouts of war crjes. The verbal music produced
chiefly by employing the devices of alliteration and ooomatopoeja seems to reproduce the
(11 ~ ~or~.t cfi1 '3'fTT~Tt:r fq~\ ~
t61 '!!~021 II
TR:~ +r~~~ <f.~T «f~T arrrtf~ '3'fif ~u ~l:Hlcl" 11
~~ f~ ~ cfl{ ~,if ~\~ <ii\ Ff~~ If
ij.T~f.;
~cyT ~arr <fit ~f< ~cf., q- ~i:r~~ +fT.:Jl 'El"~ 'ef+i~cr II Ch. Ob. I, (62)
~~ ~i:r~ ~~~ tf.lir ~ ;;nit.,~~ eJil[ cfi.R~} l 11'

~T~ ~qft ~I~ q'(l o& 1Tll:T fwrr&"fu lll~ =qft~') t II
~ ~~ fB\ ~B., if ft:rcr 1'3'f Q ~ ~r~ q~if t II
iff~s ~cll:T\ cfiT ,jfc" ~t:r <ii Tfff <iif ;fh: GT{;~ a -:{~ t II Ch. Ch. I, (68)
ifT\ fucrr~ ~Q fu&: 63\ ~ i;, f~i3' ~ f'f~ 0\al' 11

cfi\ ~!Jc;if;m 8qj{T a&i ~~ c.fiR ~5'f1T q;{ <fi\ar 11
Q.~ -,q=; ~:ifT ~.:.if "f,f3~cf if~\ ~ "q1:fi f~3 ~ fqj~ 1T\~fT I I
oaf 1~ f.,~·+l ~ f+r@ ~ti +TR c6€\" tii ~ B\al ll Ch. Ch. I, (60)
<fit'1 ~ =crs ~~ i ~ ~~ ~ ~.:r1 11

sr:;:;il ~~1 ~Q°
~Toi T;liqf ,., +rn:: +T~ oisf ~cit ~ ~T cfi\ ~;,'t 11
~~\ ~ ~ i ij~ ;f ~ft ~o ~ct ~ ~ ~ ~~;fl 11
<r@ lTflf ;jlWfr o~ fu~.r Q1l[ ef~ir f~ +irfu: fil~'r 11 m Ch. Ch. I, (97)
~?.ffi ifel<f.e +f7+f~ +T~<cfT~~ +rRif~"r-1 ~;; a{rf ~{eisi:fif 11

"{~ Tsf.fl \:l\;:J l:l, ~ m.:t1' <Rii :cfs ~ 1s~ ~:s ~G ~~liT II
(<ficfiijT('-lf &,<i ~cf -.:r~., ~~;, ~ ~tl"~
.... ~;, ~\ fl~ ;lg~ 11
~" iif§!l-.'fTt tj 1~:r~ crr,<iif\ ~ii& ~§! ~~(~~ ~q ~ ~Gtfif 11 Ch . Ch. l (230)
Cba.ncli Charitro. Il.
...
~~,qi~-
•
{-lft-;l ~~
•
&"fl f~ ~~ ~ ;r~ ;get iftt 11
•
9ilq- ~lq- fifilf<ti "
~To~ ~T;Jcf fst'\ilf ~~
II
1t°3\ ~~\ ~~~ ·~rr~e1 ~( ~t Sf~\~ II
~~
.... ~~
re,_
flT~ "
~;;ii ij ~ ifR ~r<if 11 Cb. Ch. II, (69)
• ,.
@ ~cyf "'
=qcyf G_q~., "'1~ 'q'if ll~it II
~ijf ~qt ~cf
•
~l:T ~c:if ~(!f f\G.;( II
~~
•
lTT~ 111~ qj~li"i;if iJT~ ifT~ f<ralT II
.
~
•
+i1T flT~ ~ ~ ~- {11" ;gijlf 11 Oh. Oh. Il, (70)
~ ~ fCfit mtmr GTR lnlft f~R

~(ff ~ ~ 9:•<.Jf ~-~ w ~'re
.., "'
~(qfit "
II
~ff iicfi ~~r
r,,.
gt:rl~ 'ii i:fijj u ~ 'q"r.fl;tj It
~eqr~ ro~r~ lll~ ~~~ ~~ijj 11 Cb. Ch. Il, (71)
fut: a~
~
q1\ ~ri~ lii~~1 ~ ~~( II
errm ififil'
r,,.
G{r if{1T.:r ~~ srft ~ II
'El"T~ qrr&t f«,~r;r &rlT) ~~ '
'li( !; ilT< It
tfu: I~ rit ~r
•
~ ~m ~rflf ~ crt\ II Oh. Ch. Il, (74)

66 'fHE POE'T'R Y Of THE DA SAM GRANTH
actual action which this verse sets out to echo. The galloping verse, the best of accented
sounds and the varying pause reproduce the speed of action and the hurry of mo vement
in actual fighting. It is indeed a rare verse that shows a mastery of technique and elaborate
art.
The Chandi Charitra ( l & II) bas a character differen t from all other works. It bas
nothing of a sectarian spirit. little of a religious tone, rarely insertin g prayers and invocations
to any deity, and such as are inserted are brief and mode,ate. It de,ls little in precepts, cere-
monial or moral. It presents an uninterrupted succession of legend s. Its leading feature is
>n, 'II, {i'l"](l'li'l't ~a,- aai

l;!~.f ~~ti I f,;i111 <,:Ill./\ O!ll!J >Its'\ 'l>lil(' II
~ 'I~ 'II~ ,.,,-efii; 'ii'IT!!/ I 'IT"!'TT \i!T(il\T~ "1'l<i' >l~Jl!j II Ch. Cb. Il, (84)
iijs,f ~ i1-l'.l ;;pi;it >lil:!Ji/; I <ro illf ill~ Wl >tl.: '!'fil. II

'9<f1 "IJ'lt\>i '!..:\(' (,:U<J; I '!;fl fs.:"'· 'II'< ari/; 'l'l1fifi 11 Cb. Oh. II, (86)
'1ft ill[ ill[ ~~ <R:<i; ~~ I

'1>( ~·,: [j',1 'iii,' <lit! !l''<<i;' II
>!'TT 'II( ~ <ii!« <ii• ijJ( 1§1</ I flr'(ll'. ~ <fl( fl;-,• fssi10 ~- 1,
l!T'TT f.!.ir,j! 'l','!l'le! 's"llii! "'i~ i/; ,rfu: lii[(T"l<I ~ 1/ OL . Oh. II, (110}
tj.-fta- 1'-i'Tsr'IR! ;,;<,:-'iil'l'R'T 'ii[a/\ if.oT{l 'ii:i,l'J; I \l!'T<ia''I 111( g;q,f<j\ ofo.'!i II
'fil'Tifa_"T 'IT'1<iil''1 i!l'T'fil''I i!T"f I l II' I',a_' IJ 'llofl lli\T'TO! IJJ\;f 11 Ch. Ch. I!, ( 11 :!}
fll'l'!1'T ,:.-~ i!TT'l'fif'T 'iilO 1 'TT'T:;;~,r <n:if (Qi qf'f ~,j II

liIT'T'!il''T <Ille!' +li"t'T'!',•1 ~ I 'l:'T,;a',r 'fl{ "1'1',,f'T a:'lil~ 11 Ch. Ch. lJ, (113)
"lt'l>i~'T 'Isl~ 'IT'T~'l <fl,' I 11111,;,;'11 '!Ir ;,.j fu.:,;; al,' 11

11['1',q,T ,raat l;! ;'f'"f ~,'.' I 'iil'T',~'I if.o<f\<11'1 ai;,,tif,,fJf 11 Oh, Cll, JI, (114}
'(TIJ',~'T S:l'TT +rl'Ti/{'T +rl"f I 'TT'T<ia''T ,ri,il a!tlli,1/J IJl"f II

,1;r11,;~'T ;;;,(! 11'1: il,1;~1iis I ol'T<iif/J '11{ s'l'f'f. Oi/l'li Ii Ch. Uh. II, ( 115)
'!ilf "'• § tif.o 'li.,'t,i 1 'If. 'l;;o <rT( l;! ati\<i 11

e1• arrfur fi!iqt<!!<i 1 11;,
'o(
<i!il:•
sip'! a:'{(
' .
'"T~ I e!O:
'T••
'"'" 'Ill
-
~• " 'l«l<!!'i 11
,r,iai;si 11
!1'1 'al!ff sl f'T '[tjq;,:j I ef'lif,iT ,ft( § •iif.~T II Ch. Cb, II, (134}
2:'iil ;sarai; ;?\,j il<liT @:1f<li cl@ I o<l;I E"'zi ij>1 'lili flr1fif.([@ 11
;..ir "ff<i! •i\,· >im qfnr ffi'i I q,1 .@ [iii l;!fuJ>il .i),r snf 11 Ch. Ch. II, (162)
ir'IT o•ll ir.i oQlj @:1feJ; •l'iii I 'li\1 'lj_i\ ,ra<i/ ;;a:( it@ "fr.I 11
112:r ~ ikoi ,,nu .{'I <.srri I ii: 'I,'! 'l(•r ,a- sJ,j! 'l!'•r 11 Oh. Cb. II, (213)

BRIEF CRITI CAL STUDY OF WORKS IN THE DASAM G RANTH 57
•
narrative absolutely devoted to the heroic achievements of C'bandi, 'the Fierce'. Such a
dyna,nic poelry ,vh.ich was ,vritten with the purpose of insipring bravery, dispelling
cowardice and Filling the hearts of th e troops wilh valour and which induced in them the
<lrea,ns of battle-scenes and made theo1 feel the very presence of Ran Chandi (~rg-ai~'lJ, the
Goddess of \Var 1 dancing in th e ten1 ple of th ei r hearts, thus inciting them to spare no suffer-
ings until Lhey had put an end to th e political and religious oppression of the Mughal
rulers and liberated 1heir n1otl1erland, the Panjab, will undoubtedly find a prominent place
in the immortal ballad poetry of the i1indi li teratu re as and ,vhen it beco mes easily available
in D ev Nagari character.
6. CHAUBIS AVTAR
The Cha11bis Avtnr be,ins ,vitb. an introduction running into thirty-eight quatrains
(Cha11pais'). Ti1is introduction, tl1ough brief. reveals Guru Gobi □ d Si □ gb's conception of
God and his belief in the cause, purpose and forn1 of the descent of a deity upon earth.
T he Guru fi r1nly believes that tbe One-God Himself is unborn', garbless' and unseen' but
is contained in all things'. He is the Creator' and Destroyer' of the whole universe, al! acts
ultin1ately proceed from Him•, though th ey ajlpear to be done by His human instruments•,
He Himself remains completely detached and bidden in this uni verse'", He does not
.accept ceTisure from any one (far destroying him ) 'but rather casts censure on others 11
::i.nd as such whenever there is a portentous phenomena foreboding a great misfo rtune,
L lnb oduction
Clmupui 1- :I!! 38.
. :,.., .,__, ,
•n.r ama 11 "'"[ .r o:rr<1r 11 <11 a .r..r 'Sf'!l'I '!0!<11 II Cl,. A. Toho (13)
,. .i,r "!it.r "!it.r1 ,ii 11 arit ar,ra "1'1'<.'IT a;;;:{ 11 Ch ..A.. Intro (15)
,. fo;a[ 'o[ '1 mm: iii'-'fl'll II •• 'li,: .rrii; "'[i,'i[ .Sil:Tll[ 11 Cb. A. Intro (13)
"loflq .sq fai;.;t ;ifu. ,r1ar II Rr;;: Sf,~ atra 'S[\il'-'f <[&I'll II Cb. A. l nt,ro (15)
f:;ifire,. ar~Rr i, ar1s 'f&rar 11 ~.. <ala e'i ;ft 11R orr,rr 11 Ch. A. Iutro (34)
cir G" f~sie SlfTTT'f~ O!f'lff a['og

ll'l >[['I[ oi\,T'l<f II
II
q,.;;: "ffq .,,r,r ,,') /l!o:rrq1 11 lilr"• f.,,,r "' ,irqr 11 OJJ. A. lr,tro (35)
., lil<ii\>1f.,111,'TT "!ijr&i 11 .............................. II Cli. A. Intro (31>J
'"" .ir .sq si>ro iii '!~ar 11 'If it 'll!l ar&r.i1ara 'fi,or 11 Cb. A. lutro (12)
s;r.r .r,,r '1ST 'fi,a wr•r 11 ••••• . •••••• ... ••. ••• •. . ••• . •• 11 Cb. A. lntro (3)
- J! 'lo
cli'f ljijf
' r.
1'1'1'!!,[ II ............................. II Ch. 1\. l ntr.o (30)
saia 'li!'I Us a!if ·s;r 'filiiil

II --- .. . ........ ····-····-· II Ch. A. In~ro (0)
S. "1[9 ,'l 'Sfl'f 'fi<il '!fq II 'Sl'!!'f ,j; ~ (~ .' ~arq II Ch. A. JnLro \11)
l'ornpurc tho'Po.11jabl
.:r,;;- .,,q.i'r 'l[I! ey;qfi:
lll't)\'IIJ"b;
II "'"'" ii; f!ilf{ a: tafl:"lr~ II l 'h .•-\. J(ltro (5)
•
"" a,rrq o:rrq 11 'fl>J 'l,rq arq II
DL'a~h con1eth to t~ke one, but it is called by the name of favtlr.
JO. 'Slfq,r ,,a f,r,:i,;i,r <a,y a II "ft'l ;;;q <af -rr/l aar a II Ch. A. Intro (5)
"
"119 f'fU.'j',l ,(I 'I qplf II ........................ , •• II Cu. t\. lntro (6)
11. ,<f[q f.is(l si) ~tu" ,1/i!T II "f'il{'f fa~ ~f,a,rri ~1,rr II Cl1. A, Intro (38)

\
58 THE POETRY OF THE DASA!,1 GRANTH
He bids gods to descend on earth as saviours of humanity, called Avtars•, to fullr,

His ,viii and purpose'.
The Guru maintains. as revealed to him by dkal Purakh', that all the various in-
carnations have failed to fi □ d even a trace of God, have got tben1selves confused in false
conceptions and useless ceremonies and have coafused others equalJya.
He says that the Yogis and the Sanyasis, the Jains and the Mu slim faqi,·s are all loot-
ing the world with various types of bypocrisy and display of religious fervour. The true
saint, the lover of God, can never reo,ain bidden. The true love of God is always rewarded
and the evil doers are ultimately punished•.
The Guru asserts that God is one for all and the prin1ary aim of religion is to realise
Hhn and that if a person rises above the narro,v sectarian views and knows the one
Supreme Being even a little, he kno,vs the Real Thing".
The Chaubis Avtar is a ron1ance of twenty-four legends of as 1uany iocarnations of
god Vishnu•. It is con1posed by Syam' ,vho is no other than Guru Gobi □ d Singh hin1self•.
These twenty-four incarnations are :-
(1) Macbh (The Fish) (2) Kachh (The Tortoise).
(3) Nar(The original eternal 01ao) (4) Narayan. (Who resides on water)
(5) Mobini. (6) Bairall or Varah (The Boar).
(7) Narsingb (The Man-Lion). (8) Ba,van or Vaman (The D,varf).
•
(9) Paras Ram. (10) Brahma.
(11) Rudra. _ _ .:___:
(12) ________ _
Jallandhar.
* rli•/ar is 11. Sanltrit word which 1n0011s 'n descent' 01· 'au lncarnr,.lion',-C. D. B. M., :03. Tho 1.i~le is ~ive'1 to tlioes clrn,mr,ions of
huro11.oity who come to its rescue. in national cTifJ7s or emergenciea.
God ronnifests Hilnsolf in striking forms whenovcr new 11.djuslilrnmis ]111,·o to bo so ugliL about. T he specin l raveht~ions ar~
cnllecl in Hi nd n my thology a~•tars or de..acent~ of God r- An lde-u.li!l't V iow of J;fo b)' l:i. Rndll!;l.k,;.iahnnn, p. 337
O!O a{~ ~a "!Rf!fu '<[qHJ 11 "" <[s ~- <Ro SSf'lo]l.T II Ch. A. Talco. (2)
J.
>1,'! Sl<i\[,n sia e<s!lnll~Bcfl>ln ,i,r '!_<iloql,fnll ll.N.Vl,\4'1)
<1,1 ~r fu 'l!J,'I ,,nfnit'lf<r .i11:a 1
Compeort- :
' q ar.Ic'-ll••f ~~r;.;rq_;r_ I
'!!•i<'lR'l's<l, .Ehn.gwod Gitn, Iv, (1-)
• •
qr,,lll)l'l fll''!_nl ~n!'(ll'l 'l ~qi<!!'[ I
'Iii a," 1q,n<1l'l B<l'ITf<t ilT ilT 11 lJhagwa.d Gito., IV, (S),
·• :B. N, Vl (6.28)
ai't """1,:; "1"!<11, <JSl'il~ 11 fa.r .i1 glf lf<t i'ln<JS ,1 qfQ 11
3.
B>I ~1 "Ill mit >Ts,laf.il'<ITBT ? ~
II 1:(ail'<!T B;<l<il<llil '1n ij;~ II
ms >TT ~,r <iBr,r II ~qa >al'! fsrr~,; •Tl:! 'll«T,T II L'h. A. f.n.fro ('.!:I}
q;; 3,1:S>! f,,-,r ;/;; q,i\!•P 11 @ii il q,'! a'<! 'IS"i_s "Ifill 11 Ch. A. lotro (:!:!)
:'i.
fun .r,~'IS 11t
,5,;1rm II @'1 i_l <r<<t <I'<!~ ,.;,; q['l\ II Cb. A. Tn~ro. (30)
The grel\l deity of prese-r,•ation nnd reatou,tion. - C. D. J:l. ~L. 36,

•• . • • • •• •• • ••• •• • · · · · · · • • • · •• 11 ,,.ra <'IT'! '< 'IJ1l<l Ch, A. Intro. (l )
For thl' di1c:u~1ioo on the uame Syom aoo C'lmptl'.lr I.

BRIEF CR ITICAL STUDY OF WORKS JN THE DASAM GRANTH 69
(13) Bisben or Vishnu. (14) No name specified, but understood to

be a manifestation of Vishnu (Shesl1-
shayi Avtar).
(15) Arhant Dev (considered to be the founder of the saravagis sect of the Jain
persuasion, or, indeed, the great Jain prophet himself).
(16) Man R aja. (!,) Dhaoantar (The Doctor of Medicine).
(18) Suraj (The Sun). (19) Chandrama (The Moon).
(20) Ri.ma. (21J Krishna.
(22) Nar 1Arjun) (i3) Baudh or Buddha
(24) Kalki or Nih Kalanki to appear at the end of the Ka!yug, or when the sins of
men are at their height'.
Pron1inent an1ong these are the following ten' :-
(I) Mach.b. (6) Paras Ram.
(2) Kachh. (7) Rama.
(3) Bairah or Varah. (8) Krishna.
(4) Narsingh. (9) Baudh.
(5) Bawan or Vaman. (10) Kalki.
Of these the major and most i1nportant are Ran1avtar (864 Verses) and Krishnavtar
(2492 Verses).
The brief stories of the wonders and marvels of each of these Avtars as given in the
Dasa1n Granth are given below. fhe tnetres in which they have been narrated are indicated
in the foot notes.
(I) Machh Avtar (Tbe Fish)
Once a d~mo n, Sankhasur by name, harassed the entire world. Upon this, Vishnu
appeared in the form of a fish who churned the ocean, and thus troubled the demons.
The latter got enraged and threw away the Vedas into the ocean. This naturally upset
Brahma. Now Machh Avtar came to his rescue. A terrible fight ensued in which be over-
powered the demon at last. He seized back the Vedas and restored them to Brahma.
J. C.D.R.Jll ,38.Compnre: H .P.L.39;R. S,35S,
2. ~'I 11m: fur<1R !j ~.i "!'lol!J II f"'l'l ,if. ,:m'll >:l'I ;;:11ri:1 11
'<!'lo "!g>:'1c! 'l'! '<l'lol!e 11 "'-l ~ RI'! fuar etitll "!l.'il!e 11 Ch. A., Iut,, (<I
Compare: ,1ccorcliag to the geli.(".rally rece-ived U,CCOunt !he inc,e.rno.tions of Yishou are ten in number, es.oh of them boing
ll.!!IJUmed by \ i,0inu, lbo gre11t prcst1rving J)Owe r, Lo ~ave Lbe world from some great de.ager or troub!o.-0. D. H. ]If , 3ii.
~l,!<i,~ "'(nf;a- 'lo.if 'i'llo!Elil:'ola ~,j ,1,<1& 'I@ ;;;<!!'<if '<)'il'<)>i ~~~ I
.... .... .... l:' _::i, ....
'TTiil~ "'l'l~ • .t 'M['lo 'ol~~'ll!Rr•'fo •.rs:,;;r.'!_,;;"" S:W'!ifo'!io 'li'l!Jl'l 11•-i ""' 11 a or, (II
Metre Serial No. Total Metr..'.! Serial No. Tota)
J. Mo.cllh Avt.ar,
Cha.opAi,
'l'ribhangi. ,,.
3fl, JO. 2.
J.
llhuja.ng Pr11y11t.
R11sawa.l.
·11-4-4,
-15-47.
4.
:1.
Bl)UJB.Dg, 4B-ii3. (l,
'"'

60 · THE PClETR Y OF THE DASAl\1 GRANTH
(2) Kachh Avtar (The Tortoise)

(3)-(4) Nar-Narayau (5) Mohini Rup Avtar.
The churning of ocean by gods and demons ,vas lbe occasion for lhe advent of these
three incarnations. Tn order to help churning the ocean ,vith 1he help of the Mt. Mandra-
chal, Visbnll assumed the form of Kacbh to fix up the u1ountain. \Vhen the gen1s (ratna,
etc.,) discovered fro,n tbe botloo1 of the ocean could not be amicably distributed a,nong
them, Nar-Narayan appeared; but when he failed to achieve his object, a fight ensued bet-
ween the gods a □ d the demoos, and Mohini Rup appeared and charu1ed then1 into accept·
,
ing her award .
Bairah or Varah Avtar (Tbe Boar)
(G)
The story ofYarah Avtar is taken fron1 sr,;,, Pu1·a11. There ,vere t,vo dcnions,
Hirankashyap and Hirnachhas. By virtue of their physical pro,1/ess they played a lol of
mischief in the ,vorld and n1ade it in1possible for people to live ltnder their sway. A great
chaos prevailed everywhere and when Hirankashyap pressed the Mern 111ountain ,vith the
toe 0f his foot, the earth was sub~1nerged into the water. Then Vishnu cau1e to the rescue
of the people in the forn1 of a boar. This boar becan1e a source of terror to the den1ons
until the stronger of the two den1o □ s . 1-Iirnachhas can1e fot,vard to extirpate it. But
.H irnachhas was killed in a fight that continued for eight days and nights . Thus peace was
restored to tbe land .
(7) Narsingh Avlar (The Man-lion)
The story of the Narsingh Avtar is related in Bhag,i•al and Visl,1111 Pura11s and
partly in Padon, Puran. Prahlad, the son of Hirankashyap, the den1on kinp, while yet a
boy refused to acknowledge his father as Al1nighty God, but asserted his fai1h in Gopal
,vbom J1e believed to be on1 □ ipresent, even in the pillar that supported the ceiling or 1he
court. As the king struck his sword at the pillar in defiance or Gopal, there appeared all
Serial No. Total Metre Serial No. Total
Metre
(I, Buirtih 0?' \'(lraJ, (The bo11r) .-l.vlt'l.1.
~- Kachh .r\vtar,
2,3,4,5, 1. Blmjrrnp:. 13.
Bb11jru1j1,
"hnjung PrUV(H. l. I.
Bliujnng: Pr&yat. \, • •
Samudrn Chl1ir :;'\Iatlia.o

- a. I<.
Ch11.up11.i. 1::, 13. "

Tot11k. 1-lO. JO.
]Johrll. 11. I.
l.
Bhujaug. 14 .
,..- 7. l'-arei1.1E!h (The Y11.v-Ji (:Ill) .-. ., hi:i.r ,
28, ~Ii, 35, 36, i'li.
3-ct. Niw-Naruyan A\!tar
,.
Cbaopai.
Totak, 51Fl'lij•
- , - ,-1- ,,.'
Blluja.ng. l 5-~0. T,;111:iar. -'I) ' -.
'I'
'·
O. Mobini Avl-ar
- u. ['(lhra
Padbo.ri. ''·
l, :', 3, -1, '40-t!.
L
7.
Olinupei. ,.,_ I, Deli UiurirDm. Ul, ~O.
31.:;:::1, 38, 39,
-·
0
i,
2. Dhujang.
D0!1r!t-
Bbuj1,1.tig. I. 8. 2. Bhujang Prny11.t. iill, 1,
::, 3, 4. 3. PodJ1flk. ~ll, 2-4o, 26.
Dbujang Pra.ya..t.
-s. - :!t.
'·
-

61
BRIEF CRTTJCAL STUDY OF WORKS IN THE DASAM GRANTH
of a sudden, out of this colun1n Narsingh to whom Hirankashyap gave a brave and long
fight but fell ultimately. Prahlad was then made the king in the place of his father.
(8) Bawan or Va man ( The Dwarf)
Bali, a den1011 king got proud of bis status, power and dominion and aJ1nost ruined
Indra's capital. Upon this Akal Purak/1 ordered Vishou to descend on the earth as the
•Ba,van (Va111an) Avtar. Thus Vishnu appeared in the forin of a poor, \ean, thin dwarnsh
B,ah1uan, ,v.ell-versed in the Vedas ,vl1icb be recited standing before the court. The king
was 1nuch pleased ,vith his recitation and offered hiin much wealth as a re,vard. The d,varf
· refused to accept anything except two and a half karan1as (steps) or land. 1-he king readily
agreed to this apparently modest proposal 111ucb against the advice of his minister, Sukra,
wl10 suspected a great fraud. In the 6.rst step that the dwarf took, he covered the whole
earth and in the second :1e reached up to Brabn1a Lok. There being no further ground to
measure, Bali offered his own body for the ren1aini □ g half-step. This banished him t0 the
· Pala/ (uoder-·.vorld) and Bawan with him as his door-keeper, bound as be was by the term
. f
of his boon. . , ·. .
(9 J Paras Ram
This.story is also drawn, like lhe Krishnavtar, from BhagH•at. Tbe gods having been
harassed by th e Asuras who bad appeared in tbe fo.rn1 of Kshtriyas, approached Akal
P11rakh and invoked His help. He was pleased to order Vishnu to desc~od on the earth to
kill the evil-doers. Vishnu, accordingly, appeared in the form of Paras Ram. In tbe
award of gems, discovered from the c11uroing of the ocean, the Risbls got Kain Dhenu,
(desire-yielding cow) as their con1mon share. The king Sahasrababu forcibly carried it off
and killed Paras Ram's fal11er. In revenge, Paras Ran1 killed Sahasrabahu and slaughtered
Ksbatriyas ,vherever he 01et tben1 and wiped them out of the earth twenty-one tin1es.
(10) Brahma Avtar.
Tbe story of Brahma Avtar may be traced back to Bra/1111a, Bra/1111a, Vaiuarta
Brahn1and, Bhavishya and !vlal'kandeya Purans Brahma. is regarded as the iospirer and the
•presiding deity of the Vedas, the S111ritis and the S/Jastras. Wheoever there is a decline of
learning or culture, he appears as the tenth Avtar of Vishnu to resuscitate, foster aod
spread the Vedas and other forms of knowledge and learning. He has assumed the hun,an
form again aod again i □ course of ages as' the greaLesL schol:-,i.r of Indian learning.
Metre Serial No. Total Metre Serial No. Total
{8) B1.wlfUl or voman t'l'IJe Dwa-rf) Avtar o. PRras Ham Avtar,
Cba.upai, 8-1 1, 13-16, '.!0-'.!5, Chaupai. J-4, 3fi. 5,
,,. 15. Nar&J. 12, 13, :! •
Tomar. 17.1 !1, ,, l3huja.ng.

Bl, □ jnng Prayo.t.
(I. 11 ,
15, 31.
'.!7 .30, 3:!-3f. 13.
2.
Dob ra, 1~, 31.i, " Ra11awaL 1:t-.26, 13.
,. . 36.
Nsrsj .
Dhuj.uC1g.
4-7,
" 3'
., 2. 10 Brnl1mn Av~11.r. -
Chirnpai. 1-!i, 7.
Bhujtmg Prayo.t. J, l.
'·].
Dobrri.. 6.
-~7.
- 7.

62 THE POEl RY OF TH E DASAlvl GRANTH
(l l l Rudra Avtar
In order to punish the wicked persons, the enemies of humanity a.od the demons
Vishnu appears as Rudra (Sl1iv) . Accord ingly, Vishnu descended as Rudra to punish demon
kings par ticularly those like Tripura and Andhak. The latter possessed great wealth and
power and used both to serve bis nefar ious pur poses. After a lon g fight between the two
armies arrayej on either side in the manner of Chandi's wars, Rudra and Andbak came in
close grips with each other, the f0rmer killin g the demon with his unfailing trishul (trident),
(12) Ja lla ndha r Avtar
The demon. Jalland har, ,vbo had e,tended his power far a nd wide sent an ultin1a-
tum to Shiva asking bin1 to surrend er hi s ,vife or to face death. Thus ensu.d war between
Shiva and Jall a ndhar which continued for years, but in vain. At last Vishnu came to
rescue and thou ght of a device. While Ja llandbar was engaged in the fight, Vishnu
assumed his form and approached his wife Brinda as Jallandbar and received her homage
and flesh, thus depriving Jallaodhar of the spiritual strength of his wife's chastity. This
resulted in the death of Jallandhar and the triumph of Shiva.
The Bhagwat Pura,r also tells us that Shiva killed three sons of the demon, and
Tarak and Andhak, and others who were a source of great annoyance and fear to the gods,
on account of their increasing power and predatory ways.
(13) Bisben or Vishnu Avtar
Whenever mankind is in distress, wickedness takes the upper hand over virtue or
whenever the gods are attacked by demons and forced to leave their homes and hearths,
- the god Vishnu is called upon to come to their rescue and save them from humiliation.
(14! Sb<shsbay, Avtar
Once, as the story goes, Vi shnu lay asleep in water on the couch and under the
canopy of Sheshnag, a se rpent hav ing thousand heads. Out of the dirt of his ears there came
two den1ons, Madhu and Ketab, ,vho created a great havoc. Thus, alarmed out of his com-
posure, She sbshayi (Vishnu) ru<hed to them and after a protracted fight, succeeded in kilUog
them
11. Ru<lr,1 AVbBr Bridh Nal'aj
38. 37. 2. Bhujari~.
31-3,l, 39-ill.
••
Arillt1..
Ch au.-, 6 i. 53 :lfi. ,. 46- 47. 3,
'fot,.k.
Nun,j.
1-6 !1-Hl, 38, 39.
~:1. 22.
J,.
2.
Chuupa.i.
12. Jnlln.adh!l.r Avtar.
1, 2, 3, 0-9, ll-'14, !U-28.
-50.
17,
0
Pfl<lhari. 7, 8. Tot11k, 15-20. 0.
R,.,sa.wllL 23, :t'.2. JO Pohrn. 4, 10, 2.
,-'·,.
Runmal. 17-20. B huj!l.ll.g Prayat,. 21, 22, 23. 3.
Go.11r Bndh T{o.l!-Jnam

fi, 7, 8, 0, 10, II. J~'
l!I. Bishen or Vishnu Avtar, -
llif""
':;3 ., 15.
I 6. I 7, JS.
Cha.upni.
Dohrn.
J-?.~,5.
3. '·l.
19, 20, 21. "2 °'{ ''4 -,-·,-· --
26, 21, 28, . •j 30, .,
.:.. '
43, 4-1:, 48, •1!J, 50.
,4•.l
:n.
Ohaupa.i.
14. Sbc~h-ahay i Avtar.
2, H, 6,6.
-
••
Totnk. -3-
'· Dohm 1,4,7. '·3,
Dohra. 6, 2:j_ 2.
Naraj. 31-33, 35-38. 7.
-7-:-

BRIEF CRITICAL STUDY OF WO RKS IN THE D ASAM GRANTH 63
(15) Arhant Dev

Once de111ons assembled together in a ten1p]e under the leadership of their Guru to
tbink how to protect tbemselves from the gods and challenge their superiority. In their
deliberations they resolved that like gods they should adopt the Vedic religion and perforn1
sacrifices which would lend thern spiritual strength. When the gods heard of it , they became
uneasy and debated on how to defeat tl, e demons in their objective. At last lhey approached
Akal P11rakh ,v110 ordered Visbnu to descend on the earth to do so. He took his birth as
Arhant and founded a new cult. tile Sravag. He became popular among saints and
preached bis cult far and wide. He forbade hi,nsa, discouraged sacrifices and pron1ote
asceticism. He had followers who shaved their heads, gave up sacrifices and developed a
passion for the sanctity of life. This gave the gods the n1uch needed relief, for the power
of the demons declined.
(16) Manu Avtar
There was, however, a □ unhappy result of Arhant's preaching, i.e., the Jain Dbarma
came to be established and the Vedic Dbarma bad a set-back. Vishnu can1e do,vn again as
another Avtar in the person of King Manu who revived the old religion and codified the
laws known as Manu-Smriti. He patronised charities, sacrifices and pilgri1nages and thus
restored the Vedic religion to its forn1er position.
(I 7) Dhanantar (The Doctor of Medicine)
With the increase of ,vealth, prosperity and the life of ease which the people led,
n.1ar.y diseases and maladies began to overtake people. Both the kings and the people were
worried because no effective cures were known. God enjoined upon Vishnu to under take
this mission. The gods churned the ocean and got Dhanantar Baid. The Baid founded a
system of medicine which ensured a better health and a longer life.
This story is found in Harivansh Pura11 also.
(18) Suraj (The Sun)
When the demons born of Aditi became powerful, they established a reign of terror.
As desired by Akal Purakh, this time Vishnu assumed the form of Suraj, and destroyed
them all. Later o □, another demon Diragh-Kaya arose as the bitterest enemy of the gods
Metre Serjal No. Total Metre Serial No . Total

15. At·hanL Din• Avtnr.
Cb11up11-i. 1-13, 15- 18 17.
Dol1ro.. 14, 10, 20, 3. JS. i:;uroj Av tl'lr.
,.
16.
-
20· A rd h N arnj
Atill il-,
fl, 6. :!I. 22,
9, lfl.
'·
Chsupai .
Manu Roja..
,.
1-7, ,. C'hnu uni,
'I'o tak .
1, 2, S
25, 26. •
3.
Dohra, !. Doh rA.. 'i,:!7.
-
8. Ka1·11j. 3. ¼, J !J. 20. ,.' ·
17. Dhanant.t r A,•tor, B oli Bi cl rlUl). 23. 2-l . .,--
Ch11up11i , 1-3, 5. An bhcv Chhand. I I. I.
'·0
Doh:ril., ". 6. -- Mndhur Dllun. l :!. I S, 7,
-
T 21 ,

and the 13rahn1ans. It is said that he grew incredibly taller io status and once held up the
chariot of the Sun . l ' his ,vas a signal for another long battle between the gods and the
de1nons, with these t,v o as tbeir heads. Thi s ti,ne too, the gods ,vou the day and Diragb-
Kaya ,vas ki lled .
(19) Chandra ma or The Moo n
In the evolulioll of the ,vorld there can1e a stage when nights ,vere perpetually dark
and the sun ever shone ho t in the day. No vegetable or food could g row for long under
the heat of tbe sun. The ,vo111en, too, were loveless and i □ difl'erent to their husbands. In
response to the prayer s Akal Pnraklz asked Vish n u again to go out fo r the hel p of ma nki nd
to play the role of the 111000 . He acted accordi ngly. Thts quickened new lite in nat ure as
we ll as in v,'omen and cooled down the heal of the sun for the night I-tours . But in course of
ti111e the ,noon grew vain and took to evil ways. He enticed the wife of Brahaspati and that
of Gauta,n. Cursed by th, Ri, bis, he developed black n1arks of infamy and sulfe red from
periodical 1\/aning.
(20) Ramavtar
The Run1avtar is the' story of Shri Ran, Chandra, son of King Dashratha, the ruler of
Ayodhya and the hero of the epic, "the Ramayan.'' As pointed out at the end of the
con1position' it has been taken from the Bhag1vat Puran and versifjed in couplets a nd
quatrains. It begin s ,vith the story of Raghu, the founder of the solar dynasty up to the
1. H.. ,\. (~Hl)
Metre Se~iaJ No. Tota Metre Seria l No. To1al
JtJ. Chand 1:\vuir or The.lfo □ n
Oh .. u pu 1. 1:!-l.'i. Bhujang Pray:1t. J 13-117, 3!JS--ll 1, 413-'12 1, 680 69 J,
Tozi , □ r. 7.
DodhAk
Snngit Bhujnng Praynt 675-587 13
10. H1uno. .\vtur.

-
I 6.
.'\11n1lt Tuka Bl1ujnng-
l'rnyot. 6!15-7U:!,
C!u1ur11i I_ 2.:; l::OS, 1'1\!, IC\l, l t.J, IG:!, 1G3, f:un dnri Chho nrl. IJ 8-!'.!7, :!3'.!-339, '
I
!HJ !IJ.i, lt,ti, l li7, HI. til8, 8 19, Mndh11r D httu Cho.11d. L28- I JS II
t:.:.:U. ::,:!l. ,Sj~, :W. ~JO, 03 1, ~3~, C'hotrn.t CJ heeea ke-
~:1;1, t:J.!, ~:t,f, ¢3i, ti38, 83!1, ~ ~ \t, odkri~ l:hhnud. 139- l !U 8
~J:!. l',J;!, !>HJ, tH-~,, $.Ji, S,HJ, 8fil.
SJ1, ~J:I. :-.l.'i➔, 85;:i, 8,,6, S,"',7. 43
Swi1iya. H7-l07, GJ1 1, 623, _,o•
Swn,yn A11an~ TllkB. 008 I
To1ok ('1,lmn,I. -l. 5, 0, i, S, tl, 10. 1 1~ 1~, 13, 1.J,
.. Jr>, I , 17, 1)'., lD, 2U, ~L, :l~, SD6, Chabol Sw11yya.. (HJ!),
I
3t,j, :J:i$ 3,:;l), StiU. 3(j l , 30:!. 31.iJ, 27 J-..nbitta, 16!) 170,17J, 1~·) 173, 174, 17.5,
'"•
J•od1.1,r1 !1/ 11.ro<l. ,.,., .1, -~- ""' ,)- .,,
--,J, - , -•I, -v. •', • . .,o
-"• 30 , "J
LI ,
17U, ~65, '..!liU, 300. II
:;I:!, :J:j, :IJ, !l,>, 36, 37, 38, •li l, 1i2, Dlltll1ak Ch be. n d. 17? 17/j, 17fl. \!JO, 161. Ht!, 163,
'
-17;'1, ,1.1, •17,"i, .J7(l, -1';7, 47l,;, ¾70, 11:!4, 1~5, ]$(), 10
·1~11, .J~l, ~bj, ;jJLI, 5 11, fil~, C.,J;l, Som11nka Chhand. 1S7. l81S, JSfJ, JOO, 191 J 02, 103,
•
/il•I, J I//, Ul6, ;1 17, 5J~, lil9, s:::u. 39 HM-.
B
Naraj l 11,and. Sa1•11sw~ti ( hLruid. ] I),). Hrn, Hl7, l9S,l(IO, !!00, :::01, ::hu. 8
8
},;ag St1rUJJi CLbanrL :!U3, 2U~, ·•o·
- ;:i, 206. 5
• RnAml,ll l "hl,nnr!, .Ji, .JS, 4A, r1•,
5l. li2, 53, !H, 55, 5fl,
.1\ag $urupi i\tll 11••
57, ;.i,, 5U, t.:O, 61, 6~, 63, 61, 0.1, 66,
Chhancl.
Ge' . ,~
. . ~~
_., :'.!(17, 2{1R_ :?I)~, ~10, 211 4
Ds11,Jh Chhn11d. 21::!. :.!l:l, ~14, '.'.!l:i. ~16, 2 17, 2 18,
O!l-11:!, ./ZG·4~5, 630-064, 069-670. 100
219, 2'.:0. :!:?l, :!:'3:t, :.!23, Z~. 13

BRIEF CRITICfiL STUDY OF WORI(S IN THE OASAM GRANTH 65
death of Sita and Ran1 who left Lav and Kush to rule after them. The population of
demons 1nultip1ied so fast that the gods found it in1possible to lead a life of peace and
honour. It was for their pro Lection that Ram was born and he ultimately cleared the whole
country: from the Gangetic \'alley down to Ceylon, of de1nons, though he paid a heavy
price fo r it. Vir rosa or heroic sentiment is dominant in this part.
---
Total Metre Serial No. Total
Metre Serial No .
n ..,:; -)•11) ..,07 ~:!8. :!:!!l. 230, 231. Molu,wi OJ.hand 446, 4,1,7 4.18, 4 UI .J,,jQ1 Jj 1, -t.j;?,
Ugatho C!ihand ..,~., -'>3'.,..
--• I J.,; 1 -~ •
..,.; J.
!J 4fi3. S
Dohrn ·)34
_. ''3ii- • -'1' 36, •>3-
1 ..., -
23H, "40
_, I• :?3S . (j
:!Jl. ~42. :!43, 20:?, :?CH, 323, •112. li

Tilkllt'ye. Chhund
400, ,.'il. h06, iOi, Stlt1, :mo, l:\:l3. Sirklwn,li Chhun<l 467, 46S. •!60, 471L -1--
82i, 83(1, S.J. I, S46, ~!R, SiiU, SjS.

Sani;,~ Padilifl1Ltaka
1{(ll, 862, 80.J, 31 433, -HH, 4:85, ~!~O. 48i -JS8 4Sfl,
Clibnnu
Sortba - L·-·•,~.
'1 4 '>,~,., 9 HI ' ::;
..•r1., . 2,52• 2133•
3 490.
l\lanuhn.r Chhonil
!!OJ., ,,:---
- - . ' ...-.,.,0,
~-17~ '1 4. •' ·>.!fl
...,>,1, ·•--r1, ,1-.,
:lii81 il:j!)
.,.,,;) I,
-•J . . . . . .J :!(ii) t
llohe. Chi:.ancl IOl .' 402, ,1,93, .Jll-1-, 493, ~HO. j\)7.
261, 3 lS, 3-!U, 350, 351, 31·)' ... 3,j3,

Ajba Chhand
Bijai Chllantl
3,i4 355.
:!G3.
-·
., ·i
Apurab Chhand 267, :!Q'l, 269, 2i0, :!71, •)7•1- , 273,

, ... - ?'"(} 3Ul 302• 311:1, :!04,
:l7! •_,o,.,,'
- Trinnin Clabuod
s
510.
30:5, 31 {j, 307, 762, 763, 764. 765, Trigata Chhaod 541 :'i-l~, 5.J:3, 544, .3~lt3, 516, •ri4-I '
706, 707, 7t1S, 7611, 7iU, 26 548. fi4Jl, o.'iO. 10
Kusum Unchit,ra Anad Chhand :..-1 ,
U'J "~"
u .,_.., 66'' ...,'%,. 555, .5'\0, 557,
•.,, 5-;.t
Uhhund "'-- ')·s

"""''· .Mlf , _,
•>"9 • 280, :2$1, "18•', 283, . .. 568.
28-1-. 8
Bahra Chhand 559, !560; ...,
Kao LIL A bhukhan Sangit Bahra Cbbr.ind 561, 562, 563, FOL 4
Chhand 2S5, 280, 2& 7, 288, 289, ~90, 291, A1·dh Narnj C'hhn11d 565, ;}60. 567, !i6S, ,569. r,
2~2. s Trib110.ngi Chhand 5SO, 5!11, 593, 5!),:-;'t 59-;, (199, 601,
J hula Chhond "03
- ·1 0 11 ci9-
I ,,,_ .J , ) , •>95 4-' . • -l 6ll~. OUJ, !J
T(alas Chhnnd 58'1, ;,no, J92. 594, 'i9d, ;\OS. oon,
J hc,oh1a Chhunc..l ' 1 9"
.J ,, ''!,18 ''99
- 1 - • 3
60!:l, 604. 9
Anoop ~araJ Chhoncl 308. 309, 3 10, 311, 312, 313, 3Ll-, 60(3, 60, 2
Cbaubolu Chhand
315. 3 1'1. 317, 318, 319, 320, 321, ,, lke. Q11ha.ncl o., 1 o-,-
...J • ...., 0 • 0·~ -( •
..,,i) I 0·
1 1 o·•s
.._ • l'''fl
)-,1. • (j
3'),) "'70' 0"71 ' 672, 573, 574, 7l<9,
..>-1, • I
1Inkra. Chhand 6.,5. 656, 657 6~>R. 6:,9. 6(i0. liG L.
'i9il, 'ilH, -9•!I -, 70:l, 704, 7Bii, 796,
G6:? 06:l. 064... GG.i. lil'\6. 667. U'IS. I!
707. 29
3·_,.,,.1•-~
1-1 3·>:i :Pf\ 3:17, 328, 329, 330, irritg11t. C'hhnnd 703. ,o.i.. 1or,. 3
"'11khda Chl1und
33 1. .Anka Chliand ;on. 70;. 7•!:-l. 7 a. 7 1,1, 7-Hi, i-17.
Ta;rke, Chbund 340,341, 34:?, 343, !144, 345 2~Cl.

8
7 k8, 74(.), 7;i0 7,12. ,a., 751, ,.I• )l ),
M -~{ --
' 756, 757. 16
3,17 s C'htH~hari Clil,arnl 737, 738, ""30
' , ~I lO, -, , ii , -I I_...
·' 6
Goctn l:InlLi Chliand :~64. :l6ii. 366, :J67, 368, 36!), :no,
Arul1a Clihtind 77 1, 772, 77,i, i74, 77;i, 776 Ci
371. 8
OW11lpp1ti Ohhand 37~, 373, 3i4, 375, 376 • 377, 378 • Akra Cl1hancl 777, 7-;s .. i79 .. ,~o 781, 78:!, iS3,
:-li!J, 4U!J, 50L>. 10 7S4, 810, 811, SI:?, 813, 814, SLi.
Songn Cbho.ppai 81(1, 817. JU
Chhand 390, 391, 3~1~. 303, 3!:J-l, ;.195, 396,
.Babora. Chho.nd 75:j, 786, 7 87, 78S. 4
397. 8
Tilka. Chha.nd 798, ?HU, 800, .SO J Sll2, l-03, SU!,
Utnngan Chhand 3~0. 3R L 38~, 3S3, 384, 385. 386.
805. s
387, 388, 38!). 10
Arupa Ch.band S'>ll
_ _., 8'"
....":t, S·...
11 ...,, '-'''6
o- .
Efraj Chhnnd 4 4
Grand To~I. Sti-1
-

The Guru, with the joy of an author at the end of his toil, was pleased to note
the date and place of the con1pletion of Ra111av1a,,
On tbe first day of the dark half of Har, a day of pleasure to n1e.
In tbe sambat year seventeen hundred and fifty five (1755 B.)
T b rough Your grace I composed this Graoth.
As to the errors of omission and commission , poets may please correct them.
A t the base of lofty Naioa Devi by the side of tbe Satluj.
T hrough God's grace I completed the history of Ram from Bhagwa t.
This part of the Chaubis Avtar is the Ra111ayan which is eviden t fro1n the concluct .
ing remark : lti Sri Rantayan Sa1napat.
(2 1) Kri san av tar.
The story of the Krisa11avtar is also taken from the Bhag1Fat Puran , T enth Book. '
It is divided in to five parts. The first part ( Dasan, : 1-440 ) deals wi th Krishna's parents
L 1..::. A. (4)., Ibid in (2401).
Metre Se·r ial No. Total Metre Serial No, Total

21 . ]{l'ieana-vtar 301, :!02, 303, 304, 305, 306, 301,
:10!1, 310,3 12, 313, 31"1 , 315 • 317,
A rila 107, J83, '.i83, 14.19, I4S!l, 1500,
- "• 223, a•l~
318, 31\l, 820, 3:!J, 3!'1', - .
1568. 1664, 1690, 1601, 17lli, 207 I,
'.!07:l, '.!073, ,. _,,, - ' 328, 320, 330, 331, 33~.
3'1,: 3'l6
33..i, 338, 330 • 340, 3,t l , 3~ :!, 343,
Swa iyn (1782) 5,8 0, IO, l l , - , :!1 . 2.J.,
]7 ,-'
" . 33,
,.,, 34.5, 346, 34'7, 3,1.S:, a,rn, 360,
~4, 37, 43, -Hl, -4!l, 50, 51, 53, 55, 57, 36 1, 3ii~, 353, SfiJ, 355, 35(i, 3GS•
63, 65, 67, 60, 70, 7J, ;:'l, 74, 76, 35(), 3UO, 361, 362, 363, 36.(., 365,
i7,SO, 82, ,,, 87, 89 • 92, no. ,,. :i6e,. 307, 31\S, 3t'l(l, :nn, :ni, 372,
373, 31-!, :iiJ, 316, ,HI,
.,_,,
a, o.
37!),
100. 39
380 381 382, ssa, 384, 3S5, 386 ,
•
JO l. 103, 104, roe:, 106. 108, 100, 3S7, ass. 38.V, 300, 3!H, 39:.", 393,
1 10, 11 1, I !'.!, 113, 1 14, J 15, ll8, 301,305, 3\.10, 397, 31JS, 399, '100, 01 .
l Hl, 120, J:!l, 1•n
J '16 I 'l- 128, 13J,
- ' - I'
"-• 123. l Z-1- 1 I-'0.
13:l, 133, 13:'i,
' 40.1, . 0~, ,!03, 40-1. 40,'i,
"''·
400,
410, 4-ll , 412, .Jt:l, d l.J, -Hf:i, 417,
\JS, 139, 142, H3, 14-1, I~ I.I, 147, 41 S, 4HI, 420, --l- 41. <l42, 443. ·1'.l.i.,
I,tS. 149. 150, 153, 1.54, 156, l 57, -140, 4.4.6, 44 7, ,148, 4-19, .J,50, 4G l ,
l JS, 159, 160, 16:!, 164, ] ~5. 166, 45\!. -15:l. 4[i!, ,l-5fi, '1.·,o.
41:i'i' -l-Ji;;,
]67, 169,170, 171, I -,, 17:1, l 74, 459. 460, 461, 462, 4Ci3, .H).j, 463,
'"' 4e6. 4-07, 46S, -J-60, 4'10. 411, .J 7:!.
176,176, 177, ] ?fl, 180, ISL 182,
1S3, 18-1:, I 85, I 86, 187, 188, I 89, 4.i3, 4T.J, 475, !lc71i, .J 17, 4.78 • 45U.
HH, 102, HW, 194, 105, J ~e. I 07, .~Sl, .;S:?, 483, 484, 485, '1Sf:i • 4Si,
HIS, HH>, :mo, so. -1.88, !80, 4.!JU, 401. 402, '104, 495,
4!16 -107, .UJS, 1·90, iiOO. 76.
20 1, 202, 203, '.!G,I , 20S. '.!C9, 21.0,
21 1,212, 213. 214, '.!15, 216, ,1- " ,, DO], 503, t.OJ, .'i05. 501.1, 51'\i, 50S,
~IS, 219, 2 0, 221, 222, :H::: - ;i,)5 , . -- 50'.J, iilO, !'ill, ,J·1,- J _513, 6 14, 615,
516, .'i17, 518, 5 19, 020, 5:!l , (j•l•
-,--',--
"20
,,3-
- o, •)30
""" 'l'>S , 230, 231,
- , ~37, 238, 239,
23:::, 23",
2'10, 2!1, -,·-,
5•)3 5•),1 (>·1 5
-, 526, -,,
,_. "'8
;:,_
'
""•
' 5:m,
-•'-1')", -'1,lJ,_,
l!<i-4 247, !?48, 249, 25U, 530, 531. ii32, f.133, :i3,f. 535, 53G.
,-,
"' . ,;,-6 ,-,' 537,530. f>IO, 5·11, o· - }'l
-• 543, ;i.J-1.
"-1
-0,--,-, "5" 9()3
,1-0 • ·• 6U • "61
-0 -
'"'
' "<>t1::i
" ,
-, 263,
..o '
2S6, 2Gll,
_;)
645, UM, 547, 54.S, il49, 550, [i[i !.

267, -,, "Elfl - 97 I ,-'"'•
'}",:, 273, 27 {, <17•
" ,, ,_-., "113J Mill
,JO_,,'.) ,._ • /i;'j7' 668, 60!.I, 50!1.
271.i, 278, 270, 2SO, 281, 28~, "" .J . .161. 5e~, r,(1:-1, .10.i. 565, 560. 667 ,,
66S, i'JII!/, ,-,,u, :"i'il. ll-7"-, 573,
21!6, 288, 290, '>9'1 29:J,
- "• 20'1, 2!15, 5~ "·
296, 207, 208, ,o. 575, 370, GiS, ii 70, .'iSO, 581, JS2,

BRIEF CRlTTC/\L STUDY OF WORIZS IN THE DASAM GRANTH
and his childhood. The second part ( Ras At/andal: •l4 I-7f>6) deals with Krishna's stay at
Kunj Gali, his sports ,vith cow-n1aids 1 his int1n1acy \Vith Radhika and her klaa11 Leela
(t:rf;rii,)&T). The third rart (lJh·ha 756-102R) describes the pangs of separation felt by Radhika
and her maids on Kri~hna's departure for Mathura and during his stay therci etc. In the
fou rth part, (Judli Pra/Jandh : 1020-l!Jol) we have accounts or Krishna's duels and batt1es
with Kans, his father-tn-la\v, Jarasandh and their loyal followers. The fifth part (1952-2-!92)
cont ains other incidents, de5cribed 1n a milder tone because they are of a domestic nature.
Mehe Serial No. Total Metre Sei·i ..I No. Total
!)() l.l:llJ:!, !J03. UOJ., cJ0.3. U06, 90,,
.,83, 3S4. G85, ;386, 587, 5~8. n89•
!)(JS, !)tJ!l, Hlll, \)1) J !J l :!, 01 :i, 9 1-1,
,i!lO. :'i!ll. 5~13, 504, 595, 5!J6, ••-us•
:i!lH, 600, 93 fllJ, [)lt.i, !117. !IJS, 91!1, 9.20, 9:! I,
.CJ•H_..,, 'IJ-13... . 9•14
_, ' H2:i, 9!}6, ,,.,i
.- ' 0~8.
no 1. m,2. m, i. 605, 606, 607, 608.
-, .
• - , ·93tle••>,
IJ•)l-J .,., l !.l'J'' u:tl, !l34, U3ii,
t30!J. CHO. 611, 612. 613. 61 ~. CHJ.
!136, !l:!-;, U3b. ~3!1, !140, ~1-ll, 9-l:!,
616. 6) 7, 618, (110, 620 621, 6•N -~,
tl4:i. !hU. !Ji~, !J.t.6, l)4i, 9-lS, ~l4!l.
-'~ 6·.,
....,. 6•?.4:
(i'13 15 6·-
- I• 628. 620, 630.
U50, 1:151, 95:?, 9ii3, !J;j4-, !J5G~ UJ6,
631, 632, 633, 634, 635, 636, 638.
63fl, 6,1,o, 6•1 l. 6-l:2, IH3. 644, 6-l,i,
,,--
.,>I, o·s
t>, u·v
; J , 960, 9lil. tJ6·)~, {16:l, .
!lO-¾, 96:i. \1(\0, q13-
• I, 068 , 969, 1:nn.
64-6, 64,7. 6!8, 0-19, 6.iO, (V'l,J • B52,
9-1 9-,, ri -3 !Ji I, !175. 976. O"~
653, 654, 5-- .> , 6r..-,
an, 6"6 i) I • 658, 650, ','--·', I I,
660, 661. 662, ti63, 66-.b. 665, 606. 117 8, !li!l, !181\ 01:11, ()82, !lS6, 0R7,
!367. 668, 66!), 6i0. 671, ll72. 6,3. !18!1, 090, 001, 992, \)!13. 9!14. HH:>~
(l[>
674. 671>, 676, 677, 678. 67(), 680, 01)6, fJU i. 908, 009. 10011,
681, 6Ft:l. 683, 684, 6S3, 686, ('18i,
fiSS, 689, tiAO, 691, 692. 693, 6!H. 1001. 1002, 1003. 1004, 1005, 1006,
695, 696, 697, 608, 699, 700, 97 1007, lOOS, 1009. 1<'10, 1011, 101:l.
1013. 101-1-, 11115. HU6, 1017, 1018,
70 I. 7Qj_ 703. 70'1, 71)/i, 706, 7(),' JOHJ, L0:10, 10:?l, 10~:!. 10:?3, 1024,
708. 700. 710. 7 l I. 7 I 2, 713 714, l 02~J. 1035, I 036, l 037, 1U3!l, 1040,
'
"11'
I ,)~ ~1r I I. 71S. 7 L!l, 720, 721,
), -1~
I
10-U, 10•!:l, 1043, 104-1, 10-i~;, 1047,
722, 7j3, 7:l-l, 72,), 726, 72i~ 728,
11'.>-Ul, 1050, lOnl. 106:l, l 0;\3, 1055.
'i~O. 731), 731. 1a2, 733, 7:34. 735,
10:.6, lllj7, 10!i8, 1050, 1()60, 1061,
7:H:I, 737, 73S, 73!}, 740, 7,U. 7-1:t
106::?, lOB:l, 1004, lUtiii, 1066, 1067,
743. 7-1--1:, 745, 716, i47, 748, 749,
1068. 10,0, lll'i J , 10-·
1
I-, 1073, Itl7.3.
750, 7iil, 752, --·i
/ .'), ' 7li4, i57 , 758,
tOill. 1077. 10-;!J, 1mm. 1081, I Oi:I:!,
7611, 71.ll. 762, 763, 764, ~r,- t >,I, 706.
~,...o
lOR3, 1081 , J08.i, JUSli, 1088, 11180.
70S, 76!>, 770, 771. i r ~. 773, 77¾,
10!!0, !Olli. 109:?. 11.IU3, 111114. LO!l5.
7'1;,, 777, TiR, 7iU. ~so
' . 781. 78!?,
1Onli. 1097, lO!Jl:i, I O!'!I. 11110, Sl
78,J. 7l'i,3, 788, 700, ,Ul, ";fj2 7!J4.
70,1, 7A7, 798, 71.l!J. 800. 81) 1101, 1102, no:J. 1101, l 106, llOH
11ns. 110n, 1111. 111 :!, 1113, 1114,
801, S02, 803, 804, 805. 806. 807,
J 11;;. 1110, 1117. 1118, J 110, 11:?U,
808, 809, 810, SI.I , 812. SI 3, S15.
1121. 112::?, LI 23, I 1!}4, 11·>-
-t>, 11:!ti,
816,817,819, s~o, 824-. 826, H2R,
11:?7, l I :?8, 11:'!!l. 1130, 1131. ll:3:J.
820. 830, 831. S3.:!. sa:J. s:➔:;, 83\J,
1133. 11 :3-1., 113:i, l l 37, l 13S, 11 ;J!J.
.~ Ill, S-11, 8-rn, 84:4, ~4.'i, ~HU, 8-J. 7,
.,_,
818. 8•1-ll, 8:iO. 851, s··• R0:3, 854~ 11~0. 114::?, 1l 13. 11-1-4. 114,i. J 14-0.
8,;,;, 8:10, 8.'i7. 858, 8130, 81i I, su·•-,
\,:
1117, ll-~$, 11,1:1, 1150, l IGl. I lt;~,
J Hi3. 11.;:\, 11 n6, 1157 l lJU, l 1(10,
8ti3, 864, S65, SGfl, S67 - 86S. 869,
116 I , 11 5:J, ll63, I I\H, Jiu;;. 1166,
S70, 8il, S7~, 873. 87-! 8i5, 876,
' II t!S. 11 iO, 1171. 117:2. 1!,3, 117..J.,.
S'ii. Sit<. Sin, 880, 881. 882. 883,
1175. llii. 1178, 117\l, l lSll, l l SI.
S.~ I. 8~'5. 81'<6_ 887. :-,88, 889. SIJO,
11/lJ, I ll~:i, 1186. 1187, 1188, 11~!.l.
8!) I . S\!3. 8tJ4., 896, 8116, Sfl7, 808,
86 l HIU, 11 Hl , 119::!, l l 93, l l!H, ll!IJ,
89!.I, UOO,
o;gitized by Panjab Digital Library f www.panjabdigilib.org

GS 'fHE POETRY Of THE DASAlvf GRANTI·I
J1atsalya Rasa in the first. Shringar Rasa in the second and third and J1ir Raso in the
fourth and fifth parts prevail in this story. The translation 1s mostly in quatrains adorned
with sin1ilies and 1netaphors.
Metre Serial No. Total Metre Serial No, Total
l l\lo, ll!J7, 1 lllb, !:!OU, 88
l iell, 1,0:.?, 170-1, 170/l. 1700, 1707,
170S, l'iO!l, !'HO, 1711. 1717. 171$.
1211,, 1211, l~l:!. 121-l, 1:!l.i , 1216, 17-11. J,.i:!, 1743, 17W. 174,'i, 1740.
1~17, 1'.!l!l. 1:!20, J:!21, I:.?:!:.', 1223. 1748, 17-10, 17,-,0. 1i53. 1761, 1755,
J ::?:!4-. 12::!.'i, 12:!,. I :.?::JP. I :.?:lO. l:::H. 176:!, T7ti3, l71i+, 1766, 1707, 176S,
I :?33, I::!3-1 l :.?35, l !:lll, I :!31-1, I:!:l11, l rl ). • Jr-I
i 'II --,, 177:i, 177-4, 177ii,
I I 1 I I I ..1,
12,1 l, 1:.!4:l, l ~J.i. 121i, ]24-!I. L:!.ill, 1770. l 7i i, l 77il. J77II. J7SIJ, 1781.
12.ia. 12.:;1, 1::;;13.
1:!7:, l:!74, l'.!7,'i,
1211-t.
l::?ifi,
12rm,
l27S.
1::J,11,
12SII,
17l>3, l ,~1. 17i:..~,. 1786, l il..\i, 1788,
l iSU, l i!JlJ, J iU I. l 7H-J, l7!Jfi,
l ::!S,;, !:!St\, l:.?S!I, l:!!)01 12!1\ 1207.
1-;ou. 1707. 1100, l SOO.
Hill:!, 1~03, JS04. !SO!l, 18 10. H:.t I ,

1:311:!, 1:rn.J, 1300, 1308, 13011, l JHI,
181:!, 1613. 1814. 1Rl 5, H:il7, 1818.
J I I. 1:~1~. l:H3. 131,i. l :!17, 1:~20,
lSl\l. JS:!U, 18:l l , 182!!, IS:!3. 18:!l ,
1321, 1330, I;l31, 1332, 1333, 133:i.
li;:rn, l K27, 1 S:W, H-l:!O, Hl3 l , Hl3:!,
J;t:Jli, 1:HL 134.J, I:H7, 134!1, 13;]0,
1833, l sa.'i, 1536, J S37-. 1838, I S3H.
135:?, 13.'i,. 13.,S, 130:!, l::!63, 1365,
1843, )::;11, I S•l5,1846, LS+t1, 11:J;jU,
136G. 130';, 1308, J3u0, 1:177, 13!i0,
l SiH. lS,d. 1~-i 3.1Sfi4, JS,'i;:;, 185li.
I3l)3. 13~:,. 1:JS,. 13SS, 1389, 1305,
l S;';7, IS:i81 1S!1H, ! S6U. 1801, HSli2,
J 3!)(i, 43.
18U3, lofi.J., 1860, 1867, ll'WH, 1870,
MO:?, 1404 J 405, 140G, I .JU'i, 1408, 18, l , 1872, l $73, 187-1, ISi6, 1876,
l•R>9, 1-l l ll, l41l , l ..U:! 141 3, 14U , 1877. J87S, I87!J, l SSU, I SS I , 1882.
111,,, l :l:lG, l .J..J'i', 1422, 1423, l-!:.!-1, 1884, 1885. 1887, 1888, 1880, Jt~90,
14:?.;. 14:213. 1427, 14-:!S, 14:?n 1430, JS9 1. 1802, 180.f., 18!:IO, 18!17, 1808,
143:!. 14:;;:;, 1436, 1437 l d3S, 11-W, lOUO, 70.
l J.H, I J.-1:!. l 4Ui, I.UC, 14,n, JJ.l.8,
Hl(H, 1 CJ!! ,1003, 1!104, 1906, 1007,
1,1.rn. J4nu, 14;;1. 1452, u ;;:i. 1,155,
1008, 100ll, 10 10, 1011 , HIJ2, 19 13.
1~/i(I, 1,1:lS, 14/iO, l•IOO, I-Ilia, 146•t
UH4, 1111!'\, 191 i, 1018, 1020, 1!121,
116.;. 1466, 1407. 14-";:!. 1479, l -!81,
1!):l3, I \l:!li, I0:!6, l !)28, l tJ31, Hl3-1,
J JS-L 11::iO, 11 87, 148S, 14HO, 1-!ll3,
1037, l\13S, Hl3U, Hl•10, 1 941, 1046,
1491. Ill.
J nr,U, 10,13, lll51, HJ55, 1955, 1957,
I ,-n4, J;ilJ;;, L,:i<Jll, 151:?. l.'113, h1JO, u,.-:;s, l!t,5!1, l!HR•. 1001, 11102, 100;;,
1:; I 7. li\18. l :)] 0, 1.;2r1. J .'i:?J, 15::!2, l OU8, Hl09, Hl70, 1971, 1!-l7:l, 1!)7,':i,
-·•·3• l"~'
1·"'- •J-·t. l o_.u,
~'>" l.i3 l , J..,:;•.1•1, ' ,,.
- 1t-,3•> lU76, 197S, Hl79. l 080, J !181, I !183,
l;,:J.~. 1."1 I , 154,G, lu47, J,'H S, l!\!i-J, l l.11:H-, I !186, I !186, l 9S7. l!lS!J, Hl!lU,
l .i:'iS, 15:'i9, 1560. 1501. I .ii.I:!, 1563.
l lJ92, J !193, I H94 . l U95, l !J06, I !108,
liifH, lf.lln. I fi'i3, J.ii-l, l iii,5. 1:370.
1!lflO, :!OUU. 68.
l.'iii, l iiiR, l,'ii!I, f.}SfJ, J.'iSJ, J;jS.3,
l:iSG. l :i~7. l ,58~, J.j89, 1593, 1000, 48.
:!DOI, :!00:', ''00,i, 2005, 2007, :lOOS,
I uO I. l Oil:!, I Ufl3, 10(11, 1606, J611, :lUOU, !!(JI 11, :!011, 2012, 2013, :!014,
Jtil3, !HJ.I-, IOlii, ltH7, 11:ilS, 1619, :!Ill 7, :!OH!, 20:?6, :lU27, :.?028, 20:?IJ,
16:?0. 111~1, lli~3.
l U:? l, I H:.l{i, 10::?7, 203!?, 203:~ ::'03•~. 203/i, '.1037, 2038,
Hl:?!1, 10:ifl. l li36,
163i, 16!{8, JOJO, 20:111. :!(112, 201.:;, 2010, 2.0 1R, 20.rn.
IUII, ll:i4:?, l1Ha,
l64J, 1645, 1610, 20fi0. 20,) I , ~c\.'i2, :!05:3. 2064 30.'ii>,
lt.i-1i, 111-!S, 16UJ. l<i.'ill, 1052, 1151,3, 2oii6, o;,7, 2oi;n 2000. 211m. ::-002,
1651, 105a, 1657, lGt.H , 166~, 1063, '."!083, 2064, 206,i, :lUCl6, :!067. 20741
l66ti, l tif.,7, 1668, 1 l>72, 1678, 1679, 2078, 2081, 2082, 208:l 2ll8S. 2080,
1660, lOti4, 16.'.-iS, Hl!HJ, Hi!l3, 1700, 2Q'J0, 20Ul. 2092. 2093, 21J!l,'i, 2006,
54. 2007, ~O!h, 20ll~. 63.

BRI EF CR1TJCA L STUDY OF WORKS IN THE DASAM GRANTH 69
The Kri.sanavtar, which the poet says is the Das{an Sikandh of the Bhag11'af. was
completed at Paunta, \Vith the Jamuna flo\vi ng nearby, on the seventh day of the bright half
of Sa1 a11, 1745 !Jikrcnni• (168S A. D .).
1
1. .K. A., (:.!-!UO. :!-IOl)

Metre Serial No- Total l\ile tl'e Serial No. Total
!210~, :!10-i. :HOJ, 2106, :!107, ::!lOS IH2:!, 1!12l. 10:.!9, l!1:iO, 1~13:l, l!J!!!.
:?It) • :!l 10, !?l ll, 2112, :ll l:l. !!11~. J!li3, Hit~, :!UHi, :21 '-"l, :?2<J4. '.!:!~3.
__......1 :2:!55, :!:!,'.;7, :!:!113, :?:H3, :! II i.
•l]
_,
I"l l, •ll
-
JCJ al •l(• <lJ <l]
l ~ - - f♦ - - ' --.--
~l•l3 "1°-J , ,,,, • 1
:!l'.!5, :!l:!li. :!l:?i. !!128. !?130, !!l:ll.

' 1 1''•l
.... ._ l "3
V-• ., .) • •lJ').1
- • , °13·
_, • J. ''l''"
- ~'llJ, -•>1•1.-
• t,
K11hittn
:!13~. :!l:~D, :!l4J, ~J l4, :JI-la, '.!1,10. 1(1 .,.,4, .,., ..... ,., ·1-1 ..I , •)•11·
1113. 11, • -- --JI ..rtJ...t, - _,".f- ♦ t
2117, 21 lS. !!I t9. :?Iii•), :?10I, :!t:,:!,

2153. 215-1. :?l,io, :nr.1, 21.:;s, ~u.o.
~l(lJ, :11C.J, ~Iii, :!172, :.!175, :!17ti,
~3i, lll.'H, 10,4. 1070 1110, 11-H,
:!l':'i, :!1~8. :!ISO, 2181, :!IS:!, jJISJ,
l~t'li, ~SI. l'.?04, l:!U,j, l:!HG. l3llv,
:?11:lli, :!1~7, ::!l~!I. 21!1!, :!l!I:!, 2)!1J,
l:J7il, l:IOi. I lit!, l l t,i. l •\I,. l t•fJs,
:!HJJ, :!Im;, :!l:J!l, 1,0
1o:~:!. Uj:J.i, l"Li r, Ii i2, I 7!.I~, I J6.
·•u1 .. ·•·•t,·' .,.,0·1 • or
''''Uli' 't •_,.,. " "0S
0 11 1
-- -- -, -- •• -- ; t --- ·-.
.,.,4~
... _ u, ·•·•-,11
--· ., O•) ,4. ·"'liV
,..,,_. -- . :,s
Ghuupni 1. ::?, 4. ~-31. 4,1:i, 1ali, +:;, ..1:h, 43~•.
--
'"'31 .
,UO. l•J31, ltl3:!, 111:i3, 1:!1.1:!, l:!UJ,
}:?.;,, l:!:,H. l;;:!l, 13:li. J;l:::il. 1:;.i.:;.
]!'Ifill. 1:1u 1, 1:w:1. I u111, 1.no. 147 1.
' ' ·1
- --
3" ·•·•3c1
~"l. -- ' ' _,_.--i.•r1 •
·>·1 ·•·•·•I
-~:t •
•>•• 1·1
- - -~
1+7;,, 1.171;, l.Jii, 11~11. 14/'i:!, !,JS:~.
},l',[i, 1 !\JI, 1.t,!1:, 14'.1.i, 14!1:,, l1il."i.
I -.,. I
...... 1l-L * 15!.lfl.
1-0-
.,.• u, l fi36.
1!\:!i, ~1it• ·'S
,-~u
1:ti:;, ,1,1 > 1·, ll, ,- •'I rl• • 1.;111, I ,i."iO.
""~"
-- · u. -''''!"
-1'}
1• --\ --t~.
"·ls-, "•"'rt
1 t ~~!ll. 1
.,.,no
... _ , . ~
1.30 I . 1--,
(1;1:...
1--3
1}..h '
l .j;,;. l .'",Gli, l ~7!!.
1r,nn. 1,,;;u. hiGO Jlili!l, ffiO, )(ii l.
•l•llt·•
_._..,_ .... .
•l•lf)''
- - • t')t
•1•1(1,1
-'-• ' ..l;iOO, f.iO
•l•)CJ1'1
--• • I
ll•Ji.j(1,
--4 - t
2:111 I. :::w:{, : :10 I. :!3UG, 2:1n7, • 1 :JIH

:!31fl. 2:11 1, :1:11,. :!11 :13[8. :!31 n,
- ' '' ,.
H,73, 1 Gi-h 16- - J(j76. IO ; I, llli;:!,
i,
1u.,:t J t;tlG. 1Gtlli, \I !IS. 1")
I - • l 'i 13.
•l
•t3•>') .J'l•>] • "3•l•J

- ... ,.. -.i- - ..,_, _.,_.,,.
"1•10•1 •l"•l I
-t>-t, ·•3•1"
- _1), ,-.,o
l i l I, I - t '7'
l -
11
•
1-.~.-•. I ,:ll, l 73:?.
2:l31, l..,:r
1 i3'1. 1i3ti, 'f ,. I i-10, I iii!l, 1•i,;•l
t• - -,
'l'''I"
_ .,'l, - · •-·I(),, -i3•1)-t-.
1'3'''! • > ' '''!3
--·, .,, ·• •"r ~~3~.
• -"·11. Hll\1. J '3:i. l!l;Jlj, 11. 1·~.A •'-"
)
1840, 15•U,
, 'O •t" • I .,..... .,., ''1 :.!344.
<l'>3•) ...
-114 , _,}"% , ...., ..
• '\lof'-, ..... o.)"f:aoJ,
t - 1
HIOli, l!lSl-i, :!Ol!l, ''0",) - --.
•)u••t
- , •li)•l•I - --·
- -
...')ll''3 ' ·'u•l.1
... , :!0 HI, :! llli~. :!OlU :!lli O.
:?085. :!100, :!Hll, :?1113, :!11 i, :?l-1:?,
:!300, :!3li I, ~30:!, :!303, :!364, 2313,3, !?lit!. :?163. :? 105, :?Hili. :!167, :?. IOS,
~::mo. :13G7 2368, :1aao. 2371, .,,,7,1
_.,, ,w,
2 169. :!li 3, 2 174, :?IS!f, :?184, :! 190,
:?373, 2S7(i, 2377, 2378, :?3711., :!:380, •·1•1• ·1 1"ia' U" t
~ • J, -
•l•>11( 1 •••,.,.,
- - • - - --~
.,.,.,~
_ _ _.1,
,.,g
...
--- ,
'.?:lS I . :!386, :?3~8, :?:3StJ, iO
!!4111. :!'10:!, :?-103, 240..i, 240:i, ?4UO,
::?i07, :HOR, 24 H', ~411. 24 12. :! Jl ri,
:!4111, :.!JJ7, 24] fl., :?419, :),1:2 1. :?.LJ:!, ,,3·0 ' •l''!l •1 •l•>n o ,) '>C)~f
~ ';l,. - · '• ' IO - <rl• ' .......v,._, f
!!.-1:!3• '14"+
-
9,• ">·,
. . ,. _.,-_. '
'l,..17
- 1;_, '
,)1•>1 .,.,.,.,
-'TIJ , ..,,..,.. ,
2:1118, :!3HO, :?.-WU, !!¾:!!I, :!~:10. :!43:J,
2334., :!4~lU. 243~. :~-1.i.. :?-J;,J , 2.iu;_
:1460. 2-1-.''il • :!4;j:.\
24001 :!,Ull , ::?46:!, :!46:{. 2404 . :?Hill.
2480. Ji:!
ll AO", •l 17')• t ,,
-·1. t
' 7''
~'1"
Ii,;... 0, 2474, :!•n6. '.!»I I.
Chhappa.i 1026. 13,'i!), 137:!, U1!!:3, l 7i\J. .,
'),• 01) '>·• .,., ,, ""
•:t'C-, ,.;,;."'f'"O.._"l, ---t:"...-, 24Sfi, 2486, :?·187,
J booln a 1 Hw;, rsua. 1 8c11. 1sos. ·l
S7.... 178j 1501, 150S. lfiU!l, HlO, 1.31 1, 1537,
Tot.al.
~ortha. · 26, 82:?, 1027. 1034, 1305, 1:wn, HJ-1.J, HH7, :!:!-lo, !.!:!97. 111
1421, 147'1-, 1-189, 15.W. 15HU, I !i'i I, 2383. l
Tomar
16 10 161:?, 1726, 1730, l761, 170.i,

THE POE1'RY OF THE DASA11f GRANTH
The poet says that he has translated the ,vhole of the Dasanz Sikandh ,vith the 5oh~
purpose of inspiring the people with the will to be perpetual fighters of the battle of
Dharma, " .tl 1·ar basana nahi P·rabii, Dhara111 jud/z ka chai1\' and prays for the f ulfiln1ent or
the object for ,vhich tl1e stories of Krish11a's batlles have been composed, ''Ji/1 /alacl, ih
n1ai racl!iyo niohi 111ahai baru dehi 2 •
(22) Nar (Arjun) Avtar
Arjun is the twenty-second Avtar dealt ,vith in this book. He was as handsome as
Krishna. He defeated great ,varriors like Daryodhan, Karan) the son of the Sun),
Bhishma (the son or Ganga) and fought \.vith god Shiva himself and won his praise. On
another occasion he relieved botl1 Daryodhan and 'Bbisham from tbe pang~ of death and
wiped off the sorrows of fodra's father. He performed many \.vondrous deeds and ,von the
_great war of KuruksheLra.
,..
J.
~ er~ ifTB".:i r .:i rr~ sr~ "l~~ efiT ~f{' I 1(. /\,, l2-1lll)
~
T~<! fill <!'f'q Z:~ ~
~
\ 'q'~t
~
llT~ c1t <if~ ~~ II K. A , ( I S!J\J)

Dohrn. 3.6, 13. Jl. lii.10.17. hi, :?II,~:!. l!/'"1, 14J7, 14dl, I -HU, I ms. 1109,
:?:l. 25. 2!1, 30, 31, 3:?, 36, :t-i. ill, 41, 1173, 14 7$, 1496, J W7, l5Ul, Lfl02,
42, 44 45, 4 i. ~. iHI, GS, 5!1 lil.l, 01, liJ03, l.il-1:, 1525, 15,1:l, 15-tU, lG,3,i,
G:!, t\4, 6tl. GS, 75, 7~. i:1. 81, l:13. ~;;, 16;';6, 151,7, 1570, L'.iS.:!, Hi~IO. lo!Jl,
Sll. 88, !JO, ll I. 113, 04, Oo. !)i, Ul:i, Io~. t.;11:.?, l5iJ 1, J Zi9G, l:,US, l 6<.).';, lBIJ7,
llij, 117, l:!9, 130, 134, 137, 140, JHIIIJ, 16LO, lti:.!2, 10:!5, 16:!8, Hl:l I,
14 l, 115. HH, l •n l" - 161. !Ht:,. Hi3t, 1039, 10.il. lll:iO, Hl.:;t-, 106,,,
•->-. ""'
178, ~0;), :!06, "'07
_, _..
' M"S ' :1U-J. :?uS. 1077, 108:1, 1687, ltl!J:!, 169!, IIJ!l[i,
l{J(17, wm+, liO:J. Jill. 17 16. 1722,
-
~77, ,,gq
., :!!:l I, 2\1!1, 300, 316, 33;,,
406, e1,1 s, 433, .J 70, -:10:3, uu-!. Jo5.
I 7/iS,
677, fiV:?, G97, ti03, 026, 6:!i, 755.
17tll. I 77tt. l i\l:I, l8Ul, lS:1.;;, JS:?8,
756, 759, 7o7, 7itl, 780, 'iS7. 789.
• JS:H, 18t:?, 1'>17, 184\ 180,,. lSl:IS,
7!1:1, 7116, SU-. 818. S~l. 8:?;;, M:!I>, 1883, I881.i, 18!13, ldU.3, lSU!l, l (HJ.'i,
827, 83 I, 83H, !N':.!, 85\1, 81/2, 08:1, l!J I6. I !l::!i, l!l3:!, Hl45. I !14-U, L!J.i I,
!lS.J, mm. 9S~. 10.:!J. lO.:!S. 10:lO. l :16:~, I U04, l\llli, 197:3, J !Ii l. l '17;,
1038, 1046, 1018, LOG!l, 1087, 110:, Ut8:!, IU!l l, J UH7, :!U03, :!U06, 2015,
2U25, :!U:10, 2U3J, :?1J:iti. :!IJ4 I, :!U I :l,
1136, 1154, llliS, llll7, 1160. lt71i,
118:!, Jli'l:l, !l!lil, l:?01, 1203, 1::!UJ,
"(1.1
_, ·• ·'
"t, , . ''U'\"'
- .II!"' - ''IJ"'"
• u .... ,u, "'(J-u'
- i • :.m,7,
20i!I. :!USO, '.!U,S4, 20bl:i. :?11~7. :!OH-!,
1106, l.:!08, ]209, 1210, 1213, 1:!lli.
-·)lt6
- • •lll" -"""• ·•1••!J
- o, -•lJ•)•I - ..... •~1 111J ·1 1·t.ll.,
•·
- .-·•·•1-....u, ---u ,-,. •)·'"c,,-.,, _.,.,,.
1' I --
].--
'>'16 ' 1-l•lS I.'-, J'137
-- , ] ...•)3•> -j
1°40 ) ·'·t•J
- 11 _, - - .. -11;:;6 •1 1;,11 •>J70 ·1 170 ·•I<)"' .,,,\!.,
1:?H. 1:!i16, 12-1S, 1261. 12.'i:l, J:l5ri, •Mu1•
__ r _,_ .,.,,1 - - U 1 •)••01
__ ,
1
l:.'li57, l:!60, 1:!61, l:!6:!, 1203, I :.l!ii\, .,.,-u

_,,., ,
1266. 1268. J~i l, l 2'i ~. 1277. J 27!1.
l~S2, 1283, 128.J., 1287, l:!S8, 12f!J.
12t2. 12nn, 1301. 13<'3, 13t.7, 1314. 2·176,
1316, 13LS, 13J(t, 1321, 13:?:?, 13:?:i. 2-177. :!+!II.I, '>HlJ. :l!J2
1:i:?.;, 1:tw. 1328, 132!!, 1?3-t. 13:is, Bit;henpa<l tr.~;l, liiSt.. :!413. 24 1-1, j,J:?r,, 5
1;13!1, 13-lll, 131:?. 134-3, 1:Nt,, 13-Hi,
13\iu.;ons prayat, 4:?l, 12:!, 1:!3, ,J:?+, +:!J, 126, 4:!7,
13l~ 1351. 13-13, l~."lfi, 1:)tll, 1364. .tc!!S. 4:!fl, J30.. 4a I, 43:!. 12
lllil\ l:lil, 1373, 1374, J;nri. 13it1.
Gr1t11d Tohll 24.U:!
1378. 1:is1. 13S2, 13s~. 13.,11. 13nn.
::":?. Nor (Arj1m) A\'Lar.
l:4f•3, 1:lfll. 13!l8, 141.11 1403. 1--1::!ft,
1!31, 143:t J-1-3-t. l~:39. 1·113. l,t,H. Chaupui l, ':!, 3, 4, G, 6, 7, 7

BRIEF CRlTlCAL STUDY OF WORKS IN THC DASAM GRANTH 71
(~3) Baudh Avtar

The twenty-third Avtar is the Baudlz Avtar, the nan1eless champion of humanity,
whose whereabouts is unknown. whose forms are uoknow11, whose very name bas not been
recorded and wl1ose very stories have been rorgotten. But these stories have played lheir
part well. These are now like stories unkno\vn and unsu □ g.
(2-1) Nih-Kalanki (J(alki) Avtar
It was prophesied that ,¥hen sin a11d wickedness would again rule the world to
the utter destruction of religion and virtue, a prophet \Vo1lld arise at Sambhal (\'vhich son-ie
scholars have identified vvith Muradabad, while Pandit Raj Narain Parmahansa in his work,
the ChetaH·a11i, has after Jong research stated it to be a place in tbe Gobbi desert in Mango-
lia, in the nortb-vv1est of l(orea) 1• Years passed a\vay, religion aud culture declined, evil
l. D. G. G. :S., \'I, 3i5 fn.
Serial No. Total Metre Serial No- Total
Metre
~3. BnuJb t1, tar. Ch(:.nchala Chl1ond .JOS. -109.
Chn.upai 1, 2. ChaLnrpadi Cl.lband 68. 6!l. 70, il.
Dobro. 3. 1
Aila Chho.nd
3
BiselJ1 Uhbo.nu
24. Nihlv1lvnki Avtllr.
Ghotta, Cub,nd 76, 77. ...
-)
Chaupa.i 1, ~. 3. 4, it 6, ? • 8, 10, 11. l'.?. 13.

l •t 15, 16. 17. 290, 300, 301, 30:!. 20 Nev Padi Cbl1and 79. SO, SI, 82.
Arillll, Doojn S:.l, fl·L

Swaiya L41, 1•~2. 143, I~~-• 145, 140, H,,.
Kulka Cl,band Sr.., 86. -87. SS, SO, !lO, 91. 157, 158,
1·~It 14ft. 15•\ Hil. Li>:!, 1;)3. l!'i4-.
lfi,5. 15G. 388, 389, 390, 391. 3!l2, 159, 160- 11
393, 3!J4. 31)5, 3!.lfl, 3()7, 3fl8, 399. 28 Pedma,·ati Chho.nrl 92, !J3, 94, 3
Dobra. !I, 78. 11,'>, UG 279, :nJ. 49J. 7

IGlka Oh!.a.ud u;;, oo.
4
Bortha 97. US. 00. 100, 101, JO:?, 103, 104,
l\ladln1 l>!aa r Chhand
Gita l\IulLi Chhoncl.
101, JO:?, 163. ll
Haneo C'hhand 110. 120, 121. l:!2. 4
1 4 Harig1'etn. ChJ1ond 105. 1()0.
1•>3
- ' l'" _ .. ' 1'- 6.
- -r~ 1•l<:)
llfo.Ui OhJ1a.nrl
'.rribl,ongi Chb&,nd 107, 108.
.,
J:!7, 1:-!S, l:!O, 130. -!
At.nwlti Chba.11d
lt ari Chhe.IJ cl 109, 110.
Bridb N arsj Kahs-
tumo Chband Pa,dbii,alka Chl1and 111, 112.
Abhir Chb~nd 131, 131, 133, 13-.1,. ::Uob,ir (:'.\larh or ~Iarhn)

Kundir1a Chhand 135, 136, 137, 139, liJ.O. Cbhanu 113, 114.
're.ran Raj Cl1hand 30, 31, 32, 33, 3i, 3:i, 36, 37. 8 Trirltn C'hhnnd 410, -11J, JI:?, ¾l:3, -!,4-, 415, :116.
417, 41S, ,119. 10
Torok Chl1ond 307, ;10R, 309, 3Hl, 311, 312, 313,
3M. 31G, 310, 317, 318, 3 l!J, 320, Padhri Cl1he.nd 164, lll5, lli6, 167, 168, 16!l, 170.
341 3v4 3qu 34' a~o- 3°6 327,
_, ' --, -•"), _..,., - l .,,i ..J
171, 17::!, 173, li4, 175. 176, 177.
328, :l2l), 33U. :?4 l 71:1, 420, ,t:!l, 4:!2, -423, 4:il, 45:'!,
453, 454-, 607, 508, .'iOfl, 510, Jll,
Xu.mar Lalit Chhand 38, 39, 40, 41, 42, ·l3, 44, .l_.j, 8
612. 513, 51-!. 515, 516, 517, 518.
Nag Sorupi Chuo.nd 46, 47. -1s, -10, ;,o, :n. 6
529, ;130, 531, 53~,
Raman Chband 52, 53, 54:, r;;;. 4 633, 034. -H
Somro,j1 Chhand .'.iii. fi7, .:iS, :;9. 4
Sirkbandi Chl:uuid 17~1, 180, 1S1. 3
Priya Chhond 60, 61, 62, 63. -1 1S:!, 183, HH, I 85 • 4,
Sawa.11k11. Cl1bantl
Supriyo. Cbhand 400, 401, 40~, 403. 4 lSo, l 87, l8S, 303, 304, 301i, 306,
Tomar Cl1bo.nd
Gaba Chhnnd Dooja 64. ti5, 66, (>'i'. 4 583, 6Sil. 5~5, 586, 587. 588. 13
Digitize.d by Panjab Digital Library/ www.panjabdig:ilib.org

-
12 TH E POETRY OF THE DASAM GR,'\NTH
dominated the ,vorld, Sudras came into po,ver, tbe worship of gods was given up, bad
customs prevailed, tyranny a nd oppression den1oralized the people. I I\ such times, there
lived a Brabn1in ,vbo ,vorsbipped Chandika Devi ,vho bad killed many notorious den1ons,
patronized and protected 1nany gods and held Indra in terror. His wife could not stand his
constant rievotion to the goddess. She quarrelled with him and al las t complained aga inst
J1im to th e king ,vho forbade hin1 to do so. But the Brabrnin preferred death to apostasy.
Consequently, be was ordered to be beheaded ,vith a sword . Before the sword could fall on
him, there arose suddenly a noise like the rumbling of the earth fron1 underneath the floor
of the court. The sudden rise of Kalki Avta r armed with a sword and riding a beautiful
winged stt:ed of Turkistan, created confusion in the court, giving rise to a tu111ultuous
noise. The \var ri ors came rushing Io the place: aro1s were taken up, bugles sou nded,
challenges ,:1.1ere hurled, dru1ns were beaten, horses neigbed, swords were drawn and arrovvs
we re sbot. The court changed into a battle-field a nd a war ensued tbat raged for days and
nights, and weeks a nd month s. At last tbe Sud ra ki □ g ,vas killed alo ng ,vith his strong
,varriors, hi s arn1y was routed, the era of peace was ushered in by Kalki and the wo rld
swung back lo its ancient glory of material prosperi ty and spiritual gra ndeur.
Metre Serial No. Tot.:1 1 Metre Serial No. Total

Bhal'tlnrn fhhm\d .
hi!l, l tJO, I UI. I <1•>-, 1 93. 19-~, I O,',
;}45, 316,347, 348, 3<1,;, 3-'iO, 351,
lfl6, 197. HIS, 1on, ~no.

201. ~Ot, ·•-, 3"3
lVIJ " .."'~,1
1., , :!56, 356, 35i, 3!i8,
3fi!;I, 360. 30
~113. 204. :'10[i, ~01), 20 7, :!US, '.!(I(/'
-,-.--,-
"10 'l lJ " l'' •1 13 · Panlrnj Balilrn Chhnnd :)";"G, 377.
Ancop Nunij Cl1h11.ncl ~l:>, 2HI, 217,218.

'.:' 14,
'' 5 lhinnar ChJnnd 378, 37ri.
2
2
Ak ' " Cl•l• nd0 "J" ...~u· <l.'> J •)""' '1 "3 ""-1- J;
Nis.ro ln k C'hh11nd 380,381,382,383.
.. J ,.. - "• -- ' -- ' --- , -'- • -- •
4
Chaclmri Qblm nd 243,
:?44, :!41'.i, 2.Hl, 2.Ji~ :?4S, 249, 250, "!\!o,.aj C'hh11,nd 38-1. 38G, 3SG, 387, -l-3fl, •MO. 6
"'"' ' I ' ->"'
·'" " ·_1 "13
_,_,_, , • "5
_, ..' , -''6"
;J. HI Bhujn11g Pr!l ya L
Chhnnd ~OJ, Ill~, 4G3, ~e4, ¾65, 41'.ili, 467,
Kri pan l..:rit Cl1ho nd
48-1, ~l:i~, ·183, 4.8-1-, ,t8!j, -IBO, 4S7,
Bhogouli Cli burn.!

'' 5U-1-, JUJ, b!Jt:I. 17
,nu, .i1r. -n~. -na, -li4. 5
.Bndlmp l'l:1J.rnj CJ,Lontl 4 75. 4.iti, 477, -1-7 ~. 47!1, -1-s u.
17
'.l'o:uk L:h !u,11,J .J.0::!. -J \J.!, 41H, 4113, -t.Oi, -1-~.') . .J (W, '
Ehawuo i Cbbnnd
Ua s1nn1.l Cbband
273,274, :!.iU, !?iO, 277, 27.S.
''SO, -"S,l-''8"
- -',-·'S3
• -°8-1-,211:.i
' 2S6,
" Ut.l,huj Cli l,n.nU
50U, JOI, SlJ:i, iJU::1 . II
4
!!S7, 2SS, 2S!.I, 2!)0, 291, 29'.!, '.:'U3,
204, !!!l/\, 21lCi, :!07, 2!lS, 4.2-1, -1.2,t,
f\llJ£irt (Or Aja) Chlmod f,125, 6:16, 5~7.
C!1hllppni Chi.and 642, li ,1.3, (j,J.1 , ,'i-15.
•
4
4.~6. 4~1. 428, 429, 430, 431 432. hlttdl,c Chhend fi-l.U, :i-li, 54$, 5-1-U, &50, 55 1. 55:!, 7
4 33 , ,13,1., .!33, <1:.10, 437, ;i::IS, ,lf>.J,
Auliud ClLhtlnU O:i3 3JH, J5!i, 5li6. 4
456, 457, ,1 58, 4fiU, 460, 46S, -1 60,
Tiloki Chh1rnd M.i7, DUS,
-I Stl, 4S0, -lfJll, 4!)1, 5:l:i, fi3\1, ,'i37,
Mohan CLhsncl 5:i9. iilJli, l'i6 l , 562,
536, 63:J, 540, 5-l l. 53
.l\1iHhon t hlo n1 d Lma, JU4, [,66, LOG, a67, 56S, 500,
SllDgit Elhujeu1; Prn)•a~ 3ffl, 302,363, :w,1, 36ii. :JB(l, :w;,
570, 6'7l.
Chhnncl 308, :w!l, :nn, 37 I, ::Ii:.!, 37;1, 37.J.,
f;ukl1,lu Brir1d Chhand 572, .'.):i3, J7~, 5'i".i.
4<11 , 44!?, ,l<l:J, 4,1,-1, 445, -1-46, '147,
novilnbn1l Cbhand 677, 57S.
-&-48:, 44!l, ,1,;o. 2,1,
Baribolm1rnn Chheucl 33 1, 3;12. 3a3, 33.J., 335, 32H. 337,
,Er,,n Tur1111g11111 Chlioud Viti, ijS(\ 58 1, 5S2,
Gra nd Total i8G
•
338, 33(], :l40, 34-1, 342, !H:l, 34~,

1. The Chaubis Avtar reveals that Guru Gobind Singh has been deeply impressed
by the idea which runs throughout the Puranic literature, the idea of a saviour' appearing
from time to tin1e to destroy the unrighteousness and uphold the righteousness, to uproot
~
). a<,i "'9 ~Rfoohh. A., (30)
B'! ~ 'll'f ai;'"l,v :;,l<: •ll<i 11 2:~ G,'I slai't m'. •ft'I '::JH.=i 11 .:'lludih. A .. (53)
.... . "' ri ~ ,... -.. n. "" ...
,n;,n '-'!f!2:ll l'lli!.f ~.ir,ar" II B'I :';BG T"l<I <lii'll 'I~ 1!'1!~ II
ii-2:m 11,,r,:ict iaii\ :r, B,ai II aarfl'.,i'\ <!oil .. ia- l'IT a-if;; ort:'411 n,i,·,h. A., (I ,()
•~ llf<I "l'I "l'T:f ,r)i[\ f<fil:Hl: II "1"ol 'fl 'fijl"f ~,'ll,l,t:l~ II :<,,, iogh. A· 13 )
'!"<ills ll'Tif .ft;n "l'l<ITt: II B'if «,::f;i 'i<l"I ;:io,i S'<llt: II ~,,,ingh. A., (<)
"~ R'IB al;a- ;,,fu<11'101a: 11 g;,,:: '!." +ii q11? ,rf.,r) "'"r" 11 """"" ,, .. c•i
<ii(\ :sl},r "f\l<Fll B,~ ~,i II '1W./ ll~ <iifiil31,l'f "f.rai 11 "'"·•n.A., 10)
qfq\ "lf~ij' 'lSlffl'.j(r,i ,a;rqJ,:: II '1\i iJl'l'll f.,,;,,i <!ij'2:'l l'lolt II """~" A., l3)
~isl if~iJ ~ff1rT ~cia'H:J lJ B'ff -ifi=ff i:.fil !:ff.;J ~'<THJ II Pnrm, Rnni A., (3;i)
"l'I "fii! '1?.: '!TB ;i),: "fl!'.\ 11 <l'f sl'f g;, '1el!T Sf'l2T!T II B,ohm• A.. l')
;;r,r "IT'I ii ..1, >TU >1,!!.lT 11 :J:& '<11'6.r ai1a- .r;tl 'l\!!.lT II i<,d,, '-·· rsi
fl 'liO:'l) 51" <ili fj~q 'IU II "l'T m,;i ai\ Sf~ 'lfB 'liU II Rud,nA., (•I
"<Iii! ii if~ f'IB'l "f'f<fl,1 II a!B'6 '1~1 .ii;;q 11i::r,1 II
f'l"fl'i<iil ~g '1('1 "!'I lTT(l I I 'lilii!g>::'-'! q,;: q;,::a gs;r,::T 11
"<lg>:: ~'lo'l ~fu ll'IT~ I I ~T'I ij{<'[ '!_'1 'lit oa;,1! 11
'li(1s'i aii .. 1,1 11 'lg fqf>i "-!it:" 'li,::'1 B'll{l I I
'!,'l <lit: "' fi,3' "I!~ 11 'olii!'.!,l'f i,) ,;;:o B'll~ II Biehoo A , (J , 2. •}
iti[,l-'IRo ~ ~!ii fsr.i'lSIT~B~! "['fol, 11
Ber {{~~(';, ijlq ;,firq ;JJrl9 ;r[ tjQ"Jt II Sliesl1shnyi A., (7)
~ Gfi:f qloi~ :F,(cl '1B'HJ H tfE:I' (fs( PfB"il <li~cf tj~TCT /t A1hnnL Dov A., (I }
<ill'f'T <!<I B'I [1 "!'I ii!lrt 11 'R'l 'lS{'I B'l ;ft SI"! l'flrt i I
a,i1,r ~% l'l'I[ i[Ril'll rr ,ii\', ;, <!J.ra it !J,~'fr 11
.rrf::i "f.rrf11 Bil ~~ lT~ II "'" "'" B'I[ "" s~ II
'lil<il3,'-'l "fl'T'll "" sl'll ii T'IB'l"fs mt farf<1 'lil'll 11
B'!iij[ a;<iii-1 q',i- Sfii!l~ II '!)q 'f.{I! a <ITT'T •C:1~ II "••• A.. (I,'• 3 l
ii•na;iil B'f ~1 .i~ ii!Tlll 11 ;aqair ,of'lai; sr"l! it BT<r1 11
•
q{'lg<:& ,.1 <lift ,c;1i II fl;:r,q-r 'Ii{! @'I i[R{l~ I/ Dh'"'""'' "·· (') q,
ii\ a ,)a 'ITT'!, '@'!1'11 II ,for l!J(o fa;, ,;) feifs .ff'l I I I
'<i'1'1if, "It•! ~ 11 e'i: II S!S!l'li1"1 f,;r,; if ;;0 q'( 11 8 •cei .1.. ''1
i;ll'T .ili ~- if ';[~1'1 II >TTf"I S[ij{ f:,i,r '!lir '.J;{l'1 II
<lio ;fl ..io 'Ii{ ~fi:ilar, II oi'il SfBf.'l ll~ !:\~'fl II
-rrf, " ii'! ~-t fir;;r ;i\,r 11 ii!'ia't ,"t Ufi fq;t atl"f .ir>i 11
'l\['1"1 'lif1j 'IC~ 'I 6ffliJ II 'tf+I fir'IT ais\,; 'l<T!l 'I l'!J/1 II Clm<>d ,\., 14 J

'14
some great evil and to est..1blish some great good, to rescue the ,veak and the innocent, to
protect the saints and the devotees, to dispel their sorro,vs a11d to shed favour on them and
to lift them high in this ,vorld .
2. A critical study of the composjtion ,vould disclose that the Guru did not accept
in toto the Puranic conception of a111ar. Having been imbued with the firrn faith in the
one-ness of God (Ek-O,zkar), he could not reconcile wjth the conception of the descent of
God Himself. Thus, his view of a,·tar ~ppears to be quite different from that of the
P.11·a,1s inasmuch ac: he firrnly believed th!it a1·1ars are not descents or incarnations of
(}od; they are rather the elevated souls blended v.,ith Kal Pura!\/,"", their Master, Wbo in
response to the prayers of the sufl'crers directs t'1en1 to descend on the ear Lh in a particular
form, human or suncrnatural, \Vith a special mission to be fuHilJed. To the Guru, thus,
G od and avtar are two separate entities, the latter en1anating from the for1ner as and when
He wishes1 •
Tbe Guru veheinent]y objects to the idea of an avta•r being an independent divinity,
co-equal or co-po\verful with God and worthy of human worship. He maintains that God
;::. ~ 0. t:": "~ ~
~fl~ i:n •I iifg '-6\ I !flq[\-lT 11 I :f>tlt wi f(l'tf cf.=f:fi if ~TrTT II
'°1~Qi ~cf ~~ oisf .rq II ~T~ ~a·~ ~[?.fr fQ"~ TT~ 11
~a ~1:: cifea +rtt ful orirr ll f::r~.J ~~ft
~a:cr ~~i:rr ;,riir 11
~
i:fT'( en\
....
~1 ~{qcf 3r.f,T~(f
""
11 cfif;:f qtl ~ ~ ~fir
~
11 ~,cf R. A., (2, 3)

~~;:i;; Efi ~'{ ij' G~ a- ~ ~t ~m:rt 1'[ +Tl{ ~ ~r{t II
7JT{ ~T ~g a-~ l::T'{ ~ ~~ifr f{& Ii ~qt ~T( 3efiH:'t 11
~
~~ ge, fiiqt ~r~ cr€r ~~ t
~ij i:4'TO 11
qfri co{ fir~ <61 ,3-{r~..r ij~ r ~{ atra ~iir{) 11 K. A., (9>
l'.fn:rfifia Gfif \:l{~ft 11 qp:J JffHf lifi~ Gf{(f ., ;q,~T 11
. . ....
~ra llfrf ~;, ~:ra :aaqra-r II 3~& i:t:;; . merer i lTT~H II N. A,, (2)
QPi~ra c:r~r ~ o~{fg: 11
....
Ef>T
"
N~r.r
efif~'{lq <lfcff:{ t I
ft9a ~i ~or'.{ t1~{!JT 11
~~\q ~ it{ ijn:~111 N. A., (137)
Also seo N. A.. (138- lGO)
~~« I Sheshaho.yi A. (1)

{~ -am~ 11 Bishon A .• (1)
Compare : " He (Guru Gohind Singh) sAys in his autobiol!l"o.phy, tl'le Bit:hitra Na1ak, that his own unembodied soul .reposed io bliaA.
in the Fat-her's b[aosion, wrapt in meflitntion and His life-~ivlng Darslw11, But God called him fort.Ii. and ruuoh againai Lis will.
for he tlI<l uot; wish 1o lel\ve the Divine presence, sent him into tbi~ world. eharged with the following mission :-
God : - 1 inAte.11 and cherish thee as my own son; A,nd creat e thee to fol'lll and spread the Panth.•
Go and spread the law of Dbarma in every plal'e; And restrain people from senseless acts.
L. G. C. S., 119
.l . .;:{if Gf~ ~" ~f{~fa- ~~ \:T,a ':W-l err~r 11
~'lf~.J II
ail t{if
,mcyr
":q"' •
<61 ffi ijiTJ-e-f l1 ~{ '6IB cfi\~
,....
.:rmr It Ch, A,. Iniro (2) t
~qr( II ~~ ilftf.=ff Terr~ ~21flcfdl( II
•
;fl~ ~~{f cfilijl~(\CI
ijjf fij~;; ~m'm ~~~ tTis qg 11 <!T=:,I) ~,~1 liq +isl~ ~~ 11 Bo.wan A., (3)

•
is Infinite and that even the twenty-four artars have nol known a bit of Him. 1 According to
the Guru, they are not even inlermediarjes as the prayers are sent direct to God. rfhey are
just on mission2•
Some of the avtars narrated by the Guru in the composition are not as the Gl'tars of
Vishnu found in the Purans. Jallandhar, Sheshshayi Arhant Dev, Suray, Chandra and Nar 1
(Arjun) are the avtars of this type.

f~ Gf;Je:ll.=J ~Tfcf ill ffi~cf 11 f.=tn ~Ri <ti~cf ~~1;:r fflif.i ir6" 11
a~ glt <lU ~t={;J ':;fcfi:fl(f 11 ~.,s ~~ ~ ~~ {j·-n~r 11 P11n1s Riun .-\ , IJ,)
ij ifi~lfl §if ~~ ~~q ~iT 11 Gi1T\ifffi ~ 1qfijJ ;.:Jffi <fiit I l ,Jallundhar A., (:1ll)
a7J ,, re~ ~~ e~q ef{iit 11 Gi1Tcrla ~£TT{ cf, ~FT tfi{:?:fl H R udl"!\ A., ( I)
cf>f~m ~~q\ ~l liRt

~~tj ll s~ .:rra cfi~T ti
GiT~ f{q-~ cfiT
~~ ~m ~m~T ~l~;r feJB;:r ~cf 11 ~~ ~~ ~~~ aftl41 ~r;:r ~If 11 J allaudtiar A., (21)
r-.
qil<!G~& aiiJ +r~ ~~ ~r~r 11 ~ra '5'fTi=f 'ii~ ~:q.=r r\arcm 11
~, ~~a ~9 <6) ~en 11 .JTtT <filT ~~'11 ~ ~1T 11 Arlw11t, Dov A .. (7)
fifw:t~cf ~rm-~ ~~ ~ 11 ~~~ cffr <5~1 ;r;srl 11

~';JI" ~~a ~q efii ~f'll' 11 ~fif ~:g-\ itl q2l ~qfl'r.fl 11 Arha11t Dev A·, (S}
BTRi ~~fu air §~ -I~ 11 q,if tfi\+f aijt a~ ~IJ; 11

cfil~~\~ ~n~ ije( i/.T.:i1 11 ~ a;;~~ ~ firf.q cfi"t~'t 11 1\[auu Raj A., (2)
+f:! ~~';f! ,~~ar, ~c{o,r 11 +r~ fa+r, af%: ~~\ >iflT ~r II

~~ ~ci~'t q-?..{ ~~ 11 qfq tfi~ ~ fflrf i5:cl~ 11 Manu Raj A., (3)
~B';J~~
~T~~~~
cnl'
c6l
cn,T
tfi~t
~rt II
S?~f ffi 11
q~
W1
~;:re,~efil'
S{'Jff
e[ifcf\
en~~&
~~ II
;JT8T 11 Dbanant.ar A. (3)
cfilq{!!l:.~ cfiT ~lif1.tr
~
qr~ 11 ~(;j'f ':;l"cfal, q,~r- ~{(~~ II Suraj A., (3)
~ij
~
tfiT(!{!!,\Cl ~ fnl ~ It ~ 6if r.t>~m aq+fir~ 11
Bfa tfil 9\g ~cfffl 11 ;:r~ ~~ E{fij Df:;;rr, 11 Charnlru t'l.., (7)
ail ~~ ~na f.=r~r~ 11 R ~r, cfi~T cJ-=rr~ 11

q'f~r ~~f(l"cfol, II f;j=Jcf iii ~l{q ~~T~ p C handra A., (8)
f~tri4B ~ey ~ ~Hili R~ 11 ~ ij~ ~i!fT ,~B:fi~ I: R. A . (o)
~~lfT ll'<TT ~"t,f;,·,1 Gi[T II tfifq!'~,~ ~m-1.f~ ct&r 11~

tfi~T fslBwf <fi~ ~<f.2" ~ffi~ II ~tr~ ~cfoR ~ ~Ji '7ffi ti K . A .• (2)
cfiTq13,~ ~ i,J'q;J a- tja;; ~ij {f&:l:{ II

+r~~r~s~ 1i fsl~ '1fii!! ~{ITT &~,r~ 11 K. A., (3)
,.,
1~ ~ ~~~ ~qij"T\ cf,~fl!. 11 fuii +IT g+r ~.r a.:r~ .:t' qr~ II
,....
f{+f (t Girf +f\~ +icl\Pi 11 "'
<f!cf .:f rii
•
foi{~~ <li~ r.i 11 Ch .• A,. Tatro (i)
--
')
Ff1TFfiijf
"'·
~fcf ~{if ;s:f~ ~HJ ti tfif&3\~ If{ tfitcf !!cf.RT t I Biahan A., {!)
,... t
'«Jf!!{~ tii'r tfi\1 il~rl 11 ~,qr ~'t ra.:r
" q\ ~r{,T( 11 Dhanantllr A,. (2)
i:fifijf~lq ~J;J~T (\~ cftiit II fitaii~~ ~H~ "' ~fq <li1~T 11 Ma.nu A , (3)
Digit;zed by Panjab Digital Library/ www.panjabdigilib.org

-
lfl THE POETRY OF Tl-IE DASAl"1 GRANTH
lt is surprising to find Brahma and Rudra appearing as the avta,rs of Vishnu, also
altho11gh they are dealt 1vith separat~ly and in detail as independent avtars elsewhere in the
Dasan, Grant/,,
~- Tl1e Chaubis Avta,· contains the Ramaite and Krishnaite poetry almost of the kind
met with in the Hindi li terature,
The composition of Ramavtat represents tb e Ramaile poetry. Tt embodies accounts
of the life and exploits of Rani, tbe incarnation of Vishnu, and of his wife Sita, the embodi-
ment of purity, tenderness and conjugal affection. The mild and gentle Ram, the husband
of one wife, pure in thought and noble in action, is in many places held in the highest
esteem, and the worship paid to bim and his faithful wife Sita is the purest and the least
degenerated of many forms of Hind □ worship.' This composition is ful1 of episodes that
touch tbe heart and make a powerful impression. For instance, ,ve might mentioo Ra111's
departure with his wife and youoger brother for tl1e forest, Bharat's n1eeting with Ram in
tbe jungle, Sita's carrying away by Rava □, Ram's search for ber, a nd the like. _The poet has
presented tb.ese episodes elaborately and has sought with care and enthusiasn1 to develop
their full implications in terms of moral ideals and hun1an feelings. The most commenda-
ble feature of tbis narrative is its pure and lofty moral , tone, There are no sensual
wretches, no epicurean and sed uctive sto ries. Lustful and greedy characters go dis-
appointed. Tbe composition continues to ]10\d up a high moral ideal before its readers. The
moral outlook which per111eate the whole work is never allowed to mar or vitiate the human
or aesthetic quality. An atmosphe re of purity aod devotion broods over it from start to
finish without losing the huma n touch or 1vithout growing cold io its appeal, Ram is
depicted as a saviour and deliverer, as a god rather than a man~.
A verse in tJ1e epilog,,e says, ''He ,vbo reads and repeats this story is liberated from
all his sins and troubles, A ,vorsbipper of Vishnu will be free from all the mental and
physical ailments'."
It is a valuable work for the high level of its technique, for the sincerity of its
religious content and particularly for the heroic sentiment which tbe poet ,vanted to inculcate
1. C. D. H. M.Int,ro, XIV.
sir' ~<ta •I\

0
~11,N' ~s' ~'i°<f t "fll'< II
~
[W.,161 "'' ij - 'I,[' (!j
11 f.ii;r.r
e
f<Sl[61 ar,0 11 R . A.., (20 1)
,sr;l'IS .ia a' r~ ID II '

,sr,, e.s . '!if,(!/ 11
e e
ij~s! +Jf{ "'q(!j II s!flil'a re:a 'iq(!j 11 R. A., I''')

~
"f<l,T' >11'1 'Ii an:!)
' ~i;t ['1"11~ 11 ra.i'i ~q .il <!'l'if (ii;t
fai;r~ I! B. A., {li93)
I ,. fol\l\ >II'! ffi ., •if -ii~ RSI[~ II fa.ir ' ,'l '
'IS 'ISi\>; ' f~r~
'IS[\>; II R. A., (69-J:)
S!>i ~ II e<r;;i_ l II e<rci t II e<r4t II R, A-, (70G)
\ . "f"fl ~ 11 e<ror l II e<r<il t II ~~~ II R. A., (i07)
3. R. A .. (850)

BRIEF CRITICAL STUDY OF WORK S I N THE DASAM GRANTH 77
and this last feature alone <listinguisbes thi s composition from the rest of the Ramaite
poetry. ll'he Ramavrar bas in all 864 verses, out of which 425 are exclusively devoted to the
heroic poetry.' This compositi0n will always rank as one of the great literary works in
the Hindi literature .
.Lord Krishna has been the most popular and celebrated of all the deities around
whom a vast mass of legend and fable has been gathered. In the Hindu mythology, be is
considered to be the direct manifestation of Lord Vishnu himself and thus worshipped the
most. The attitude of the devotees towards him is not that of reverence as in the case of
other avtars but one of love and joy which found fu·]l expression in the mischievous pranlc,s
of the child Krjshna., feats of the miraculous strength of his boyhood, and the ro.mance and
amours of his youth, these being the subjects of boundless wonder and delight to the-
popular mind.
A glanoe -a,t the hi&tory of Krishnaite poetry in the Hincli t.terature would re~eal that
all those :wh@ CG>lllJO.<)S.eal ,t his ,type of -poetry, were 1he true ,devotees of lord Krishna. Tlie-
intens.ity ,o f l\b.eir devotion was so much that they could do away w;th all other deitills
and be de¥.oted to him excl111sive-ly. To them, Lord Krishna w.11s an incarnation of love
and joy, in .vhese devotion they fo11nd fall satisfaction. Tbis idea found full .e xpression in
their poetrf which was no,t a mea,ns to anything bttt aa e,nd in ilself. But the attitude of
Guru Gohind Singh was quite different. He·was neither dev.,,ted to lord Krishna in the
sense and XO tbe e!leat' the other devotees were nor djd he consider this poetry an end in
itself. On the other hand, he had set a great aim before him-that of preparing his followers
for the Dh/,r{Jln Judh (holy war) which he had been waging throughout his life against
the evil forces of his time.• Being a Kshatriya himself, he could not even think
of adopting the attitude of escapism towards the disturbed conditions of his time.
He on the other hand, thought it fit tofiwe the enemies of religion and society boldly, aiming
'
l. Suh&h Marich Judb
B11m Par&Ur.,:l:l Jw:lh
V i.t,a.dh Dano. v Ra.dJ.)
61- 05
'118-153
3lll-i22
.
29 Atkai Dl\it Judh
Mak&rachh Judh
Rava.n J1,1.dh
483-517
'
. ..
618--5~'6
''7- ,,,o
731-760
..,~•
20
3,37-347 11 R11,01 A Bh we.u:i..edh
:S:p&f' DoP~'ll Dait Judb
L(lC.bhmnn Lav Kuah Judb 752-710
4.k-a.mpun D...,it J,!Mlh 372-:J.75
' Bborath Lav Kush Judh 771-783 1a
Devant11k Nsra.nt.ak Badh 3S8-ffi
,,
6
.
B abhikha.11 Lav Kush Judh 7S4,-7S5 2
PJ'illil•2ta. Ju.db
39l ,.~4..0 786-796 10
Sugriv Ln:v Kush !ludh
44.J -4-13 3
Tfinwud .Ju,Jh Ram Lav Kush Judb 796--619
444- 466 23 4,25,
ii
II K. A., (434)
. K. A,, (2491)
11

.at blasting them ,vhenever and wherever he could find an opportunity.' Jn Krisanavtar,
he has undoubtedly narrated, and at times elaborately too, many stories connecte~
with the childhood and the youth of Lord Krishna; such as, sucking ' away of • Putna, .a:
female demon, who tried to kill him by suckling him; the dashing to pieces, ,of the c~r)
of !be demon Saktasur who tried to drive it over him; the bringing down to the ground with
great violence and killing of the demon Trinavartta ,vho took' up the futm of a whirlwind
to fly off ,vitb rum; the 'uprooting of tbe two trees ,vhen. he ,vas fastened •by his mother
with a rope round his belly tq a bowl wbicb got stuck between the two trees as be dragged
it and thereby earning the name of Da,nodar (rope-be[Jy); compelling, by exercising .
hisl
divine powers, the great five-hooded serpeQt ,vbich dwelt ,in a deep pool of the Jamuna,
with numerous attendant-serpents ,vhose mouths ~!llitted fire ,aod srqo~e /Ind laid waste all
the country around, to free the river and to move to the ocean; baffling Indra by lifting the
Gowardban mountain and holding it upon bis linger for seven days and nights to shelter
cowherds and their cattle from a heavy rain and thus earning the title of Goli>ardhan-dhar i.e.,
upholder of Gowardhan n1ouutain; and tb.e kind, ,vhicb 111ade bim an embodiment o(
the highest and keenest joy for all. Having ,once taken up the theme of .Krishnavtar, the
poet could not escape describing, tbe stories connected ,vith him. But be did not dwell oq
them like other Krishnaite poets but went ahead, devoting himself keenly and vigorously. to
the heroic incidents of Krishna's life, the depiction of which did rouse his followers to spare
no suffering until they had put an end to tbe political and religious oppressions. .,
•
This composition bas in all 2,492 verses, out of which 92~, from 1,029 to 1,951, are
exclusively devoted to heroic poetry. Io the rest, ,also, there is a gopd deal of war-poetry
'
sprinkled here an\J there, as if tbe autbqr was . very eage~ to come to his mainstay, the
heroic sentiment.' · , · '
. '
.'
In the Krishnaite poetry Rup Ma,lhuri has found a prominent place. The attitu\le of
the devotees of L0rd-Krisbna towards him- being ona of- love apd joy, he has
Rup Madhuri throughout been portri\yed as one possessing tl)e lllDSl fasciu~tiug personality.
The descriptions of Jaidev in Sanskrit and those of Sur and Mira iP the
Hindi literature desenv.e,a speaial mention in this connection. Noi only hi~ physical appear-
ance infatuated his devotees but bis expressive movements and the trai\s of ,\us personality
had also a captivating effect on whosoever came into his COfrtact. There was hardly any
person who w-as not infatuated by his lovely appeara,nce. Right from the early days of his
childhood to the prime of his youth, people around him enjoyed bis presence so much that
'
they al,vays anxiou~ly !ought bi,;company. ' ' • - · ,,
-t~ ,, . , .
1. ijS!I it ' 'l" ~ 'IT,l!'1" ,, ir 'ffi[ i o!J '<IP'lo t
~ '!>CT ,i'
'll~. "I<{ oi"!l{ ~<It !'I• ,.) llf. Rr'!T'I '"sT f<ro ,ar ir cri) 11,
'll• ,11n ,W ,. ~[; 'Ii: ~ll • 'fi\'l" ir;; •" T'lifijl "" "Til: '-« 11
"'• . "11• ,.1· 'll•<T f'fe;r.i s;r ."lfo " {if
_ ~-1 i'r "" "l'li
,.,_ ll'l:r 11 K . A., (24S<3)
:2. Compare: K. A., (:!l:!-:!14, 647-64.S, 701 .;164, 768-709, 170-782, 75S-7~9. 820, !:3 1..$4~ 84.8·840, 8_50-35!, _l 962,.20J G.2035, :l037-2001,
206tl-2084, 2lli-Zl2;i, Zl:!l:\-2 13S, Z.1/il -2153, 218,1-2242, 2252-2272, 2~73-:22S-!, 22BJ:i-22B8, 2309-2327, 2.328-2330.
2331-2342, 2365-2:181, 2382-2404.)

BRIEF CRIT[CAL STUDY OF WORKS IN THE DASAM GRA NTH 70
. Guru Oobii;i.4 Singh did not fail to make the most of the everlasting impressi<?ns
~of Lord Krishna's infatuating personality sunk deep into tl1e minds of ,his fo) ,l owqs•
.' I;fe prcseµtt;d 1this most favourite deity of the Hindus in all bis char1ns . Not only did he
reveal that Lord Krishna had a charming personality but also went ahead of them to show
that ,his v.ictruies1 in the battlefield agalnst the enemies· of the ancient religion, culture and
society were wonderful. To elaborate thi~ 'thesis:, it was almost incumbent on him to
depict the Loild's winning personality from the very beginning.
. . '
, The irinocent appearance of 'L ord Krishna's childhood captivated the hearts of all
the young and old around him. Hi s movements, gestures and childlike pranks*, were all
fascioatjng ancl endearingll. ~
i. • fil~~ ia;rr ~.=rt ~ ~~T~ ~~t II

V¾~TFl~ ~ ~ aTT[ .;fq +nfu: ~~ir 11
'I J ' 11 cJiT<!l't ~~) (i.r~R: 'cTl:.=t ill fa: :.:r1, i4 "61~~ /I
;rrn~q ~n ~ff> ~~~ "ij!f ~fa~ 'g{qJfl( II
~~ ij if~~ q;r<t> ~?:f) ~ lPlff ' 1f~ .Gf~if I/
=<I« !{~a- ~ m.:r ~~ ~~
.
• K. A., (123-130)-Maakhan Lila ; K. A.,(251-~98)-0ieer Haran. . ~
2- Childbood iii liil<t>~ ~ · ~~ -'ifi q~;;r ~ ,. ~ijfo t . asf ~~ - 11

·~ (!IGl~o t fq~ cfi) ~ ~ijl!cf.o t . tfiR mfG.iI ~~ 11
ijJ ~~ ~ ~qm ~ra (t ~r-i ~"lfr+r iii~ gijf a~ ~ 11
. I
, ' ~~ ~m ~;r ~ ~a ~ ~ tfr~ t ftq- ~Q°n ~~ 11 K. A., ,103)
,~ ifGT:{ +t~ ~;r .~ ~R: il' ~•ft iR: f~ffl-f : ;irt II

·<1~ tP: ~T ~ . ~flil Tiif:.:fT, f~,l . mt 5flei irtTh: ~~r~ 11
• •
'qtfid it~ ~~'1 . G{~cij irfu .. ~ fa{ ~
ir;r ~~al~ II
',I I I II• ··- I~ 'i j irq ~ t (fq it ~.r fare.:r ~~f fQtf ~ ~ ~ II K. A., (113)
,, I I ~ • . ~
ifil ..~ -cic;it ~·~~ . 'iifi: ~ mij'~ tfi~ .:gq'1f re~ =-:tlft 11
fflQ{w{ <fit
C:
~ ~T~ ~ .~ , ~~ ~ ~it m ·~ ~+f ~T 11
.~~ .f~ '5fij~T N~ !v({g: .f~ ~ ir ~q~ ~a{rfl II
fi;i3 ;rfu: ~~ !;\'{{«;( ij ma- .r~ f~~ !l{ ma t~+Pi'T I/ K. A., (11-i)-
~ ~a. .,~~ ~ ail' e6l-i ~~

~ q1T fr U i7ijf
'1iG .fHf !.Jtj.:~ ~ ;r;J it fffl l:lTtfa' ~~~ <.fif 4lf i( 11

iff(f ~ ~{ 1T)q.; QT Si.rT ~ W ij ~~· '5J1l i It
I• •'
'Jf.{ ij'qft~ ·~Rf .fllq.l ~ ~<if 'cl~ 'cliT ~R ~ ;:Jif .:f II 1{. A., (118)
~r,~ ~~ f~~ct ~~ g ~~ a51 cfil~ ~~.r ml n

~·~ ~ <ifrf~ ~ ir ~ ~ ~ a~ ~~r~a ~r~ 11 K. A., c189>
~ ~T\lfa i ~re
~ fu-t it f~ ~ +T-t ~T-it:: ~n~ II
~cf i:f>T~~ Jt'fi( ~ \TC~ if~ ~~ oG~ iii~ ~~ lfl~ II
:.c1 lei! ~ijfl' ~~ ~ Blf ,~a- ~~ ~ffl ;r·i , it ~ cbT~ II
cf>Gdi:li {~ cRT ~'~" fu~ ~ iji, ~;r +rtt <f;f ol~ II K. A., (194i

-
In his youtlliful fo:nn he was an object of a seasuous and joyous worship.' To the
devotees be was the Supreme Deity from wliom,aJI creationds but a sportive emanation and
who is full of love for tlrem. The Gopis were so much infatuated at the sight of
~'Ii ~ Q>; lit 3J: ij; s,r,r. SITT!ii ~ 's. if "1m ~J~l If, K, A., (287 )
~ !llil!ll, ii< ~., t <rr;r. 'il~l'I , 'Ii! "!!If g"" ~<!I ~;i), fl
~ <lwfOIT ',lil ii(O]H" <ill• !\ii ijfoiiffl ~ !)if'f, ~'!fo l <llffil II '
'il'llll f'n>l! "111~ ,r;; ;'/ aroir iJ'1 all. 1of'l<!T ~( or;;) II
~,;,r;; '6\ ~ ij; 'il'1 ~ q,;;~,r ~~ <ii~ ii~ "l"T;i) II K • .A , (239)
1. Youtb '6)Jlij! 'lrSl B '!jlil ~ fi',r ,m: 'Iii' ,;f,;,r fu( .;,i(' ffli 1!1
i '!(i/l Iii< a1 >i-~ >rii "lliiff ~ 1;1fa i'tl?:'li it t II '
f.rsr s:1 "Rf !f;.J ..,1it tor, am fq,;,r "' f<q it ll;f ,r)l 11
llR[ ~
fas iii i{q "l)q ?.:'11 f'l"siil ({I <!Tfs: f.rsnt
II K. A., (317]
lilT"lii 'Iii•,
fii~R P-l'IT fe,-~q ~ qrii ,ii;i ,r,:r ~t 11
;rr;;: ,rf oil ;'/ fii( 'f.\ !J• '11 f.,II .,,,ft '!•ii al ~~ 11
~'llll s;~ fcr,r it fli<i!:l'lf'I 'IT ,;('!ft fug il,;i 1:11 II>rl
fi;i;; ~(I fq,;,r "'J'll'li s),;i,:r <ft'! !lit 'liil iITTi[ s;r ~ II K. A., (319)
"I liiii "llfs: f.r1:11'ffcr 1:11 ~'T 'nl'11il 'Ii'!<;!! ',iil ia t II
t >Rt 'Iii it 'lv!1 {I( ll 'Ii( oil it ~ it 11
'fil'! ;¢1 l:!Tii iii ffl'! 'IB '.!"' {lf'lii ii; ~ 'Ii& ~G II
'fi•lil ii; '!'1 f'fi'<lt .if1:1 {If'! .iii 'fif'f ll·a.:~ sl'll;f "I~ 8 II K. A., (442)
'!'il'li t ;ra"1'11 'l~ii)"oTI: '61<'1 'Ii'\ ~ 1:11;;:'fi 1:1~ 11
oii t
w-~ ~'IT 'Iii il oil ~ ful: ii -.i11sr (,r • '11-t 11
"lllil "I"~ ~~~ -~ q;u 81« ~ ~• 'lll'li 'l1'1" 11
"lo 1:1,; "'
~I oc 'l<l.'o it II'! '!...._
11ij_l'f "lliil <tl<i'I< ~st 11 K. A., (44:3)
1:11 .., or~ f'!i>n <ri! ~ \il'T ift1:1{ ii qf,r "fl» .mir 11
"fllill 'li1 'II:! si;rar ,;rn Ii tli\ efl"'I!
>rig: is/,;i 1/;' '611'.ii 11
f>;m<r 'l"l ~ii ij; ~;r,r '61 l:!ll arri.r' '61 'I. 'fl( .,fl\\f1 11
'fifil 1:1'11'! 'Ii~ 'l'l•II• /1!;,n ,.r '"'1<'1 '61 o'l:ii1:t 'li1"1 II K. A., (<'4)
f~q "flf. f..-,ftq-fir 'f>'I 'il'1 t 1!« "fTi fli1:11qf\\' {Ii ~fil <!Tt 11
"!Tr. ~~'Tii ;i; Rq aj\ 'Ii< 'lr'lil aj\ oil if ~ !ffi: II
qf< 'Iii '<<'.<!!1',.r o."" 1:11 ~ ~ 11
>i<'!T '!( <!Ri!
'<i,r ~<i'T ,, ~ ,,."'
~ 1•rir 'li'i eq111 il;,r ""'Q.1
"fr... 11 ~-•I
<.!.
K A,, {4.45)
1!« "11~ f.rarqf<1 sft 'il'1 t "" Ii fu.i >fur ~ ..air -r,; ,rr-i't 11
ill !Jl it '.!'f it ,;ra.,.,
sft ;r),n 8'T ~ !Iii q['lf 11
rn>r [
sl;;: 'I.ft ~(<; ij; f<r.lii 'lig oo 1,,j iii 11'! t/ "!if ,n,rr II
'ol'i[ ll.rt /;i,r;il '-s'\'11
:::;,
ei.ti/ ""' ,.~
l'ie'li ~, v,,
a/"91
"11 "'l
11 K A., (440)
{Jiifi! ~
'll'<IU Ge 'Ii'! p.f{f>ro t fwr ~ fi('T qT.; II
!!ll>r<I t 'T'I .ir •< Ii ii;tl'<!rqfit 1:tT'! .i\o; w,i "IT.; ,,
'lil'i!: ff.? foar ,r)fq,r ii tor, ..1 "l'l Ii 1:1,r ~f.;r .,. ..)., ,1
"'![{ii (ill; (;f\ fS!'! 'ii'\ 1:1!» ()ll;<[ t 'l'o {i.'!i! m,; II I< A., (501)

BRIEF CRITICAL STUDY OF W ORKS IN THE! DASAM GRANTH
1 81
his fascitlating bea\ity thilt they abandoned themselves to him and forgot all about their homes
and their husbands and did not entertain even the fear of their mothers-in-Jaw.' According
to the poet, the earth ' also was pleased to see Lord Krishna's face and felt like becoming
lfil'• f!!OG!o lqf('1 II '!if. .J'lllf ~ - fslAiill ~ ll"liir' ,,
a1<f 'li't iffo <iii ~ !i!;t f<l;i iii .irf .itir '6<>TT il'1 •l•i!I II
\IT at\ ol~ oli:'6 \lif 'TT OTTO. Bl'<r.! ii'; "'1 fr!"!Tif• f.i'l••ll II
.i'(ijf q i!qaft ';!ql!f ffiTT oll'T (~ "'fl: (!"Ii! w..rT II K. A., (5,.)
<it,ra t
BT,; "IR'I If ;;i).; '3;1!( '!lo >f~ •'11""1 Ii
;;i) '-'"" i6 ;;f«1r O!\O.
f.i, Bl'li! '6\ <R0:1'1 fs'l•ifl II
,ft" <•irr ar.,- iii'; wi ~ ,i;f<r B'llll ,i;\ f,i~) ~ '-'l•'II ,,
<1'1<1 ,i'/ s,ro1% fa-arar;"t 'fa! si~ar o11n ,l "'m: !l:•'11 11 ,.:. A., 1000>
'h'\( il ifl'n ~( rJ i;t ~'fif il<i!o l m;; '!R fuT ir 11
,i) "" Bili! ,r"t"I '9'11 .r ({lTT ,f'I B[>li! ,r"t"I ~1'11 ii 11
"
"' ~f'I ,ii ,re •'l ,r;;i ~ 'lf<R Bl 'Ii if 'R<1'11 it II
<11 <" a€t ~ '!lo ar;t\ ,r),; 011,i iii'; !;! t oi\1<1 11 ,.,,i't
~
11 K. A., t,01>
l.'l<i!o zj.,- •sRi! ii'; <lif<r l.1'111! <tt arro. 'nl~< 'ffi!T II
,:T:;f<! ~ Bl~ oft"I oo !ii f.i(r>Rr ~ fri<~ fir. •rr.ir 11
'liol <~ "II( <fijJ .fol"t fi!f>l i m i(i <r~ 'I~ •"llolT II
,nfii,r i!ilif 'lft 1iJ ffifl q,r_1 .frf'TT'! 1iJ 'l'"lifl!Toll
<;\, .t:. .... :::,,.
11 K. A., (0021
•'ll<if (T,i; <:lit ;,f, 'q-f,;i cair a-la! .rrf,i 1iJ "'g <:, BJBT 11 K. A., 10001
"I\ '!J'T dim t 'li<ol m;; l \!'I ~ >r<11TT . 'lo ,ftij\ II
arrm: !!;<i!'lt ,rfORl"I 'Ioli fi;r;r "" ~i\ ~-< i\q ;;:t\at 11
"IT(if fr,i; <~ "1('1'\ Of ~ 'R 'TT\lif fi 1iJ ~.,-1~ If
falo f,;i,r;ft 'a( iITT'T frlt ~ ~ ftia if,: ~l;[o ~.; <W~ II K. A., (607)
]. iim: 11 a;{,{ ;(\ ~'<II f11f.f 'l'""

• •. ····•·"" ............................. .. ................. u,., .. . ..•..........••
sj,: q~ ,r.: ~'"' II
o o ,ooOoOOOO• • • • - • • • ' " ' " ' o • - • • • • • • • • • o u ooo • •, • o,. • o - • • • ,oo ooooU , • ooo H ■ '""' ,oo
'<i'T "lai'T ,r.,j\ Ri'f ii'; N<!1 ~ f,i, iITT'I ,6\ ,{["!'I lll~ II K . A., (240)
m'lnil II K . A., 124IJ
'lil,i;: ,6\ ffi 'liollf.'r'I" ,:,) ,I'-'! (1'li ~~1 B>l i(\ !'10!'110 IJ K, A.. (293)
<ITT"!'I ""'" f,11,1~ &'II f.i"I i;;q ~ q1.; ,r~r11a [t 11
iJ. 'Ti: <fi! jt f!& sil !;!"1 ,1\ •~'11 fa!§ qa.; ffi 1'~ 11
<'Ill! ~t @if ,6\ f.<.l•lf.t ,1\ 11~'6\ ~ ilo1 Bl ~ II
fale ~'li<T N<!I :J:'~q; ,n<i{o ,r1"1 l!iTT o'fii! ~), ar;"t BJ II K. A., (3 19)
o;~ ,6\ i;.q f.'r~( R'll f.i"I !l,r 'Is~) '.j'il ~ 110: t II
111'-"'1'11<1 ,6\ f"f!! q,:iJ- ~'I ii I.ill q1q T'lii!fo: 'TO: t ii
'<11'1'1 ~fur /is '31<111 <T-TI fi!a cf\s, ar,:,lll R.,- '(a: oil( ~ 11
falo >fif'!Jil ffiTT "Iii ,6\ 'I( S<i~( "IT'! ~ I( G'. ~ ~ II K. ' i,20)
A,.
''

82
• THE POETRY
• •
OF THE DASA~1 GRANTH
his q ueen, and, therefore, tried to present herself ~n a for ~ .,vbich could n1akc her look so. t
Lord Krishna, the great Hi ndu a 1tar.- ,vas according to the traditional belief, an1
..
accornpl ished flute-player. His flute produced such a ravishing n1usic as look in its
Flute grip -tbe hearts of human beings, goddesses, : demonesscs, an d the Nag women.
.Even CO\VS and deer could not help folJowiog the be,vitcliing n1clqdy of the flute.
- ~-- -- ~ - - - -- - - - - - -
~ qra ~ ~q ttt cr9 {t ~+r nrq;r q1');r " a~rs:r 11
'1il;~
~1t q( fl'R t o;, ll l<fcl 2c ~ f~ ., g:r~;, Gf~ 11
~;~ <ir ~q ~r~ ~il ~ q1~ ~~ ~4r4 ~ · s:1> · ts-r 11
~~ ~ ~;r ~ . ~ r:Ji ,11" ff~'T ~+f ~ts ~ •~~1 II K . ,\ ., (4.31)
if let.l +f if ~ ftrn" cir Her

~
qiF5 fr ~ {B' +l1<R U~T 11
+r1{
c-
~1 ifcRt ~zyrr B"+r ~ ijis<) ~ ;i., ~ ~r;;ft
.:. ..
11
iR ~ ,tr ~~to; ~ctl?.: +f~ +rllciJrr ~T Gt l1+f ~r:q) II
~r+r~ err (fr{' ff ~~ ~ ;r.it ct~., ' ~ ~-fr~ · ~ ~Rt 11 ""· .\ , ( t:i~)
~;~ it· ~q fu{T\ {~1 f;T~ iJ ~ ~it nrft~r !IJJfcr ~~ 11
UGt<f iffTT( mrftqoif;, fcJtr~ 5·~ t ~ff +JT~ Ii
m-qa t f;1"~~q1 ~ i:fif ~(if~ ;;J;f\Tf ;rtt ~~ cfil~t II
~6J{ f~1 li"l'Jcfr;J R{qfcicT llr:=r g:~ f~~ wrr~1 11 K . ,\ ., (4o3)
~(JJ <11 fl ~l c:Rl1~r fu., ~1 cfif'~ ~~rir

I
~t ~R Gt) ,~
•
,mt 11
~~ f'AlfTqfcT it ~ ~ ~ff :.trq1 ~~ fuir ~~\ +rr~r 11
~{qcf ~cf qir~~ q;'f 1Ttcr;r ll~ ~ fif~ · <fit gq ~r<ir 11
;;ft\ ~ ~ '!Sf~ ?.:?.:
'3~
"
~
~11.iJ ~rf ij ~Gt° i°r ;rfaf If
cf;J K. A., (4tJ3)
.
~-g f'Alf cJhf f;mr fqt-iiii ~R fir3 rr., icJT,., ~ +rf"t QI~ 11
'
~ f~lt n:q ~+fi ,t cfif,1 ~Hl ;'SJ ~., ~lcf{ .~~ II

, I I h
~ f;jf~ fi;iil qr~a- ~hr~ f'if'ff qi~ ., ~~ q:;;r Ebt -ii Ii

ffl if-t f.fT"if ·~uiHJ -=fiT;~ it.,; frt1jJt fu~ cir ..,, ~.r ~~ 11 K.A •• c-110> •1
~Gt" <fi '!ftf;f_ ~m ~<t lffa- qir,~ ~ 3;qf{ a)f~ {ift . ll

'!!IT<f. ~ <f;J . ~+J~r . ~q-11'f. §ff
,..,
c6f ftrei~ . .,f~ GIT<f ' ~ifl II K .A., (-171 )
&@mii~aT fqf{q ~+fi ,{t ~a- ~-~, !i·~, q;~ cir sm-t.,_ 11
,~ ~il, · .,;;:1 fJf~ ~ g nt'{r~cr ~ ~ ctr.,;r 11 q:;~., ·
~;, ~ ~T~ ii ffi ~" rir ff rl Jlfl{ lif~; ,B' <fit . ~f~~R~ 11
fur~ {~ q1)rr;r +f.-? ii ~ ~;:r~ 'ffil n~. ~~ ~ ~r::r., 11 ~;r., 1·
:ctr,., ~,lf, "' Q.
{{1 ~r, qff:( ~~ a-fGr cytff;;; g ~: ~ - ~rar ,,

<1 \.. A ., (567)
~rf ~ fa~11· . ~r~. f!f~ er

+f{or, cf.~ ., ~-ij qi~ 11 ~et .
I
1 '
--
...... . ... ... ..... ..... - . ......................................................... . ' • 1
~f~ trrt· q, ti ~ ~ tr,f,:r ~ f f qit f~acl ~ ~~ Gtr~r 11 1,. A., (606)

I,.
'8IT-1.J ~<.q <1~T ~ft it ~qif ~., ';r ~fcr {T ~<!RJ-,t 11
ij'"t, ~ c'fwfir ~{ !fif l fa{ ij' Sf<l'?r ~ ' a ~fiJ +fl.fl II
~~ ~ <1qffr fuo: q;'f ~q;t ff-i ~ lf;f ~ q~~ II
~ff;, ~ qc·' & Q.f tf ' ~ irw;) ~~ ~ g~ q"Z'\fijf II K. A., (H16)

When Krishna played the flute in woods and groves, all the ganas were gratified and r the
stars stood motionless.
In the following stanzas, the poet describes the flute of Lord Krishna and its
bewitching effeGt on all. There are various Hindi l1ymns expressing the ravishing delight that
Krishna's flute-playing inspired. , Mira's poignant call to Murli Manohar must be fresh in
-everyone's mind. Lord Krishna is often painted and sculptured with the flute by his lips.
These stanzas would make a glorious addition to · the rich heritage of Radha-Krjshna
Jitera ture in Hindi :
Ram Kali. Sorath, Sarang, Malsiri and Gauri, all the strains are in play,
Aod Jailsiri, Gaur, Malhar a~d Bilawal melodies reside in the flute at their proper place.
To say nothing of human beings, even goddesses and demonesses become drunk on bearing tbe
notes of the flute. ,
The women of Braj come running like young female deer when the sound of 'the flute catches
their ears.
Basant, l3hairav, Hindol rag along with Dhanasri are all being played.
Krisan, the abode of bliss, is playing the Malwa, Kalyao, Malkaus and Maru' rag on the flute in
the woods.
All the goddesses, demonesses and Nag women present there became self-forgetful on bearing the
strains of the flute.
Gobind Da~s says that fron1 the manner in which the fl,ute was played upon, it :'l.ppears to him
that all the melodies re~ide in the flute.
He is the repository ·of compassion ; the Vedas have eulogised him. His fragrance pervades
the three worlds .
On hearing the strains of liis flute, heavenly maidens have deserted heaven and are hurrying down
to the earth.
Delighted at tasting the beauty of Krisan and tbe me,c;,/iies of flute, they gave it as their opinion
lhal providence had designed the flute to contain all the melodies w1thln it.
When Krisa.n drew the strain from the flute in woods and groves , all tbe ganas -were gratified and
the stars stood absorbed.1
The Guru delighted in describing the sports of lord Krisbna,2 the circular dances
Sports & Featsperformed by him and the n1ilkmaids, in which he formed the centre, whilst
1. K. A. (331, 3~:!, 333). For text, see the Appendix.
Also soo tfif•~ a\ ij~ ~ -g@'T ij 9Glf~ :gem cTi=f i°r cf.~
~~ \~1 \TJifilT Ullf ~ij &:f~ '5't~ ~il ~~.:rr ~~
qRsij inf~ (~ ~if ~ '$1~ itf~ lf({ ~ii i
iffg m cnfir "·~ !J,._q ~ ~qtr ~[-,;, '1f~r( K. A., (195)
For more references see K. A., (:!8!!, 235, 237. 332, 333, 45'7, 458, 47J, 475,476. 59.J, 6:!8, 650 etc.)
2. Sport.a, 11)q., ~1 fu~i G:R ~r ~•=rr a-c: ~~ +1~rc,a t 11
~+I aTT~(f \ ~lf ifTmf t ~+I l:1Fi<f i fu;r cl Teta t 11
~ ~o <tJ~arr iff.1r it#t o.ft W tit'( a"T~ if;"fffcl'cf t 11 , •
cfi~ ~~it ~t re;, cfiJ ecr+rr ~~ 7Tla ~~ ij,._q m<:ffl t 11 K. A., (119)
~~ ;"ff~ ~R -ift ~~ ~q;t ~•~ ~ m~., ~(!l., ijJTfl 11

+rr~ cfil,. r1 Jl 'tl~~1cl'R- GJn;:R qi) a~1t1 eo ~Til 11
fu~ +r • 'ii~ fail tli'r aqm fit~ ~ crfu ~121.:r ~ ~~1rt 11 ,
~~1 ~+l't~.:r irrtr ~-i¼ r~ ~ ~a qyn
(
~m i.r~~ 11 re A.; (12,>

tbe Gopis danced a round him and sang in swinging circles, on the margin of the Jamna',
iir.lo t "llli!T<lc ~ 11;, "11;,'s ~ ~ft '![{ii .i'\ II

~ ~ "liill'!i:I ffic f,;'f) '113: 'fl~ r.1"11~ (l"!R:1, .Jl II
'fi/lr .r'IT" .,.,a r,.,., "''\ ,qll) ,r;n 111?,;: '<!'Rf "{q]{., .il 11
'!<ii "llo a;r,i ,.r.;~ ifs
!!il ~"'" ,;'\ >t!rr ~"ll{ii .rl II K. A,, (U!2)
"'" m'lR! 'I~ ~. 'lil,:Jii 'Sil,: rri a;['[ Olli;!<! it<l II

'll'lo rr1o s"IT'lo or.r a.t !!"' ii ~'<IT flif.r >tR'l 11
<l[{i:I t "fiffi:11 'lfifo[ il;ei;i[ .Irr lll{il ~Iii ;, ,r)~ 11
'lt no .r'lflf 'llll, "1'1:_q ,r.r f11fijr fl. ~R W'l<i! 'TI{'\ 11 K. A,, (226)
'lo ,;fl; •'TI, "lir,l 11~ ~,. ,,r, [ <!!ai't a;r) ol "foi:t rrl 111,~ 11
'lil ;ii), ~"
"Ii~ 11·?,<1
~
t <r'I "<II,'l ,r'),,,,-~..1 iR orri/; a;i ..1 oil ;i;~ ~ .rr'1 or1,~ 11
<1~ or il;<i! 'Iii! ~ q&T~ [1'1 "lltl 'li[l "" fuel~ "11,.:1' "llq (l ii a;r') <IT "lll.~ 11
-
'fi{ 'fif'I 13<1(', ill'IS'l 11f.111 il .r@'l .,,., ~a'\ ,rill[ 'l!~ 'fil'~ ljli[lffil! qr,t II K, A., (229)
Aquatic ;
iii·~ ir "l'Ali:12' ~ f<r.r 'ltqi! lTI ,f, l 'lifmo 11
oR: ii; "" ii\ f.rrr,'l "l'lil! ,a- ,rf;;;: if~oil ~iifi:I i 11
fim: 'li'Pf t ~ ,r,i) ;,z fsi, "Iii! '1ST ~~ tjf,r (iifi:1 t ii
f;'li1: .~ ""IT
.ri:i/; it "IT, il "frqfa <I fac .iliifi:I t 11 K. A., (120)
'TJ'lo 'llif f'l.iJ'liil if a;r,; .\I fu(qr o;rri;;- •""Iii! 'fil,'l 11

'lil'il:{ ,it '[{ill aj;{;j° 'fig 'lfil;o t q<1.fl 'Sf~ 'ITU II
B'ITII ,;t fir., it !!"' 'lit _fqf.., oi'tfu 'liiiH ~ ..1 :efrr.r!'.l 11
'11'!<1 t "1/Jill"liil Jl ~ 'Jr' ~ f111, ,/ :!iiif'!J(T II K. A., (24J)
.illso t lJqT'll "I&! ~ @'i{ ' i'/ :e;; ['oii! il ,it II

'Ti!
!F •""" <Hlil 'l"l!'lo t rn. "''~ f.i;,;/1 ~ o•<il" 'lil 11
irf&
= ~ <Rt .~ >l[@" a;r,/ ,:<1.i) a;!!il
~
ii[ ;;;R ~""'" .11 II
'fifir .iqr>:1 mr"I• t "fi?r ~ r.. ""'1t .i~ fl a:i: 'li"i;!., ,.) 11 K. A., {24-2)
,fa ail .:R "" 1'1or;ia,., il «'T i/tq;, ii; l.'li ivc 'l"e!J 11
'e'"f 'fT{ qt ~
+!To an,;:'11 fitful '11Sf iii(! 11
slli[ sll[
af'I "IJ, q{ afll'l["liif ii srrr ,nq;, ii, >l'l'l[i{ "l?,J II
o'f <ll ::J+i'fit .:R aft l'a'I .11 ~;,lt :Jl'l '\" f.. 'f) ~ oa:1 11 K. A .,{'65}
ar., ii:; ,nsr ot "'"""" m,; .ril fsa ir flrITT1>1r 11

~ ,il,ir qfiif'fi ~ ~ar ai;, ar, l;fiM"li!T'I 'I~ or.r 'IT'TT 11 K. A,, (24i2)
~
"'l"!ii m "lijf ii f;r,,r;ir,,. .r1.1rir "1fl ~" ma (!i41!1Q II

11,r '101.11 ""ii; "ffir ~1 ijq ii:; iilrr'r . 'WI "1'l'T 'lisJ~ II
lf,r m o:'li .:1 s• 'lt ~·se 1/,q r.rw: ,iil •1:IIJ~ 11
qra ii\ ID<r "" i,q ~'s'i ;ft"fr ~, u;"t .:fi: .:r>r ., "1[1( II R. A., (2473)
1. S. R., Vol. V1 {23l.

where in the Kunj Ga/is (bowers), they \1/cre skipping and springing about, chasing each
R,,, Lila, ,It! if;~\ tl>f (T fqf,;r 'W "lg<l'f j:ji! '!il fij'l l!Tif 'lil,,i\ t II
Ulli ,;fr &,;+1'\ f~,ni\nor .... ;if,r,iGii( ft,i; ,,'Ii t II K, A. , (517)
nra«r ~ 'lafl'[i! <fJo! .rir l'lGf'lF( l!~l~ff .it II K,.,., (518)

lnt ii ql)! flit["lITT'llif
~
I!'! We ~\
"
l!o
'
,iii <lit 'll'f II
•':\'
\]>Ii tt l)!'] 00,: l'!i'to ij 'lf fli, ''l[('l if;f'< fl:>lil'f ii K. A., (S2U)
srr;,-a'\ ij'~t ti<! ~ <liflr <1'111! 'o~ ll far,~ ~ Bl'r.! 11

"lft;,'\,rr afo! ,1\ !!( ir f+1fur oil:fii! ..i (ti ;i'\q;(;r ol'l'I II K. A., 1,,21
~ 'I¾ s'!i
'la!T'!ll'fn 11
ti.if.~ "!Rf ~'\ (ti '31 ij f,llil'l'l '61"! .ii'/ 'l'l >IT'f'l 11
ol',ii!Tol ii!ii!T @ 'll'f<I ? ;,a ~ '1''1 ''ll(il]'ll fl,fur nr// II K. A.'(''')
<iGii! ,:TB 'll'le! Ill! <!<I ,:fl: 'Iii ,a-nqr.r 1:'l'TT a t II J<. A., (6261
"!ij! i/ B'li,'\ far<r il:iii '!it fir<T "f[('ll'fl ,fl: ii: tjflr Gl;ir 11
r... 'ff'! 'lil'T ii oil:iiio l ra;:
,a-1<1 ,:') 'Iii'• ij: BT'< <!ioll i/ II
ilMio1'6T fu>r '!1iilI •'11,i!'t'll s'< ,a-foil '31 (ilii!1r<T fat¾ wfo ilo ~ ~·s,+lf<l "ll!!Rl II
"lli
,c,.1 ,'>
,~ f<r1<<1T ii: .ri/ "!'1 '1lli
...., ,<<TT
" .i,li<\'ii!
~ ,;i~"
1<..I 11 •··
.n... A., (530)
'111'<1 q,. .rsl '" •'fr,f.r arfl:;i Mi'fi'I ,i;'\ ~., '!T-ir 11
far,r f;i'l (!Ci!a aft'! rn'l'T ;;fl: '!if ''ITlfir iift'I fir>J ½ ii ro.
ilT'll'I 'IT'ls ~lil 'T'l lJ( '1Tr-ir II l<. A., (631)
(1'1'1 "li!C fl '11'1.f 'lil wflr nR.r 'Iii a, <TT<\' q,1 11

fa-.nlo'I '!ii "lfo;;r.i'I .ii ar.: oil:iiio ,a-') 'Ii{ q,i; '1'(T 11
<Tl'«! q'!S 'l"fT'-1<1 afij! sil >.'Ii ill'l)l' wr;: w<'.\ 11
'!ifs B'lT<T 'Ii( r'it;; =53, ~ f.1~ o3, f'!i~ o:R ,r.r ~.,'.\ 1: K. "·. 15 ,o!
ir.Ta .in •en,.r ij; 'ol<I l'l'll<T 'lit "113; '!il•i!:( 'o!ijlf II
lT"lo ~ ,;i1! af\'! liTU fl fai,r;;ro t fl!,~ fa.: ,rr;r1 11
'!jiil (~ "!& 'liiil +1<!11 fsfl'f t W<I ;/l <Is sic, <"fliilf 11
,i)f<r.1 ai'l'I ,., lj<l,TT q((T +j,f'ff'I lJ if,Sfif+T[iifl II K. A. , (602)
'11'1 <IT 7'-lltfir <TT'f<I ! lj'f'I .; 8 fl·~, 'oT•, , '!ii~ II

"ITif'f ? fai'I ii BIB m
fl i'l,r,,,o i'li"!il ict ftrr ,a-r'l: 11
'lillli'I <ll'fil zj\ m: ~ ~if <IT 3;f'I it ,i;far B'll'l o'IT~ ii
am;l'!i \;',r 6'!('1 i'i.: •;i; o;:;~ 'IJ"l ·f,;{,J il'll{ II K. A., (6ll)
fi!l!!+il'l~ol ;;fl: ii: ~11 iJT'l<I ''fl{il i/; lJ f.,q'f nil if II
~<I ill"I<! t '<I@ 'fl!+lti f'l'!);'1T'\ f~ +ITT! q,t 'I'! if Ii K. A., (616)

..
S6 'fHE POETRY OF THE DASAM GRANTH
other ~s in a game of hide and seek 1 and bis miraculous feats that have secured
him deification amo11g the Hiodusi1. The style is highly embellished ,vith rhetoric, metaphors
choice similes, long-drawn imagery and fanciful jLlxtapositions. These apt and beautiful
descriptions would not fail to attract the reader.
f41fl:f ij·i{~ nr~ 11 K. A., (6j8)
i ~ ;,0fq tm II
••• ••• • •• ••• • •• • •• . ..
••• ••• • •• ••• ... ••• • •• .-. . .. .. ..
cfi't ~cf if +rit ;,f~ ~f., ~ ~::ffrl~ ~~ 11 K. A., (029)
.:rr~a- t ~lai i~f~., ~ f~~ ~ ~m ~r ~fa- ff~{ ~.,., II

~cf t ~-if.:t't ffiii ~ ~i[ ~TGf~ ~ ~!!-ll~cT cfifif;J II
.rrifijcIT f~ ~'t '11~ ~ ij 1a1 ~ ~~~~r ssrfu'Tf.l.:r 11
~~o ij r if~ ~r ~ft, fGl~ Tii{JG'fa ai'r ~ lffiT rflf @Tifii 11
1. Krishna's chnso
cJ;T~ en~~) fa\ cl tR ~ fu~ @'Gl.r ti ~ +ITTf ~ t 11
<liiil !J~l er;, ciiTf.t il 8.r ~ ~ +f'tt ~;r if~ t II
~& ~i ~e- ~ ~n~r ~.:r e-~r+r ~ ~~ i::. Q.~ \:ii t II
it afirsr G~T.r ~
o:riq_ ioqm n~iliiJ.1 efiTw.i ;i.;-q
,, i:r£~ $
~ 11 rr
~ A., (657)
q;r;~ ~~) =qt rerr,.:i ~r ~13i mn "cl'~ ii~ ~cf ~f'i: II

~-3" f1;11T.r1 ~~ qfcr ir Rfu~qr e-~ ~ii1' ~6 ~ql~ 11
~·-nwr ma, flfi~ a-~ mt 11
~h: ;J~'\ tjf~~rilt;crr g
Od\ ~tr <lifif ~~HT cfi~ ~~ ma- ij ~mtr ~ i~ ll'Tfl~ 11 K. A., (6511)
qi~ q~ fa., ~ ~f~~ ~~ ~ ~ ~~ ~ri: 11 ,iJ ~, K. A .• (660)
~fu .:nncr ~-~ n©1if ~~ f;1~+1r;,~~n rir iT~ ~ft ~ 11

~.. ~ ~'
cfi'qf \:l~T~ qer1~ "~ ~i{.:{T a~ ~T\cf +lT;Jcfi ~~ II K . A., (662)
:L Jilu:o.culous feats :
efi!rQ 6~ err iT)q-;r ~ ({5f {t ~;, ~a,
Nfflrf ~... lf~~ II
~ q,"'t e1m i"f(ff
tfi~ n~t f<ti~ +rf~ ~ lft ~~+ii'-r'r .r~ q~~;qr Ii
n1 fcril ~T ~~ ,:fr na +ft ijGf cTT ~fil' cf.T c6fif «~TJJ c6&:~~ 11
~-a tjrr .f,~;:r ~ ijR ~ fijii fa~rn ~~ +1;:r) iir~e1 ~~~~r II K. A.~ (•1so)
1qRiJ oof'5{ ,~1 iji{ if ~R~l ~"' ir

It '1Q.l' ~;m,- qr{{
~<ti iiIT~R efi,?.TT +{if f~~ ~ .:t ll~ Enij{ '3g ~Q; 11
V.
i, fcr.,1 +T~ ;1 fn;,«fr ~ tm:~tla cfi') :s:), &m~ 11
~) \3qG\T ~qm <qcfi~'t ~~ ~~cf ~ ~ c:tTtt 11 t cti, K. A., (400)
@~ 1cfll:if it ~fa '1 fq~ ~ff (f~ SITT~ ~Tii fa~nift II

~fcr ~ 1:1'~-=r')
~:a ,a,;;'t JJ]l ~ q, f5f~ ¥J~rj liilT
lI
o:q-,a~ 'R1 aeit {I' ~~ ~~ ~~ ~~iii 'l( <rq ~ ~ft. ij~it1 I l
~l~ =i4~~l ~if cfil :i:rif ~ fG'fil ~TGl<f f?r6. t ~Jf:s ~U~'t ll K. A., (499)
For moTo references, eee the KriSQTIOl'lar: Sle.ying of Puta..oa (80-93), Ttinavortte. (103-109), Biskaear (169-163),.
Agbueur (170..175) Dbenuk (189-200), Prafombb (226-227), Kalinatb Nog to olear off the Jll.llluna. (207-219)
Lifting of the Govardban Mou.nta.ia (336-408) and the like. Rescuing of Juml.a.rjan (136-lto) etQ. etc.

4. The poet indulges in elaborate descriptions of his male and female characters,1
choosing for his subject the depiction of scenes of union of lovers and pangs of
1. Doscript,ion of Ram's hettu t.y:
~;rt~ ~ II '3'~ cnT+r ~ ll ftq fe'q~r~ +rr~ II
~'31 Gtf~ ll Ii,. A.· (JO~)
f{Jtj iIT&~q' II ~~ ~crll.ci H ai:'Tf q-g;:r~RT 11 lli e~B'311:Trtr II R. A •• <103>

f.:rlll ~~ -'ifT01m II R. { +rr.:r +ff.:p;Jl 11 ~ ~~ );@it 11 ij°( ~·s{ ~lq'~ II R- A., (J04,)
~ a jf~.r -iH.:tm 11 ~-if ~qr~ i:rrif~ 11 {tt

~
ABwJ ij{~ 11 m~ ,r+r ~ 11 R. A., (105>
itc ~'ifl +R ~!fi +r~ ~f( ~;, <CT·~ fu~~ ~3~,! 11

:! GtQ°
0
rnrr cfi'TT&.:f 3'.i'1\ wif1T incflf ~ @q Ql'Tt 11

~:{n" ~~lf ~TM<:l 2.filR cfiTiliin ~~ (T~ ~~~:r~ 11
ifT& qi~ ~cf ffle q~ ;rij: afR '9~ Tif~~ ~fc:r~ II R. A., (lD¼)
~~ ~g~qf .:rt ;rr,;:rr~ 11 ir~t ~ct ~l:l +r(TafT~ iHi 11

~ij .!) ~cfEl;~clT ~t:!J '(j$(~'-i II .r~T~)il Gl)rf +f~f~q 'lei II R. A., ( 692)
q~qr<: lfar fe~ fe~q= 11 ~ct ~fu~mr ftcr fGf 1{ 11

ij{~r +(Tc{ ~ ~~ ~ir N"q'J~ 11 @{11' ~q w ~~., ~a fu~t 11 R. A.• (693)
':!f~ l{~-l~ ~ :jfr.J

...
11 ~ &~, ij@:fi~ ifT~ 11
~~~~ .,~«R ?I t 11 ~er ~er ~~ t II R. A., (70o)
Description of Silo. :
e1>1 ~e 'q:Ji°h:;r ~ <J>R ~., fcf"~<ffifT ~iilTTTfT 11
n(~ ~·~if~ ~.r~•~ ~~ ~Rf <J>'t M~ \il~T 11
Vti.:r <fil ~~~n ~{ ~cfcf EF,T& ~tJT cfi"\ ~r~'t 11
~e;:r feq ~«Qii rnt-l ~Tltar1 7TrJ ~ ~lf q-~f;,1 11 R. A., (~63)
fq'cf' Gffcfi~~l
•.::,
11 rnn-~~,~~(!JT !I cfic~lc, ~el II tr-Or.ri{+rii'tm 11 R. A,, (296)
'q~~ qr;, ~t 1:l~ ~., mrrr 'q~T ijfl'if ~)t ~T3'.i ~Tff ~r.:r) /I
X X X X X ;;,r..
.:r-rr ifFT iif~ Qf~f ~rsr lliti ~rt ~lf ij~Jif ir ~rir ill~ 11
mrrr ~l<f .ir~ qi~ .;1;r V~ fs,;r .1<1> ~ IB.:ff ~H.:f cff( II R. A., (:?97)
~ ~~ ~ 91)~ijtr itcr cfntff a~ ~~~ ~if ~'t~ ~rt 11

<!l"~ ~;; ifr~ ffil +11rt irl m~ ~ra- ~ ~<iil ~r@ ~rt 11
tr.iT !1iilf qje.i &~ ~., ~~ i!f& <!lrrr ~~ ;q~ GTJi.: ~~ .11
~ ~-t ~r~ ~ ~Tll fq~r~ tTT (rr ~ru'if ~ii ~i=r 11 R. A,, (!!98}
~n trr ~r"a ~,j ff~ i:rra .:r~& n;i!nif ~ ~ii{ trrl 11

wi{rn~ ;t ~~ ~ ;{)'qi rt~ r~1T1~ ~ ~(q ~ ~T.f ~r t 11
"{f;qtU;if 6ffi ~ ffi~ ~~;m srs,r -m+r ~~Jot ~ qlqcrrt 11
llo::fT aT.:r tlilflif ef>1 ~a- fq~r{t ~efill"Twf ~t -l~ ~ ilFt ;JT( II R. ! ., (298}

separation between them. In the depiction of union between lovers he, at times, dwells on
their various limbs from top to toe in the style of Nakhshikh Varnon so popular in the
Description ofl(l'isht111 :
'l>'1;;r .i't SJllilil i ,~,r <r1aii <rraii !tor .;2: ili,r~ fu,rr.r 'ffl ~.,. 11 t
,iio;;;r .i't ,i;, 'Iii, 'fl.i'l>T s~ .,, t <rr.ft w~,"lrf. ;;rril arf. ~ar t 11
sl1"1flr s;) lf\11:fu f-.;i:fa '11'1 SJlfB 'ffil foi,,,r i/; sit\'! .;) ~i't 'iot'f t II
~ar +if,,rf.'r .i)s; ~ "1f'fo ar ~, ~Tit Q1\ <,,; ar,~ s:i,9 ru .iarri, i:tar t II K. A, {'''l
<ITT"f'f t fu.r ii; 'lie ili.fi; arr.; fi.s1 !;jars a,) Rn;: 'Iii ~ 11
!!Ts ar,q)s1 'HT t fu,; 'Iii SJl"R:1 q1"f i't ,Fi; ir_,a "lt 11 t
aiifl..i SJ!~ fqar, i't 'f"filff,;ra .i~Jli 'lit 'iiflr !! -~, <mt II
~ ~- it '""' ~ "f<r -ii~a oi,s1 ~ar ,.~ .i,r ill II K. A., l'''l
f;;,r oirf& f,;rrr1qRr '>1 .,., l !!"1 G11fu: lai.irqfir .i'\ ;;i;far m:
11
G1Tfi'i ~('lil ii; f,q a,'\ a.e ,isi,r .i1 oil ~ eyJ'f ;,rt 11
'lie arii 'li?.;'111.:.r .,~ Gi<'!r q, ar,;,r .i1 :;a ,r1{ 11
SJl'T ijij<] !J l;j-~, 1'11'1 'o@ oq,r[ 'lii[l~ ii~! <i!Jt ii K. A., (4<5)
Deaor-iption of Gopie in uniou ;
fmr !f•o .i~ .ifGI ;j; f.rl'nl!.,-!J<TT ~- "llffir

'f!TGI" ar.ft II
!!ll1 ,r"fo l;j'[ flra,rqfff Bl !Gli'i t/ "JRJ s:iis,r'r l;,1 'lift II
,.. '-l q;/,; ,l>T'l'T ,i,q Sfo!T 'l'f .iroi m
'f!TO! ,j\ i'/,r "!.ft II
@i[ crl'( "ll~ +f'l'lf;f ig'1'l \'!),; ,T'f.f it l,r~r.r 'T'l'r II K. A., (543)
ili:I it "1'1.i,mr fs~J"io t

i'ifi: ,TT'l'liT fs,mol
.,
saitll K. A., I•'')
•sri:ar <Sjfi:I o,{~il 'Iii e,q-i1 !!" ,rfs'6T seiJ;-'6.iT ,,) 11 K. A., (G<S)
r'i!or \'r"R: i,r,r «

f.i, ~ ,.i Bl faor '61 "Jo ;it ,r,r <1'\,r) ii
'1.i, "1Ti< l;j '1/of.ii\ '<1<i <r)fuf,,\'t [ if '1To! '1,1;,) 11
'll'fi'i ea:i,r ,,,'/ .ifu l;l'si: 'llll'fi'i 'fl<!, '!;fGI, ,r'\.,) II
<11~1 !! it '""" 'i!'lr'1 s;! <1,rsri'i '6T IS!'<! 'J,r, iii &'t;n 11 K. "-· i'''l
D escri ption o f RadJia. :
-'~Iii '61 '1T+r !! -irf<i,r it !'Jlil ,\\ o,.i'r i'ililT fGl<r "ff~ 11 x. A., ''"'l
al-a >T~ sin.'t fS1T,T+rr..- 'Ii'\ ~m,'l '"" .'r 'ti'\ ,r,,) <rii:1 ila1 ,sit ~., 'Iii q 11
~+rr o,'!'11 "1'3, asi\ !! >i~le:,:'\ ,) irn'\ ij+ff 'lif'li'\ Gl'T '11'1 ;, 'I,,[_ "ll~ II
'lTRJ'f 'Fi i(l, 'l~ ilT, <;"f .i) §"TR '61•~ "!, t, '1'1\'t .;far ITT1'1 ,B ii; of~ 11
?i~ uroi '"''" "f'il't ar<R if.I ,nfo'lilGI s:ifa:,i'l it ,rsrr lif'!T "sia:.ft .i1 ,.~. ,r! 11 K . A., 10, sJ
"f'li'i "l[o' !J'lR "ll& qe >i_lil'f 'WT !J' l1' "!<ITT II
Of:); ~' sei,;'li.rr !!'ltl '"" '''"" '11.r 'Iii 'lo 'fS<ill 11
i'ifi: ii; q,r ite:or 'liT>! "l'<i!T '!ifs .i'll+r s;! ,;i,r ,r>l" "f'ill 11
"".! "llo o,:\'l,r "T!,'f it ,&: sei;,: .;'\ "l'P.:il"t ,r;;r '1011 11 K. A, ,,,,i
{fi: «T fqfur ,j\ f.ig,T, ~ ;,q'1f @if 'Iii
'lifii +rm a:t II
'!'TT GIT'l'f "ll1,; Bi\'TT 'I -iii) fu~ it f;!Cif+flli'f .fr"l'T ~ 11 K. A., (5•15)
F or moro ref€rences, see JC A., (!!.i O, 2i3, 270,539, 640, 54.1, 5~2. 544, 045, 546, 54i , 552, 553, oo:-i, mm, 568, 559,
660,501, 562,563, 5(34., 566, .'.iG9, fl72, 080, 5S 1, 58'1, 585,586, 69J, 690,608, 034., 6-10, 6G2 , 057, eto.)

BRIFF CRITfCAL STUDY OF WORKS IN THE DASAM GRANTH 89
Riti Ka! of the Hindi literature. He en1ploys various conventional and fresh similes and
metaphors in describing each 1imb.
5. In the Cha.ubis A vtar, we come across nun1erous short and long descriptjons1 of (a)
Doscrivtion of l4opa• i1) st>poratio11 :
tii'~.t ~
ij;:r ~ Bff ~t ~ g(l't Rlf ~clR ii ~~cfi~J fll 11
~.:f <61 ~Ff ~t ~FT ~.:JT i1~ +ra-; +1-lT ~'1~T {{lf iTT~l 11
~lq~ ~T ~fij ~1 ~q iT .:i~ ~~ ~ fa~ ?ta i3~T~1 ll
'3~r+r ~r ~a q G{~ ~, ~~ ~~R{qT ~~ ~1ii ~u ~ 11 K. A .• (Sll)
fefm;, ~t fa-~~ ~~ ~ Rf~ qin;itt ~ ~fcr fr ~ ql~ II

m !{(~lc:fq t ~Gt <ff ~f~ f~~ fqGt ~G'f lf-tl ~\~ 11 K. A., (
862
)
l.;cfi fn-(r iii{ ~it ~,r ~efi ti:fio ~ ij ~~T U ~~r U 11 K. A .• (SG3)
aTG_) i:ii't ~\ f-,~f~ij t fq~l~ ;;{T ~Qlif i~J m~ l[Jt 11 lL A., (SSS)
For more references, see K. A., (812, 861, 865, 867-879).
Description of Apsaras ;
efii{Q'{if~ii" ~T~efif~;:i~', 11 ~q\(~ ~-<f,rcftli~{lfi II
.:. ,:-. ,-..
fi.irif'«lcfie ifl~o lT~~T 11 if.:f:f.cl~ it.fTE{ ~~~"t II R. A., (592)
,:-. .
t1·~rn1T~~1 ~fq-!fi~iUT f~a-~,~~'t 1T tit 1T{g "
llrc1u41fc1a:r~.:n
..., ijuf;::, f~ifB~ifl i~ faifi:ii~'l ~~~~ II
. .
q'ifc.fT,• ll
~
~ff~lij~1Tl iic°ef\t1ft ~t.3ij lTT
~U\tf~T~ qg~=q~qT{ cfif=q~~~,( ~rm II R. A, (!103)
1. (a) Description of & forest

~m ~~liifa t f~~ ~T ~iji
•
"qqrfj i:fiT ijsi-+rr ~fij- 1m II
~
mfq,f~~1 !]~iji@ nm,if l:l~] fa;; imn ~r

--- ~~ ~ri: II
=qqefj +¾ ;a <il
~
fB (t ife arm,.. @c4tfij{aT efi~.:rf, ~g_rl II ~
~ ~fa ~'t
K. A., (483)
itf\ +f.\ +fi~ fm:~ i!fil'ij ~~T+r ij~i:tT~ II
Sootbiug effect of Llte forest :
Gllf ~fij{ +TI{ 11 ~+r
'..:J.;
arm if~t II
~~ ij{l'f ql·~ l1 6.\ ~Hf IDeii ll ri. .A., (~9-t)
'l'bickness of tho forest :
'3;~ ;~ lf ~Tij{ ~ii.j ~T~ er~ (ITC!! <fitT ~B1 o-a,
aq efi~ ql:l1~ ~Bl cfi~ii" i 11
\lff tfil ~~ ~lq !;a left~~ i1 tn1~'.t Ql rrt ~r+rr cr1~'t ;:f~ fa{itsfi +Fit ~1;; ~ 11
<ff,q <Jil <fiitT ~<Ji Tf+T ;:r f-,~J\~I ~T~ ~~ ~ ~tiJ ~r ~st cb't if ~e., t 11
tfr..f ;:r f-,Q.l\~l tfiT~ ~ ., fal~,1:.~1 ij&_f ci~1 q;'t if illf \lf&:t =q~a't it if lT~ ~ 11 R. A., (30o)
Fie1·ceness of t11e. forest;
.._ ...
•
11..~a ~'if is~cf cf>Ti!l +l~l'i(rfi +il<!f ~ ~l:r tll II
ti•cfi~ BPl cfrfiT~cf i{f'if +lctiT,a ~q ~~~ qt II H., A., (248)
,..., ,-..
i:fil~ efiTilii" ~,~ nns: f--l?.it~~ q(\q fil~ fCfi~ ~li.J!i l I l{. A., (~55)
\
.
Gf~f
•
"qt~ ~Ti:ff
•
a~ fq$-V1~ Il o&T ~~~ i'r ~~ ~T~T ~I(!{ 11 R . .A., (722)
l)oseciption of trees, flowers and frails :
q,t ~~ " .W"f
!.Tfi:fi ~~ +fij{
~
tf.q{
,-..
t ij+f ~ht ~r~
<"
II
~ ~rt 'ti( it ~ q- fci{((-it~ cfit ~~r q~~ti 11 Ko A., (301)
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--
forests, trees, llowers and fruits; (b) riverside and lakes; (c) clouds, heavy rain, and seasons;(d)
-
icrr\ cf.~ fq~a1 ~R tf
Gl'ir fij~ q· tficn "2~ 11
~<Ii ar&"
&r~~ l g+ft a@ ct>1 <f.~~r ~nr ~ ~B") f~ ~~ 11 K. a .. cw7)
qJffi ~) t(+r ~m: ~&'r \lH1.:fT fG'lf l -llf t cfc ~1~ 11
~ ~ "' ~ '
"61 fc iit +fi~.:fT fi;o.; ~ ~ ii ~ir g~cn .;~1 ~ err~ 11
arf~q l fcr:li ifcfi& ltl, f.6~ l:f ;r ~ =q{ ~~if ?;fT~ Il
;rrr ~ffl g+r ilf:fi(!f ci't oGf g;:;r {~T~ ~ gif lll~ 11 re A., (150)
,b) Description of thn riv1>Mide :
a1~ rr~1 f~5t~fir rffl ~frf i?ra- ~ ij ~~ +Thr ~@'r?r 11

ftlti lt fir2t+rT ~ ,e~ ~cl ~)~ ~trir ~{'.irG~ ~1u II ir. A .. (J3o)
'fjcff \~ ~ ~'jf ir(ift fif~ cfl\e1i ~rTT ij au ~ II

@~Hr t ~3i ~hr +!'ffl tfi~ ~r+r r.nl ~ ~{I' rr aril 11 K, 1i., (s3o)
U~cf al'\ ;r?{t ~~~ ij f~r~o i=rfrf' ~ ~a- cfif.frf 11 K. A., (567)
DescripUon cf n lflke:
arcn +T&\' fi:I~ oTI: ~ ~ ~ 'lf.:r i 6 +fif ~ ij~q~ II
il-<f BUcT\ t ~Rf ~" fu.r ~ B~T Bra ~'t ~+fcfif~ If
+1 ~ '
Gf(ij;; Q.
en, \iq+fr f'::.
Efi1 ~ ~
;, Elc1 a ~+r '
ffl'q~ ~3 etR ~ Gftrt:TT 6.f< ~ ~~ cnaa-ef>

1~r~ cnfi'r ~fi: ~ ~ err& ifir fa~ q-
~if~ ~ ~~II
(ffi2lq; ~ ~+ru a@ en1 cf,~~ srt( ;;:"flcf ~ffl ~8 ~~i If K. A., (l Oi)
(o) Description of clouds and heavy rainfall :
~i{rf lfi ~ ~T f!iCf ~ r~~ ~ ~ ~

a't(.:r qt{~T 11
Glaf
~3: ~~1 if llt f~ ~ ~~ eiHl.f ~ff \:T~T &~ lf~!~r II K. A., (368)
'{1~~ l .; <fi[ W-:~R~ l;f~ ~Bf f?.:g a

q;:r ~r~ 11
cITTCfll~ ~ ~R llT51~ ~T+frT itfo ~'bl'fr ~~J~ ff J(. A., (350)
Wcfii if fq,~ ~q ~?.lliicfi Gfgg st ~'1 it, ~ijf:Sf II K. A., (30:?)
'3ff~~ en~ ~C:, i'f ~ ~ qir -:qg ~ ij" ~rif 11

~ ~\ ~ ~ Ml~ +Jii +Jf.'1t f~jf 3:1.R: ~r-r ~ iii ijijf en~ ,1
~~ ~fcr ~1 :;;rq11r ==cr+t~ if[ 1~rr <11\ ~1 if\~,~ , 1
mq cf.~ ~'1 ij +f~ '\qi ~ c?T6' ~~ ift~ ~ ~ 1:it. ~~ "Tfqij' al.; ~cfa +U<J 11
For more references, see tho Appendix 'Bar$.h lllo.ba&.'
(d) lforning.:
Silcf ~) 'jttm,cr R(t \Tf'~jfrct ~ «r.:r ~~ f&\fii't 11
JTJ(i Gf~ qfun)q ~.rin tfiM' t1?:tT+r ~'T ~ iltq-, ~,~111
~flf "~ n;r (t Efi1'i.:JTR1:1 '7f'Tll ;giit ~~N< llf•ft 11
lm<f lfq ~ wfTif ~ ~ ;i'T;g: ~ ~'YIT f;i:s,- ifif~'t ll I. A,, {'296)
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mornings and moonlit nights ; (e) celebrations and (f) disl1es. These descriptions are
in quatrains adorned with similes, metaphors, imagery and poetic fancies.
?IIoonlit r,ight :
,Ttifcf t ij({t -ilB;;:JT ~ ~l a-.r

Cl
<qITT1 •
~c{ cfiU ~ II I..:. A., (652)
"
'ti~., ~ ~ ~& ~ffl't f~fff t ~a ~ ~{
...
~~ i3~~r II K. A., (002)
'3f[[l ~~ cti'l ~i~.fl ~T~cf { ~~ qf ij ~ijl't cfi

,..
~ i:f ~tt't t11
'
Ba -n~T ~& U5fcf t f:if~ ~ Gf!l-il TG'fl <g£T~ ~'t t II K. A ., (071)
it~ ii1;ft Bil •

'Ji~
-,
•
ij ~~ aj~1 lJij ~m'r fJ;fif q~ II
'
Ba "
;q~ '1fB;.:fT ere t fl=fij ~(lif6.l~ il~ ~fir ~ ll IC A., (912)
(e) Celebrations-Ram's birth:

~ •~ li" ~~ f~~Tf ct,~ a~ Tf <f rf ~;:tEti 11 aft.; -4).; ii~o ~1.; !:iifht ift;; fii'f«~ 11
llim ~,~ atil ~~'t ~~ mre:f.=r m;; Il :mm: ~fg: frr"t cru Q'~ Bl:sf cfmlf TifcJTii 11 R. A., (60)
c{~ ij3l fal~a ~B;; ~a lt1f~=qi~ 11 ~o ~o ~ ~it Bil M"s:r ~?.:' ~r{ 11
~ c{'tq +r~'tq a~
~il~ ~a iliiT~ II ~ ~ fr-fi( ~~ lf{ll ~ci ~cfwt~ II 7
R. A., (~ )
Rnm's matriage :
iji{.;9R «I~ ~ij ~ ;,i e_.t ~T f~t. ~ !:ft! Br~ 11
~~~ ~( iRRr.f ij iifif s~ ~ [ij Q'clft II

iifrsifa m& ~ rr q~rc.i~ ~~
iiT:.:fa if~ ~lqf{ 11
~ cfii! fqg ~ ~\ ~:a~ feefr( 11
R . A., (157)
~l.:f fir~ Bel ~1' ~~;;fl
a~ fu&flr~ cfi't~ ~~r&:r 11 ~ fu[ tli:S ~;;.r~ fil?lf ITT 11
~~r Gil. ' tfR ~ II ~ fal~B"it ira- ~l:TT~ 11 R.A.., (15::l}

(T+{
~~{ a~~
' "'<fl~ f'1ciTf
[ta 11 ~~T&:
i'R.r ira
~q•~
W[if ~ fiil~TG: ta1· f~r~ 11
R. A.,. (15tl)
arr~ ~qR' II ~T'i:fa" ~(q'f{ II
iiT-1 stif ~'\~ q~t,'\~ :.:f~ 11 ~iif.t~a- feqr{t ~ 11
il(rl:lii\1=1, 11 H. A.,(lGO)
¥1~ '1f1~ ~efita ~q ~( cr;i:.:
11 ir~r,~'t
--.. ,.. .
!!Tfil ~qi, 11 GlC!l l~~l ~rr ~~r( 11
~'i!"ml' iil\'t H ~if it:qJ~ sf"~efa 11 mD° R .A., (161)
A decora~eil horse in t he marrige :

.trni::r ~ ~ii\ ft4i ~r~r ~ ~;{ l ;i~&r itI~ irii ~~ ~~ tttt~a l 11
f?f(ftliT ~ 'lfcf t f~ ~q ~it c(T-a l Mi ~ijf i, f~{qli3 ir~ au ~~~ij t ll
g:r~ar~ !fl, ~ glfilT ~B" a1, °{ ~ ~.,1 ~ ~'tt ~ r?ti ~®'I ~ ~\Q l 11
~~t ~~fl cfi't ij~il ~~ rrrt ctil ~.:i·.-r ;i:r ~rr &iii ;, cfi{ ~a- l II R, A., (171) •
Devki's m&:i:riage :
mB~ R~:ifil ~ 1:T, ~ a, arit ifqf~ ~ ~,~ ~ot~r u
~·ctiir it 'if~~ cfi\ ~t~fu ~., <£1 ~., ir fu~ &r~t 11
ma- ~m q=qyf;rfu ~~~ij zjifq\ ~R ~l lf.ntr~r 11
....
lllc ~(!lfqi! 'i5f~ ~1 Bil ~ ~~fffl if~ ijf § rrr~T 11 K. A., (21)
.... • •• • •• ••• • ••
•••
- .... ...
••• • ••
... ...
• •• •••
.... . .. ... ..... ...
:5ffqd cfil" ijfir ei ~~~ ~q ~i ~q~ (fil ifft1 II
i(lqd rfta iJ\ilfq'ij' ij@ ~cflq@' ~~ .:rf1H: ~TU II
·~ q f~ ~ ijJ8f.f GT ~ ~ ~W ~ em:"t II
~o l◄ql.f ~◄ ~ml ij ~@Q ~ tn't lf~m(l 11 K . A., (27)

6. Dialogues. Dialogue, more or less, is an integral part of a narrative poem. When a

reader is tired of pursuing the narrative, dialogues aae introduced. They create a dramatic
atmosphere and thus sustain his interest and take the story ahead. The best character isation is
achieved through dialogues, ia \Vhich ca&e rhe narrator stands apart, allowing bis characters
to r eveal themselves through their speech, and reinforces their self-delineation by the
comments and judgment of other characters of the story'. This creates a permanent
understanding of, and sympathy witb , tile characters. Fielding bas very properly urged that
true knowledge of the world is gained only by conversation; and the manners of every
rank must be seen in order to be kno1vn.• Dialogue has also the n1erit of brevity.
That ,vhich would otber,vise have occupied lines, can be clearly expressed in a few ,vords
in a dialogue.
Jayasi, Tulsi, Keshav and other poets have frequently introduced dialogues in their
narratives. Guru Gobind Sing.h's dialogues are not less absorbing than thejrs and that is
because of the excellence oftbeir tecl,niqnc. Among tile many dialogues contained in lhe
Chaubis A vtarJ those in thf JIJaan Lila Kathnr1111 1 Ud/Jav-Gopi Sa,n\lad in the Krisanavtar,
between Ram and Paras Ram, Ra van and Angad in the ,~a111avtar are a few of the best of
the lot. The text of the first is given in the Appendix. Here is an English translation
of it :
Radhika Maan
The poet Syam says tbat baviog spoken thus, she left the bo,ver of creepers.
Her face resembles the moon, ber body is like gold, sbe excels all the cowherdesses in beauty.
She adopted the atlitude of maa11. She left them (the other gopis) and went away like a strayed
female deer; she bad no friend with her.
It bas suggested a simile to the poet-as if on getting angry with her husbaod (Cupid), Rati
(Kamdev':,; w1fe) was going away all alone.
K. A., (617)
"Here, duriog the raas jport, because o[ his love (for Radhika), Hari looked for the daughter of
Drikhbhan {Radhika).
• He stood gazing but she was not to be seen among tbe cowherdesses-she who was dear to him,"
says poet Syam,
"Whose face resembled 01000-lighl and whose person ·was extremely beauiiful like gold.
Oh.inks Krisan) either she is freliog sleepy and bas gone home or she has resorte.d to maan . .,
K. A., (67B)
{CoDtioued from Psge!ll)
•ll'ld 'l"ll'ld {l '11~'1 R'tl'l11 {l '<11'111 !].1'111 ~ ;iq >i, '1T'la1 11
.n
ii;~f, 'f-fc "1" ~,-rr;i €1 f~rr "lriii rra a1' ..-1 'lr.r "" m<1<1 \'J"1T'lo1 rt 11
aTilo'l ij; "1'1'6 q,~ ofliil'I ij; @ft 'I~~~ <I'! ~f,; ;;_,11~ :;<il{1 {JIJ'lcf\ 11
'lq'l eh'\ !');'1 'fil'll qtj\'11 R"!'1 ,Al .il'll 6111 lfl'I( "fl '11'1 ~l~l'lol a II K , ,,. (35)
(f) Nn.mes of dislle11.
"1ii1'1 "1'1 "'i@.fr f'!,1"1T §o! dis:(\ 'lio<: ' II
!Jiiil'! '!'1
wr,1 "lrot ii lL A., (32!J)
1. I. S. Lr, l~T. 2. 'Tom Jones', Book XlV Cbaptet f
' . . '

Kaanha Speaks
Jaduraj called the female companion whose name was BiJjuchbata.
The lustre of whose limbs resembled gold and from whose face the moon got its effulgence.
Hari said to her, "Listen, go to the daughter o[ Brikbbbao.
Fall at her feel, and persuade her to accompany you hitber." K. A., (67H)
Oo bearing Hari 's message and gelling Har1 's order, the fein.i.le fri.!nd ran to reconcile the daughter
of Brikhbhan wbo is a very good maiden,
Whose beauty is like the beauty of Cupid and as if she were a beauli ful lotus flower
This has suggested to the poet the simile of a top free fron1 its cord. K, A., (6b0)
The Female Friend Speaks

The female friend, called Bijjuchhata, came to Radhika, the daughter of Brikhbhan.
And then she utlered these sweet words, ·'Listen, 0, woman! the Lord of Braj, has called thee.»
''Who is that Lord of Braj ?" says the lady of Braj (Radb.ika). (The maid replies) "He is Krisan'"'
"Which Krisan ?" (asks Radhika).
"The dear one with whocn thou sportest, 0, woman" replies the maid. "Who is be ?" asks
Radhika, ''Him, witb whom you have fallen in love," comes the reply. K. A. , (681)
"O friend ! the darling of Nand calls you. Do not be stubborn in the least.
I have walked to you all the way. Therefore, you should act. by my advice.
Go quickly to Jaduraj, you shall lose nothing thereby.
This very fact prompts me to urge you. Be happy yourself and make others also happy.
(Persuasion, request or entreaty) K. A., (682)
"Do not be cnoody, therefore, 0 friend ! Listen lo my advice. Rise to your feet and hasten,
Where Krisan is playing on bis flute. There the cowherdesses cut jokes and indulge in sweet
abuses,
Thist why 1 am asking you, come, do not be apprehen<:ive in your mind in any way.
I fall on your feet, give up your apprehensioos and proceed to Hari without any hesitation.
(Exhortation aod persuasion) K. A., (683)
"Listen, O truculent one! Do nol be apprehensive in your n1ind in any way. Shed your n1is-
givings and come with me unhesitatingly.
0 proud one, Hari loves you mightily. This is why I have urged you.
"Your eyes appear Ii ke sh1rp arrows "betted on the whet-sLone of love.
Hari loves you mightily. It appears that you are quite unaware of this fact. (or Are j ou yourse1f
not really aware of this fact?)" (Eulogy; Ne\v Idea). K. A., (684)
"Jaduraj (Krishna) is playing on his flute, on a very beautic'ul spot," says poet Syam.
''This is why I have been sent to you by him. He a~ked me to hurry on to you and conduct you
to h1 n1
To the place where Cbandrabbaga is dancing, aod the cowherdesses are singing in swinging circles.
Therefore, hurry up, friznd, every body is regaled with ecstacies of the sport. You are the only
exception. (~timulation and jealousy). K. A., (685)
"Therefore, I wish you all happiness. Come away quickly. The darling of Nand calls you.
Syam is playiog on the flute where the cowherdesses sing in chorus.»
"By playing the So,-atha, Sudh Malhar and B ilawa.l strains", says poet Syam, "the darling of
Nand is regaling everybody."
To say nothing of others, even the gods have abandoned heaven and gone thither,.,
(Stimulation of emotion). K. A., (686)
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1
• Radha speaks : reply and counter-reply
nr shall not go to Ha.ri, 0 friend, I swear by the Lord of Braj. 1 will not go.
Hari has given up bis love for me and has fallen in love ,,,ith Chandrabbaga"
·'Syam loves you mightily" returns (soys in reply) the female friend, "Dear roe 1 give up your
truculence and come away, shaking off all your misgivings.
Krishna will not pJay without your company."
"Go tell him to play with the OCle with whom he bas fallen io love,'' retorts Radba.
(Cause: Sense of wounded pride and jealousy) K. A., (687)
The Dooti spealts

'·I fall on your feet, 0 friend ! Do not be so moody in the depth of your miod.
You should at once proceed to the place where Hari calls you.
You should dance as other cowherdesses dance, you should sing as they sing.
Say whatever else you will, O Rad he, but do not s\vear. I vouchsafe my life to you "
(Pe, suasion) K. A., (688)
Radha speaks
"Hear me, 0 friend ! l sha ll not budge an inch even if Hari sends a million cowberdesses like you.
What if he plays oo the flute aod what does it mea.o to me again if he sings auspicious songs.
I will not go to that place even if Brahma comes in person to deliver his message.
Of what account are others? Even if Hari appears in person, I will not go."
(Excess of sense of wounded pride) K. A., (689)
The Dooti speaks to Radha

"Listen, 0 cowberdess ! Why art thou so truculent, get up and do what Syam bids you do.
Hear me, you should do what pleases Hari. God bless you 1 That should be your sole concern.
If he bas sent for you, it is clear that he is deeply in love with you.
Otherwise, art thou so foolish as to imagioe that there is none so beautiful in the raas as
thyself. (Threat ; Disregard) K. A., (690)
"Every body knows that on thee alone Hari lavishes his love. Tllere is notbiog new in it.
Listeo.J O friend ! Deserting him whose countenance radiates tlle superb lustre of the moon, whose
person is the embodiment of beauty as it were,
Thou hast taken the way to the house so abruptly.
The Lord of Bra.j has many companions like thee. What, if one more cowberdess comes in or
goes?
(Threat and disregard are continued.) K. A., (69l)
I-fearing these utterances of this cowberde:ss the daughter of Brikhbhan got irritated.
Said sbe, "Listen, 0, woman ! without being comrnissiooed by Hari, tbou hast taken upon thyse lf
the task of a n1ediator between hin1 and myself.
Thou bas come to conciliate us but hast spoken ,vords thnt do not appeal to us."
l"hus returning all angry reply Radh3. s:i.id "Hie thee, beoce l Who bas made thee an arbitrator."
K. I\., (09i)
When Radha returned an angry reply, the one (Bijjucbhata) came borne aod said,
~•Tbe woman is sitting in a truculent mood. I have used all my persuasion but the foolish one
would not listen to it,
Cooci.liation, she would not have. Punishment she would not ca1e for. Diplonlacy and rewards
have no meaning for her.
Where can there be love for such a vulgar one, who is a stranger to tbe strains of your love?"
(Stimulent.) K. A., (693)

BRIEF CRITlCAL STUDY OF WORKS IN THE DASAM GRANTH 95
Maio (Madan) Prabha speak• to Krisan

Maio Prabha was sitting beside Hari when she heard these words. She spoke,
"0 Har1 1 I shull bong the cowherdess to you, who has thus got estranged."
Then sb.e rose for tbe self appoinled task of bnng1ng ber to the feet of Krisan.
Her, on the beauty or whose face lhe bloom of the lotus flower could be sacrificed and then flung
aside. K. f\.., (694)
Thus she spoke at the feet of Hari, "l shall presently repair to her.
And shall bring the"beautiful one round by any tact lhat appeals to her.
I shall fall on her feet, I shall entreat her, l shall ca.Joie her. 1 shall take every possible step to
conciliate tbat beautiful cowherdess.
This very day I shall bring her aod reunite her with you. If I fail i.n this mission, I shall, of course
forfeit all your tender regards for me." (Oath, swearing) K. A., (695)
Says poet Syam "Maio. Prabha paid her obeisance to Harl and went straight to her,
Who is unexcelled by Mandodari, the like of whom there 1s none ac the court of lndra.
Whose beautiful face radiates, who so shines in her grandeur.
As if the moon,tbe deer, the lion and the parrot had all obtained all their peculiar beauties from
this lady." K. A., (6J6)
Counter-reply
The moon-faced one took leave of Hari and walked all the way to the daughter of Brikhbhan.
On reaching there she spoke_to her, ''l would fain die for tLee, come away. The daxJjng of
Naud has called thee."
"I have no mind to go thither to Hari," said Radha. Theo replied the maid, ' 'Do not utter suclt
words. have no mis-givings.
Why art thou sitting bere after bav1og stolen the heart of Hari as it were? K. A., (697)
"Where rolling clouds gather froin all lhe directions, where pea-cocks scream.
Where cowberdesses dance and forlorn people offer themselves as sacrifice :-
There in such surroundiogs and at such a uroe O fnend I The lord o[ Jadus plays on his flute and
calls thee to mind.
1 bereforc, llurry upi and coo1e away O friend, so tllat we may also reach in time to behold the
spectacle. (Nature as excitant, stimulal1on, euology) I(. A., (698)
"Therefore, give up your truculen_ce, 0 fri~nd ! come away to Hari, shake off all your mis-givings.
Set thy heart on love alone. Do not harbour any stubborn thougbt in thy mind."
Poet Syam continues Oooti's words, "tiing thou lhe glory of Knsan who provides such pageants
for thine eyes to see.
Why dost thou sit so stubborn '? The whole world is agog to see bis glories."
(Admonition) K. A .. (699)
• I have no desire, 0 friend, to go to Hari, nor have 1 any curiosity to &ee the pageants.
Syam bas ceased to cherish that profound love that he once had for me and has taken to another
woman for bis love sports.
He loves Chandrabhaga." Pat comes the reply, '·No it is not so. Some body seems to have
misreported." Radha retorted, '·1 have seen n wilh my own eyes.
Therefore, I shall not go lo Hari. Be quick, go if thy mind is so much stirred up.»
(Disregard for Krishna, Tit for tat) K. A., (700)
The Dooti speaks
•'What is there O woman, that I should go to see? ''Ibe Lord of the Jadus has sent me to
conduct you to him.
This is why of all the cowherdesses I have come to thee straightway.
Thou art sitting here in thy pride and wilt not bear anybody.
Quick, therefore, come away with me. That is my errand. Krisan is awaiting you. standing there
in expectation.'~ (Ser; on pride). K. A .• (701)
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Radha speaks
"I sbalt not go lo Harl, 0 friend l what gainest thou by faking facts ?
Syam bas not $ent thee to me. Your words have revealed you. Thou host been found lacking io
thy professions."
The Dooti replied . "What jf I am insince re, O cowberdess ! Th ou knowest not the distress of
another."
So saying she bowed her head and then spoke. ·'I have not seen such a truculent one, 0 lady r•
(Insult; compassion) K. A., (702)
The Dooti speali:s.
Again she spoke thus : "Come away, dear maiden 1 I would fain !Jave sacrificed my own interest for
thine. I have pron1ised to Hari thus:
'Do not feel distressed, O Lord of Braj, be.re [goto persuade her and I shalt fetch her hither.'
Here tho11 art sitting in a truculent mood, O friend, come away to Hari after having shaken off
your misgivings.
Witbout thee, it is not possile for me to return. You probnbly do not realise others' difficulties."
(Self-surrender) K. A. , ~703)
"\Vhat if I have come liome straight O co\vlierdess ! I admit, I did not ask for permission. In fact
no astrologer had advisej1111e to ask for it.
Go bnck and tell Hari. Art thou not ashan1ed of indulging in such frivolity?"
Poel Syam says, Radhika advises her to coovey her feelings to Hari :
"Thou art in love with Chandrabbaga. O lord, n1e tho11 lovest not."
(Co-wifely jealousy) K. A. (704)
Hearing these utterances of Radhlka the cowberdess rose and fell on her feet.
Then s,Lid she, "Bari's love is for you. }{c has given up his love for Chandrabhaga",
Poet Syaru cp11tioues Dooti's wards: "She is not as intelligeot as you are. This is why be bas a
yearn.iog for seeing you.
Th.is is why, 0 maiden, I have sucb a self-effacing faodoess for thee. 0, fortunate one! come
str aightway to Bari
(Persuasion, attempt to appease anger, praise). K. /\, (705)
''The Lord of Braj calls lhee. Come away, 0, ignorant one! Dost thou know anything about
love ?
Syam is ,vaiting for thee, He would not even drink water witbout thee_
Here tholl speakest in a strange la □ guage tbat thou wouldst not go to Hari.
This 1urskes n1e thi □ k, 0 friend, tha t thou hast become drunken now because of thy youth.
(Censure) K. A., (706)
"'Thou hast, 0, woman, in tby ti:uculence withdrawn into thy own shell. Thou bast abaodooed
Syam's love and art sitting r·orloro here.
Thou art lost io conten1plation which is no n1ore than a heron's attentive pose. Everybody koows
the object of the love thou cherisbest in 1hy heart.
I have told thee, 0, friend, whatever wortb-telliog has welled up in my heart ,
N,ow it occurs to me that tby youth is but a four nights' guest." K. A,, (707)
Poet Sya1n cootiaues Dooti's words, 'Thou wilt not hesitate to repair to him wbo enjoys the whole
human creatioo.
Thou art sitting here, 0 woman, in thy stubborone&s. He is oot to lose .in aoy way, It is thou who
wouldst lose.
Tbe youth thou pridest o □ so n1uch, shall came to such a sorry plight that
It shall desert thee and \,ander about like a rneodica.nt in tiger's skin tbrowo over his sbou--
&~ K.A.,(70~

BRIEF CRITICAL STUDY OF WORKS IN THE DASA1'.1 GRANTH 97
.,Listen, 0 friend, thine eyes resemble the eyes of tbe deer; thy waist is like the waist of the lion;
Thy face is beautiful like the n1000; the lotus is noLhing io its comparison,.
Thou art sitting so stubbornly. Thou thus art the loser.
Thou art gone against thy very person. By showing slubboroness to Hari \\1 hat shalt thou gain?"
(Praise or adn1iration) K. A., (i09)
Hearing the words of this cowberdess, the daughter of Brikhbhan was extren1ely indignant.
With her eyes hhnkiog, and shooting up lo her eye-brows she ,vas aflame with anger 1n her heart.
She spoke thus lo the cov.hcrdess who bad co1ne to persuade her,
'·Why should 1 go to Hari ? 0, friend ! I care a 5g for hun ·• K. A., (710)
\-Vben she bad g·ven the reply in this way, the n1aid uttered these worda:
"0, Radbe ! thou art dearer to me than life. Do not get t111gry. \Vhy art thou so full of anger?
Thou art here in a truculent mood; Hari, the rival of the moon, on the other side, is straining bis
eyes for thy sight.
Thou sayest that thou carest n Dg for Hari. Why then does Hari care for thee ?"
K. A., (7 ll)
Having uttered these words, she again spoke: "Get up and hasten to Hari and be united with him.
The eyes of bin1, who sports with the whole hu1nan creation, are .fixed in this direction.
If thou dost not go to him, 0, friend, be shall lo~e nothing. Thou thyself shalt be the loser.
O, dear friend, Jadurai"s eyes have grown like those of a forlorn lover just to have a glimpse of
thy face. (Stimulation) K. A., (712)
"He would not look at other women. He is always straining bis eyes to catch thy glimpse on thy
way to him.
Be is always absorbed in thy meditation. When he speaks thou art the subject of bis speech.
Sometimes, he would stagger to the ground and then would come t o himself while absorbed in thy
contemplation.
At such a ti me Hari averts the darts of Cupid by re-calling thee to mind.
(Transient emotion) K. A., (713)
"Therefore, give up tby truculence, 0 friend, get up and come away quickly. Do not have any
apprehension in thy mind.
I myself bear \Vitness to Syam 's feelings. He has lost his heart in thine.
He is absorbed in thy thought to the exclusion of everything else. He is grieved at beart but be
soroebo\v preteods to be care-free.
A frail woman as tboll an, thou hast growo truculent in thy stupidity. Thou dost not realise the
love tbat Hari has for thee "
(Adn1ouition) K. A., (7 14)
I-laving heard these words of the cowherdess Radbika made the following reply :
uwhat makes thee leave Han and run over to me lo cajole me ?
1 have said I will not go to Bari . Now Lell n1e what \Vilt thou do hence.
O friend ! you call others stupid; dost thou not perceive that thou thyself hast grown stupid.''
(Retort) K. A., (7 l5)
Hearing the words uttered by the daughtet of Brikhbhan the cownerdess made a reply like the
one followiog :
"Listen to what 1 say, 0 cowherdess, give thy cars to n1y utterance.
, Thou sayest from thy lips tbat 1 am stupid. Just think within thyself if lam really so.
J have come on tht errand of Jadurai and mark, it is Jadurai himself with whom you have
grown stubborn by lruculence.''
K. A·• (7 l G)
I '
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98 TllE POETRY OF THE DASAM GRANTH
1-Iaviag spoken thus she said, ''Come away. 0 <lear, find thy feet. Do not entertain any nus-
givings.
lt is thou and thou a.lone on wbom Hari lavishes his love 1n such abundance. That 1s why he bas
sent word th.rough me to you. Take it to be true.
J fall on thy feet, 0 damsel, shed your stu bbornoess. For once let my request be granted.
Tht-refore, come away with a clear mind, leaving all thy n1is-giv1ngs. For once at least try to get a
the core of Hari 's love. (Climax of persuasion) K. A, (717)
1
• 1n !he sylvaa bowers, 0 friend, at the time of taas,. Har.i sported with thee ia the wood.
He has not half the love for chose other cowherdesses that he bas for thee.
Hari has laoguisbeJ to thy scpar:i. uon. He would not spoTt with the cowherdesscs.
Therefore shed your mis-g1vings an<l con1e straightway re calhog to thy mind the memory
the Sylvan bowers. (Love intoxication). K A., (7 JS)
''Come away, dear friend, Knsao calls thee. Do not harbour any waywardness in thy mind.
Thou art so deeply lost io thy truculence. Give a little heed to what others have to say.
The reason why l am speaking to thee is lhat you have notbiog to lose in this act of thine.
Just Jook at me a while. Give up all your truculence, and smile forthwith."
K. A., (7 19)
Radba speaks to the Dooti
0
1 will not smile. Nor will 1 repair lo Han even if a million of friends like thee come.
Let them come aod practise their many arts aod bow their heads at my feet.
Never w1ll l repair thither. Let people like thee use a million of their winning arts.
Let others alone, 1 will not go even if Krisan himself comes and bows his head," K, A·, (720)
Counter-thought
When Radha uttered these words the cowberdess spoke:
"When I say, she replies 'I have given up all love for Syam.'
Dear me ! what shall l say to Sya.n1 who loves her perforce ?
He sends us to 1hls one. 1-f as he any paucity of cowberdesses like her '?
(Soliloquy) K. A., (721)
"He sends us to this one and lo ! this cowherdess prides herself rn hrr beauty.
She has the feeling that he is inferior to her (io beauty), therefore, sho llas grown truculent
and will not budge (from her waywardness)."
Poet S\am continues Dooti's ,vords ~ ''Look at tbe wit of this cowherdess. She is not afraid of
Syarn ·s anger.
God bless me l What shall I say to him? He always utters, 'Bring her hither, bring her bLther,'"
(Bali ]aoon literally means-I would fain sacrifice my ownself for him; but in this context the
expression has been simply thrown in as ao exclamation to sbow a feeling surprJse).or
(Soliloquy) K. A., (722)
•·o, friend! if Syam courts another's love then alone could tnls cowherdess realise her bJu.nder.
0 fnend, unless he resorts to this expedient, she would not listen lo what be says.
If he forgets her and obhterates her from bis mind, then alone can she realise the consequences of
truculence.
At long last when she is abashed and is extremely distressed, then and not until then is tbere any
possibility of her coming round.'' (Soliloquy. Stimulation or jealousy) K. A· , (723.)
Heariog this the daughter of Brikbbban made the following reply to the cowherdess:
"l-lari has given his heart to Chaodrabhaga and for this reason I have adopted this attitude of
reserve.
0 friend I when my exasperation had come to the breaking point, then it was that l got offended.,.
"Hari has cast his love to the winds even without hearing these words of thine."
(Disclosure of secrets) K. A•a (724:.)
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Poet syam says, ''Having oddressed these words to the cowherdess, she again spoke
"Hie thee hence, cowherdess ! why sittest thou here ? l have gone to tile farthest limit in tolerating
what thou bast uttered. ''
(Then the cowherdess replies) "l have Sl)oken everything to the utmost limit in tbioe interest but it
ha~ found no tender corner in thine heart, my friend.''
(Radha replies) "Hari and 1 are both utterly estranged. Therefore, 0 friead, 1 have resolved not to
go." K. A., (725)
Poet says, "On hearing this she made a reply that would go i'l favour of Han. :
• I have corne to Iler because Krisan sent me anti l have sparecl no pJins to persuade her.''
(So tbioking, she risked a new approach). She said, "Listen, 0 friend. It occurs to me that Syam is
the roddy goose (Chakor bird).
And thou art the moon -faced one. 'He would gaze and gaze on thy f.1ce and shall become thine
in the very act of gazing.' (Exaggeration) K. A., (~ 26)
"What, 0 cowherdess, if be goes on gazing ? I have said, 'l will not go to him'.
Why should l bear the reproaches of the world ? 1 have my~own dignity to stand upon and it is
enough for me to keep me self-contented.
Syam has fa llen in love with anotber woman . What glory am l to attain by repairing to him?
..• Therefore, away with tbee, de1r friend, I will not sh.ow my face to Hari as lon g as life lasts/'
K. A., {727)
Then Main Prabha returns to Krisan and speaks to him

When she bad beard these words, she rose to go a nd cam~ to the darling of Naod.
Having come sbe spoke to H ari in words like these : "0 Hari, 1 strove to persuade her but the
silly fellow would not be persuaded.
Either desert her altogether and lavish your love oo these cowherdesses or go yourself and bring
her home with your own persuasive skill."
Says poet Syam ''When Hari heard.what the cowherdess had said, he hurriedly set out himself."
K. A., (728)
Then I:lari instead of sending any other cowberdess himself came all the way to Radba.
Seeing his appearance the diughter or Brikhbban was delighted in her heart.
Inwardly she was intensely delighted, outwardly she spoke words sullen in indjgnation.
"Sport with Chan:!rabbaga, wby have you come hither after having quilled all sense of shame ?
K. A., ,729)
Radha speaks to Krisan
"Leaving Cbandrabhaga in the raas, why have you come to me ?- -

Friend, either he has been instructed by the cowherclesses or has hurried hither of his own accord .
1 knew that be 1s a great Juggler. I have found him so by these dealings.
Ttill me why you have come to me. I never sent for you." K. I\., (730~
Krisao speaks to Radha,

J-Ie made his reply l bus : "Certainly not, 0 cowherdess, thou hast not sent for me.
Thou hast joflicted deep wounds ,vilh the darts of thy eyes. Therefore, the deer in my heart has
run hither.
My limbs are burning with the flames of separation . They could not be rescued fron1 those flames.
l have not come, dear one, on an express call from Lhee. I have simply come to foment the burnt
spots.'· (Hunting experience, Psychological treatment or psycho-analysis). K. /\., (731)
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100 THE POETRY-OF THE DASAM GRANTH
R adha speaks to Krisan

Poet Syilm says: "Radha replied thus, 'O Hari ! I have always sported with you and felt the bliss
thereof.
I bore the derision of people. I recogoised thy form and thereafter did not care to koow any•
body else.
I drained my heart to you to the utmost drop but you llnve deserted ,ne and brought me to this
plight.
You have developed love for another woman, So saying sbe heaved a sigh and filled her eyes with
tears.' (Taunt) K. A. 1 (732
Krisa m speaks
f(l have ioteose love for lbee. I do oot love unolher cowherdess .
While thou an nearby, I look on thee, ,vhen thou art not here, 1 see t hy in1age."
So saying Krisan gripped the arms of Radba saying "Come away, be happy with me in the
woods.''
Radha was starLled (1uade involuo tary movement due to s o me su rprise), an d swore thr ice by
her owa life.
K risa □ would oot have her swear so and said ''Not by tb y life, no t by t hy lire ," K . A, , t733)
So saying he who js the ·cnjoyer of the three spheres, seized her arms.
He, whose waisl is like lbe waist of a lion, whose face ,vould eclipse a n1,11 riad moons with its
rad iance;
H e spoke, he ~•ho s lo)e the hearts of all lhe cowherdesscs , "Come away with me."
T hen Rad Ila entreated him Got to behave so, saying tbat she knew \\ietl what the darling of her
heart had in his miod. K. A. , (734~
"Why do you shower reproaches, 0 friend , 1 have immense love (or thee.
In vain hast thou ha rboured a wrong notion in thy mind. I have no place for Cbandrabhaga 10
my heart.
Therefore, rise, give up your truculence. Let us enjoy on lhe banks of the J amna."
Radha would not give up her truculence. Therefore, distressed w·ith paogs of separation the fo r
loin Krisan made repeated calls.
K . A., (735)
He said again , "Shed your truculence oow, 0 friend. Let us both go deep into !he woods,
Io vain, dost thou cberisb feelings ofiildignation in tby heart, I have no place for a ny other
woman in my heart.
Therefore, listen, cheerfully, 0 dear one, let us fliog all unhappy thoughts into the dark
'\.Vaters of the Jarnna.
There js no bliss higher than the one that we should both combine to aver t the bautellr of Cupid . •
K. A., (;36)
Krisan spoke to the daugh ter of Brikhbban in deep distress on accoun t of bis Jove•lorn
condition.
Therefore, she got reconciled to him and shed all her truculence from ber mind,
Then catching her by the arll'ls, Syain said, "Let us now indulge in friendly sports."
More frankly, he spoke to Radba again, "O my darling! Let me have the bliss of thy coojugat
sportiveaess .2' K . A., (7il7)
Radha speaks to Kr isan.
Hea ring these wor ds, the daugh ter of Brikhbhan made ber reply to the darling of Naud :
"Spor t with her, 0 Hari, on whom you have lavished your love so profusely.
W hy do you seize my arms? Why do yon oppress me?"
So saying she filled her eyes and heaved a sigh of distress. K. A., (738)

BR!Ef CRITICAL STUDY OF WORKS IN THE DAS AM GRANTH lOl
"Sport with the cowherdesses on '-'"hOm your heart is set,"

Spoke the daughter of Brjkbbban, sighing and filliog her eyes with tears.
"[ will not accompany Jou even if you seize a weapon and stab me therewith.
I am telling you the truth, 0 best of Jadus, leave me here and take your way home,"
K. A., (139)
Krisao speaks to Radba
·'Rise and come away wiLh me, 0 friend, do not berbour any sullen indignation in your mind.
1 h1ve come with an open mind, giving up all doubts, Therefore, thou shouldst understand the
ways of love.
I have beard this spoken about love, 0 friend, that if one's friend would sell one in Jo,;,e, one should
be ready for the sale.
Therefore, I entreat you, 0 friend, do what I wish you to do".
(Philosophy of love. Himself a solicitor), K. A., (740)
Radha 1peak1
Heariag I be words of Hari, she replied to him thus :
''When did you have any love for me, 0 Hari 'l" while so saying her eyes were filled wilh tears.
"You had given your love to Chandrabhaga, therefore, am I extremely exasperated."
Poet Syarn says, so saying she heaved a sigh and then said "You are extremely deceitful."
(Physical realisation of emotion) K , A .• (741)
Full of anger as she \vas, the daughter of Brikhbban opened her beautiful lips and spoke,
"There was no love between you and myself. What was there that could lead me thither ?"
Then Hari said, "I have my love for thee." She replied indignantly, "When did you show me the
same?"
Then 1-lari said, "Hear me, dear one ! I sported wiLb thee in the woods."
Krisan speaks to Radha. (Disregard). K. A., (742)
"{ am bewitched, 0 friend, by thy gait. Thy eyes have iofoluated me.
The sight of thy cutls bas fascinated me. I am bound to this sport so much so that I caonol
leave for home.
I ao1 captivated by thy limbs. Heoce love bas increased in my heart.
The very sight of thy face has infatuated me even as tbe Chakor bird~ are iJJfatuated by the sight
of the moon. K. A., (7<3/
"Therefore, give up tby truculence, 0 friend, rise forthwith and come away with me.
I have profuse love for thee. Shed lhy anger and speak thy mind.
Jt is the petly who talk in this vein. It does not behove the~, 0 dear one I
Therefore heed my request and come away. There is no u~e indulging ia fruitless deeds."
(Bxhortatioa, entreaty.) K. A., (744)
(Maan Mocbao : reconciliation)
Wben Krisao importuned her to the extreme, the woman gave a little thought to it,
She understood the love of Harl and shed off the broodiogs of her mind (against Harl).
Tben that princess among the beauties of the world, gave up her doubts and with words of love
that befitted her dignity she gave her reply to Hari thus.
(Denoueme □ t). K. A., (74G)
"You say 'come away with us.' I know you will deceive me with love.
1 know you will take me with you to the raas spor1s as your beloved and you will get entaogled
with the cowherdesses.
But I will not be defeated at your bands, )' ou yourself will get defeated.
You will serve your own end, I am sure, by taking me to those bowers which are all strange to me ·•
K. A,. (7<6)

102 THE POETRY OF THE DASAM GRANTii
Poet Syam says· •·The daughter of Brikhbhan who was excessively i111mersed in Ha.ri's love
Said ,vilb a laugh 'O Lord of Braj l' ·rlte lustre of her teeth sbowed 1tsel[ lo great advuntage.
That lustre has suggested to the poet an exquisite sin1ile and he h:ls described it Lhus :
'A flash of lightning has spreau itself over a dark cloud.' (the lustre of the te,tb is the lightoja g;
Brij Natb. is the dark cloud). He had gone to beguile her. But the beguiler bimsel[ Wis beguiled.··
K. L\,, (74.7)
Poet Syam says; "The daughter of Brikbblr1.n was imm~rsell. io the love of Hari through and
through.
When she had conceded all that Kr1san SJ.id, her heart overUowed with rap lures.
She fulfi.Ued the desire of tlan which he bad expressed thus : "We shall sport in the Sylvan
bowers together.''
And thus laughing sbe uttered fair words with all her doubts fully resolved.
(Feeling of oneness) K. A. (748)
(Self-abandonment)
Both smiled and wen, dra\vn to each other while they talked and all their ecstasies and indulgence
\Vaxed.
Krisan embraced tb.e damsel with a smile and hugged her hard to his bosom on account of his
consumil'lg love (Cupid).
The tags snapped and bodice burst, rubbies scattered around as they fell from the necklace
As if glowing coals of the fire of separation have come out from the heart of the woman by her
uoion with her lover. K. A. (749)
Poet Syam says, "Bari took Radbika with him to the woods. His heart rejoiced.
They sported in the Sylvan bowers and had all their sorrows obliterated from their minds.
Tbe same story b as been either sung in mind or recited on earth by Suka and others.
He who hears it, is enraptured. Its glory has covered tbe whole world."
{Nlahatmya) K. A. (750)
Krishna speaks to Radha
Hari spoke to R adba : '•Swim thou in the Jarnna. J shall catch thee.
We shaU sport io the water to our heart's content. Listen to all lhe secrets of love I shall tell the
Wherever the Braj women see us they are tempted in their n1i11ds and are eager to watch us.
There, these cowherdesses shall not reach. Thou and I shall enjoy ourselves Lhere to our hearts
content.'' K. A., (76 1)
When the daughter of Brikhbhan beard from the n1outh of Hari bis wish to enter the waters,
She extolled the Lord of Braj to the skies and jumped into the river with a rush.
Syam followed close ou her heels and a si1nile like tbe one fallowing suggested itself to the
poet's 1nind.
The whole thing looked as if Syam the hawk had swooped on the Braj damsel, the goose.
K. A., (7o2.)
The Lord of Braj penetrated the waters of Lbe Jamuna and caught hold of the same Braj \Vo man.
Hari's whole frame was thrilled when he n1et her and all his worries ffowed like water.
Poets have recounted the joys that waxed in the minds of these lovers,
All who saw were gratified and even the Jamuoa was gratified to see them.
K. A. , (753)
Poet Syam says "Bari took her milk-maid from the waters and inaugurated the raas dance.
The daughter of Brikhbhan saog. She was extren1ely delighted at heart.
The lord of Braj played a strain on the sarangi io the 1nidst of tbe cowherdesses.
Hearing it the deer came running and the cowherdesses were delighted.
(Hunting). K. A., (754)
Digitized by Panjab Digital Library f www.panjabdigUib.org

BRIEF CRITICAL STUDY OF WORJ(S IN THE DASAM GRANTH 103
This story has been rendered io the year 1746 Bikrami.

Whatever lapses there be in it, lel the good poets correct them all. K. A., (75!i)
Hear 1ne, 0 Lord of the world, I beseech thee with folded hands.
Let my head always rest on thy feet like a slave. K. A., (756)
So ends the chapter, entitled tbe Raas Manda! Barnanam, in the I<risanavtar of the Bacbitra Natak
Graoth in the Tenth Book of Puran called the Dasam S1kandh. Amien !
How beautifully the poet has through dialogues delineated the stiff attitude of a woman
whose sense of pride is wounded when she fir.ds ber lover sporting v,ith another woman !
How tactfully all the expedients (:a414) of conciliatory means c~nlf), bribery (~ir),
dissensions (~), punishment or open at tacks (c:s), humility (5f(!lfa), trick, deceipt,
neglect (~~f) etc. have been employed by the female messenger, the confidante, to persuade
1
Radhika to go to Krishna ! But all her persuasions, requests, entreaties, exhortations,
praises, eulogies, compassion, sympathies, sermons, creation of the sense of jealousy,
stimulations of cow ifel y jealousy, threats, disregard, admonitions, insults, censures,
humility and neglects have no effect on the love-intoxicated Radbika who possesses a keen
sense of her wounded pride unless a psychological treatment is given to her by Krishna, the
darling of her heart, himself and who frankly declares in her face that he had no place for
:any other womin in his heart and requests her to fling all the unhappy thoughts into the
waters of the Jamuna.
The motive for the action of the J,.1aan Lila l1as been laid in the beginning in order
that the reader may enjoy to the full extent the pleasure of the surprise, and perceive that
it corresponds exactly to tbe constitution of tl1c character. The love sports are practically
susvended \Vhi\e thoughts, feelings, and motives are brought to the fore-front.
Here is au English translation of the spirited dialogue bet\veen Ran1 and Paras Ram
in the Ra1navtar :-
With the quiver lied to bis waist. bow io baud, tbe twice-born Ram (Paras Ran1) said in
aoger,
"Snapping the bow of Snanker at the house of jaonk, you are carrying away Sita. Tell me who
you are.
your life cannot be spared unless you tell the truth. Let not your throat feel the edge of my ax.e.
Give up the .fight and go home, 0 Rama! lf you stay on a n1omeot longer, you will surely fall in
action. R. A., (147)
"I knov;, oo re,olute warriors shall stand io their places at my sight. WiH they, whose
sires caught blades of gfass between their teeth, will tbey (I say) give fight today ?
When martial drun1s are sounde:i aod I stand here like a pillar of war, will they take up arms
anc display their ardour ?
Tell me, O Ram, where shall they find a. place to hide lb.emselves on earth, in the sky and in the
nether regions." R, A .• {148)

104 THE POETRY OF THE DASAM GRANTl:l
The Poet says

\hlbile he thus heard the words of bis enemies, the 01ighty Ragbubir decided to show his valour.
Mountains sank right up to the shore of the seven seas; both the earth aod lbe sky trembled.
Yakshas and serpents of all the quarters, gods and demons both shook in their shoes. .
Taking up tbe bow io bis band Shri Raghunatb spoke angrily "Tell me at whose head shall I auru
my nrro\v? R. A., (14.9)
Paras Ram says to Ram
''Enough of whatever you have said. If you utter a word more, you shall not find yourself allve.
Whatever arms you have taken up are enough. If you take up more, you shall not have strength
to wield them.
When Paras Ram is infuri~ted in figbt, tell m:., O Ram! where shall you find refuge to save your
life.
You have snapped the bow of Shiv and are carrying away Sita but mind, you shall Dot be
allowed to go home." R. A., (lliO)
Ram sars to Paras Ram
1
'Let there be no more words, O Brah1nin. Whatever thou hast said is eaough. If thou utterest
one word more, tbou shalt have to pay ior it thy life,
Why dost thou, 0 wicked one ! speak so haughtily ? Thou shalt be spared to go home only when
all 1by teeth have been smashed.
That{tbou art courageous, I shall know only when thou caost discharge 1:1. single arrow at the
critical moment.
Think before thou speakest. Thou shalt forthwith face the consequences of all lhat thou sayest.
R, A., (151)
Paras Ram speaks
''If you really claim to be the incarnatioa of Raroa, I shall be convinced of the truth, 0 Lord,
only when you display your power before me even as you did in br~aking the bow of Shiv.
And appear before me wltb the Sudarshan disc, the club, and the sarang, bow ia hand and the
wark of Bhrigu's foot on )'Ollf bosom (i. e. you appear before mo in your fourarmed form).
0 mighty one ! unstring this bow of mioe and then string it again." R. A,, (152)
The Poet says
Shri Raghubir, the best of heroes, took op the bow in bis hands with a smile,
He straog it in a trice and then drawing it instantaneously broke it into half a dozen fragnlents.
He all atonce neutralised his (Paras Ram's) power of soaring into the sky and the whole fuss hung
in the air.
It all proved infructuous like the ju~gler's bag and it looked as if a detached sword were atooce
caught up in the snares of this phenomenal world. R. A., (153)
ln this dialogue social etiquette and decent deportment have been fully preserved.
The gradual unfolding of the characters in the dialogue is also psychological. Proverbs,
idio111s and irony combined with simple speech have made it all tbe more impressive.
The dialogue bet,veen Ra van and Angad, the two great heroes, well versed in politics
and skill,-in-affairs, acquaints us with their self-confidence. One is ]Jfaha Pratapi, the king

BRIEF CRITICAL STUDY OF WORKS IN THB DASAM GRANTH 105
of Lanka and very proud of himself whom even the gods like to serve ; and the other, the son
of Bali, whose foot once pitched on earth could not be moved even by the best of the heroes
of Ravan. Both keep themselves within the bounds of etiquette and converse in a
natural manner in keeping with their social status. Both cast aspersions on each other
and reveal the inferiority of the adversary and their own greatness according to the situation.
In the language of the dialogues of the Chaubis Avtar, too, there is no slackening. In
a conversation running into one and the same stanza one can easiJy apprehend who
addresses wbom, even in the absence of the names of the speakers.
The poet takes pains to indicate the main traits of human life in his principal
characters-the traits on which the story hinges-as clearly as possible. The characters
behave like ordinary human beings.
In the Chaubis Avtar the dialogues have proved to be of immense value in the exhibi-
tion of passion, motives, feelings of the reaction of the speakers to the events in which they
are taking part ; and of their influence upon one another. In the expert hands of the Guru,
in a characteristically dramatic way, dialogues are made to perform the work of analysis
and commentary. Further, all this has been done very naturally, appropriately and
effectively.
7. Rasas. Almost the whole of the composition of the Chaubis Avtar is imbued
with martial spirit. Our author possessed a poetical mind and his description of the heroic
deeds of the mythological heroes and others, and the various fighters, lays before the reader
vivid pictures of the fields of battle in ages gone-by. While Jayasi and other poets indulge in
elaborate descriptions of preparations for battles rather than the battles themselves,
Guru Gobind Singh has a preference in depicting the actual battle. The tumult and the
hideousness of the battle-fields are depicted with great skill1 •
The metres employed by him are appropriate to the dominating moods and
-- --- - - - - -- - - - - - - - - -- - - -~
1. :March to t ho battle-field :
tfTlT'.Rl SJS:{Hf trra"ir -rrrr~~'t ~ ~ ~~ ~-,;r.; II

<tiTrr~~'t <lief ~~ ~ol ~~~'t cJT~T @U ~;in~ 11
The next port of the stnnzo. 11oci t he reat of the stanzas of t he
descrlpUon of the war a re devotod to the c.ot.nnl opcrntion
.:JJ~f1 011m fo~~ flti{!Ji! ~rm.~ rrij: efi:r ~r~1~ 11

~r~;{T ~R, eieaf<nt~ C:~c,l ~J.l9 ~ ~r{l~ II
~qm~~T 'ilT~ .fcfi l°1cfi cfi~Q ~rrr~~ ~~, ,t!J ,lT ell{ 11
• ~iifTTT~i:ft ~mt ~lll{!J -rfq qjf~~l cfiTcfi <fi~ cfi~ cficfi~ II R.A, (394)
For more rorereuces see Mat ~ya ,\ ., ( 11 -52) ; Nar-.N'nr o.y1111 A., (li-lb) ; Oen,h A., (5-1·1); Pu r1.s Ram.\.
(12-13. 14-30); Hudra .-\ .. (15-3~) Gc.ur Badh (:!2- :!5); Jnllondbor .-\; (15-20) Su ryo. A., (10-1~. l!l-:!Ci) : R. A.>•
(3i3, 390-303, 39!-307, 105-Ul, 4.l!J- 125, 4il-U 3, 473,60 1, 502, 527-587, 596-622) N'. A;, (1 80-213, 33.!J: ctu .
o;gitized by Panjab Digital Library/ www.panjabdigilib.org

10G THE POETRY OF THE DASA11 GRANTH
situations. Shorter metres are availed of to show the brisk si:eed, the fierceness of the
action and the enthusiasn1 of the warriors 1 .
Conjunct letter~, cerebrals, conjuncts with ~' archaic words. all expressive of rugged
style (Oja Gun) are profusely used to lend vigour and force to the descriptions,_
Martial music is abundant in his descriptions of battle-scenes. Speed is sho\VO by
the beat of drun1. \\1ords resound the beating of drums. Sounds of actual fighting are
reproduced by the playjng of A11idang and other musical instruments. The use of
alliteration and Onornatopoeia helps a long way to reproduce the actual action. There is
a close correspondence between meaning and music3•
The poet very often coins ne\v v.1ords to give them pictorial, musical, and suggestive
values. He does not hesitate to alter a word or adopt an jncorrect pronunciation, to use
archaic words and \Vords of another language. The choice of words is also governed by
sound and speed. The diction ;s studied but easy and smooth'.
,..
J• ~~
I:'
11 ~{qf~
~
II a~~
,:,
11 ~ijflt II B.A., (737)
~or~ fru:rq f~r~ II n. \., (741 )

~f ~ft~
11 II ~({
..... ..
II
.. . .
11 ~' al~ 11 ~~ ~if 11 §:f <fif 11 R.,\ ., ('798)
~2'Tefi ~I~ II ~cl~~~

~
11 ~f"'1 +fiT~ II ij~l~ at?i~ II R.,\,, (400)
For more roferonces see RudrA A., Cam 1--aclh : (:H-33. :l:S-38) ; R.A., (4!'.U ~ !i4., ,JOll, 1!11-4 OS, Jttl--{;09.
r>21-5~G, 5'<\\ 737-7-121 70!t- li05); N. A. ('!l 0-22S.~-n-Z:i5), ot o.
--·~ S,::f :fi ~Efi

...
~l~i;
- ~~tf,rf
•
iifi« ij:fEfi
~
11
;t~efi lr~ cft iq& • ~i;f<fi <na ~iii
.cTsT
"¥
~':e!q'cfi 11 R.A .• (•1!19)
~~
'-
~~
•
~G fqefs •
~ ~n: •
-is
.
•
a~
r-
a1~)
'
11 N'.A., ;;i62)
';.i!}'
"'
~~ cit~ II ~fti II ~~+n ~,~1 II 1:s ~n qi 1Gft II N.A., (219)
-..::,~
l•or moro rcfrrcnccs see Hudra _\. Qauru1Hllt., (4-J). l:iuryo. A ., (12 18, 23-24) ; n. ,\., (118-1:!,, "l'>ri-:,O•j.
-· .....,, .
.. "'' .
..:, .
~f ~1( 11 ~~' a1t ll ~ G°IQT• II st,Jtr r.t1~r II .B ..a., (I.IOJ)
"
~i:q- cfT~T II ifij~
- ifT~ "'
BB~ II
.....
'?.51B5f
•
II ~'1,;I <fl~ 11 H. .A., (5:H)
•
&~ RtR!J a'l~ 11 Rf~fi:u~ q\( II ?'......-O./J,tP-1.r GJQ{ II ~l:!)q!~ ~clT©' II R,A .. (533}
ij'=oa1{ II i[iiifaf1 ( 11 GGGG°lQf
., II ~~~ ~~T~ II R ..J..., (5ll)
~
a~a ar~ II iT◄1J nrar't II ilnJ 11T~ 11 cl'ij aT\ II HA., (642)
For more refere"lce!; ~e~ R. A., f(IJS-1'.!i, 460-466, •18-1-4~0, 4~1-4!.lS, 501 -tOO, Ci~l-026, 64) ,550, 552. oOl, 624-6:!
800·80~1); N. A ., (lSU-~Ja 361-376, •JI 0-410, ·H J-MO).
<SflT~{lf isl( @Jf°;fif;, islcfifi 11 <fifif~itr q;~

.... ~ ~~q; II
~rif ~~rt ~~~ ~rci~ RT<fif( 11 ~mi~ ~1 ~T~ ~R 11 R.A., (400)
l'=!f1T,~(;'l l=ITlf tj~t af1T¥"?..1 ~lllstf wi~Tcifi: II
~,~~, ~ij' m\ ~tr ~m~~'r

107
BRIEF CRlTlCAL STUDY OF WORKS IN THE DASAM GRANTll
The imagery is vivid, striki ng, impressiv~, bright and distinct. The comparisons
by which the pictorial effect is produced, are appropriate and suitable. With one sweep of
his mighty imagination, the poet brings together various ele1nents of awe and beauty and
grandeur. It is the warrior \Vho is describing the scenes. While reading the descriptions-,
1
the reader beholds with the mind's eye the same or similar sights or pictures •
Although Vir Rasa with its allied Raudra and Bhayanak Rasas predominates in all
the twenty-four manifestations of Vishnu, Krisanavtar has, iu addition, Shringar, Vatsalya
and Adbhut Rasas. The reason for this deviation is apparent. Krishna is worshipped not
only as a paragon of virtues but also as an image of j oy . The attitude of devotees towards
him is not that of reverence as in the case of other Avtars but one of love and joy which
found full expression in Shr ingar, f7atsa/ya and .A. dbliut Rasas, thus making it exquisitely
devotional and lyrical, sweet and sincere. Shringar Rasa is depicted elaborately in all its
forms and at its highest and bestl'-.
A particular example of the treatment of Shringar Ras is found in the description of
the episode Cheer I-laran. The gopis remonstrate Krishna when he has run away with their
clothes, that love is a spontaneous phenomenon which is offered freely without coercion
~~~(l ~lT
•
~5t ~rr ~TlT~1{1 ':?>ff~<( "
it[~ f:sirrft 11
.... a., f+rrr@ 11 R ..A., (501)
f°a{ijiH: a1n~~1 ~f{!Jij
it i!fT~i{l u1l(
q'ff~ctrr ~~ II arrr~~ n1~ 5;Trf~~ff q~ II

GfllT~~JTsJ1~ "
. ' ~ II
• ~
• • "' cfii q- ~TT/GcflT N.A .. (361)
{fm'~r.i lT .
fl m~ ~ns. a-rr ~ II enrlf~G°lf
.... .
~gft;g
• •
m~· 11 ~sRs
. . an( ll f~sR~
,.... . . ~!qi 11 &rsRG
• •
«{)~ I! N .A . (410)
For ruore rerereuoes see R. A., (3~0-397, 42:!-425, 440-453, <l67--170, 543-610, 541-560 561-[iti-1, 575,587
K. A., (24: t-25.3, 331-360, 111-419, -1 H-450), eto.
ijft~l q1.:r tj~T~ ~ ~iji +In'~Til q'f ~f'q' <li {{~ ~T ~il ~~'t II
~~l C::Bt wnn lltn f:~fq ~trt i~:tl ~lo ~~1 11
1.
'ql~ cfi'lilT
~rfl lfl~ tjtff~ Tif~f~ ~~t{l q-.,1 B~H ;i't ~~ ~ ih{ ~{l II
eta ~Ill m~ li~f ~flT ~ ~r ~P:tril Gt1a- efil ~T~ g~'t II K.A., (1805)
K. A., (1372, 1385, 14U5, Lill, U.14, 1417. 1423, 1 ~25, 1-}~i, 1 ~:!S, l-!30, 143:?, l.J.40, 1512, 1520 15.(8, 1537, 1Jb11,
1597, 1110':'.i, 166¼, 174$, J 740, 1750, 2269-:!:!72), eto.
Poo1TaJLtJrag lffr.r~PT ( ,l\ttuobment, before seeing or meeting). K. A., (537)

Raas Lifa \.ffi-~fID or Raas P.fa11dal -~Hrff~~ (Circular Da11oe).
(a) Prem Prasa11g ~;fffl (Courtship, Love•Lalks). K. A. , (6G3-6i3 or 660, 670, 6'11)
(b) !tlnan Lila ,:rr,;~e-T (Truculence) K. A., (693 iii, 700, 70:l, 715 iLl. 7:!0)
(c) Maao Mocha11 lTT<i-iIT'<l'[ii( ,~f4\.~ (6EpuruLion because of s~a.y a.broad) K.!\., (793-817), K. A. The Baralrmalras.
(869-870, 0 H-0!?5),

or compulsion. To this Lord Krishna's reply is typical in that be says that real love consists
in open exhibition and indulgence.'
He reaches supreme beigh1s when he depicts the pangs of separation. When
Krishna migrates to Mathura and settles down therein the happy _enjoyment of ti:Je affections
of his hump-backed mistress, the Gopikas almost run mad with grief.
8. Metres. The poet has used more than 125 varieties of metres in this composition.
He has remarkably managed them and has made them subservient to the passing moods or
emotions and changi □ g situations. The metres are short as well as long. The length of
metres gets smaller or longer as the fury of battle increases or lessens. Shorter
metres accord well with the brisk speed, fierceness of action and heavy destruction in war.
The longer metres too are there to convey the fierceness of the action but not to the
extent the smaller metres denote.
The poet has used metres Jike Trirka2 , Trinnfna, Trigatat, AjbaS, Akva\ Hoha\
·etc. to reproduce the sound of the actual action. There are metres which reproduce
the sound of Mridang and various other instruments played in the course of operation.
Thus most of the metres employed by him in describing war serve as suitable substitutes
for the musical instruments. Many metres, which are intended to be sung to work up fury
in the warriors to attack the enemy, are specially used in this composition. In them the
same rhyme is often continued throughout all the lines of the stanza. His lines move
with resounding feet and their music is full of echoes.
Some novelties can also be traced in this part of the Granth particularly in the
sphere of application of metres, for instance blank verse in Panjab1 bas been inserted by the
Guru in _narrating the victories of Rama and his reception of sages 1 brahmans, and kings in
the court under the title "Ath Mata Milnam". Guru Gobind Sicgh was the first to
introduce blank verse into Panjabi in the Sirkhandi metre'. In bis devotional poetry, Guru
1, Gopis : Oh Hari l L, vo is begot not by force or vio lence. K. A., (262, 26!1) .
Lo,•o is quickeoed a.t first, sight. K. A., (269).
Krishna: Faooy i~ (e.s Shakespeare bes said in the Mereha.nt of Venice) bred 1ll the eyes aod fed by
gazing. By sporting it is son.led into an entit-y. K. A., {262)
.Kria.hoR says to Gopie :
You do n<lt know whet love is. Bet-hat experiences it, knows it.
Ile alone can taste the fruit of love who ill not only illstinct with it but ulso wt;u ld dare illdll1go
in sports. K. A., {297)
I, Chechri Chhe nd R. A., (737-74:1) Anka Chho.nd R. A., ( 700, 7U7, 743-750. 752• -707) Apoorab Chhe.nd
R. A., ( 207-:!i6,. 301-307, 76:!-'iiO) Tilka. Chhaod, R, A., ( 798-805) l3har~hua Cbhand, N. A,, ( 189-2 13 ) Trirkfl.
-Ob.hand N. A., ( 410-419 ),
2. N. A., (410--419) 3. R. A., ( 533-5-10) 4. R . A., ( 54 1-050)
5. R. A,, ( 501-509, 621-52G, 7.158-761 ) 6, N. A., ( 2 L9-224)
7. R . A., ( 4il1--498, 027-532) 8. R, A., (4137--470),N, A,, {179-1 81)

Gobind Singh has also, like other devotional poets~ used devotional metres like
Haribo/111ana1, A1adhur Dhun\ Ka/ass, Trib!tangi\ etc., and in addition has extended their
al)plication to the heroic poetry, and with equal success.
Kabbitta, Stoaiya and Doha were the most popular metres with the poets of the
1, N. A., ( 331-360 ) ~- R. A., ( I jS-J 38 ), Sur11j A,, ( 12-1S } 3. R, A., ( 588,590, 592, 59~, 1196, 608, 600, 602, 604)
4. R. A., ( 580, 591, MlS. 515, 697, 5!J9, 601, 603, 605 ).
Metres in the Cbaubis Avtar
Metre Number in each Avtar- Total Metre Numlnr in each Avtar Total
l, OIJaupai ln~co-38, Mnchb A -2, Knchh J7. Uodbok Narsingh A-3, Chand A-4:,
A,-2 l\Iohini A.-1; Ne.rsiogll R. A.-10 17
A.-6; Bawan A-5,Pare.s Ram A-5; 18. Somo.nku. R. A.-8 i
Braln11a i\.-6; Rudra A..-3; <;aur In. Sarasll'ati R. A.-8 8
B.auh Kathnom-31; Jll1l1U1dhar :!0. ~Ilg Sarupi R. A.-4, N. A.-f. lt
A.-17 ; Bise.n A -4; Shesbshayi 21. Nag Sa-ropi i\.dJ,a R. A.-o. 5
A.--!; Atbant Dev A,-17; IIIan1.1 22. Uglldh R. A.-13. 13
Raja. A. - 7, Dbannntar A.-4; 23 lJgotba R. A.-!l. !
Su.raj A.-3, Cbaod A.-4; Rama .24. Dohro .liachh A.-1, llohini .A.-2,
A.-46; K • .A.-172, Na.r A.-7, Narstngb A.-1. Bawan A.-2,
Bs.udh A.-2, N. A.-20. 414' :Brahma A.-1, Rudrn A.- 2,
2. Totak Kachh .A. Satnul'lrn Chh1r Jollandhar A.-~. Bisen A.-1,
Mu.utban-10, Narsingh A.-16, Sheshsl1nyi A..-3, Arhont Dev
R11dra A.-16, Gaur Badb Kath- A-3.?.lanu R,1.tj A.-1 Dhane.D•
l!lam A .-3: Jallandbar A.-6, tar A.-2, Surnj A.•2, R.A.-31,
Sure.j A.-2, Rom A. -27, K. A,-302, 'Btludh A.-1 .
.K. A.-10, N. A,-11. 101 N. A.-7, 45!
Padhari Narsingh A.-7. Rudra A.-2, 25. Sortba R. A.--3, K. A.-37, N . .A-4. 44
Hum A.-3ll, N. A.-.;..;.. IJ2 26. Manohar R. A.-23. 23
4', Nirnj (Naraj) Bowan A.-t, Pa,ras Rom A.-2t 27. Bijai R. A.-1. 1
Rudra. A.-2, Gaur Badb Kath- 2S. Apurab R. A.-26. 26
nam-7, Sure.j A.-4, R . A.-S, 29. Kusum Eachiti:a R. A.-8. 8
N. A.-6. 33 30. Kant.h A11bhukha.n
Rurlra A,-4, R. A.-22 :lfl Chl und R. A.-8.
is. Ruinnal
31. Jlmolo Cbhand R. A. - 4.
II. Rasa,va.l .Machb A.-3, Pnras Ram A.- 13,
32, J hoolna Chhand R. A.-3, K. _.\..-4.
Ruclro. A.-10, R. A.-100, N. A.-35, 170
33. Anoop No.raj Ohbond R. A.-!!9, N. A.-6.
'l. Bhujung Pn1ynt, l\laohh A.-·1. lioclih A.-l. :ziJohiui R. A. 8,
34. Suld1na Chba.nd
A..-3. Bairuh A.-1, Narsingh R. A.-8.
35. Turke. Chhand
A.. -1, Bnwnn A.-1, Paras Ram
36. Geeta J.11llti
A,-2,Jnllnndbar A.-3, R. A.-72, R. A.- S, N. A.-8. Hi
Ohban<l
I{. A. - 12, N, A.-17 117 .R,• .A.-10,.h.. A.-6, N. A.-4, 19
37. Chbappai Gllhand
8· Saugit Bhojang 3S. Sa.npit; Chhu.ppai
Prnyat R. A.-13, N. A.-24. 37 libho.nd R.A. - 8. s
9. Annnt Tuka 30. Utougan Chhond R. A.-lll. Ht
R. A.-8 8 4
Bbujang Proyo.t i0. B1raj Ohhe.nd R. A.-4.
R. A.-18 18 ◄ L Mohini Chhe.nd R. A.-8. t(
10. Sunduri
Suraj A.-7, R. A,-11 lS
11. Mauhur Dhun >12. Nav Namak ChltBDd R. A.-6. 6
12. Cha.tpt\t. Chheogl\ 4.3. Till,arya Cbhand R. A.-lt I}
Adkrii R. A.-8 -1•1. Sirkl.andi Chhand R, A.-4, N. A.-3. 7

l 3.Swaiya R.A.-26, 1.;. .A.-178!:!, N. A-28. 1636 -15. So~iL Padhisatka
1~. tiwa1ya Allunt. Chhand R. A.-8 8
Tuka. R. A.-1. l 4.G. Hohu. Chlro.nd R. A.-14. 1-1
Ii. Cbubol S~aiya R. A.-1. l 47. Ajbo Chhlllld R. J\.-lll. 19
16. K&bitta R. A.-11, E.. A.-fJS. ti\J 48. Trinnio Cl.hand R.A.-8, 6
Continued

110
THE POETRY OF THE DA SAM GRANTH
Ritikafi. Kabitta was considered to be very appropriate both for love and heroic poetryi.
Sw>aiyas were considered most suitable for love and pathetic poetry, though they were
used here and there for heroic poetry as well. Guru Gobind Singh has composed his
I. H. S. I., '!29. Il. L., 79.
2. H. S. I., 229.
Metres in the Cbaubis Avtar
Metre Number in each Avtar Total Me tre Number in each Avtar Total
il!l. T.rigata Ohhancl R. A.- 10. 10 87. GtLhti Ohhand
50. Auad. Chlrond R. A.- S. s Dooja N. A.-4.
51. Bahm Ohhand R. A. - 2. 88. Ohaacl.tala
52. Snngit Bahro Chha?).d N. A.-2.
Chband R. A.-4.
"
4 89. Chaturpadi Chhnnd N. A.-4.
53. Ardb Nare.j Chhand Suraj A.--!, R. A.-5. 9 90. Ai111. Cbb11nd N. A. - 4.
64. 'l'ribha.ngi Chband }f!lohb A. -1. R. A.-9, 91. Bieekb Chhand N. A.-4.
N.A.-2. 12 92. Gha.ttn Chbond N. A.-2.
55. ICala.s Ch.hand R. A.-9. 9 93. Navpa.cJi Chhand N. A.-4.
56. Ohaubola Chhllnd R. A.-2.
"- 94 . .arilln Doojo. N. A.-2.
57. A lka Ghhand R. A.-S. G 95. Kulka. Chh$nd N. A.-11.
11
58 . .Makra Chhand R, A.-14. l 4, 96, Pu.dmava.ti Chhand N. A.-3.
3
~9. M.dtgat, Ohband R. A.-3. 3 97. Kilka Oh hand N • .A.-2.
2
60. Anka Chba.nd R. A·-16. 98. Madbuhl1ar
16
61. Cbacbri Cb.hand R. A .-6, N. A-19. 25 Chhand N. A.-11.
11
62. Aruba Ohhand R. A.-6 6 99. F.rarl Gita Ohhand N . A.- 2. 2
63. Akra Chhand R. A.-16. 16 100. Had Chban<l N. .n.-~.
' " i!
64. Baho1-a Cb.hand H,. A.-4, 4: 101. Padhieatako.
65. Tilko. Chhand R.A.-8. 8 Cbhand N. A.- 2.
66. Arupa Cb.hand R. A.-4, 4 102. Mahar Chhaod N. A.-2. 2
67. Bhujang Jiiaohb A.-6,KAchh A.-4,Chbeer Sa- 103. Tr.irka Chhand N . A,-10. 10
mundra MnnLbnn-1, Naro.yon A..-6, 10,t.. SamanJ,a Chho.nd N . A.-4.
4:
}fohini A.-2, Bairab. A .-13, 105. Bbarthua Chhand N A.- 25.
26
Narsingb A.-5, Bllwan A.-2, 106. Akva. Ch.hand N. A.-6.
6
J0i. E:ripankrit Chhand N. A.-12.
Paras .Ram A.-13, Rudra .A.-3. 55 lt
68. Tomer 108. Bhagouti Chha.nd N. A.-17
Nareingh A.-2, .Bawan A.-8. Cb6!ld 17
69. Beli Bid.r am

A.-7, K. A.-1, N. A.-13. 26
109. Bhnwani Chho.nd
110. Haribolmana
N. A.- 6
..
Narsiogh A.-2, Suraj A.-2. 4
70. AriVo I hhand N. A,-30
Rud.ra A.-2, Su.raj A-2, K. A.-14. 18 30
Ill. Ptwka.j VaLil(n
71. Bridh Naraj Rudra A.-4. 4
'12. Anbhav C1lLond N . A.-2
Su.raj A. - 1. l
73. Bishan pad K. A.-5. 112. Chamar Obhand N.A . -2
6 2
74. Hane& Obband 113. Nispa.lak Onhalld N. A.-4
N. A.-4. 4
75, MaJ t,i Chbe.nd 114. Asta :N. A.-5
N. A.-4. 4
76. At Malti Cbband N . .A.-4. 4 115. l:lad]1upnara.j
77. Bridhnaraj Kabat- Chhand N. A.-6 6
umo Cbhand N. A.--:b 4 116. Utohuj Ohhaod N. A.- 4 4
78. Abhir Chband N. A.-4. 4
117. Anja.n Chha.nd N. A.- 3 3
79. Kundiria Ch.hand .N. A.-6. 5 118. Madho Ch.hand N.A.-7 7
80. Taranraj Chhand N. A.~8. 119. An.burl Chhand N. A .-4 i
8
Sl. Tarak Chhand N. A.-24. 120. Tiloki Ohhao.d N. A.-~ 2
24
8~. Kumarlali~ 121 . I\'I oban Ohl.and N. A.-4
Chhand N. A.-8. 12!!. Mat ban. Chbaod Y.A.-0
8 123. Sukhda,brind
83. Raman Chhand N . A.-4. 4
Ch.band N.A.-4.
84. Somraji Oh!:iand N. A.-4. 4
124, R !lv=vad Chband N. A.-2
35. Priya Cbhand N. A.-4. ,j.
l 25. Banturan(lam
89. Suprjya Ohhand N. A.-4. 4 Cllha,nd N. A.-4
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BRIEF CRITICAL STUDY OF \VORKS IN THE DASAM GRA.NTH 111
Krisanavtar containing both Shringar and heroic poetry, in 24.92 quatrains and
couplets containing among others 1782 Swaiyas, 58 Kabittas, 172 Chaupais and 392 Dolzras,
which shows that while he kept io view the tendency of the age also in the use of the prevai-
ling metres, he differed from the tradition inasn1uch as in the description of wars, he
employed mostly the Su aiya metre which has a soft gliding movement appropriate for con-
1
veying tbe silken smoothness of sensuous love poetry1• Another peculiarity of the composi-
tion of this part of the Granrh is the poet's introduction of a Swciiyai, a pure Hindi
metre, in Persian. The Ra,navtar and the Nilz Kalanki Avtar afford other instances in which
stanzas in Punjabi have been inserted in Sirkhindi metre introduced by the Guru for the first
time in the Punjabi language3 •
9. Diction and Language. Words of other languages were commonly used in Braj
poetry in the Riti period. No wonder, therefore, if ,vords of different languages are found
used in the Ch[1ubis Avtar. They are llSed in their proper conlext. They lend picture-
squeness to the meaning, and music to the sound 1• They provide alliteration to produce
rhyming effects. The poet does not hesitate to alter a word or its pronunciation to fit it
into his metre or rhyme5 • Sometimes he finds foreign words moch more musical than those
of Braj equivalents and he freely uses them 6 •
The language of the Chaubis Avtar varies considerably from one part to another.
The kind of language used for Trotak and other short, quick and light n1etres in the descrip-
tions of wars is frequently archaic and full of Prakrit and Apbhransba expressions. But
elsewhere e.g., ia. Krisanavtar, the language is absolutely different. There, it is conspi-
cuously free fro1n old forms of expression and is clearly recognisable as Braj. Bet,veen the
two, there are numerous variations. There are pieces which are purely in Persian7,
in Punjabi6 , partly in Persian and Braj 0 , partly in Punjabi aod Braj 10 and partly in Avadhi
and Braju.
10. Figures of Speech. The use of figures in the Chaubis Avtar is something more
than an ornameo tal device. It is iro plied in the themes as well as in an a pp roach to these
themes. His use of allilerations always has a definite purpose12• He makes use of conventional
similes and stereo-typed phrases alsobut at the same time he 1ntroduces fresh figures of
speech. His imagery is seldom confused and the metaphors do not give an impression of
strain. The poet has a peculiar knack of bringing contraries together, l1armonising ideas
and images that usually stand in contrast13 •
11. Poetical Forms. The poet, in the Chaubis Avtar, has tried his hand at the various
forms of poetical con1positions that were in vogue in his time and it may be rjghtly said
1, H. L., 91; K. A., (1029-10511. 2. K. A., (1017) 3. R. A., (467-470); N. A., (179-181 .
4-. K. A., (387) 5. R. A., {llR-24, 501-509, 541-550) ; N. A., \tl-1-07)
6. R. A., (Persian ond Arabia : 655-668), (Avadbi : 859-864) . K. A., (PUDjabi : 337)
7. K. A., (1917) 8. H. A., (467-470), N. A., (179-181) 9 R. A., (655-0o&)
J(). IC A., (387) 11. R. A., (869- 864)
12, R, A., (2l2-:ll4), N. A., (5•11-550) 13 N. A., (528)
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112 THE POETRY OF TI-IE DASAM GRANTH
that whatever he touched was transformed into something noble. Most conspicuous of
these forms are Stotra1 , Acrostics2 a.nd Baran1ahas 3•
12. Classical Mode of Presentation. The Cha1tbis A vtar is draped in the classical
mode of presentation of his time. 'Atlz' (then') con1es at the commencement of each Avtar,
excepting the first. Its appearing in the heading shows the beginning, while '/ti' towards the
close, the end of each tale.
'Ath' as the first \Vord of any composition has throughout been considered as a sign
of auspiciousness, and tl1is goes \Veil with the beginning of narrative poetry also. The intro-
duction and other parts in the Chaubis ;.'i vtar observe thts convention. The opening line
of the introduction begins wi th Ath and contains an indication of the subject-matter (Vastu
Nirdesh). We have a devotional invocation also in jt. In many other parts of this
composition, too, we meet with Vastu Nirdesh. Indian Sanskrit vvriters generally introduce
their works with a salutation or benediction or Vastu Nirdesh. This introductory verse
(Mangla Charan) was considered n~~essary for overcoming obstacles and for the saft!
completion of the work undertakeni;.
Like his predecessors, the poet ends the major poems of this part of the Dasani Grant/,
with a Ma/zatrnya 6 , i.e declaration of the advantages accruing from its recitation \Vilh a state-
ment regarding the date, place of completion of the work, source of the story and expression
of the sense of gratitude to God, through whose favour the poet thinks he bas been able to
complete the work1 •
13. The Place of the Chauhis Avtar in the Hindi Literature. The composition
of the Chaubis Avtar is often classified as a Maha Kavya, on account of the
narration of the marvellous deeds of mythological heroes, its considerable
length, its division into cantos, naming of its cantos after their subject-matter,
its varying and elaborate descriptions, etc. But a close examination of
this work would : reveal that it is deficient in some essential attributes of a Maha Kavya. It
has, no doubt, the bulk of a ft,Ja!ia Kavya but not tbe singlen<:ss of a plot embodying
all the stages of development of main action (Karyavastha). It also lacks dramatic divisions
(Sandhiyan) which are the essential factors of a Maha Ka11ya.
In the Chaubis Avtar there are as many themes and plots as the number of Avtars.
Each plot is complete in itself embodying in it the various stages of its development. Each
one is self-_contained w~th its own . be~inni~g and end .. It is ~uite unlinked in any way
with the episodes preceding or following tt with the exception of inner connecting references
I. K. A., {5--8. ~40--i-i!l, 283--288, 4,21--440) 2. K . A., (347-390, 4(1--478) 3, K. A., (867-878, 914-925)
•· S. E. D# l! 5. lbid, 12
o. ~ ;r11ft~1~ftcrY c1~ f.f~ ~ crr-s, n,
ln the ba~ino.ing tliere should l.;e eihher an invocation or benediction or indicn !.ion of the ebject-Jlle.tt.er.
7. Rama.vtar : Ma.hatam:,a (859) Kriaaoavtar: ?iiabatmya. (2480)
Dtlte of eomplot:ion (860) Date &; PltWo (2490)
Ple.ce of completion (861) Source (24Ql)
1'hanka-~iviog (86ij Obje11t (2, 911
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BRIEF CRITICAL STUDY OF W OR KS IN T1-IE DASAM GRANTH 113
given towards the eod of four of the tales. The narrative continuity in the cantos is,
-therefore, absent. Thus, removal of an episode from the composition would not in any way
eause a gap in the narrative.
Another essential attribute of a !14alza Kavya not fallowed in this composition is the
use of a single metre in each canto. But it is evident from the number of metres (given
in the table below) used by the poet that in each Avtar except in Narayan and Nar he bas
employed more than one metre. He has gone so far as to employ 68 metres in the Ramavtar
and 70 in the Nih Kalanki Avtar. In fact, in two of the 24 Avtars she has employed over
120 metres. In thirteen of these episodes, however, there is a change of metre at the end;
but the number of metres exceeds two except in six episodes. In any case, the observance of
illis rule in itself in the six cases cannot entitle them to the status of a Alfaha Kavya. Only
in Narayan, Balvan, Paras Rain and Nih Kalanki Avtars, however, there is a reference to
1he next episode:
Name of the A vta'r Total No. of Varieti,s of Whether or not V erse No. indicating
verses in metres in metre is changed the subject of the
each A11tar each Avtar at the end tale following
Introduction 38 1 No •••
1. Maccb 16 5 No •••
2. Kachh 5
Chhee:r S. Maothan 14-
2
4
•••
Yes
-
•••
3. Nar- ... . .. • •• • ••
4. Narayan 6 2 Yes 20
5. Mohini 8 4 Yes
6. Bairah 14 2 No -..
7. Narsingh 42 9 No •••
8. Bawan 27 b Yes 27
9. Paras Ram 35 5 Yes 35
10. Brahma 7 2 Yes
11. Rudra (39+60) 89 10 No
12. Jallandhar 28 4 No •••
13. Bisan 5 2 No •••

14. Shesbshayi 7 2 Yes ...
15. Arhant Dev 20 2 No
16. Manu Raj 8 2 Yes ...
17. Dhanantar 6 2 Yes ...
18. Suraj 27 9 Yes •••
19. Chand 15 3 No
20. Ram 864 68 Yes
21. Krisan 2492 12 Yes
22. Nar (Arjun) 7 l No
23. Baudh 3 2 Yes ...
24. Nih Kalanki 588 70 :No 517
4371
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lli THE POETRY OF THE DASAA1 GRANTH
According to the Dash Rupak 1 a canto in a l',,Jaha Kavya should have not iess than
thirty and not more than two hundred verses. Most of the Avtars in the Olzaubis Avtar
fail to fulfil tbis condition as is evident fron1 the table given above. In the Ran1atvar,
the K,.isanavtar, the Ni!t l(alanki Avtar the number of verses exceeds 200. On the other
hand the .1.liachh, Kachh 1 Nar-Narayan, J}Iohini, Bairah, Ba111a11, Paras Rani, Brahma,
Jallandlzar, Bishen, Sheshshalti, Arhant De1 Manu, Dhanantar, Sitraj, Chand, Nar
1,
(Arjuo) and Baudh Avtar each contains Jess than 30 verses.

Every tale,having a separate then1e and plot, has also a separate hero who at times is
not even the incarnation o f Vishnu : for instance, in Narsingh Avtar Prahlad can be aptly
termed as a hero, for, he js the central figure of the narrative. It is be who suffers and it is
for b1m that the incarnation appears towards the end in the form of Narsingb, only to end
his sufiering·s at the hands of his father, H iranyakashyap.
These deviations from the essential attributes of a Maha Kavya lead us to the
conclusion that the composition was not designed to have the architectural quality of a
lJiaha Kavva and it would be too far-fetched to classify it a s such. It may best be regarded
as a collection of narrative poems both long and short.
7, MEHDI MIR
Towards the close of Kaliyug, when people stopped worshipping Kai Purak!i, He,
having been annoyed, created a person, Mehdi Mir by name. Mehdi Mir destroyed Kalki
because the latter had become too powerful and too haughty to distinguish between
right and wrong. Kaliyug passed away and Satyayu~ began. But Mehdi Mir, the
destroyer of Kalki and the supreme ruler of the world, became filled with
over\.veening prjde. He regarded himself as equal to God and as mighty as He is.
To punish him Kal sent an insect which crept into his ear and gave him such an agonising
pain that be died of it.
The Mehdi Mir is a post-script to the Chaubis Avtar, the idea of which seems to
have been suggested to the author by the writings of Sbia sect of the Mohammedans2•
This composition runs jnto eleven quatra:ns. All of them are in Tomar metres3.
s. BRAHMA AvTAR
The Brahma Avtar begins with an introduction running into forty-one quatrains,
thirty-nine in To,nar and two in Naraj. The first nineteen quatrains are devoted to the praise
1. ~~1'11.-.r [
c'jl{~fer«I\'.: -.:tl,1a1 11
2. M. K . , '\ ol. l V, 2793 ; JI. S., :158 3. Tomor 1-11

BRIEF CRITICAL STUDY OF WORKS lN THE DASAM GRANTH 115-
and importance of the remembrance of God's name1 • Guru Gobind Singh has reiterated
his faith in the one-ness of God \vho is the Creator as well as tbe Deslroyer of the universe,
and by worshipping Whom only one can attain salvation. He has again emphasised that
Ram, Krishna, Mohammed, etc., have all been His creations and even they, to be acceptable
to God, must worship Him. In the twentieth quatrain3, the poet tells us tl:iat he had just
fi.nish.e d the Chaubis Avtar of Vishnu and now he would relate the Up Avtar ( '3'tf ~'«1TT ).
In the twenty-first quatrain3J the poet says that he is going to narrate the incarnations
of Brahma in a beautiful verse, and also those of Rudra. In the remaining twenty-two
quatrains the poet adds that in order to expiate for the sin of pride, Brahma was ordered
by the Creator to assume seven incarnations and was further warned not to come in conflict
with Vishnu who had excelled him in his devotion to Kal.
(l) Balmik Avtar.

Brahma was first born as Balmik. He suffered from dumbness in his childhood.
His devotion to Ram, the incarnation of Vishnu, inspired him with immortal verse,
which has ever been appreciated both by critics and grammarians.
.,,
1. ~ ~fl1 t "
<fir~ ifTi:£ II fa{={ ~if g{
•
1 EfiflT I\
fem ~ ~{q' ~ q~J~ II ~@~ ~a
if ~{Tg II B. A., Intro., (3)
f;q;r ~~ ~~ ;:rrf{ II ~+f ,.,._ ..

•
,:rr ~':(rT mf6: II
fstif ~,fcr~r ~ ~ II T~<fi ~~¼..,_ ~q II B. A., Intro., (4)
i •
'11Tct G{o ~~'-Ii II~~ m ~~ ~ ~efi 11
~if U:ii i~, iff~ II '5tif '1lfif ~ ;jft~ i:Jf~ II B. A., Intro., (7}
+lqif~if ~~, II t ~ ~ i!fi~<ITT II

far.i Q, Efi ~~ if it~ II ~ ~q ~:rr't mi: II B. A., Intro., (S)
Efi~ g~ ~qi;T ~ II <1i{ ~~ m~ itlq' II
~ @r &~ Ui_<!t II fam qf~ Efi) ii Efi~ 11

B. A., Iot,ro., (12}
fiG ~i!fi ~,~

~
ifTif II .:fii_) ~, i) "'
ii ctif~ II
~ m.; t !!~~cf II a
\llfii t ~il~cf Ii B. A., Intro., {13)
faw.:r mg ~9~ if '1tr.; I l RQ° ,g:rr.:r ~Tri if ~ II

~~ ~,f.=r ~
-Iii
(fi~~n, 11 f""c1 ~ m ~l:fR: 11 B. A., Intro., (14)
far.i (ff{{ it ~ ~l:fR: 11 .:ift~ ~@' ~R ~"'fr\ 11
~r G'ffq t <i'tt ~1~ II~ ~ t cf~ ~ II B. A., lotro., ( 15)
t. ;r/;f 'q3~~ ~~a-R ll ils "'

cf> <fit fif~R II
11 ~tl" ~( B. A., Intro., (!!OJ
'3{Gl 11.rt '3'tf ;a-q~q-o11: ~q ~T~ II
:1.. G\' ~( ~q II ~ ~ c6Jaf ~q II
a ~
;'(~
~c«lR 11 ~ ~l - art{ f'if~r\ II B. A., Intro., {tl)

---
118 THE POETRY OF THE 0.ASAM GRANTH
(2) Kashyap Avtar

Brahma assumed the form of Rishi Kashyap and expounded the Vedas. He-
had four wives and begot from them all the gods and demons whose wars have been related
in the Ghaubis A vtar.
(3) Sukra Avtar
When the demons grew in power, they established their kingdoms and founded new
dynasties. In order to reform them, Brahma was born as Sukra who taught them
religion and morality.
( 4-) Bacbes (Brihaspat) Avtar
When, \Vitb the rise of demons in power, the gods were thrown into the back-
ground, they adopted the path of piety in order to retrieve their lost position. Brahma
took pity on them and came to dwell among them as Baches. With his spiritual
strength, the gods regained their power and Indra bad his triumph over the demons.
Vyas Avtar (5)
The fifth jncarnation of Brahma was Vyas who was a contemporary of Krishna.
He wrote an account of kiogs of his age. Manu, one of the kings, was the most
powerful, tl1e noblest, and the wisest and also the greatest patron of art, culture and
religion. He established peace and brought prosperity to his people.
Another account given by Vyas relates to the story of King Prithu and
Shakuntala which has been made immortal by tbe Sanskrit poet, Kalidas.
In the account of King Sagar, there is a story of Ashvamedh Yagya per-
formed by him and his sons who were burnt to ashes by the fury of a muni who
was disturbed in his meditation.
Besides tbe stories of Benu Raja, and Mandhata Raja, the poet has related the
peaceful reign of Da1eep of Delhi and the story of Raghu, the founder of Raghu dynasty.
The Story of Aj Raja is an ac~ount of the s1vayan1bar1 held by the king Subab to enable his
I. ~e ~13 ~ if~if 11
~o ~IGf ""a'G 11 .!.j Ra.ja (8)
'
~PH~ II ~Gftf
~~ II ~~
Swayambor Sabha Varnan ;
~{ lT5'~eqf°t ~o 11 ~~ cy1Jf<T> ~. ~ ~~ il'Tefi ~ ll

~qJ~
~
if~;{ ij
~ "'
cn'i;:r 11 i...:, ,~ '1f~e'{ lft1cr ~~ 11 Aj Raja (10)
~TliT
{:lT.ta- ~;i::
"'
l I mr~a
. ~ II ~~T ~qR I I ~ ~l~ II Aj Raja (11)
nrcta- iT'\'a II iima ~a- II f~ ~ ~{i'1R II ~if <qfJt ~TR II .Aj Raja (12)
~~ 11 ~r;:r
~
ctFiio ijR II ~R: ill\ 11 tr@a ~qf\ 11 Aj Raja (13)
~ ~i{\1o 11 lTFf <f 11rcr 11 ~)m ~-ff II ~~ 41.q II Aj Raja (14}
-For more ref,erencea see Aj Ra.ja, ( 8, !J, 15-26» 28, 30-36)
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BRIEF CR[TICAL STUDY OF WORKS IN THE DASAM GRANTH 117
daughter lndarmati to select her own 01atch which she found in King Aj. The story
is remarkable for its descriptive power, courtly splendour and mus1c, and dance
and beauty.
Se.ra.ew0,ti i11{roduces the l'.to1os one by ooe to LJ1e p rincess lndarmati_:

gJ~\ifl(cii R:t'cf\l;jffiil'R 11 ii5;l all1 f~ ~J~ f~.« 11
fa&:( ~Ifs qT~ ~FT =q~'ta 11 Gf~ G,ii g (!fl(!{ ii1G m.r 11 Aj Raja, (4J)
~fif <fit a r~ l1T,~~/fl ~if 11 ~if cre-T.fita ~ ~ ifif 11

~fqq11feo ~q cfTifiT ~ql ~ 11 ;:r~ ilfu: RJRr ~rfif =an tll~ II Aj Raja (
42
)
X X X X
Sat•l).Swati hus fhown lwr nll the 'Rn.ja.q who hll\T0 nS!'!('mblod Lbcre hut she ,\cropte none:
.... ,....
<J5ftf.:r ~( f9fq~sqt ~f ctcfi ihr B~ fo-r clTll ~~fQ; II
~ftq fcf.(t ~s 'qq;;:f ~ f9Cr.r <]-rt~+nf~ f~~ if~l ™~~ II
~,R lfR~r ail ~ ~z+fsqr ~qf(f ~f\ " ;rl1r ~'i-lif~ II
~~ mt. !!~ ~ iTU: l15f ~:1~~+11R ~ ~r,
r-
~Tl~ II A.j &ja (71)
Moun while Aj Rejn. appea.r:.. His beaut;y, tli·ose ond ariny atLro.et one o.nd all:
~~ ~rm ~Tif iro: ~~r~ ij U~iiU::il ifgf ~cyf
,..,,
q1't~ 11
~if,
♦
~i{q \l( qiEl.fif{

• •
Bil\ "
i:fi ~n:: 'l>1 ~Tiif
" ~'lit II
... ....... ..... • ~ r- ~
itlcfwf ~ ~~ l11T is::> t;i-cr ~F-T Bif ij~t:lf'1 ;:i cfl;t 11

.
~ ilQ;
•
~iiiG{(: a ~fa; •
~1[, it "
~q <fi;q~ ~1~ II Aj Raja (72)
Everyono is captivated by his benuty :

..... ,.._ .
qtfcr 6) qfij" aJ~l~ at~r" ({~ Gt©° T~qlT R{il
'-:>
Gf~Tct 11
.... "
~i,q.; =.:tl~ ~q B1:f ~lTfiicytTTofi •
~;:rrr !im ~iji(t II
~
~T~a :;:.trr fl;{tpT
....
~q-rr B~il
""' ~ .,y~ Bel ijf.r qro: 11
...
(\.:n ~~ f~qr, Bij ©"f@' ~Cf ~q B{~ ~f(t II Aj Ruja (73)
His beaut,y is \lJl paralleled :
Gfa t:J~q Qff~r ~f'Gt ~) ~+r ija ~q ., ~~n: MT.fr~ 11

~f?.; T.ffci-irr &fur ~ R~ ci>1 ~f~ ~?.: q( ~ ~ ~B llT( 11
~;s:r ~~q fq@l~ ~ qfcf~ ~:e- fT.f'(T (~~ ~&, if '1U{ II
~G Sf4lT QI'~~) ~t~ ct,) ~~ ~e B~Cf ;r ~CJ f;:r~J( ll Aj Ruja {7!)
an~ ~~ {qcfi '5'TT-l ~Ba ~<fiT,;:r =q~;a~q ll iif~Rir

l1ffaij~Tcf q1f~~r a.:r er\:l.=r i1cr.=r ~er ~a~ J.1+r1f.J!!TT 11
Gl"Rn-i <iJT&l§~F:r cytfu:J~ fa~~ ~5lii <f>T(!JR~q q~rfuirT ll
(qi, ~cf ~~cfif ~ fucr tr .il.:f ~TT-if ~ir GIT~ ~TTir'al"T II Aj Raja (76)
BT~.:f fu;i;:e~q ~f@~ fa~~ B~i, {t:;fB'+JT-i ;q~f~ 11

~r,-r .i'l~ ~iT~i=f m(ii "'filB -=> G~l ~if "~ ~fq~f~~) II
~liTB~q l1~ ~(r{J~ii e~BlH.f ~\ ffil ~flcr~ II
{I'll;( ~fij ~1 ,:~ fir~ ~R \.l~rf ~T~ iii~ re~ q-f~it II Aj Raj& (77)
Continued-
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118 THE POETRY OF THE DASAM GRAN1~H
I
(6) Khat Rishi Avtar
· The sixth incarnation of Brahma was Kha t Rishi. After con1plcting the
Puranas, Vyas became guilty of spiritua l pride. God grew wrathful at bis haugh-
tiness and tore Vyas in to six pieces each of wh ich quickened into birth as a rishi.
,.. ,..
~iR f~a· ~,cfl~ tflT li:m fct~ ~;:fif, a-1, ~Tit II
~ ~
iiTefi' Qi~ ~B' JfTrf t{:Jll tf;;J ~.; ~1'3: qff~ ~~ Qi~ lct II
qf~ ~<!i'Til ~,lGJ ~1tt ~~ q'~({ ~ ~.:il"f Rl=r~ 11
•
i:tio ~ra i:ti~ er{ ~~,
....
,la ,i=t f!:r~ ~~ q ~r~ II Aj Raja (78)
It a.ppeara as ir Indnrmaii wos created only for .\j Ro.jo :
qfur {J~cr fl=l',Tn .; i t~ i ca l \jf3 q_c: ~tfT ~ 11

l"fTcra ;rflij if-ifTia q f~ ;sJ~q~ t
~ ~~\ &'.I ~ 11
ll'9o ifl{ ij~J~i:f rrl'\ ~cfFfa' t ~ ~Tit~ Gf1 ~ 11
( ij~R ,<qt ~\i:fT{: cfil ~f~~r~ 5fl'm' ;=ft~ iif, 11 Aj RaJa (79)
~lq'(f ~1 mmr .; ijff'qrf q-fuf ~cfi' t 'TI~ -q;1- ijM ;:rr,1 11
l"fTcicf i"fl~ c£'3ir;rn i,~ fwtiT !!~rr.; cflT ~f.:r llRT 11
~~ ~Hf fsifc\1 3, wlflR l"fTff{ :S f{: q1i ~fer ~,~ II
u~ efiU cfijf ©1 i:\i{ cy{f qrn_ \lf Er (!{Tf .f;-r if! ~.:rr i'r 11 A j Raja (80)
~.=rrr ifTrf 'qt fl{e- +/f{cf ~~m tf, ~( a:rTGwl \Sl(T 11

GT(~ ii fr~ ef~ ~q- ftrrr1, ~i +fffi tfi"S'.:f f¾'ifr~'t II
<6Tciiijt <6R; itR~ f;rq ;,r~efi ~1;:r cfiqHr cfi't J:fl'cf ~fri "!ir~T 11
@'Ji f◄it. ~\ .ff{ Q"{:f q~ ~+f@' t iif~ 'e:fT~Qi +TIU 11 Aj nnja (8!!)
iTT~if ~ ~~ Mi ~~ rfil[_ 2:~ t fen cfiT+f ~ f~~iiT t <tlrfflt i iji--lT~ ~ 11

t
~Gfflif ~ 5i"t~ ~ ~ ~·~ar qif ~r., l fcfi i:tirn ~~~n.=r rifM" t61~ i ~::ra-R i 11
~fg{:<fT ~ ~Q t fq:; ~er ~ wl{ ~ ~ f~ ~-~ ij~G ~~ cfil~ ~;.el( ~ II
?il"f ~ fifi aT< l ~ <tTTwTT itTit ~~{: t ij O:~ ~ ';l" ~f<if ~ fa{tiil'tfil ~ l=f+fT< ~ 11
at~;,
... ~, ... ,.. ... .. Aj Ro.Ja (84.)
G ~qRii a f~l"f ~rv=i ~ ~rcr~Tcfi g iiff{ 11
{1+fi
.,.. <G) "
H:+ficf[\ m~ ~re
,... "'
•rr~ !;J~f .:rit ~ra
...
<'
G'fcfT~ I I
l=l'TIT 'qijf1 Gfo iffQY r«1~Tcli.:J "'
+fl( =cr-ciiT< ~~ ~~rf II
~ ,...,
~'lfo q~ ~~,r~ \T(Gj' f'qij' ~~ ~1 ~1~ @1rr
{'
A j E nja. (85)
~{~ II
The princess immedio.~ely baa to her liaud a gMland of flowers :
~fer~~T ~~rfiif 11 ~fu~q

~ra ftfii ~ ~~ ifrnr II sft. ~~ Aj Bnja, (86)
And garla nds Aj Raja :
"
iTT~ 'f!m mm 51~1;:r 11 ~( Gffi: crrE6 cr....1;:r 1,
<:T~ ~fiif q_~ ~~ifi II \Stfi <ifl{!J ~{!! iffi~ II Aj Ra.ju. (90)
6{£ ~ i'tm fJ;i~ II ~fa <!~ ar.=r •
ii(iT 11
~
rflf Gi"T~) ~ 9t1 I ll cifg ~-~<1
"-'
ij+T
,ls
.;.; ll A j Bnj~ (91)
.tj R a ja marrios her and returus home with a large dow ry :
f~ Fr~&. ~ ~~<J~ II ~ tif@"

~
Qi "
cf,~ ~ II
fir{ ~~ ijlcf qJ~
{'
II ~ Cfi if~ «rt~ Gf~f{ IJ Aj Raja (92)
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BRIEF CR(TICAL STUDY OF WORKS IN THE DASAM GRANTH 119
T h us six shastras were con1posed by these s1x rishis, Vyas being the last of them
who revised and expounded all the six.
(7) K alid as A vtar
The seventh incarna Lion of Brahma. \.Vas Kalidas. The authors of the
Vedas, Puranas and Shastras appeared in Kal1yug as Kalidas. Bikramajit patronised
this genius who con1poscd Raghuvansha and other 1naster-pieces of the Sanskrit literature
which still add lus1re to the glory of Bikra,11ajit.
In the Brahnz.z A11tar there are seven episodes \Vhich centre round seven heroes. While
the heroes of the Vishnu Avtar are kings and \Varriors who are saviours with the sword ,
those of the Brahma are in the main scholars like Balmik and Vyas \Vho arc saviours ,vith
the pen. They lead a peaceful life and excel in achievements of literary and creative type.
The first twenty verses form an invocation to God. Tbe stories of these avtars are
told very briefly so much so that the episodes of Sukra and Baches Avtars have been dealt
with only io two verses, Kashyap in three, Khat Risbi and Kalidas in four each and Balmik
in six. At the end of every :\ vtar is written : /Ii Sri Bach it, a Natale Grant he Braluna Avtar..•
•
.. . . .... . samapat.
The poetry of the Braluna Avtar, according to the poet hi msel f, is a beautiful
verse. It is in easy Braj with no admixture of Persian and alien words.
The dominating sentiment in this poetry is Sllant (pacific) except in the episode of Aj in
which the description of the incident of Swayunzbar 1s full of l:)'/zringar. As
regards imagery it is conventional at places but relieved by fresh and original
observations. The metres1 employed 10 this \.vork are mostly those found in tbe Chaubis
1.
Metres in the Brahma Avtar
Melre Serial No. Total Metre Serial No . Total
lntroduct.ion Ho.ribolrru1na '12 l
Toma.r Cbhand l, 2, 3, 4-, ii, ll, 7, 8, 9, 10, 11, 12, Pritlw Raja.
13, 1,1. 1:i, 16. 17, 18. 19, 20. 2l, -:!~, ( R,)r•ul Xo is eonLinue11 frort1 the last RGja)
23, !?I, 25, 26, 27, 28, 29, 30, 31 32, Tolnlc Chhond 23, ::'.!4-. 2
3:J, 34, 3,:i, 36, l!7, 38. 39. 3!) llaribolmnnu. q~
_..,, ~1
- ~-
l l , _,_1, ~~
_\..... q9 •
-' ~o
.J , ~1 > 3q.,., 33 1 3•·a-,
V
Nara.j Chhnn,I <10, 4 l. 2 :15, :JH, 37, 38, 3!!, 40, 41, 4'.l, 43, i-1,
l. B:J.ln1iki A\' lur -15, -16, 41, !S. 24
]{uni Chlu111cl .J(}, 50.
Nu,,..ej Chl111utl 1, 2. a. i 5., 6, 2
2. KaA1ynp Avtar Blrarar & Sagar RajaJ
( 'l'ho serial No. fs <1011li111ttc,I front tho last Avt,nr). ( Serini , o. is corH,inued ),
Padhari Cbhand 7, 8. 0, Runt Clihaad 61, 52, ,;3, :14, 66. 66, 57, 5S, 50, 60,
3
3. Sukm A~tar 61, 62, 03, 64, 65. 66, 67, Oij, 6!l, 70,
( New Sariul Ui·c.ler) 71, 72, 73. 73. 23
Pudburi ChL1i11d I. !?, 2 )ln<lhul>hur Chhand 7,1, 75, 76, 77. 78, ?!I, 80, 81. 82, 83,
4. Bachcs (Brihaspal) Avtar R4, S.;, 86, 87, BS, SO. 16
( The Serial No. i11 contiouod from the lost Avtar) Benu Raja
J?adhari 3, 4 ( Serial No. cunt,inuod from tbe last )
5. Vyas A,lar l\fotlhnhhnr Ch.hand 90, !ll. 92, 03, 9<1, U5, 00, 97, 03. 99,
( Soria! No. is continued from the lain Avtar) 100, 101, 1'.l
Mam, Raja S1u1jutu Chhnnd 102, 103, lU4, 105, 100, 107, 6
Podhari 6, 6, 7, 8, 0, 10, 11, 12, 13, 14-, J\,famllruta Raja
15, 16, 17, 18, 10 15 ( Serini No. is continued ).
Sangeet Padhruri 20, 21. 2 Dodhak Obhaud 108, lOtl, 110, 1 ll, 11:l. 0
Continued
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120 THE POET RY OF THE DASAM GRANTH
Avtar. There is nothing peculiar in the use of metre here. The tone of the metre, however~
is quiet and the movement equable.
The episodes of the seven incarnatjons of Brahma are narrated in twenty metres1
viz., (1) To1nar 70, (2) Naraj 8, (3) Padhari 40, (4) Sang it Padhari 2, (5) Haribohnana 25,
(6) Totak 3, (7) Rual 25, (8) Madhubhar 34, (9) Sanjuta 6, (10) Dodlzak 5, (11) Astar 2,
(12) Medak 5, (13) Chaupai 56, (14.:) Ardha Padhctri 5, (15) Uchhal 9, (16) Mohani 11,
(17) Bltujang Prayat 22, (18) s~vaiya 13J (19) Dohra 1, (20) Kabitta l.
Metres in the Br&.bma Avtar (Avtar--wise)

Asta.r Chha.nd 113. 114. 2 Uohhe.l C'hhand 16, 17. 1s, 10, 20, !?I. 22, 23, 24, 9
Medak Chband 115, 116, I L7, ll S, 119, 5 l\lohani Ohhf~ntl 25, 26, 27, 2S, 29, 30, 31, 32, 33, 3i,
Dalip Raja 3~ 11
( Serial No. id conLiaued ) MadhubJlflr Chhand 43, 4-1-, 45, 46, 47, 48. i
Toink Ch110nd l~O. l Bhujaag Praya.t 49, oo, 51, 52, 1m, 54, 56, 56, 57. 58,
Chaupai l ~l , 122, 123, 124-, 125, 126, 127 1 12S, Chhaud 59. 60, 61, 02, 63, 64, 65, 60, 67, 68.
129. 130 131, 132, 133, 13-l. H- 69. 70. ll~
Rag/111 Raj(l Swaiyl\ 71, 72, 73, 74, 75, 76, 77. 78, 79, 80.
( Serial No. is continued ) 81, 82, 85. 13-
Chaupa.i 135, 136, 137, 13S, 130, 1-10, !•11, 14!:!, Dohra 83. 1
143, 11~. 14a, 146, 147, 1-ts. 149, 150, l{abit.ta 8¼. 1
I Ii 1, 1!ii 153, 154-, I G{i, J,50, 157, 158> Toma r Ohhund 86, 87, 88, 89, 90, 9 L, 92, 9:l, 04, 06.
]50, 160, 161, 162, 163, 164-, 165, 166. 96, 97, 98, O!l, 100, 101, 102, lOl,
167,168, 169.170, 171, 17!?, 173,174, 10.J:, 105, l 06, 107, 108, !3
175, l';'(i. 6. Khat Rishi Avlar
I'adh.iri Chhancl 177. l ( Ne1v Serill,l Ko, )
Ai Raja Tomar Chhand l , 2, 3. 4,
( New Serial No. )
Padltu.ri Gbhand 1, 2, a. <:1-, 5. 6, 1. s, 9, 10, ao. :n. 7. Knlidas A" tar
S8, 3-9, 40, 41, ,,2. 17 ( New Serial Orcle1· ) ,
A.rdli11, Podlm1•1 Cllhllud 11, li!, l :i, l I, lo. 5 Tom11.r CJ1hBnd.
1. Metres in the Brahma A vtar (Mette-wise)

Metre Number in each Avtar Total Metre Number in each Avtar Total
or Raja or Raja
I. Toma.r Iotro. 39, Aj Raja. 23, Khat !J. Sanjutn Chh1ind Benu Ruja.--6.
Riehi- 4, Kal!dns-4, 70 10. Dodhak 11andhata. Raja-Ci.
i. Nara j Iniro-2, Balmlki Avt.ar 6. l:! 11. kltnr l\Ia.ndbat,a R,tjn. - 2.
3. !'adhari Chhu.nd Kaahye,p Avtar-3, Sukrn Avtor 92. 12. 1\forlak Chl1t1nd :iVJo.ndh,~la Rojn-5. 5
Be.C'hee Avtar-2, Mnon R11ja-l6, 13, Chni1pe.i Do.leep Rnja 14, Rnghu Raja-12 56
Raghu Roja-1. Aj Ra.j4c-l7, 40 14. Ardha l'adhari
~. Sangit Pacllia.ci Mu11u Raja-2, 2 Chhand Aj Ruja- 5. r;
5. Hariholmana. l\fann T:ta.ja-1, Prithu Raja- 2-J. 25 lIS. Uchh~I Aj Ra.j11-9. i
0. Totak Prithu Raju-~, Daleep- Raja l. 3 16. l\fohini Chha.nd A j Raja-11. 11
7. Huot Frithu Raji. 2, Bharat. & 80,gsr 17. Bhujo.niz Prn.yat
Chlmnd Aj Roia.-22.
R ajM-23, H 18. Swaiya u
Aj Rajo.- 13. 13
8. Madbublw.r Bharn.i & Sagur Rajas-16; Benu
Raje.-12, Aj Ruja-6. 34
19. Dohra.
20, I{abittu
Aj Raja-l.
Aj Rnja-1. •
1
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BRIEF CRITICAL STUDY or WORKS IN THr: DAS/\t-.1 GRI\ NT ll l ?I
u. RuoRA AVTAR
(I) Datta (Oattatreya ) Avlar
When Rudrn became extremely proud, fate ( Kai ) addressed h lm thu s: '·Pride
hath a fall. Brahma in his pride ha<l a fall . So shal t thou; for verily, ( am pride-killer.
Now· shalt thou go and be born as man.''
Atri Muni, a scholar of the four Vedas and fourteen branches of learning,
did long and hard penance. Rudra appeared before him and offered Lo grant him a boon
in reward for his austerities. The Muni was filled wilh surpri1,e and joy and asked him to
bless him with a son like himself. "Be it so'', said Rudra and disappeared.
Atri married a beautiful girl, Ansuya1 by name, of \Vhom Datta, the incarnation
of Rudra, \Vas born. He grew u_p to be a great scholar, yogi and sanyasi, with rare
qualities of body and mind . .:. A voice from the heavens once advised Datta to adopt a guru,
failing which he \Vould not be able to achieve salvation. Jn obedience to the call, be began to
pray to god~for guidance. The voice came again and advised him to adopt whomsoever he
loved, as his gur11 1 and to serve him with heart and soul. Datta, thereupon 1 left
bis parents fo r a thick forest and began to perform severe austerities which earned him the
gift of infinite \Visdom. And in his infinile wisdom. he adopted God as well as his O\VIl mind
as his t\.vo gurus.
Datta then renounced the world and devoted h imself to yog as a Brahmachari
Sanyasi •. His reputation spread far and \Vide and adn1irers, including rnjas, fro1n all
parts of the \Vorld came and adopted his creed of yog .1nd engaged themselves in n1:i ny yogic
exercises. He, too, travelled in Bharat and all over the \Vorld and recruited follo,vers in jungles
and hills, near the sea, in ashrarns, beside the Saraswat1, and at holy places:.. Once Datta
came across a spid«!r ,vho had made a cobweb or thread produced from \Vilhtn himself
and was contented with this kingdom of his wherein be could live on flies which came
to be caught in it. Datta adop ted it as a guru 6 • In the sn1ne ,vay he adopted the hero,!7. the
f;.i;l1enna118,and the ll'ild c,,t 0 successively as. his gurus,for their po"vcr or concentration in spolting
and seizing their victitns. A carder of \VOol failed to notice an army passing by: so engrossed
was hciu his work 10 .A sla11e H'onian \Vho was rubbing sandal-,vood into paste d1d not notice him
when he brushed past herll. His ninth guru, after these, Dalla found in at radt r, who travelled
abroad in spite of his riches stored at hon1e, but with his mind fixed on trade and profit.12
Nex.t, he can1c across a spinach-seller whose cry ''Soa chttk' 1, i.e .. 1Green spinach' seemed to
convey by play upon \Vords , the n1eaning, ~He that sleepeth, loseth'. Datta. adopted her as his
tenth guru 13 • His elevenll1 Guru was J{uja Suraih \Veil-versed in Lhe science of arms, a ,vor~
shipper of Durga} but \Vitbout attachment, a sanyubi with a capLivating personality 11 • A pretty
). I-Lcr lx,m1 l 1 is d cscribwl in sll\'!!11 shuiwti ( 13-HI) , lwr aoger 11~ B rnl11n1\ in Nt. 2.i-3:1.
!?. T)e.lli. is <1o~c r1 bod in :.?il sta t1 z1u(3·1-U:.?) with o IL t of rcpotilion . l•'urllier agttin it1 st. 6,,.7;,
a. God ia dc._qcrib<1d iu terms of nttributos in !It., 79-100. 4. D~oriLo,l in (ll!l-129). u, D. A., l l07 - 17r,) .
, . D . ,\ ., (1711 161). 7. D. A., ( IH:!- U:l -1) 8. D. A., (185- ISiJ. 9. D. A., ( HI:! -10 ~).
Jo. 1), ,\ ., (188 -191). 11 . V . A., \ 1!J5- -J!J9). 1:!. D. A .. (200-20 1). 13. D.A .. {:.?06-:!ltl).
J4 , ll, .\., (:!ll- :?55).
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122 THE POETRY OF THE DASAM GRAN1"H
girl lost in flying kite b~ca me bis twelrth guru1. His other gurus were, a loyal 1,oatc!11nan at
his post, at dead of night, even when it rained heavily 2 _; a beautiful ·wo1nan with rare gifts
and accomplishments\ ever true to her husband; an arrow-rnaker who was so busy with his
work that he did not raise his eyes to see an army passing by with all its pomp and show
led by a Raja, well-koo,vn as a Royal hunter\ a beaurij'u' kite which dropped her bit of
flesh ,vith which she 1vvas flying ,.vhen pursued by another kite to
snatch a,vay her bit, thus giving evidence of her lack of attachment6 ; a dudhira bird which
hovered over the fish in \Vater even ,vhen the sun \Vas set0; a deer hunter who even mistook a
group of handsoLne rishis iu the distance, for a herd of deer 1 ; a parrot which, released
from a trap, fh~,v away symbolising the freedom of mao from the worldly entaa.glements 8,
a rich ,nan who, absorbed in money.making, f.1iJed to no lice the Sanyasi to whom everyone
around hirn paid homage 0; a roan wbo \Yhile teaching his parrot to utter some words did not
take notice of Datta passing by wilh a host of his fol1owers 10; a u;ornan carrying gruel for
her husband not attending to the soldiers fjghting together in a battle-fleld11 , and a beautiful
Jach!, 1vo11La11 devoted to music, gone almost crazy for it, forgetting and forsaking every•
thing else12•
Then Datta retired to the highest peak of the Sumeru mountain to

meditate on the Almighty to llnderstand His relation with the world, After years of
austerities, he found the worJd all a 'cloud of smoke'. Then he shuffled off his mortal coil
by his yogic powt!r1a. Tirne (Kal) is inexorable and spares none14 •
l. D .A., (:!6-!-21i!l) 2. D.A., (27:.!-:!86)

3. D.A.• (:?92-34:2) A tour de force of beauty.
1. D .A., (3-13-358) Description of army (34.l f; 3¼7•0); ofworoeu pus.sertS-by (351-2.)
Description of o.n army paiising by :

""' .,... "'
m~ iifg ~rn a:-& I ~qi c{f\~ G'll.:f ST~ ~~~ I
'
ij"fe~ ~~~-i;f&.=rt2T
~<T fl+i er f~Bcr ~~ n -,f I l"fQl rr~ ~-iag ~!" s ~ 1 Datta A., (347)
~....+I" rlTG:<f n r~ ry_~ q:cyf I cfi\ tcn~cf t:ft~cr 'ell{ G'li I
~ qJq Q clle«f crfw !:f+I I ~ fcrmTcfi' fGfi~ \Rf ij+f l DaLta A .. (348)
~ q ~T{cf ~~\ llR ~ · I ~ qp3fij ct@" rft l=f ~ - I
Tf~ Tisi~ i tm" f~ '1 ~( I Gig qr-ncf ~'1 ii~ ~~~ ! Datta A., (3-!0)
Description of women passers-by ;
!;lq ~ ~Tif ~~ g~i I qi@ ~-i~qr ~r~a- "fr~ ~ r I

~lq \W'j{~ ~~~n:rr-t ~f'"i I ~f~ ~~ lT~ if~fiifti I Datta A., (361)
ijll llf+J('f ~T\ :gpn,: :-rt I fuc:n:t ~fu ~\1{ ~ { SJ+r I
""
~.:re@ ~ ; : j ' alT ?.:& I ~ ~ra lT~ Brf ~~ llrt I Dat;r;a, A,, (352)
5. D. A., {359-364\ 6. D. A., (365-369) 'i. D. A., (3i0- 388)
IL f:t. 430--137, 394--!2!1 are devot.ed to the pra.is(' of Datta and his greatness.
9. D. A., (-13S--4-l5) JO. D.A., (4.J,6-460)
ll. D.A., (459~61), a.rbitl'a.tion (4.50) 12. D.A., (463-70) 13.D.A., (480.) 14,. D.A..,.(490-8.)

BRIEF CRITICAL STUDY OF W O RK S I N THE Dt\SA ivf G RANTH )23
Tbe Datta Avtar is a Jong narrative poem in which the poet has employed a
variety of twenty-one metres1 in about 500 stanzas. They are: T amar .J:.fi,Padhai•i 4:.0,Padhri 7'1,
Chaupai 45, Rasawal 17, Totak 51 Bachitra Pad 2 , Bhujang Prayat 17, Mohan 4,
1
Anup Naraj 13, Kulak 8. Tara'< ~, Dohra 1, 1l/ ohani IS, Run J!rt111 :3, Rua/ l u, S tvaiya 8,
Shri Bhagtoati 60, lvfadhubhar 15, Charpat 10 and Kripan Krit 2.:!.
The total number of stanzas is 498, each of which has four lines. Padhri and
Bhag·wati exceed others. Bhagwati, Kripan Krit a nd Charpat are the lightest while Siraiya
is the longest and slowest.
This long narrative poem has twenty-three episodes, a prologue and an
epilogue. The introduction covers 1 lti stanzas giving an account of the parentage, the early
life and the ascetic career of Datta. The change of metre occurs about 33 times, each time
marking a turn in the development of the story or giving a descript1oil of unusual interest.
Jo the narrative, there is a lot of repetition, diffuseness and prolixity, most probably due
to the poet's delight in the luxury of musical and pictorial beauty. Guru Gobind Singh is
a past master in the art of depicting the Vir and Shringar Rasas (sentiments of valour
and love). Of the description of \Var scenes, we have only little, in stanzas 458-61.
But of the painting or portraits there is an abundance, as in the personal charms of Ansuya
(13-19), in the majesty of Datta (34-62) and in the pure beauty of the devoted and loyal wife
(292-342). In these, the poet chiefly excels, the last being his tour de f orce. In the description
of women, the ascetics, the saints, the poet l..t vishes all his resources of art and brings out
the beauty of character through the beauty of person. He evokes in the mind of the reader
the same admiration for his character as he himself possesses.
Each episode begins with the praise of Darta, the hero of the narrative aod ends
either with the san1e motive or with a comment on the situation and a moralising on the
incident or the episode, for the edification of Lhe reader. This treatment is rather convl!n-
tioc1al and didactic, thougll relieved by touches of human or natural beauty here and there.
The imagery of the poet is rich. and varied and saves the poem from becoming monotonous.
Analysis of the Mette$ io the Datta Avtar
1. Total
Total Metre Serial No.
Metre Serial No.
13 11. Dohro 173 1.
1. Anup Naraj 4.'H-406
4\ll - 498 ~- 12. Pndhri 7-:.!~
2. Swaiyn
3. Kripan Krit
4.. S hr1 Bhogwe.ti
389- ,110
:?23-255
-~-
•)\) 37-U:!
142-HiU ,~.
r ,)
:?\13-3:!4 6ll. 69-108 4.0.

13. Podbari
8. 170-172 3.
5. Kulak 4- 1 1- 418
1!). 482--183
.,
-'•
419-137 1-1. Bnuhitra Pad
ll. Charpot 17 .
Hi. Bhu jang P rayut 11 ~ 13~
17·1-21~
7. Ohaupai
138-453 45.
2.
lll. Mndl.lubhAr
17. Mohan
----
-28-31
•>13 <>•)7 15.
4..
8. Tarak 48+- 485
32(1-3-1.2 18.
34-3-338 18. Mobaui
9. Totak 256--260
4S6-490 51. 111. R B'!8.W81
287-29~ I ?.
10. Tomar 1--0
267-269 3.
25--27 29. R un JhUD
21. Rual 100 117
32--36
270-286
4.6.
l3;r--l 4:l
- 16.
Grand to~al 4!l8.
~67- 481
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(2) Paras Nath Avtar

A hundred thousand and ten years after the death of Datta, there was born in
the country of Roh, a child, Paras Nath by name. He grew up to be a brilliant youth
whose reputation for qualities of head and heart spread far and wide. The Raja sent
for hiro, and was, li ke others, so well impressed by his person and scholarship that he
made him his son-in-1aw1, and kept him in his palace. For about two years and eight
months, Paras Nath devoted himself to the worship of Durga2 who granted him the
boon of two sheaves (Bhathe) or arrows, a bovv and an a;{e, by dint of which the
~cholar of the Vedas established his sway over the neighbouring countries.
Paras Nath proposed to perform a yagva ,and hold discussions on the Vedas.
He broadcast his invitation3 to all saints, yogis, scholars and rulers who came from Banga,
R apbaj, Roh, Room, Balakh, Bhirubnr, Kashmir, Kandhar,I( almakb, Kas Kar and the Soulh.
Discourses vvere held and discussions made, freely and fearlesslyj gifts were show ered on the
guests; and scholars and kings were bonoured in the assembly'. After the day was over,
at night, Pa ras Nath offered his worship to goddess Durga, enumerating her attributes
and praising her achievements&, and prayed0 to her for loog. The goddess was pleased
~.vith his worship and offered to grant him a boon and for it he chose the sovereignty of
the 'NOrld. In a short time, he became the Maharaja of the world around him and won
the title of Abhai Pad , ' 'Fearless Maiesty,,. Once he called an assembly of all the rajas and
yogis and addressed them thus: ''There is no yo}!, no wisdon1 in keeping matted hair Even
after renouncing the world, you will keep wandering in the world. You have apparently
Jeft Maya but Maya has not left you. Explain all this or I would get you clt:an
sbaven1 ' ' . While son1'! of the yogis agreed to fo llow the advice of Paras Nath, saying
that tbey were not the follo\vers of Datta. others raised an uproar and hurled defiance at
the Maharaja. Some warriors sided with him \Vhile others opposed them. This led to a
fierce fight11 in accompaniment witn Maru Rag9, which ended in the death of his opponents10
and the surrender of others. Thus the creed of Datta came to an end.
Paras Nath ruled for ten hundred years and established his rule and cult a 11 over
the world,and hoarded a big treasury. Then he thought of holding Rajn1edh Yagya as Jambh
had done in Satyayugn. His minister advised him to fulfil the necessary conditions, v,z.,
reduce a J1undred thousand principalities, give away in charity a hundred lhousand elephants,
a hundred thousand horses, ten 1nillion gold coins to each Brahman priestiz. This the Maha-
raja couLJ easily d o. Then the n1inister advised him to find out from his people all over
th e empire what one p1rticular secret, according to the Puranas and the Samritis, had yet
to be revealed.
I. Dasorip~ion of Paras No~h St. 'i-:l0, bis eyes J5•l7, Shringar Ros.
2. l lpscription of Du.rg11, 21.-~~. Bhynnnk Ras. 3, St. ~8-351 repetition and prolbdty. 4. St. 38-.JA.
5. 45,6'.l ( \Johuoi CJdu~nd), 03-7-1 (Aubkal'a Ohliand)-Unique in their po,verful desaription- 75-80 (Biaanpad o.nd Sort.ha)
ii, St. 8 1-8,i inc l t1d:u1g po12~'e homily to men 81-/i, 7. Sh. fJS-H9 . 8. St. 103 .
.!l. 81.. Ir)O-IS of eight or savf'n lines in about l -l.O linPS cf long verse, LO l:!t. 10-1 describe heavenly dancer@ (npao.ras
eeleoting 11nd wooing hro.ve warriors). l l. St. 123. 12. St. 124.
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.
125
BRIEF CRlTICAL STUDY OF WORKS IN THE DASAM GK.ANTH
Paras Nath called another assetnbly of five hundred thousand rajas and placed be-
fore them his inquiry. One of them said, 1'There is a nnn1-i (ascetic) Machhindar Nath
by name, living in the body of nzachh (big fish) in the sea. He was born
of Datta's s~edt. He only can enlighten you oa this point." All the soldiers
of h is army war~ deployed a n1 nu1n ~rous nets \Vere cast in the sea which \vas
thoroughly cotnbed out. Many 1vvatery cre:itures were hauled out of the sea and they perished
in vain. At last, the surviving cre1tures of the sea waited upon the god of sea to 'ave them
from utter annihilation. On his part, in the form of a Brahman, with all precious stones
as a tribute; the sea waited upJn the Emperor submitting that there wa~ no such
1
inachh in his kingiom~ b 1 t it might be fout1d in the sea of milk (K 1ir) Thither
1
went the Maharaja ,vith his soldiers and found damsels merry-1naking and playing
music. There they cast a net of cotton, caught m1uy a ftsh but fail~d to discover the
machh which housed the 111uni in its body. At last, as advised by the wise, the net of gyan
(kno,vledge) was cast and the n1achh hauled out. But its skin was too tough to be cut
through by an ordinary knife; therefore, a sp~cial type of it (Bibek-Self-knowledge)\vas secured
to bring out the s1int who was discovered in a state of trance. A little doll of seven metals
was placed under his nose to cat0h his eye when he emerge1 from his dlzran, \Vhich \Vas
later burnt to ashes by 1he blaze of his angry glance. 3
ThusJ when his wrath was spent out, the ,nuni \Vas approached by the Maharaja
who asked, ''Who is tl1e king, who is the ,varrior and which is the country that bas not
been vanquished or reduced by me that hav~ extended empire all over the \Vorld and claim
to be next to God I-Iimself ~" 1 To this Machhindar Nath replied tbat all his conquests were
insignificant, for, he h ad not yet learnt to control h is own mind and that all bis achievements
were of no use to him, for, nothing vvould abide by him, not even his own body,1nucb less his
warriors relations wife or children 5 • "But \vhich is the king I have not yet been able to
, asked the
conquer'?'' ' Maharaja aga.1n. ,;It is 11bibek (Ignorance of innerself) whose n1inister j
is Ka1ndev (Cupid), and ,vho ha<-1 br0ug1t about the do'vvufall of Ra van, Yadvas, and
0
KaurLlas, and h1s outwittej BalraJa, Bran111a, l{rishna., {ndra, tv1ah1kbasur and others, ' '
said Machhindar Nath.
"But'', continued Paras Nath, ''how is it that Bibek and Abibek:, well-accomplil:lhed
of the sim~ ong1n, ca.ste and p.1reotage, as they are, ar~ always opposed to each
1
other? Pray, thro\.V some light on this and help me to d1stLngu1sh between the two''·
''Abibek" said Machhindar Nath in reply,'· bas black complex1on, vvears black clothes
which attract men and women, rides a black chariot pulled by black horses and driven by a
black charioteer. His flag and sword and bow are also black. He cannot be conquered; he
8
cannot be repudiated; verjly he is like Krishna.
''Of his retinue, Kcundev (eiil+f~cf-Cupid) has a bow of f1owers, the arrow of bee,
the flag with the symbol of fish. He is attended by the music of lyre and of other instru-
O
ments and a bevy of women. When be is crossed, none but Bibek can escape his wrath •
''NexL to Katndev is bis son, Basant (;rtjcr-Spring), who is accompanied by beauti-
ful dancing wornen and the sweet music of lyre. He is fond of rags like sorath, saranr, s1.1ddh
- - -1. - -
'J. St. 136 3. St. 151 4. St,. 158 6. St. 109.72
St. 132
.St. s. 169 9. s~. 110
6. Sti 167 7. St. 168
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126 THE POETRY OF THE fJASAM GR/\NTH
,nalar a od bibliar (flt~q),ra,nkali, hindof, <saud and g ,~jri of high pitch; and lalit, pa raj, gavri,
,nalhar and kanra of great n1ieo. When be is crossed, none save Bibek. can escape his wrath.1.
,;The third attendant is Hulas (9,;rra-fun and laugl1tcr), the second son of Ka,ndev
beloved of women wlth trembltng hearts, In his retinue is heard the chorus of the thunder
of clouds, the cry of p:!aco:ks, t 11e croaking of frogs, and tl1e jingling of jhi1ly. \Vhen he is
crossed, none can escape his wrath but Bibplc 1•
,<Anand (~r;iit-Pleasure) is the tl1ird son of Ka111,del1 surrou nded by won1en, dressed
in silk embroidered with gold thread and lace and bedecked with orn1n1ents like his chariot.
When he is crossed none but Bibek can stand his ire a .
~'The fourth son of KanideP is Bha.ra,n (.J{q-Superstition) whose complexion is
black like smoke, \Vhose oraaments are smoke-bla~k, whose charioteer and chariot-horses
are smoke-black and who vo 1nits black pitch. He is an object of shame to both men and
gods. He is a source of misery to his enemies. When he attacks in his wrath, he wi ll rout
your forces in a minute-t .
''The fifth member of his retinue is Kalli; (<ti...,f~-Strife) who has spared no god or
man in any of the fourteen worlds; for she is expert in the use of all sorts of ,veapons. In
all countries, all the rajas are overawed by her 5 •
''Next comes Bair (~"(-Malice) with blood shot eyes, bearing red arms and a red flag.
He is a great fighter who has broken up alliances made with n1any a raja. Shanti (Calm)
alone can take a stand against him 8•
''Alas (~fii«-Sloth) follo\Vs with a flag .of smoke with a chariot and a charioteer sn1oke-
lik:e. He wears clothes like smoke. Even sn1oke feels eclipsed by itself, as his bow and
arrow are also smoke-like. G ods, 1nea, sn~kes, elves (Jachh) and demons all are afraid of
ltim. All but Udyan1 (\i~l-l -Endeavour) would perish at his onslaught.'
''Mad c~~-Wine) has pale dress, a pale flag,a pale bow.a pale chariot and pale horses.
He has captivated the hearts of both gods and men. H e flies like v,hirl\vind. When his steed
starts dancing, non;! can face his fury, but Bibek8 ' ' . Sin1ilarly runs the description of
K.uvriti" t~fc;-Perversity) in black, Gu1nc11110 (~ifr,r-Misunderstanding) in leather, Ap111anL1
(wnrr;sr-Dishonour), like thunder; A11,.uf/z ar12 (9;1'ifq1.:-Cruelty), ever aggressive; NindaL:J (f.ro'-
Calun1oy),ever dirty; Narak1• (~-Hell), ever dreadful ;Nasil-Dusil-Kuchi/1'• (iitr1<1 ~ffli'i c!I~~-
Mis-behaviour), ever accompanied by \Vrath; Bhukh-tretzrn~ (~~-~f~-Hunger and thirst),
ever in red; Loblz1Y (~)~ -Avarice) with bewitching eyes; illoh 1 " (tt1~-Attachment) ever fickle,
C.rodlz 11 (=iti)er-Wrath)1 fierce like wind; Hankar"0 (~~r'{-Pride), like an elephant in rut; Drotzu
(~-Treachery), in white~ Bhara,n Dolch An111ok/,'J2 (:.rw ~trct wrrftrcr-Scepticism ', in pearls;
Jhootlz and Roothu (~~ ~ -False and untrue), in peacock colourj Mithiaei (f.rf:tTm-Yanity)
in white and black s potsz; Chint(PS (f~r-Worry), holding a dreadful wheel in her
hand; Daridar!0 (~f«t-Poverty), with pomp and show; Sanka'-i (~-Doubt),
A.sobhu (~tr)~-Ugliness), Asantusais~ (il;f~1~~-Discontent), Anas uch 30 (wirn 31'f),
.
J. St 171-! !. St. 113 3. St. l 74-l.i 4. St. 176, 106, 5. St. 177 D St. 178, 185 RepetJUon_
1., St. 184, 198
•
7, St. 170, 221,
II. St, 1R6
8. St. 180
14:• St, 181
1l.
15.
St. 181
St. 188
10, St. 182
16. S~. l S!l
11. St. 183
J 7. St. 191
-·
18. SL. 100, 1,2
'
- 10. St. ll>~ 20 St. 104 21.
-
ft. 195
-·.
j •l St. 197 23. St. 198 2¼. s~. 200
~fi. St., 201 !6. St. 202, 203 27. St. 203 ~8. St. 20,1
. • •
•• %0. SL 201:i
•
so. 205
.
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BRIEP CRITICAL S1UDY OF WORKS IN THE DASAM GRANTH 127
Hinsa 1 (ffii:rr-Viole nee), Kurnant 2 (~-Fo11y), Afajia3 (i:r,v:;rr-Immodesty), Chori4 (:;nft-

Theft), Bibhai char5 (fGf.r'tfT,;:-A d ultery ), Swatnighat and Kritaghnata 8 ( ~'nfll~cr, f?fi<'i&H1 i -
Disloya] ty, Ingratitude), ~~litra Dok/1 (f~ r{lfiif-Betrayal of friend) and Raj Dokh' (-uif iTTl<f-
Rebellion). Eerkha (f-{€£r-Jealousy) a11d Ucha1e (~~ -Detachment); Ghat (~o-Trick)
and Basi Karan° (cr«r "1ivf -Co nju ration 1, Apda (~rq<U-Ad versity), .Jhoothta~"+fi..,oITT- Falsehood),
and Bans Kuthar 10 (cltr ;JoT"{-Anti-family), Biyog (f2T1.TTrr-Separation) aod Apradh 11 (,;r.:n:.ri:r-Guilt),
Khed1" (i{-Distress), KukriJ a 10 t~f;;i;~r -Misdeed), Gi/ani14 tflf~r;rr-Abhorrence),
Bahu Kasat 16 (Gf~. cpflc-Sufferings), and Kara,n16 {-Ii~ -Action).
Havjng listened to a detailed account of Abibek and his army, Paras Nath requested
Machhindar Muni to enlighten him further about Bibek and his brave soldiers .
AfLer a deep study and thought, the Muni gave him a detailed description1'
of the allegorical character of Bibek18 (f;r~co), Dhitaj19 (tn1:-if - Patience), Brat2e
(-1.<i-Vow, fast), Sanja11121 (~~i:;-self-restraint), Durdhc1,rakh 22. (~~w-Par-seeing),
Bigyan23 (fefHfR-Science), ]snarl'~'- (~'1'.=rR-Purificatiou). Bh:ivanau. (~r<!';;r-Goodwill)
Jog28 (;;ft,r-Yoga), Archa11 (~,,n-Prayer), Puja~s (tt~r-Worship), Abikar~9 (~fer~r~-Vice-
less), Bidia L~~ija30 (f~R~H tf~:;rr-I{nowledge and Modesty,a sense of decency), Sanjog31 (fim-
(Sociability or happy partnership), Sukrita2 (qf~l-Doing good), tlmoh 3a (;qirrQ-Detach1nent),
Akamlt ('1.:l'itif'1-U naddicted to sex), A.krodh3 (~Pfifer-not liable to anger), Nirhankar 36 (f.r~<fif{-
$
NO n-i[ldividllation),Bh igti31 ('llir,1-Devotion) Santi38(ij'@r-tranq aility), Path 39 (i:rra-Devotional

raiding), Sukar.1n1 (+j;ii{Jf -Good action), Su'likh& 0 (iftr€f-Good disciple), S11jag and
Prabod/i42 (~jflf, 5f'IT~-Alertness and wakefulness), Sat (tr~-Truth) , Santoklz (tffi'T{if-Content-
n1ent), Tap (('{ff-Penance), .Tap·12 (ijfrcr-Recitation), Ne,n Pre,n ('it+r ~ir-Love for observance of
1·eligious rites), Dhian (f~r,,-Meditation), Pranayan1 (SITQTTlfT-.r-Deep breathing), Dharanz
(tTm-Religion), Subhachar (~°l1T;;r-rc:-Good conduct), Anu1nan (~'!+fR"- .Realization), Bik-a,n
(f€r~li-Bravery) , Sa111adhi (~qpfr- Contemplation), Udda,n ('3~-Effort), Upkar11 (a-1m-Doing
service), Subichar• 6 (~fGf~-Right thinking), Horn {irir-Fire-sacrifice) Pttia 16 (~m-Worship),
Anurakatata·11 (~~~cror-Attachmeot) lJat Sang 18 (B'I till-Good co1npany) Priti~ 0 (>!'rfi.,-Affec-
tion ), Akrudfi {W-ti_,~-Absence of anger) aud Prabodfiso ('!tarT'r.'f-True-kt10\vledge', etc.
This is followed by an accounl of ,var between Bibek and rfbibelv and their armies,
vvhich 11:;ted for two million and one thousand years51 but'.neither side could \Vin a victory
over the other. Paras Nalh told his tale of woe to Machhindar Nath, \Vho, however,
became silent for ever. Suddenly he got a vision of 0harpat Nath who addressed hin1 thu'i :
'•lt1oh (t\ltachlnenL), aud Btbek (True-knowledge) are not two but one. When A.di Purnkh
(First person) cam~ to I-Iimself, He uttered the sound 'Onlcar' aod cr~ated thereby th"e world
and tbe heavens. Then He created Truth fro1n His right side and Falsehood from His left
atid the eternal conflict began from that 1nome11t. He, the Absolute, alo11e knows the
1nystery or the end of life. Repetition of His name alone can help us in this
mysterious world 1n which there is a constant conflict bet\.veen good a □d evil.►
4. St. :! I U 5. St,. '.!ll-2 ti. .-:,t. :! 13 ,.
~
SL, :?14 ti. 8t. 2Hi
L St. 207 -·
•> tit, 2 8 3. St. :WU
,~,-
I) St. ~l? 10, ~t. 218
St,. 231
u. St. :2 Hl-:?O l ,,,., St. ·>?"
10. :-it. 23:2
--&.
20. i)t. 23:\
13.
21 ..
--
St. •HJ
SL 234-
14. ::il. _._..)
;?:.!. ~t. ,,3-
- ,I
Iii, I:> L :!.:!6
!'.!a. St. 23tJ
) tl. St. ~!!6
24. Rt. ~37
l '1. St. 231-200 18.,
25. St,. 238 26. St. 240 27 St. 2Jl 28. St. 24.l 20. St. 2•12 31.). ~t :?-~:i :11. St. 2-l-l ~-
3,1 St 21.3
3-i-. St 24-7 3!i, St. 248 3ti. St. 2-!~l 37, St. !!50 3\i. :-a. 254 2H :-t 2,;15 •lO. St. :.!-.1;;
'.l3 St. 24ti
41 St. 157 ,2. St. :l5B ~- St. 2!i9 4"4, St. 260 i5. St :ZIH 4:tl. 8L. 2112 •1. St. :?6:J 4S. s·t. 2ti.Jr
50. 266 151. SL. 268-330

*fl· St. 265 l!)t,
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128 THE POETRY OF THE DAS ..\M GRANTH
"Since l cannot resolve i1 1·, said Paras Nath, "I must quit and retire". He ordered a
funeral pyre to be built for him and a fire to be set on. He sat in it and committed self-immo-
lation. Thus he liberated himself from the misery of old age1 •
Metres used in the Paras Nath seclion of the Rudra Avtar2 are of no fewer than si~teeu
varieties. They are 1-lchka ra, SH·aiya, Shri B/1ag11 ati, Chaupcd, Chhappai, Sangit Chlzappai,
1
Totak, Tornar, Dohra, Naraj, Bhujang PraJ>at, .Afo/rani, Rasa,val, Ruan1al, Rua!, Bisa 'JJad·
Of peculiar interest io this section of the Rudra Avtar, 1s the use of Bisanpad, the
four and eight line stanzas ju sixteen types of rags: Para}, Sorath, Su/zi. Ra111 Kali, Dhanasri,
Sarang, Tilang, Kidara, Dev Ga,tdhari, Kalian, Alaru, Bhairo, Gauri, Kali., Ac/an and Basant.
The nu1nber of stanzas used is, however, only 26 describing Paras Nath's rise to po\ver
after the blessings of Durga, his convoklog au ass!mbly of followers of Datta, the yogis
with matted locks and the clash between the two creeds. The first line js con1paratively
short but the average contains no fewe r than 18 syllables.
The description of war between Bibel, and Abibek is, however, given in a light
and quick verse like Slzri Bl1agtvati which is follo\¥ed by C/zaupai alternating with Bhu)ang
Prayat. Here the poet ha s introduc?d Chhappai tnetre in four forms, in six line stanzas
describing it1 detail the causes and effe:t of action rather than the action itself. Action pro-
gres~es rapidly, the stroke) arid the blows ar~ exch1nged at terrific speed but the effecls of
these are given graphically in a comparatively slow verse like Chhappai.
Next to lhe description of acliot1 and war scenes, the poet has given us in the
Paras Nath section a porlrait gallery of virtues and vices (169-226, 230-0u), static in charac•
ter, like mural painting of old. It n1ust have been suggested by the statuary of old, ,vhich
v. as a familia r sighl in le1nples in the middle ages.
1
The pageant of allegorical figures js striking in many ways. The colour for1ns an
important fe:tture of the porlraits and the colours like the dark, black, smoky> red, pale or
\Vhite are symbolical. Ornaments,clothes and weapons are equal! y colourful, striking and
significant So are th e chariots, the horses aud the flags. Tl1e charioteer is like his master, an
allegorical figure tho ugh a liLtle less jrapressive. Pllt Logether, all these features fully cha-
racterize the central figure and help to build up the uuity of irnpression. 'fhe poet does
not fail to add lo physical and emotional detatls any traits of character if the figure is
important as an allegorical vlrtue or vice. The3e porLraits \Vhich are aboufa hundred in
num ber are divid ...d into two procession;, froz~n into their respective attitudes.
Portraits of D hiraj and B ibek are p:irticularty important as they would help
l . P . .N ,, (352-358)
2. Analysis of_the metres in the Paras Nath Avtar
Mette Serial No. Total Metre Serial No. Total
l , Aoblcaro., 63-7.1:. 12~ 10. Noraj 154-l 58, 24-'-253, 2G 1- 2.18 20
2. Swaiya. 15-20, 159-162 10 11. Bhujo.ng Praya,l,. ..!l-4-1, ~05-213. 297-310,
3. Sbr1 Bbagwe.ti. l.\6S-290 23. 312-317, 3:1,i-328, 3:10-3J3 65
4. Cbanpnt 1-1. 291-295. :-J30-33 8. 319-3134-. 3-!. 12. i\f ohani 15-62 18
13. Rasa.wol 84-6-3,JB 3
Ci. Ohlla.p pal. 166-201,228-238. 4-7.
6. San.git Cbho.ppa.i 23!l-2-.U ,2¾2-243 .250, 260323,24 0. 14. Ruama.l l!!0-125 6
T5. Rual 126-144, 2U2-204.-,214-221.318-'l22 116
7. 'fotnk. l..J.7-153 .222 -226 12.
16. Biannpod 75-111> 4-0
8. Tomar. 146.163- 105.201-260,355-358. 14.
9. Dohra. 11!5, 227, 20 7, :.!96, 311, 3!!0 7. Gro.od To~al
-
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BRIEF CRITICAL STUDY OF WORKS IN THE DASA~l GRANTH 129
1
us to appreciate the poet's art. The portraits of Paras Nath1, Kan1clev ,
Basanta and Hulas·1 are striking for theit beauty, both natural and syn1bo]ica l, while
those of A bibek5 , Bhuran1 6 and Alas7 are examples of the gr0tesq ue art The pen picture of
A11and8 is remarkable (or artificial or ornamental beauty. The poet bas an eye for the
details \vhicli are not only signifjcant in characterization. but also 11otable for depjcting their
physical charm or emotlonal appeal.
Another interesting portrait is that of the goddess Durga 9 • All tbe gods have
asse1nbled after her victory. She is seated on a lofty pedestal. The gods make all
preparations for her exaltation and utter th~ir praises. There are applauses of victory
on all sides. 'Ihe sweet sound fills the heart witl1 tumultuous joy, e. g.,
Ambaka Totala Sitla S 1k:tni Sindhhn Suprabha Subhrama Dakini
How vividly Durga has been portrayed in all her forms and with all her names and
all her limbs from lop to to~ in the eulogies offered to Durga by the gods I Such delineations
are found only in great poets.
The imagery of both the sections, Datta and Paras Nath Avtars. of the poem is
rich and varied dra,¥ing upon all familiar aspect~ of life and nature. There
are homely images like those of a faithful wife, a girl flying a kite, a slave-
girl making sandal wood p1ste 1 a woman carrying gruel for her workman husband,spinach-
seller in the street; ima 1es frotn arts and crafts like those of an arrow-maker, a man teaching
his parrot, a jachh won1an crazy for music, a c1rder of ,vool at work; a rich man busy in his
accounts, a sauyasi, a watchn11n: a deer, a hunter, etc. There 2.re images from wild life like a
,vild cat, a deer, a spider, a heron, a t.ludhira bird, etc. Besides a wealth of allusions of cla-
ssical, historical, sen1i-historical character, tnere is an abundance of similes and metaphors
drawn from nature.
Mirth presides over the scene of fun and laughter co1nparable only
to the roaring of summer clouds, the flash of lightning amidst them, a chorus of frogs and
10
other little beloveds of rain.
The prominent features of characters are illustrated with
the allegorical
the help of concrete imagery. The onslaught of greed, for instance, attacking man's
nobler impulses is like Shelley's J,f/est 1¥ind vvbich scatters \vide the floating
clouds in the skyu. Again the army of Datta has routed its enemies like the 1vind that
plays havoc with the old leaves in _autumn.12
The poet is a past master 111 the art of verbal music. He rings changes on the samr
word not only in the form of synonyms bllt in spellings also. The word lightni11g,f or instance
has eight forms : 5. Biddulata11 fer~,.ij@'J
., Chanchalaka 13 ~'q"Jijf~l
1. .
'q'qijlf 6. Beejuree1s iftij~'l
2. Chanchala 1"
~~Tijf'l 7. Daman10 i{rtt.=r
3. Chanchali15
~qijlr 8. Damanee20 ~if~
4. Chapla10
" st 170 3 St 171·7'! 4. St. 173 5. St. l69
l, "''
l>Y• 3 • 7 • -· " ' ' .
6. St., 1'16 7. St. 1,0 s. St. 175 "'-' 6 6 ''O O I) 3 '
A l: '6 .~ 18 49 GO 5l 52 53 5.1, 55, 56, 57, GS, 5~, 60, 61, 6:l, 63, 64, 05, uu, 7, 8, o , 7 , 71, 7 .. , 7 , 7-.
Q: • t,. >t;•J ~ -I: "l°' •
Slu J J I ) > J t t
tWs ooruieotion the reader 1nay AS well sho.re tho joy of tho Se,uskrit ven'4G3 frow Durga-Sapta.-Shl\ti (S, 9, 10, 12, 13,
IJ, lo, 16, 20, !!l , 20) 10. P, N, 173. 11. P. N, 191. 12. P. N, 205
~ D A (3lf\) 14- D. A., (32v, 327) 15. D. A., (3!!6) 16, P. N. (232,237) 17, D. A. (378)
1
1:.' p, N.:1 (11J2)
0
Hl: P. N, (173) 20. P. N., (251)
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Each form has its own significance in the context according as the rhythm, 1nove..
ment or sol1nd requires it.
Similarly he has used in two successive stanzas two forms for tbe name of Durga,
the inhabitant of the Sindh region ~ Sindhla1 (f~'f~), and Sindbula 2 (fu~ijff).
The Achkara Chhand is the best specimen of rhetorical effects which the poet
produ~es by adopting p1rticular sounds in particular combinations in which assonance
1nascu1ine and feminine rhymes dominate together with consonant sounds. Tbe stanzas
63-74 of Paras Nath Avtar illustrate this art of verbal music.
Endorsements like Iti Sri Bachitra Natak Gra11the ... .. so1napata1nas1u subhanzastu.
in the Datta and Paras Nath Avtars of Rudra are a clear testirnony of the fact that the
Rudr 1 1!vtar is a part of the Bac!zitra Natak Granth. Such testimonies are not foun d in
any work of the Dasan1 Gra11th other than the Bacliira Natak, Chandi Clzaritra I and I I,
Cha·ubis A.vtar, Braluna Avtar and RuJra Avtar and for this reason alone t hey have been
put here together, though in all the available editions of the Dascnn Grantlz they are no t so.
With tl:lis we h1ve com: to the end of our brief critical study of the BachUra Natak
Grantlr. The remaining \Vories which do not bear such teslimonies wilJ now be taken up.
10. VAR SIRI BHAGAUTI JI K1

(The War Ballad of Chandi).
The Var Siri Bh2gauti Ji Ki, popularly known as the Cltandi di Var, is a Panjabi
v~rsion of c ·za 1./i Cl12ritra II (The life of Chandi) , which is ilself a comparatively
brief version of Chandi Charitra I.
The source of all the three is ·Mctrkandeya Purana',which relates the 111ythical story of
the birth of Brahma, Durga and the demon Madh-KJitab, from different parts of the body
•
of Vishnu ,vho lay in yogic trance in the pri1uordial waters, and of the protracted ,vars bet-
ween Lhe gods and the demons. Th~ Cft :utdi di Var relates only the story of the battles fought
bct,ve5n Durga and the demons. According to the legend, once, thousands of years ago, in
the Treta Yu.7, the age before ours, tllere lived a king, InJra by na1ne, ,vhon1 a life of
peace and prosperity n1ade ease-loving, proud and irresponsible. His enemies, Mabikhasur,
Sumbh and Nisumbb, the den1on kings, .se1z~d his tl1rone and drove him out of his kingdom t
dev blioonzi. Ill utter humillat1on, the ex.1lec.l k.111g approached Durga, the princess ruler or
UjJa1n, for help. She wJs a brave soldier and kept a tiger which she rode on her occa-
sional tours. She led a quiet uneventful life but \Vas at last persuaded to take up
arms for Indra's sake. She engaged 1-lahikhasur in a battle, killed him, and placed Jndra
back on his throne. After s01ne lime, however, ·the demons led by Su1nbh and Nisumbh,king
brothers, launched another attack on Indra and 1n a tough fight succeeded in dispossessing
hin1 again of bis land. Durga came again to the fallen Raja's rescue. The demons, too.ranged
themselves in full strength and resolved to capture her alive, marry her and annex
her territory as \vell. The Amazonian princess, too, made up her min~ _to put an end ~
l. J>. N., (63}
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•
BRIBF CRITCCAL STUDY OF WORKS lN THE DASAM GRANTH 131
this demon nuisance for good. She sought the help of Kalika, the goddess of Fury. Both of
them took the field and fought a long and terrible battle in which n1any brave demon
leaders like Sbaranvat Bij, Chand, Mund, Lochan and Dhoom were killed along with Sumbh
and Nisurobh. Thus was the demon-po\ver extinguished at last.
The Chandi di Var gives an account of six engagements in three battles out of four,two
loit by Indra and two won by Durga. The story begins with Indra, crestfallen and a refugee
approaching Durga with. a tale of wo~. Of the fifty-five stanzas, forty-nine are devoted to
the description of three battle-scenes, th~ first five and the twenty-first bei □ g purely narra-
tive and informatory, helping to elucidate the situation.
The Chandi di Var is1 thus, the poetry of action like Sir Walter Scott's Battle of
Ba11t1,oclcburti and The Flooden Field. It is instinct with martial spirit, being a description
of martial disp lay of scerres of actual fighting. Th~ theme and its style, tone, imagery and
<iliction are like those of two versions of the Chandi Charitra.
Guru Gobind Singh was a soldier poet, who in the words of Dr. Mohan Singh,
''decided to press poetry into tile servic~ of both spirituality and tna fight for freedom 1" ,
It was his mission, as he writes in his autobiography-the Bichitra Natak :
'To re-establish Dharm1.1,
To annihilate the calumniators and oppressors,
Enemies of Universal peace and love,
To succour the g.o od,
To exterminate tbe evil 1
''To instil", therefore, adds the learned Doctor, ' heroism into the people he re.sang
for them the glorious heroic achievements of their war-gods and goddesses, their human
ancestral victors on the battlefield and their folkheroes.'''
Chand di Var• or Bhagauti di Var, 5 as it is alternately called, \vas also done in tbe
vernacular probably with the same end in view as in case of the Kri snavtar:
Dasam Katha Bhagaut Ki Bhakha. Kari Banaei.
Awar Baina N ahi Prabh Dha.ram ]uddh Ke Chaei •
Tho tenth story of Bh1gaut is f;!adeced into th~ vero1cL1lur with n) other motive than to
inspire people for tbe holy war of freedom.
Guru Gobind Singh ''the son of a martyr father and the father of (four) martyr
sonf, as he is aptly described, waged many a battle against the imperial forces, fought
all his life and at last died a martyr, leaving the legacy of an uncompromising spirit of fight
against tyranny-political, religiou~ or social, To the suppressed and emasculated people
of the Panjab, he gave the message of Shakti (po'vver), which infused a new life in them
To them he gave a new conception of their Creator, the conception of ''Sarva Loh'' All
7
Steel, of whom Bhagauti, Durga or Chandi was a syrrtbol •
After invoking the blessings of Bhagauti as the nine Gurus had done before him, tht
Guru says in the prologue to the legend :
Khanda Prithmas Sajkai Jin Sabh Saisar U paio.
Brahma Bisan Mahes Saji Kudrat Da Khel Rachai Banaia
-------
3. I. P. L. 6:l. ¼, M. K. Vol. ll (1'.l38)
l. I. P. L. 6'- :?, A.bid, 100.
7.I.P.L.,it 8. Ch. V. (2)
i. II. K. Vol. IV., (S!68) &. K. A., (2491)

132 'fHE POETRY OF THE DASA.~1 GRANTH •
First the Ti,neless created P)wer (Khanda) and therefrom the wbo\e world. With the creation
of Brahma, Vishnu and Shiv began the play of Nature.
The gods and the demons,the heroes and the ascetics,all derived their inspitation and
strength from Bhagauti, the presiding genius of all historic events. Durga, the heroine of the
Chandi di f1ar,is a rrt:1.nifestatioo of Bhagauti.The heroic.exploits of Durga charged with the Vir
Ras (sentiment of valour) have, therefore, been versified for the edification of his fo llowers
and friends, \vho took a sacred vow along with him, on the Bisakhi (the New Year's
day) to dedicate their lives to the cause whicl1 l1e and they all held so dear.
To popularise the stirring legend, the Guru adopted Var 2 as the poetic forn1 which
had been traditional and popular. ln Lho.sc far-off days the bard (Bha lt or Dl1adi2) used to
entertain people by l1is ballads of war or love ron1ances. In the court of G ur u Go bind
Singh there were bards as well as poets3 • The former used to sing or recite ballads which
aroused the martial spirit of the listeners. Tradition says that the C'handi di J/ar ca1ne to be
recited later on in dh1•ans or special congregations after tbe custom of the Guru's o\vn court.
Var lends itself to the sentiment of valour and martial n1usic; accompanied by
appropriate gesLures it held the nineteenth century audience spell-bound. The potentialities
of the forn1 had been fully exploited by the race of minstrelsl unUl the time of Guru
Nanak, who 1nade it 'artificial'· He put the medium to literary uses and made it a forn1 of
subjective poetry of a religious and metaphysical type. His noted Malar di Var is a cry of
prolest againsL the slc1ugbter of innocent commo 1 people of E1ninabad by the Ivf ogul hordes
o[ Ba bar who invaded India in 15 ~6•. Tl1e first Guru composed t\.Vo other Va1·s,1Viajh Ki Var
aud Asa Ki Var. The last is religious and moral. The poet har; adopted tbe forn1 to a
nevv us~, in. praise of Go:i. instead of that of a hero of a national character. This bold
experimeat was repeated by his followers.
There are in the Adi Grantlz, nineteen more Vars of ll1e ne\.v type, all in 17 rags!
attempted by the third, fourth and the fifth Gurus, the last of whom n1ade innovation~ in
the traditional pi ·tera which was made up of !-7 stanzas 6, (Pauries) each having 8 lines in
the sarn~ rhyme. H~ added a couplet at the end. Bhai Gurudas (1609-16'311) \Vbo was his
literary a ·ninuensis. al~o e'<perirnented with the form and atten1pted 39 vars in the eulogy of
the G 1ru L But Guru G:>bind S1u~h adoptel tb.e tradition as a secular pattern and attempted
the Chandi di Var with the theme of \var as ''a thing of art,,. His example was catching.
Tin1e too was cond..icive to the n1artial strain. Many a Va,r was attempted after hirn,
in the eventful years thit followed his death'. Not only \Vere the re
internal disturbances caused by his followers led by Banda Biragi, who were persecuted
by provincial governors of Lahore, but also invasions of the Puojab from the Khyber
P..1-;s b~g1n ,v,th the advent of Nadir Shah. fhe civil government broke down. Intrigues
and counter-inlrigues bet\veen provincial governors on the one hand and the Afghan
invaders or the Delhi G:Jvernment on the other made confusion worse confouoded8• For
I. Yur is n brief forw of ,ar.o or Elory. 'ThP. oorrc,;pondirg term in J:lmdi ii, Rosso, P.'i'., 19
2. l'.V., 2(); P .D.V., 10-14. 3. P.V., !10, P.D.V., 13.
,4, There wpre p1x ~Heh ,·ors ( xtant wbcn O uru Nanak nttenipted the verse for1n-Bani Biyora by Dr. Charan S,ogb. 44
1'i. lhid 117. Maca.u.liffea Adi Grand.1., 6. D. V. S., 10 7. P.D.V., 13 f P.Y. 20. 8, J>.D.V., 18

EKIEf C11IT1CAL STUDY OF \VORKS IN ' J'liE DASAM GRANrl H
about four gencr.ttions the Panjab had an uneasy lirne. War poelry ,vas, therefore, produced
or
in abundance, side by sld.! vvith the poetry doubt~ despair and detachmenl. Son1e of the
outstanding instances of ~,,ars arc Nijabal's Nndllr Shah di ira,, Agarc's Jlar 1/aqu;qal Ru;,
Hashan,_.s Var Sardrir 1\/,tlu111 Si11g!,, Fate!, Nan1a by Bhai Dayal Singh~ Jang Nani, Sardar
Hari Si11glr by Ra,n Dyal, Qadar Ya.r's Var Sardar Hnri S ingh, Shah Mohd 1s A11greza11 te
Sikhan di Larayi, 1 etc.
These J"ar~ arc! no doubt more thr illing than the legendary Vdrs because they are
realistic Th~ir tnerne~ are historical of the bygone age, provincial or regional, occurring in
the very plains, villages and cities in which we live or move about : and national, affecti ng
us as a con1n1unity or people. They come home to us at so many points. Secondly, Vars
are not rurely objective poetry.Poet's own syrnpathics, vvhich are broad and co1nmunal,
form the under-tone of ballads carrying the reader or listener en1olionally \-Vith the1n. Thirdly,
these Vars arc a harin)uious blend of the descriptive and narra.tive elements. T he long
draw n d~s~rrptio1 1e nd'l to produce music and the narration does not appear to grow
monotonous.
But all these are mostly 'artificial', attempted by a particular poet \Vith an identity of
his own,an<l not by a professional bard,whose art wa') conventional or e1npirica1,v-1hose anony-
mity was b.is creed. "S:>ngs cona.e~ted ,vith mythic.\\ or semi-historh;al n::.itivc heroes were,"
says Dr. Mohan Singh\ "a cla5s of folk songs and folk poelry''. But these t' ars with notable
e'(c.;ptions retn:iined liter,1ry, like th.! Chandi di i1ar, conrincd to n1anus1.:ripls and select
audiences. In this artificial character (Jhandi di J/ar l!> the poet•~ tour de Core~ or literary
craftsn,anshi p.
Guru Gobind Singh ovved 111uch to the rolk-ballad 1 the true old ballad \Vhich he
1
adopted \Vilh a new objectivity as his cardinal virtue. The Clu11uli di l ar is a perforn1ance of a
virtuoso, skilled in the mechanical parl of a finearl , the swift and sonorous verse <le!>cribing
the rnoveo1cnt of large bodies of 1ne n and beasts, trumpets' loud clangour, and the fierce
combats between fighters in a succession of e.x.ciling incidents:'. His objc~tiviLy enabled the
- -- :!. t. P . L ,, li.
L. I'. ll. V., 1:1 I; PV •• :.JO
,..... . .
:l. L'ulU(lUN -ii ff gqrq;r
-'
it~
~fSjf~r
~(<fit
~~
.:r'tm~
~' .£fir(
,..
cni=fl;:'f
~~
qfB~
. II
II
i\iff-l
... " ~ 3;. 'i:f~ ,w '
;j'{2Tc:fiR 11
~tqf
i\4£1
.mr(
~,.:rr.
~
•
q"3(!J
.. ,~ ii~ ~~" ~a .
-qg~
-.:r1~ref 1n II
"
~T~ ll
aft~ '1(1~ af(~'lti: ~·~ :sf~ .
q'G'fi
... (fffl
' ,..
rf ~'ti t ;sf-{ .:r~• q)a- ~tcfii en~Ql 11
~~ .. -.
:('ii ~(f[ ~QI +fil~ $ ~r ~;{ '(ij fctTfT
.
ti~_;,r ~9~
...
II
fJ?.;f f~~~T «n:~1~r ~o\ c{af.{ left ~qf.@ ll

' •
~
""
is{l ~~ ~t{('il II
... 1'11uri ~
"'lcr-l ~\ . ~~J~iff II
ti\
l'<'ntinu,d

THE POETRY OF THE Df\SAivl GRANTH
poet to achieve a mastery of technique \Vhich is rare in Pa11jab1 verse. It is difficult to hold,
in the absence of further evidence, whether he ado pted any theory of poetic imitation which
aims at forging links between feeling and metre and making sound 'an echo to the sense'.
The choice of diction is governed by the twofold motive of sound and speed. While the letters
<J[ words give us required verbal sound, the felici ty of phrases leads rapid movement to the
---
:qra- qt <t+rm f{(fff ijcfil cffir II
•
~") ~~er .=J'ql~ ~fr~~ ;fl" 11
~Tl:
- "\ ~ <;' _..:::.. ....
(
"R' ;r&r{ mr~ +ff3,'1,.CC ~ 1, 11
~~~ ~;r ~rt ~T~ ~~~~ /1
~T ~ fcr~ ~ti <fi&:T ~~Ti{t 11
~2"1 -i!HU ~rt ~it l-{~a II Pauri 10
~Ff~ .::rrrr( cf\lfii ~niif Bf~~ II

U~{{ ~~) ., ~-i-if-, W ~TO:~ H
~t~r tfT!J il~rf ~it ~it II
a~ ij{ig ~if~ 01:S,is'f ~{lTT t!T+f~ II Pauri 12
~ .:rlf~ ?r~( ~~ ~ rr~r~~ 11

• ~ m~ i~{ ~r~ ;jfi:f~ 11
~~ {q6TT~T i,Tfff ~;,r gf( ~Tqoi ~r~ 11
eJTu. ~~l ~T+rlU aft~ ~~~1~r~ 11
ij~qa- ~ ~ ~~ ~~ ~ ;; 2'T~ II
rr~ ~llT ~~~ \it~ ~;;1~l: ~r~ 11 P auri l ~
~qqf &~ \:if)~ +tl~ q~Ji?.lf It

ijf~cyr ~-i irffl:@rij~ ,~
. fer f;;r
~
lf~;f~T 11
'> .
~ ~~T i5ffi-TT .r2f~ +rfi5f~f 11
~~~ TEi'"'l'r,T ~rrr ra., ,~ l1f~~ 11 P t1.1 1Ti 11}
•
ijfQlc:fcf Elli5f ~clif~ ~~ ~?t 11
~~
•
~q- ijijR ~~a;; ia- fcrf¾ 11
«+r.;1 ~ft cf ~+lf{ arrr ~1:~ II
ifruirr~ ~'"r~ ~~ BHrij}" 11
tjiifr a of~<fif): ~rr1 ~+r~ II
'qT2" ~f., oR;~f{ ~TfqJ iii~f~ 11 P auri 35
l:Fm tj~ey1't~r~ tjq, err~~, 11
iiR~'t <ifijijf'J~rQJ't ~ ~~ II
it~ +r~m ~n,rQ'JT ~,nr ~9T II
iTT{ ~:q!J a{UQfT ~~ft: i..rer ~ ,,
~ .=ic ffi~ ~rQfT i t~ Gf~ T~~ II
~[ ~~ ~T<ifl (!TTm ~+f~·~'t II
'cf~ fifR ~~ ~nil ~llr ~«1~ II
J '
~~=m~ r~rm ar~?.l'r Pauri 30
Digitized by Panjab Digita.l Library f www.panjabdigilib.org

verse. The letter sound, in p1rticular, of gha,jha, rha (~), dha (ii) ,reproduce ilie heavy sounds
of combat. Some letters are o:::casionally n1odified to produce similar effects, 'tar1var' for
'tahvar', chaali for chali, haaH for hali, Jod 11a for Yodha. Similar effects of sound and speed
are produced by making compounds. •Buml;al ivali' 1s changed into 'Bambliali','Sanglan 1vaie'
jnto 'Sangliale', 'lv.[uchhan ,vale' into ·},1uchhliale'; 'Khoon sake' becomes 'Khunsaeekai'; etc.
The diction and tbe emotional intensity of words correspond to the spirit of the
verse.
It must have _been a terrible hell of noise in which the warriors plunged into action
as drun1s (dhol), kettle-drums, (dhaunse, nagare, bheri, etc.) were all beaten. To add to
these, war music ,vas produced by blowing conch shells (sankli), singing Maru Rag and
playing tablas and musical instruments (bajas).
~ ~\:lr(r aft ¥. ~1JJ1~r :q)(~ 11
\{~ f?ti~qf~T f~~~T .J@ ~l[ 1 m:~r 11
[ti li?llJJ<-fij ~,~ ~ - qftj ~R tq~ti~r 11
~~ ~., mt~~r =q~frr,~ t,l=m- 11 Pauri -12
: ~_,~ {tifm't~Jijt Bq, il~~ 11

~t ~ ~a Ci'f2T& ITTol' ~)f~~ 11
;:t~ ~~ql1m& ~,~ 11
~~af;r
~~~ GtT{!l Ci'f~T~ iff ~{!J tirrrr 11 ~
Pauri 46
t\ .... ~
~m ':!ia
,!o,
~.;~r ~ ~r~~ qi1lT u
q'fB;~ ~-'tfl ~~~T fcr"=f ia \<Ri1TT 11
q_f'r; fst>qf{!Jf fal:ft~fr~r ~~G fflT~f.; ~fl T II
Pnuri 4-7
q{ijtT ~ijlf fu&~r irl q~:!fr frf~nr II
3:itl cti\:lRT !!~ ~ ~~c tf~ Ci'f~~f{!l <li3 II
a~ fuirr rr~·ll il'i:ffl~f igf~ ~qft ;q{rr~rm rfi~ II
~ r~~?.:
~r~~ ~,JTr~B tf.R a@fr;J ~ 11
~ =mt~;;ti~ ~ ¢R 'tf?.~ qlt.lf ifi~ II
'3lir ijlf ~~ ~~fl eit afG ff +Trf <ii'~ IJ~T{!J i:li~ II
~~'t ~J~cf. 'c:lUf ::ti3 % qr&, ;q~ frf>~~ 1:fi'-a II
aft~ qQ11{!Jt fu~rrm ctiR f'e;jf~r ~-~ ij~t~ ifi~ 11
BT<if~ B'itw ~IW <fii3 I I
~~ {f(ci{f B a'~ cfll!J ;.Jjij II
af(l''lit qf ;:r T.fiff~ tf,3' II
~ '
~er q;~r ~ ~5 11
,~ifq ~ .:l'r.ffl!l ~i 11
Pauri 60
~~r .t1:1r,r !!~ ~9 ;rm 'ei~{=l'T m~1 11

mt lllT~ ~~JR1ft{ er, ~rril +TRt II
ffl 1J~ ~. +T ilt (g q''fi'{ fq:34 It't II
~rlUl'
{g ~~ film
~,tt ~tf q.;
~frr~
if~"
~w
~~1
~=.:fRl 11
~~f~t 11
~TU 11 Pnuri 63

136 THE POETRY OF TBE DASAM GRANTH
The sounds that are studied to produce desired efft!cts do not seem to lend them-
selves to vocal music. They are rather d~clan1atory as is evident rrom a rando111 choice
Umal Latlie ]oclhe lv1art1 ba1iya,
Sat Payi Jamdharii da/an mukabla1 •
The pause and the accent at 1he last consonanl sound suggest its declarnalory tone.
}vfost of the last sounds are short and canno1, as such, lend themselves to longdrawn music.
The rapidity of movement also cannot harmonize with vocal music but with declamatory
tone. In the narrative verses like the prologue and the epilogue, there is, however,
a comparalive quiet and smooLhness.
The imagery of the Chandi di Var is rich and varied as its diction is abundant and
sonorous. There are as many as twenty-five similes in 55 stanzas (pauris). They range
from the falling stars3 to the buffaloes locked together in a con1bat3, from the hissing
snakcs4 to bride's friends crov,ding round the bride-groom5• A dozen comparisons
are dravvn from nature, light11iag", falling stars7, fruit laden branch of a trees
clouds0, showers10, golden qandu, bissing snakes 12, flowers of pomegranate18 , three from
ddnking scenes, two from common trades of carpenter and confectioner, two
from social customs, marriage a11d holi, etc. The eartb. is tre1nbling like a boat in a river.
Arrows fall thick as heavy show~rs. D;!adty bolts come hissing like snakes. Soldiers are
locked in a deadly com.bat like he-buffaloes. Kalika is compared to a he-buffalo in her \Vild
charge. Soldiers cut down are like Jogs of wood. They are struck down li ke trees, felled like
towers or mountains and their dead bodies are trampled upon as if of drunkards. Homely
images come in as picturesquely as those drawn from tbe graod aspects of nature. They
appeal to the reader's sense of beauty, wooder, awe and nurnour and offer a wealth of
imaginative enjoyment.
1
Word-pictures are profuse J. The similes and inetaphors are not all conventional or
hackneyed, but fresh and ~tartling1u.
1. Paun J 6, ( J ), 30(11 2. l'u.uri 2D 3. Pouri :'?3 4. l'11.11ri 8 .Pauri 42
r:.. Pnuri ~ H. Pauri 13 10. l'aur-i -1, IJ. Pu.uri 8
"·
12. Pat.r1 S
0. Panri ~. 17, 20
13. P11uri ,Hl
7. raur1 211
}¼. ~~'t
q..-:r
~
~fief ofT.ffl
~
~
~n~~ ~,, ~
1T II
if~?
~
"- .. q{f~ llt~

.,
([cf ;:r II
~~ ~~r ~r~
t
;ncrr "'
..._
~~tf.~ Il J>,1uri JO, (1,3,':i,)
_,
'
e_-@.:r ijo ~2.l~'t .:rrtt
. P11uri 11, (4)
,T<fir-fr II
~"r ~i:r& t ~lfTT ntB'g +rf<F~~r ll Punri :!..J.. (;J)
~'1l. ~T q~r~1 r
q_'{it l'auri 36, (3)
ITT:f ~qa en~ .,. ...

-qr~
Fs:JT]if
. ,..
qr, ~&r~~r
11
n
e,
qff~T ~., crrrsl~r " "

'q"3T~{~
.:,.. ... ~r
•
~l~ Puuri 4:'?,t:l,J)
. ,,
• • 11
•
"
~ntr.:r tjsifT cif 1~~ r ;j'f~ <!iif ~<r~ ~ "l>l fl Pauri !9, (•tl
15. Pauri 8, (ii, 6, 7); Pauri 42.; P ouri 3fJ. (8); Panri -!ii; Pn11ri Ii3, ( 4-, 5, 6).
Digftjzed by Panjab o;g;tal Library/ www.panjabdigilib.org

BRIEF CRlTlCt\L STUDY OF WORKS JN THE DASAM GRANTH !37
In the Chandi di Jlar, along with Sirkhandi metre, the poet has adopted the Pauri
form of verse which \Vas the fa'vou rite of minstrels or bards who used to recite acts or heroism
in old ballads of the middle ages. Pauri is a rhythmical composition summing up the descrip-
tion of a war and it may be in a metrically regulated form or otherwise. For this reason,
some consider it merely a section of a long poem and not a n1ecre. Jn the Chandi di Var
the pauris are not metrically regulated. The number of feet are also different in different
Pauris1• Some begin with longer feet and end with sllorter oues. There is no scheme in
the alliteration and pauses. It appears the poet varies the length of the foot to avoid
monotony2 • Sirkhandi metre used in Chandi di Var is characteristic of tbe Panjabi
freedom-loving temperament. It has been used with perfect ease and an occasional rhyme
does not appear to be obtrusi ve3 •
The Lahndi dialect bas given Chandi d; Var the 'grace and strength of a perfect
narrative'. Its dramatic excellences captivate the reader. lt is the first Var of its kind~
complete and exhaustive ar1d in blank verse, used for the first time in the Panjabi
literature. It is instinct with heroic sentiment and unsurpassed in contemporary verse.
1. Analysis of the Panris io_ the Chandi di Var according to the number of feet
Feet Paurj No. Total Feet Pauri No. Total
6 (Dohrtt). l. 8. 3, 4, 15, 20, 2S, 3U, l·l, ,!,:;, 41). ~) ..
2
4. 5, 7, 12. 14, Iii. :21, !?:2.23, :H, 9. ')
:... J ~ .. ..-..,~
27, 3:2, 37 12. !ti, !7, i.il. lti. 10, 33. 50. ~-
6. !15. 2ti, :11. --1~.. 4. 11. HJ, .JU, -1;; 3.
6. 1, 10, 11 , 13, l 7, 18. 30.
3D, 30, 3R, u3, 5.J, 55, 13.
-·
l "'' ..j l. J.
5'i
7. 9, 29. :u, 52. 4.
.
C)
AJ, (a) ~~" ff~ ~(t ?.. efii ~Ha if ~Tt!Jif +f~ II
~q ;zj~ft ~{it rf-'ii II
. r- ,...,, .. ~.$ff, <ii~ I l
(b) Q<f~ qT\~ ~Tij (ff( ~r\;,zy.tif a cfi~
•
f~ ~ill "{~l ~i:lf\ <fj'"3' 11
"' .. Pa.Ltri 10,(0,7,8,)
~~ ,o.+ro a( cfl\ ~'3' II
• c:-
cfil-:nu Hf~ ~ tt'i ,.. ~+i ' 1T1:!J q~ <63 II
(c) ~&T
r;?.: f~c1 rr ;;g·+r .,~r~~r ;g,-<ff ~qr\ iif\lf~T{!l ~~ 11
~t f4ijr~ +lrfTi.{ ~g ~~+if~~ tlift gmorif -t.>

tti'"3' II
Pauri 50, (l,:!,:l)
.r;:-:r fai-(~-tr
.
gmr~ ~qm ~T~ ~1 11
3. .;i_ A
.. ... i{T;:r~ft
t"
~'t-1 ~~ c~•<ls ~ra II

r- (' - !'\.
<iir~1 rtft T'li,T~ e;)~'t 1~f'l{!)1 II
.! •
<-To cfl~ cJ<lfi
t
a ~q-,T~cfl II PtHtl:i L. ('.!,3,4,5)
,::.
~er ~l';lTl: "
~?.f II
~m cff.:fr.l''r if~
...
~I(~• ~2'3' ~~ "51f '
''€fl{ ~m II
'
~ gtfin't ~~n't i;qf "
rrr~ ~~cq 11
~~f;{ ;jllf . "
'fite<r "51~ i::rA"r ~~ II Pauri !il

188 THE POETRY OP THE DASAM GRANTH
11. GIAN P RABODH GRANTH

The Gia.11 Prabodh Granth (the Book of Excellence of Wisdom) is a long poem in
sixteen metres1 consisting of t \VO parts in 33U stanzas, each part having a theme of its own.
In the fi rst i.e., t he introductory part (1-125),the poet begins Vfith sa lutations:i to t ]1e Almighty
a nd then sings I-Iis praises a nd enumerates H is a Llri bu tes aud excellences3 • His conception of
Divinity" is t he same as 1s described i n the Akal Ustac. The ve rse, the language an d the sty le
1. Analysis of metres in the Gian Pral,odh Grantb
Metre Serial No. Total Metre Serial No. Totkl
I
1. Arodh Nara1 67-78. 9. N11rnj 9-20, ?!l-1O:l. 37.
::!. Kabittn •10--47. 10. l'udha-ri l:.?6- 141. Hi.
3. Chaupai 216-21S. ':l37-2t!9, 251, 252, 26~271, 11 . Bahir To.wil 48-66. I~
287-:!U6. 12. Hhri<lh No.r aj 104-lOH. Ii.
.J.. C'hh &ppui 32-30. 8. 13. Bhnjo.ng Pr,~ya.l 1---8,100-21!i,210-:rn0,2 72-286. R6.
5. 'fotnl~ 297-:ll l. Hi. 14.. Raso.wnl 100-125. J,.
Ii. 'l'ollulr 312- -333. 15, R nal 142-168, 334-336. 30.
7. Tribhangi 21-24, 26, 28. 30. 7. 16. Kalas 25, 27, 29, 31. 4.
8. Dohra, 250-263. Grnncl T otal --
33(i.
ilT'-f f~cti(ff 11 ~~~

~( {{~I ~~T e~ ~<titR+T II
~ "T m6'.~ ~1 ~~q- 11 ~~e:t ~if{ ~~~ ~~ II G. P., (1)
&l~~~t i,~rit II ei ~ {{q:T mGJeT2f ~.nit II

~~q ~~..g~q II €1e:f e(anni. ~ "q II G. P., (2)
Compare ~fij{~'fls m{ q~(~{l:ij II ~frta"stt@ >ifn-mosr<ti('tf 11

~ lJqroJ lcffflcr~~~n:rr 11 ~ifrs f°iH;:i 6IT~zj It G. r., (29l
,..,, .
<:"◄ <!i ct mGJ cita_(-Oj ~e2'rats({lf ~e1:{!J&1;!f ~T+fcl1l(f 11
,..,,_ .
~ 'q~'tf{§f +f'r.~ fGfisr~zj qpt!.l~RW ~T+fo+fcl II
t
•
~f~T~cifl~ iff~+rri ~(if'l~ 11
\ifcn~iffl~~crr ~m~~~~ar ij~fT. ~ii:1 II G. P., (30)
with ~@(~if;g ~~~ II

wim~~i,
~ -i't~ ·~ m
.,
g-if)i'q~
. ~\fcf~i m~tr~
II
fl{r.t €1 d f <ti(t.!f ~{Jf@"{(aj
..;,
Mi~lq~{!_T ~etr~ II
~ ~ ~ 1fcnf~ ft"4 ea ail'T~ ~Sl'@IJT({!J Gt ijif II l3 .N.I., (2)
~ "' :Pt "' ~

4. (a) Compare ct~ ~ ~ ll' ~ ~~it' ~+ff if~ ~+fj II
fctme q~r~ ij<ti ~§ .-1 ~ «.rrf;;r fu~ 11
~itfa~T, ~~1'il~ tl\tt ~~ e~;; qp~f( II
~€l ijllq'ifl ijRq fc{~;; Tcfitf.:J ~ ;{ij if((Tcfft II
~.r~q ~it~lff S!lfua1fur~c >iffijf~~ctil3!.I II
'g{~ ~ct ~a ~['\ ~fira .:JT~ f;:f~,ifw{ ij'q ffl:{9 II G. F., (32)
wiLb ,if~~ ~ ·iT ~~ gq €1ir~'t

fl ~ f~T~ II
,trite'{ ~cf
~ ~Ttl '«fre ,ma~ ~~ ~G'f iT ~{¼ fBt.: f~~T~ !I
qr~ Bcli ;rs_') CTT{ Sl~Tg it ~a- tit ~a~ ~~ ~arij II
~~ ~1 e~ ~1 ~~~r ij, ~' ~ ~R ~ -t ~~ 1i A. u., (249)
ConUriucd
.,

BRIEF CRITICAL STUDY OF WORKS IN THE DASAM GRAN TH J.39
are also about the same. The poet rises to the same heights of grandeur and achieves the
same perfection of technique 1 .
The second part consists of Zl 1 stanzas (126-36G) of four lines each. The theme
of this part is the practical philosophy of the world. The argument and exposition are
elaborated in the form of a dialogue, reminiscent of the one in the Bhagwad Gita, between
Jivatma and Ishwaratma. After defining the natare of these two and Brahma, the
Guru explainsz in reply to a question by the Jivatm1 that the practical philosophy of the world
is four-fold: politics (Raj Dh'.lran1), charity (Dan Dhar.1112), house-hold life (Bhog Dharam)
o.nd
;rf~:1:( ~ ~f;,;:{ ~ ~+f;{f R~ it ill~~T 11
....
~l-1[ f;r@ -
at~ ~if ;:f' " (!{f~:Jrr ~li' ~R q~ ~ft ~~ '1°,, 9;\'f~~T II
.:f{ ~
qf~
~
~'=ii ;;{1 q'I~ -i!l'.lPlo ~ ~rq ~.:J(iif Tl-l~T~~f II
fcr~.:f' ~r fa~
~
.,,) ~ +J f~~ cnT " ~T+TatGi l=I~ ~TT II ~r~m .a, u., (2a0)
and
~cf ~ ., -nf.:f~ ra~ +f{+f ~i:{ cnaif I)

Gii;;fi ~i5 ~.,~ G..f~;:f' qf.(~ it~ ~ii 11
-n~ f.ti.=.:f'< +f'T.)~ +1r.;R ~tiT e~il ~qr~
ir
~ ~~ 3efiT~ ~l f«<t ~ ~T ij&T.fl~ II A. u. (183)
Compare ~RHT 5Nr.:r ;j'fr~ f«~dr ~~q m&: ~~dT 5lfrg ~ II Mllrf ~r~ R-t~a-r
~r:rr ~1 '1° (ll m~ ~q m., ~@" GtTf{ ~ll ~ gill ar~ ~lf ~ g~rs l /!
,=it~ ~) farf¼?t t q{+rar qfcF-f t ~ ~ fi:r3f ~ M~cr <il"7 ~en, ~ 11 fu~~:
~if ~ ~~ t fen~~.,~ ~Tg ~ ni {fGtit ~ {l'5'f t rfi {fctrf tfil ~3 ~ II G.P .• (4-,)
wiLh
i;f{~{ rrr~ 1
~ fiti !f?.:{ l=f~i:r u
f2'i liq.; ~ 1I.<r ir f-:fi qf(fT +r~r~r.:r ir II
Slf;:f' ~ ijT.f'.{l <i_tl ii'f ~ fr{cf'-TT ~tTT ~)n ij; J1i2'~r fcfitTT +H.:fT +f~T+IT.:f ~T 11
~~r ~ fif~{ ~ ~ S5f[ ~cfoT{ ir f6 ml:lcH ~t fl(TTt tr ~ ~;'~T efit ~,., it 11
~qi{ ~ GtT& ~ ~ ~Tqt[ ~ ~re~ f) ~;{ Efi ti~ &:r f<li fu';iTf ~ SHit tr II A.G., (1 9)
Also with A, U., (90, 245, 249, 250, 251)
1. Compare ~?11:1r(t ~~1qfij im~t fijc1.;p1 ~l!!T:fit: ~r~arrq-( ~)qcr 1Tr~ct 11

~Ritt~
'-::>
fqt~.r( ~:r-fr q iiiTQfTefi( '4J'1'11irfi: afr.:rcrr(t~l:lit il~r! o: 11
f.1-s~l~if c{_l!lll:lH:T nrfc;:"Jfflif, ~~+r~ru f<l'll-l iT cffffl~ ~qi Nllfil,.[ ;; en~~ 11
UG{-1" ~ Q~r .:rl[r~1~<l ~ +r~r{r~r ~ar ~r~ ~r~ ~j\ <t_sl'fr <fi~i=f m~t~ ,1 a.P.• (62)
with
~~ ~l(Tll~ ~r~ ia"t ~r;:t, ~qf<fi{'.
.tar <lim ~~ cfifQl~[) ~ fQI ~ ll
('{J~'t ~n l=fi~J~.:f ~1'~:r tjt s~ifli{T~ lfrrr <hl=f1 ~r, ~<!fl B'HlT f~eT ~ 11~&
qr<r~'t r.r&rii~ ~cu ~a"I ,r+r~~ ~r,r ~1 ~(JTJGfF:f .Jti.fi ,~1 ~~ ~ II
~IJT ~') ~~,t<ire :aj-~.:ft l=Jt ~T{T~~ cfftt.:fQ an[!() l~ itfmo't ~l 'fi& ~ 11 A.U.,(264)
f~;:r ~sil~ Q.1i ~foilT~TlT II ~;;.r~ ~~q ~fl&:if ~efiT+f 11
9;fif~~ ij'~ ~TGtT.:fifl§ II ~J'1'1T-i \lij l=fl~-l ms II G.P.• 0
26
)
~~~m ~lcfilT q{ ~To"HT tjir II ~~ ~~q ~~TTcf 9;!'-.:i~ ll
G: ;Ji~ ~~ ~!a-i:rr l=f~q II ~~ ~n:f(l' af~ ~ra~fa- (&Tl!@ , 11 (I~ >
7
Oonliinuod
'
Djgitized by Panjab Digital Library/ www.panjabdigilib.org

140 THE POETRY OF THE DASAl\1 GRANTH
and salvation (Moksh D!tara·n)l, Ho,v this four-fold r.::lig1on of n1 an is to b~ lived up to is

illustrated fron1 the legendary history of the kings co1n 1nencing with Raja Shantanu down
to the ,var of the Mahabbarat, from the reign of Yudhisthir and his brothers and from the
history of ParLkhshit who succeeded Yudhisthir, of his son and successor Janmejya
and of the latter's son and successor, Ajai Singh. born of a sin ve mother.
This wisdom, Yudhisthir and his brothers learnt at the feet of Bhisham Pitamah
before he expired in the battle-field of Kurukshetra. It is pointed out in the
course of a discourse th1t "vith the advent of Kaliyug , the virtues of truth, mercy
and asceticism must disappear and that the worst features of Lhe age consisting in gambling,
drinking, violence. adultery, falsehood, sensuality, intolerauce and self assertiveness would
q, ~Tcll'T isJT=;;r --
~~ ~if ~~ ~~q II f~~ ~f+ra- ~Ri; ~fsfil<f ~sfiT+r 11
r~~ it~ m:+r il~T ~+r ~IB II f~.{ ~~ ~ B,~r R;JITQf 11 (12i)
. Btfulm ;,
it f~T ;, :s-~ ~
GIT~ 11 ~Ril ;:r ~~ if isJTR~t ~r~ II
~~~ if ij'"-fi Baa B~ qra- 1/ fa"[ B~ fi:Br if&:I ~ fij qra II (]2!))
B~ ~(~ Bf<f B'@ i;i-~~ II fei~ ~· ;:r~ ~~ITT ;, G'ff~ II

;,~1 ~i ~~ qrqqj zjlf,T( 11 ~'r t ., rn~ ir~ ;, a:r~( 11 ( 130)
1. stfi ~ r~) !:fe;, ~ri:rnr ~cf 11 ~rf+r1T~ir ~f~p:r:, ~q 11

1-1~ 'i:lfl,cJ(iT ~Bl, ~Fi 11 f~[ 'q'~,~ll f~ qflq~Trf II (131 )
~~ ~ 1~ fR +f stfi ;;rt +r 11 S:<ii

~I;,
.+ITlT ~,+r - ~~+T
s~ +TT~ II
'T:fg(~TT B+l G'fTT lllJlcf II i:{- ~a+fIB,: q~(o'TT ~~a II ( 132)
~~ ,,~ ~,+r ~"ti t'R+r ~1;, 11 si:i> .rr1T

,.. . ,...
~
er,+r ~~
'
ill~tff;J 11
g+f <iii) :q~ 'q ~ r~:;;rp: 11 ~ r~~TQf +m: ~iT ~qf~ II
if,:::frr ~t g+r 1STl!i+r ~ 11 f~ TT ~r;, if{+f feti;r f;,;rr.rr;, II
r
~~ II ~lfTR
~
Bfa- WI" ~'(+f ij,r{T.; <t,lwt ~<f.~ 11 (13t)

,... .. '
..."\
~ ;j=flf +rgTq
. q,., ;:r ~n, II iTP)-lT ~;,;; "3qij'f ~rrra II
...:;
ir ~~v. ~cf il \T(ilT 'q~ II Ef,~ ;, \Jff~ ~ ~f+rn ~+r II (135)
cf-m~if ~ ~Pr ir +ro: ,._'I

+T[.'lq II
.:
~re: ~wfu +rfu ~ {Tq II
(,!f qqf !fijf(f or,..ur ij cl~ II ,Ti:fT :iN'~~ ~ ~.!.{ ~~ ,, ( 136)
~;s ~\Cl-g f~~it :qg, ~:g ll ~ i) ~,~~ ilf~ Sl'~:g II

f~ =erg\ ~-\S ' f;jfRl~t ~arr, 11 ~~~;:r lllll'r~ ~r(fr :g~R 11 (137)
~~'Jl.-1 qfu~r ~~ ~B'f;f II +rl+T~ ~u~ 9:.$~ q?.fJ.:f II

~~~ trraif ~~~W ij~B II !J~cy1f%: q;s~ q~~+r '-T~l=I ll ( I38)
+l"~ +rS:tq ~~r lq?fl~ 11 fir~ ~'la ~i ~r-:r 11

~~ir ij ;s~ i~T~lif ~R II e:~;, 'i,\iq ~'\a ;r~a II (130)
~rr ~~ ~G~ oiift~ ll~'lq 11 ~;r-il~f f;:r(1fi, ~ ~ ~')q 11

~cfi o~~ clil~ ~i ~ U'3 11 11~,~ ~~ cir efi'tir ~ Ts 11 (140)
~~ ~a ~l{ ~i ~ Cf?f II f~ f~ij ~G' cJ;l~ ~if.~ II

~l.T~ ij_~ cfif cfil~l ~~ 11 f~q if.g &ml"{ f~a- ~0+f 11 ( tH)
Digjtjzed by Panjab Digital Library/ www.panjabdigilib.org

BRlEF CRfTTCt\L STUDY OF WORI(S LN THE DASI\M GRANTH 141
pre::iomi11ate. The legendary history of these kings is a tissue of incidents, probable and
imp~obablc, the lust for sex and revenge, conQicts and battles, intrigues and wholesale
murders , forced marriages and uiyog, fratricide and fraud. -rhe r1shis are as much.guilty of
,Un\vorthy conduct as kings, mothers no less than brothers. The fate o[ ,nost of the characters
in these dramas is tragic and offers, therefore, food for thought and teaches philosophy by
example.
The two supernatural elements are the curse called down on Parikshit by the son of
Shamit< Rishi and Tachhak, the serpent, which bit the former in the disguise of a worm
lying in the core or a fruit. Kashyap Rishi is bribed by the snake to keep his remedy
of snake-bite to himself. Utta □ k Rishi incites king Jan1nejaya to avenge his father's
murder upon Tachhak but Austik Rishi, by a co unter-move, made him give up his
resolve. So in thes! conflicts of passions and cla1,hes of motives the reader is given ai;i
insight into the human conduct.
Tbe latter part oftheGianPrabodh would appeartoform a poem by itself. The nature
of its theme is that of a heroic romance while that of the first part is lyrical and meditative.
'Since it is an account of historical and legendary incidents, it is a narrative in character
and has little lyrical or descriptive in it. It has the interest of romance and history blended
into that of an historical tale. 1t has dramattc episodes like tb.at of Parikshit's despair at
the indifference of Shamik Rishi, the curse called on by his son, tbe wholesale murder of
the Brahmans, the demonstration by Tachbak of his deadly poison and the scene between
Ajai Singh and his brothers.
From the name of this composition as well as tbe outline thereof as given by
the poet after the introduction, it appears that either tbis work has not come down to
us in full or tbe poet corrld not (;Omplete it due to his preoccupations. The only available
part of the work is the introduction and one of the four stages of the evolution of
religion which lhe poet wanted to discuss. [twas probably intended to be another
monun1ental work like the Bachi~rn. Narnk Granth. The available part alone is sufficient
to rank it amongst the best metaphysical poetry in Hindi literature.
12. SHABAD HAZARE

The Shabads immediately following the Rudra Avtar are hymns io 38 couplets.
These Shabads arc ten in number; all except one contain four couplets, The shortest of
these is Lbe sixth which reads like a lyric in two couplets. These slzabacis are rnufjcal
compositions in Ran1kali, Sorath, Kalyan, Bila,val, Dfvga11dhari, Khial, and Tilang-Kafi
rags. It was a convl!ntion with the old sid/J saints to compose the songs under
some rag or other, e.g., Gavra (gauri), D/Janasar, etc. This tra~itiou is noticeable in
Sur Das, Tulsi Das and other saints like Dadu. In the Adi Granch also the rags of songs
are mentioned. The song'i of Kabir collected in the .4d; Granth are also composed in the
rags mentioned as titles to them1 • Guru Gobind Singh, a saint• poet as he was, made use
of this prevalent poetic form popular witb the saint-poets and imbued it with his
own preachings.
1. H. A., 106
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1,2 THE POETRY OF T HE DASAM GRANTH
In these Shabads, the Guru discourages asceticism, yog, worldly attachment ~
wor!ihip of gods and goddesses and their incarnations. and idola-try. In place of asceticism ,.
he enjoins the inculcation of mental detachment, continence, divine knowledge) prayers,
communion with God and the love of His name together with contentment and
peace and avoidance of lust, anger, pride, greed and obstinacy1 • In place of yog, he
stresses the importance of truthfulness, sincerity, self-restraint, temperance, self-instruction,
love of His name and meditation11• Preaching of sermons to others should be given up for the
pursuit of self-knowledge. Religious shows should be replaced by contemplation and humi-
lity 3 • The Guru's conceptioo of divinity, a5 expounded in these shabads. is not new but
the one already given in J11p Sahib and the Adi Grant/J. He is Incomprehensible, the Subtlest
of the subtle (Sucham te Sucham), tb.e Formless.and Immovable (Nirakar), Undefiled (Niran-
jan), above sin ( Nirvlkar), Ocean of mercy (Kirpa sindh), the Seer of past, present and future
(Kai Trai Darshi)., the Destroyer of miseries and evil actions, the Giver of salvation, the
Premier(Adi) God. Here too God is described as the Wielder of sword (Asidhari) ,the Archer
1. u~ijfl '1T<Tffi&.°r ~o
~ +rOJ 'u:m ctiR ~~':;fr~r II
iirf ~ ;a-·~ ~ii <ti~ ~l=f~J +fit'~ +Tri{ ~~rID II t 11 ~~J~ II
l.ifo ~ ~ · '1{111 .ir +f~ ;l'~ ~ vJlq.=r ijG'f'alT 11
frrmr1 ~ mc:rir ~~ .=rhi f«r4tQ ~r~) II t 11
~q w~ ~qftf ~ f.r~r ~~ f~m ~..r sr'tfu 11
B't~ ~ @ --=>~T fu~Tf~aj't i~ ~ B:rU~ ~atfa- II ~ II
ci>J+f i\q iffl: ~m ~o
'41
m~ ~
ii IT-t ~) ijp.i~ II
ijif ~ S5I ldlf aa ~ ~B' tf{+f 5f({q "Vila: ~ 11 ~ 11
~IWii~'lq~~') ~o
.,
-- ~ ilvf ~ fof fi:l .;,m en.:rrwr 11
fi:r:g:) ~T~ 'Sl'fiCi2' fqm., N~cf ~5JlT 11 ~ 11 <~f ~ f I
tfi<IBT
~) l'f§ ~iail ifm cfi~ ciit f~~r if1lf ~elf~· 11
~ tro:r of~ ~ ~ft ~) ~~ ~11 ~~R· II ~ 11
~i a'Til ~·11 ~·m ~Rf
~lvi ~Tcf Gl'\:Tfit 11
=ef~ "lfeii ~ ~ q"R9 ~f.; ij~ ~f<ii ~J+:T nrijf-i II ~ II
~ lcfff ~~ti il~ ~~+f if \iffq' ~ ~~T ~Tq- II
~~T t;~ ~~fl ~'l ~lfT ~(!I" vJ cfiiiiif. !if~{f II ~ 11
"'-
(Tffcliqf) q-ya~r~'t ~ o
~ q(:,r ~TllT
~{cl q'lf 11
lUcffl ~T ~ ~~r it en~· ~R«f l:.. ~r;n 11 ~ 11 ~r,g 11
'm'(;J cffi ~~ml' q~ ~ <R~\l il
l ':> •
~Tm 11
fu~ oii&T ~ fct~;:r ~ :ii¢{g ~~ \~ tfmlTT II ~ II
~cwf ~il +{~il G ~;:cg eTI:'1 ;;j~+f ~t!(l"l'l II
9~1 EfiO' B~ cfiT 'Rff qrq- (ffu +rrnr 11 ~ "
r~~~;J
Gtm ~lcJ qrq iif~ ~~ cf>TeyT uifijf II a- arm
it ~ =qfit ~ ~+Ff tfir m
lffe ~ ~(1 Q'fm 11 ~ 11

BRIEF CRITICAL STUDY or WORKS IN TliE DASAM GRANTH
(Dhanurpan), and yet stainless. At the eod: the Guru lays emphasis on the worship of God
Himself and the love of I-Iis name1•
The most touching of the5e is the s1x.tl1 shabad composed in the fag 'Khial'. This
hymn is human in its emotion aod bereavement. It has only four verses charged with pathetic
feelings, aroused at the death of a fri end,Bhai Mahan Singh, at the battle-field of Muktasar2•
Another view is that while giving a hearty send-off, from the besieged fortress of
Chamkaur, to bis two elder sons to the battlefteld for waging the crusade agaiost the
tyrants and laying down their lives for the sacred cause, the Guru thought that his sons
were going after their death to God from whom he himself was separated. Through his
sons he sent, 1n the form of th.is lyric, a message to Him. Again, according to others,
after the battle of Cbamkaur when the Guru had lost all the four of his sons and was
without any company, shelter or succour in the forest of Machhiwara, he sang tbjs
3
famous song,
Mitra pyare nun hal mt.tridan da Ka.hna'-
"Beloved friend. beloved God, Thou must hear
Thy servant's plight when Thou art not near.
The comfort's cloak is as a pall of pest,
The home is like the serpent's nest.
The wine chokes like the hangma n's noose
The goblet's edge is like tbe assasin 's knife.
But with Thee shall [ in adversity dwell,
Now without Tf'l ee life of ease is life in hell. 6"
The imagery is r.ich and abundant. Image follows image in quick succession
like the homely image of the quilt and Lhe snake, tb.e furnaces, the wild images of the
thorn aod the snake, the profane images of the wine vessel and the goblet, the destructive
image of d~gge r and butcher's knife, and lastly, the chartnjng imagery of the sweet-
heart and a bed of straw.
Tf poetry is a spontaneous outburst of powerful emotions, this hymn of Guru
Gobiod Singh must be classed as poetry of tbe highest order, for, it is an unpremeditated
1. ~:rrr -et(f3' qr~e-nft ~0
ijlt ~ ~1 <fi~ cy£T\if ~+rr{'t
II
~<fio -1(aR ~T{J~m .ft5Y:.raTJ iiFi~RT 11 , 11 ~~~ 11
IR.:f~~ qlifm ~fqt 4161;:f q-a;r~ro II
.:fT~ ~~~fu li\il .{(~Ti +fT-l ~::: !!~RT II ~ 11
~fil~T, f;i~~ ~~ ~ f~fiiAA m:~ Rf~ 11
fuqrfa~ ~5'f~~Bi ~~S!itT«Tfi:fiT(t u~ II
~<f~tll<l fi:tcTJJR ~U~{ ~~f~rt: ~fuqt(l II
l!f .:r«H:fG.' ~-,ffi ifffff~ ~( ii~ ffls ~~lU It ~ II
2. The Jap (tro.Dslo.ted and nnnoto.ted by S. Brijindor Singb, Amritsllr 1925), p. 46. lt is J?robably due to this inci<leDt. lhui.
Brijinder Singh thinks that the title of tho wholo cornpol!it.lon JB given w; He.zare. Also eeo page V.
3. The Sikh Review, May l 9!l5, p. 35.
-4. ~~I© qra~ ~o
f.'T;l" fer~{ ~ ~ ~?.:r ~r ~~{Ur 11
g~ ~ U!! r~,~~i ~ =it~Qt itrn F.f9ll1f ~ ~~{!JT 11
~~ ~i~ ~~ fG-~r(!IT f~ ~B~f ~ ~(!TT 11
~r'{~ ~ ffi-l G~ ~nrr ~ i~~r i'{T ,(f{lTT II
.6. Pobt-ically rendered by S. Khu11hwll.Dt. Singh-The Spokesman, Gur1,1 Gobiod Singh Number, 1952, p. 12.

14,4
TiiE POETRY OF THE DASA.rvl GRANTH
and spo ntaneous strain of a spiritually i □to xicateJ love-lorn p~rsou pouring forth the
strains of over-po\vering music.
These shabads are traditiona lly called Shabad Hazare or /lazare Shabad or Ha::u.re-
Ke-Shabud. Cunningha1n is, however, of the opinion that these \Vere originally intended to
be a thousand (Bazaar) verses of lhe n1etre called Shabad1 • Others beHeve that these verses
were addressed to the Guru's sangat or followers who had come fron, the district of
Hazara in tbe North-West Frontier Province Lo have bis darsha112• There is another view that
these shabads are nan1ed after the sixth hymn depicting the pangs of separation (Htjer) of
the love-lorn soul of the Guru. Some others hold the view tnat they are caJled Hazare-
Ke-.';;habad, because the Guru uttered them in a sigh or spirit of divine bereaverneot 3 •
Incidentally, it rnay be interes ting Lo note that literally the word Ha zara means a
fountain •J also. It may, therefore, be construed tbat because these shabads gushed forth
as if from a spiritual fountain sprinkling soothing drops on the restless souls of the
Guru's disciples, they came to be known as Shabad Hazare.
Whatever be the r!!ason for the nami□g of these hymns as such, they are an invaluable
and beautiful short composition for the reason that they ,bring out Guru Gobjnd Singb's
opinions on Yog, SanJ,as, the religion of Jove and his sad plight io separation from God
and instil devotional fervour in the reader. They are also notable for the speciality
of music, the serenity of thought and style and tbe technique of composition. These
shabads are a fine example of Sant Kavya in Hindi literature.
13. SRI MuKHBAK SwAIYA

This is another Long poem like the Akal Ustat composed in thirty-two stanzas of four
lines eacb.. Each verse has about eight f~et correspondtng to the thirty 1natras. Next to
Jhoolna metre, it is the longest line, longer than the Alexaudrine which we n1cet occasionally
in poems like Spencer's Fairy Queen and Shelley's Sky Lark . There the Alexandrine occurs
once in a stanza of nine or five lines but here we have thirty-two stanzas of four lines, each
having nearly eLgb.t feet. It rev~als grc1t teclinic1l 1nastery, patient craftsmanship and
elaborate versification. Naturally the speed of st1ch n1etres cannot be rapid. Since there was
no practice of marking a pause, it was left to the reader to fix a pause for himself according
to the rhythm in the line. Such a metre is ill-suited to the description of action, for, as we
noticed in the Chandi Charitra and the Chandi d; Var, it musL correspond with the rhythm of
action. This metre, however, is used here to,describe abstract thoughts and reflections in a
critical style which is in marked contrast with the ,vell-k-cown Sivaiyas of Ra skhan in Hindi
literature ~ bich teem with erolic sentiment.
1
The theme of the S1vaiyas, to begin with, is divjoity. Jn the first eleven stanzas the
6
nature and attributes of God are given as in the Shabad T-lazare, the Ak al Ustat, etc. Tn the
1, H . S. 356. 2. The ,Jap, Brijinrlei- fij ngh, P. V. :t The Jop: I3rijindi4r ~ingh, P.V.
4. Sa11kshipt1,1 II md i 81111 bda Sugar. Nrtgal'i Prach11rini Snbba. Sam,·at11 2002 2, IV Edition. Pago 1303.
~~CT·-~O (lfifo) (~rif) ~.:fit fi'G.TH: ~r .:.fg'<i ~fq~ q\q~m ~l I ~ l:ifi:tqi I ~~r 3°, ~~u I ffir.[HJ II
5. ln som e editio11e the Llumber of stanzas is thirty-1,hree e.ud hence the cornpo!lition is known 11!1 •Toue Swaaya'.
~Rr ~~~ ~~r:r 6aril'cr ~rfi{ ~'1Tfcr ·=inrr~ ~ ~ 11
~r.:r
~rt{
~q
~?;JT
~.fl<rf
~q-
~~
~T~
~(lq'
ti°Giil ~~ ~Ht~ij'
~;:rr~:r. ~fq
\ifU{e:if
~~ t!rncr
~[.~ {q
~t.n{i:JT<ff
~it~
fi:fi1f&'
~* tt
'II'~
l.f~
~ 11
II
II s. (1)

•
BRIEF r,RITICAL STUDY OF WORKS IN THE DASAM GRANl"H 145
next seven stanzas (12-16 and 22-23), it is explained to tbe reader that Ram, Krishna, Shiv,
Brahma and Vishnu cannot be identified with God. They \:Vere mortals. They committed
mistakes and suffered beavily for tnem. They should not, therefore, be regarded as objects
of worship. Nor should the disciple p:1y altention to the ways of :,anva.sis and J1ogis1 •
Idolatry, too (19,21, cannot help the seeker to elevate him spiritually2 • Nor can tbe study
of the Vedas, pilgrimages and other activities (24:-t5) do him any good3 • The yogis and
sanyasi~ and 1nasands simply loot people without uplifting · them spiritually. They are
huntsmen who in the guise of hypocrisy shoot their victi1ns (26-30)'1 • Mau should not lose
himself in foolish activHies and vain deeds, nor forget himself jn the company of friends.
companions or disciples, for neither one's property, nor one's friends are loyal to the
mortal to the last (31-32)5 •
In brief, the poet has treated two themes-God and religious practices, concluding
with an admonition against worldly attachment.
1. ~1 q;~ ~ril ~~rf., ~~ ~fa- <61~ ~ tfiT~m Wf (ij ~~r ~ 11
<6f<!f[ cfiF~ { ~~ <fil' ~~ ~~~ <fir~ a (101 +n{f ~ II
Go ~r~q- f«f~( ~~~ ij f<fi~l qi{ it ~~ ~riil ~~l '5l 11
a-r~1 ir mf.i sr~ <fir<. ~ f;ift;. i1 il'3i ~ ., ~;, m~r ~ 11 (12)
~rm ~ B'" ~\ f;r(l ~ it~ \T+r \~~ ., cqr;r-t qr~ 11
i{J<lcf ~i:f tnf.R \-1U~\ ~a ~f~~ Bi:rr~ f'fe'TQ; 11
'=5io +{{ q~T\{ fir~qft: ~ ~lT ir ~ef~n, cf>~J~ I,
t +f.f ~en" ~m ~1 c1>m ~ mrmr cfif~ c1rtt 11 .:i- q~;:r (22)
!fil~ ~13 ~o qJ~il cf>~ ~ 'TT~ ~ ~I~ 11 q(ifH\
a-r~r ~ '{_:if ~'l cfir( ~ f~~ !{?Hf ~T ~~ 'J5l'T'<f f+rcT~l 11
S51'rRI fif ~rN ~ ~ti.:t ~a<li ifl+r ~ ~er ~;ij ~fc ~ft 11
ar~'t if l::'.JT?J; sn:n-1 ~ ~;:r ir;;2: i:.:r(+r <lit lfi§! .:rrt't 11 (19}
I
3. ~ cfi~if q~ «fga ~ it~ cfi~ fer., ~ -,R; qf~T II

'i~cr ih: mcfi M;:;r) q'( u:cfi qi~ ~1~ ~ ., Gf«r~ 11
tfTS:il ilif ~0'2.TT&~ cit IB, {;ZJT~ fctf{~ ~ ~rf~ ;; ~rm 11
~ i:fwf itl ~q__~ Sl'll_ Q"@ ~rq;, [~ cfi~J B~+liT;T_;ff II (25)
~ ~frr~r;; ~ ;:;=ff~ ~R;QT~+f m~iq

ir ram: ;:;:rf~ ~q~ 11
GTT~ ~~tB';J qi @{[ <fiT qi~ ~'6 ~1 ffif ! +:f~ ~~ 11
~) cfif3i GtT( g{.cftf.., it +l~~);, ~ ,tl;; fa{1 ~~ <?~1~ 11
S!frqf&: ~1~ rrif ~ar iil:11r~ ir it~ ., ir~ ~m~ 11 (26}
S5fr~ ~')aft ~ it ofiT isl~ ij ~lrr.:r -TT~ iil~T~ ta:~r~ 11
i'f 'cJ~cfT~ ~~ TTisif ilcfcfi cTT~'t qi)fu ~m~ ~~ II
m ~ft"~ ~ fit~g: ~a ., ifrrr;:, ,j'ffo ~ ROO~ II goo
~o
.. l 115 ~lT;; qi) cfiif[ 01 SJ~~ ~ n;; lTT~ 11
0, en a-, ~rm G.1 ijif ( .;if~ ~ ~(.qr.; GJS5fr +:rfG{ ~( 11
~ qi~ ijni?f ~lcll ~~ itrr fu'OI ~g ~r~g ~t 11
~if ~ lq'~T lT~ ~act> ~T-sa s:r,;; firn-r., <fit IIt
~ r: ~a ~~a i:rITT. q-g ~a c6t ~r~ ~~ir! ~t 11 (30}
.
I

14.6 THE POETRY OF THE DAS/\M GR.t\NTH
Swaiya Jo Kichh Lekh Likhio Bidhna popularly -known as the Khalse Di Mahi,na is a
poem of three stanza5 and a couplet, fourteen lines in all. They are believed to have been
addre~sed by Guru Gobind Singh to Pandit Kesho Dutt, a great scholar who, on the
conclusion of the sacrifice (yagya) at Naina Devi, 'protested against his giving alms
(yagyadan)to his low-caste Sikhs aod not to the Brahmans. In reply to it the Guru defended
his action by exalting the Sikhs to the rank of Brahrna□s. As the dialogue is interestingt a
translation of the poem is given below:-
" Whatever God wrote in thy destiny, thou bast obtained, 0 Brahman, banish tby regret.
It is not my fault that it escaped my memory, think not of anger.
I shalt send thee clothes and bedding today, be lhoroughly assL1Ied of this.
Kesl:io replied - All Kha.tris are made by the Brahmans. Tbe Guru - Look on my Sikhs here with
a glance offavour.
My victories in battle have been through their favour, through Lheir favour I have already made
gifts,
Through their favour all my troubles have beeu remov~d , through their favour again my house is
replenished.
Through their favour I have acquired knowledge, through their kindness all mv enemies have
been killed,
Through their favour I am exalted ; otherwise there are millions of ordinary men like myself.
To serve them pleaseth my heart. no other service is dear to my soul.
To bestow gifts on them only is proper ; making gifts to otbers is not profitable for my Sikhs.
To bestow upon them will bear fruit in the next world and will being honour eveo in this, to
bestow on others is altogether useless.
All the weJlth of my house with my soul and body is for them.
The Brahman becan1e angry aad hii heact began to fry and burn lile dry grass.
He wept at the cus!om which had been established fo:r the future 3' '
This short poem shows Guru Gobind Singh's humility and intense consciousness
of the vitality of his Khalsa, and his love for the so called low-caste people. He had faith in
the collective wisdom of his followers rather than in the devotion of a favourite few.
Ane!ysis of the Metres to tbe Kbaloe Di Mahima
1. Swa.iya - 9 3.
' .,,
]
2. Dohr".,.. - 4 Grand Total - -1:
.2.
~
{tf?.if ~1 fii~ ~~ ~r~m fif~-rr t=itt qr~ ~ ~ et~ ~~ru 11
~) <ti~ ~qu~ if6:"r r-fQl' ~~ a i ~ ., itg Rfaru II
¢fT1Tt ~ttrtt ~ W ~ ~~ gi1 ~) f..i~ ~'t~ ~i)- II
~1 ~ ~~ fGf~ ~ ~[ ct ~Tei fs6tIT ~ f;,(JU 11 (l)
:g;g; fjia- ~~~1 ~ ijtl~ ~~T ~ ~~ ij~ ~ 11
~'cf ~°3~ at ~ ~ i i;r.grf{ ~~ ~ ~ ~l'lf ~~ 11
filitff
~ ~1 ~ Si«rf1t ijfif~~r &i ~.;~1 ~«&;qr ~~ ·~ ~ tI
~wi" ~1 ci1' firiqr ~ ~~ ~ t ;re'\' ~) ~ ~,tif <f>U{ q( 11
~c; tf.U ,~ ~ ~ ~a- ~~ ~ ~q ij{iT(f ., Gil' ~) II
~ ~') ~·.r&l if>) lfffi ~ ~ !fiT ~,., i," ffl'TTcl .,'Tit II
~;r 'fi~ ~.:ri{1 ~') ~~ ~rr ~ df!i ~\ ~ '1'+l qft~ ti
m ~ ~ (fir ffvf ij" ful: ~-a 1:1.:r
a «lt a'r, ~.{ ~-, ~ t 11
~crzr~ ~ ~ ~~ RIQJ ~1J.") ~~ ~ II
~)~ it~ $ ~ (!iif ~ f~ ~ ~ II
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, • I
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l j •
15. SASTRA NAM MALA
The Sastra Nam Mala (String of the names of weapons) appears to be an

exhaustive catalogue of weapons used in warfare in the days o f the Guru. It is not merely an
objective description of the weapons but their pa negyrjc for the brave deeds of heroism
which their wielders have perfarmed in the servi ce o f their cause, telling at the same time
the stories of the gods a nd demons who wielded them. The Sastra Nam 1Jala is composed
in 1318 stanzas and couplets, and in seven metres1, viz.,Ari/la (253), Sortha(2), Chaupai (3«)
Chhand Sadharan (5), Chhand Wadda ( t), Dohra (7 16), and Ruamal (2).
This composition is fu rther remarkable for two things. Firstly, it begins with
the personification of each of the weapons, and concludes again with the
1. Analysis of the Metres io the Sastre Nam Melf)

Arilla. 37, 697, 717, 718, 719, 742, 743, 74t-. 75 1. 75:5, 756, 764 , 765, 767, 76S, 769, 77! , 78i. 738, 789, 791,
793, 800, 801, 807, 808, 800, 810, Sll, 812, 813, 814, 820, 822, 833, 834, 839, 847, 84S. 849, 850, 854,
861, 862, 867, 86S, 869, 870, 873, 874, 875, 876, 877, 878, 883, 885, 886, 387, S88, 889, 890, 891, 89:!.
Hl3, 894, 805, 896. 897, 899, 906, 911, 921, 932, 933, 938, 940, 965, 966, 975, 976, 999, 1000, 1001, 1002.
1010, 1011, 1016, 1017, 1022, 1023, 1024, 1025, 10.26,1027, 1028, 1029, 1030, 103 1, 1032, 1033, 103!, 1035, 1036, 1037, 1038,
1039, 1040, 1041, 104-2, 1043, 1053, 1054, 1055, 1060,1061, 1062, 1068, 1072, 1076, 1077, 1078, 1079, 1080, 1081, 1082, 1083,
1001, 1100, 1103, 1104-. 1105, 1106, U 07, 1110, 1111,1113, 1114, lJ:13, 1124 , 1131, 1132, 1135, 1137, ll·U, 1142, 1143, 1144,
1141!, 1149, 1150, 1157, 1162, U65, 1166, 1 167, 1168,1172, 1173, 1174, 1179, 1180, 1193, 1196, 1197, 1198, 1199, 1200, 1204,
1205, 1206, 1207, 1209, 1210, 1212, 1213, 12151 12 19,1220, 1221, 1222, 1223, 1224, 1225, 1226, 1227, 1228, 12·10, 1231, U32,
1233, 1234, 1235, 1236. 1237, 1238, 1239, 1240, 1241,124.2, 1!?43, r!44, 1245. 1216, 12-!7, 1249, 1266, 1~67, 1268, 1169, 1270,
1271, 1272. 1276, 1277, 1279, 1280, 1281, 1282, 1283,1284, 1285, 1286, 1287, 1288, 1289, 1290, 1291, 1292, 1293, 1294, 1295,
1 296, 1297, 1298, 1299, 1300, 1301, 1302, 1303, 1304,1305. 1307, 1308, 1309, 1310, 1311, 1312, 1313, 1314, 13.15, 1316, 1317,
1 318. 253.
Sortha. 107, 168.

~-
q
690, 691, 692, 693, 694, 695, 696, 700, 701 , 702, 703, 70-!, 'i05, 706,
Cbeupai 673, 674, 685, 686, 687, 688, 689,
707, 708, 700, 710, 711, 712, 713, 714, 720, 721, 722, 723, 72.J, 720, 727, ,.•}s I.,:.,. , 730, 731, 737, 738, 739,
751, 752, 753, 75i, 758, 759, 760, 761, 766, 77 1, 772, 773. 775, 776,
741, 74-G, 746, 74'7, 748, 74-9, 750,
785, 786, 790, 704, 795, 796, 797. 798, 802, 803, 804, 805, 806, 817.
777, 778, 779, 7S0, 782, 783, 7S'1,
827, 828, 821), 830, 831. ~35, 836, 837. 838, 840, 841, 842, 843. 844,,
818, SHI, 821, 823. 824, 825, 826,
31i7, 8ti8, 859, 860, 363, 864, 865. 866, 871, 3-0
1~, 879, 880, 881, 882.
8 45, 846, 851, 8!i2, 853. 31.ili, 866.
905, 907, 908. 909, 91 0, 912, 913, QI 4-, 9 15, 9T6, 917, 918, OHl, 920,
884., 898, 900, 901. 902, 903, 904,
929 930, 931 , 93.J:. 9~5. 936. 937, 93!1. !/:bl. 9,12. 9,i3, 94,l, !14". 946.
92.2, 923, 0!4. 925, 926, 927, 928, '
95i , 950, 956, 957, 9!18, 959, 960, 9o1. !162, 963, !}64, 967, 968, 969.
947, 048, 940 960, 951, 952, 953,
979, 980, 981. 082. 9~3. 98,1, 9Sf>, 986, 987. 9BI, 990, 991, 992, 993.
!170, 971, 972, 973, 974, 977, 978,
998, 10C'3, 100'.I-.
1005, 1000, 1007, 100B, JOOS, 1012, 1013, 101·1, 1015, 1018, 1019, 1020, 1021 , 104J,
994, 905, 996, 997,
1045, 1051, 1066, 1057, 1068, 1059, 1063, 1004, 1065. 1066, 1067, Hl611, 1070, 1071, lOi:l, 1074-, 1075, 1084, 1085, 1086, 1087,
1088. l OS9. 101)0, 1092, 1093, 1094, l\Jll5, 1096, ]097. 1098, 1099, 1101, 1102, nos, 1109, 1112, 1125, 1126, 11 27, ll28, 1129,
U30, 1134. 1136. 1138, 11 39, 114.0, ll45, 1147, 11 48, 1151. lllil!. ll53, l Hi4, llli5, 1156. lltiS. 1169, 1100, 1163, ll64, 116H,
ll'iO, 1171, 117.:i, 1170, 1177, 1178, 1181, 1182. 1183, 11S4, 1185, 1186, 1187, ll8~, 1180, 1190. 1101, 1192, )104, l l !lo, 120],
1202 1203, 1208, 1211, 1214c, 1218, 1229, 1248, 1200, 12Gl. l2R2, 1253, 12/:iJ, l:!55. 12iill, 1257, 12fi8, 1!?59, 1260, 1261, 1202.
34.J:
~263. 1264, 1265, 1273, ]274, 1275, 1278, 1306.
J
fi
_,i), ~29
7<>- , • 734, 73,j, 989. 5 (Sadharan").
l!Jhha.nd. l
736, l (Wad.do).
1-36, 38-106, 108-167, LSfl-25:?. !l.53---160, 461-G?Z, 67:i-651. uns·-03.l. 715'- il6, 73:!, 733, 74-0, 762, 763,
770, 782, 79~, 709, 810. 816, 832, 1040-1-050, \~5:!, l l l5-U::l2, 1216, 1217. ,1 71 l
2
1133, 1161.
Grand Total 131S

-
148 THE POETRY OF THE DASA"tvi GR,'\ 'JTH
worship of God through the 1nedium of these \Veapons1 • Secondly, in er\un1erating the
weapons of \.Var, the poet bas used all possible names of che weapons and also adopted
periphrases which lend dignity and grandeur to the style2• It reminds one of Milton's
science of names in which the proper names heighten the diction of poetry.
These periphrases are like puzzles to be solved by the ingenious:i. For instance,
·in the verse
Ha.ri pati pati pati patini bl1anijivai
Arini tan ke ant S(lbad l?o dijiyai
Saka.I tupak ke naa1n dijiyai
Ho kabita ha.bi he manjh nisllnk bhakhayai'1
the poet wants the reader to construe first Hari pati pati pati pafini and add to this
,the word arfn;. The poet further conclude:) that thus the wi<;e would know the name of
1. S.N., (l- !}7)
. ...,
at{
~\T- Bfll ~T~t etn ~~ gQ"~ a{~T{ II
B'~fij<fi
• r- ..,.
"
S. N., (1)
<fi~"qrn=i~ r.liUO: \~~ ilir{ 11
~« f?nqy;:r l,'fHJ 'tfd ~ •fi {!C!f -su:r ~rcr II
• •
<6cJ'qroi:fi B~Ta <6{ ~11" at{ cf{ itlfG° 11 8. N., (2)
~~ fijiCflttf ~s) ~rr g~ ail{ ~~ (fl~ 11

~lfi ~~ ~~iir't :qt QiJR tft< 11 S. N., (3)
B~~ ~H~ g+r(" ffi<R g~~ ~~'q ~~if II

i:Ji~T.fhrf; gif ~'t ~~ gif ~mq~ B{~Tf If S. N., (7)
g;~1 Etic!TD' ;r-~ ~" ( P-lii~t ~~ F.£r.:r 11

ir qcr qi: ~ ijilm~ ~~ qn=J ffij' ~R 11 8. N., (ll)
g+l1 ~{;jf gif ~'t rr~r ~+r ~ m{ s<+1Jf ,,

~ra ;jlfrf ;rr{1 B~T ~~ 1'iir B\aflT , t S. N., (13)
g6T Qi:( ~1 ~~ ijif ij~T ~B.:f cfit ~q II

ijQ.1 Cfjfl f.{~ \JflTij' <iil g~T ~,q g:1 ~ fl ti. N., (17)
2. S.N (~8-1318)
'qfqi- ~~ ~~if~.;
...
~rf~ ~r{!!~~ ;:rrt~ qf q~ 11
B;f
·.:>
Bat'?."• ctl ~ iflr.Jt .:ft i( gCfi:Ji ~ ~R1.Q; II S, N , (83)
~~~.;f~
~
aff{~~~
'::;J
+rrtit I ~I 'q{ rfT~i:Ji q~ {llqf 11
~sf ~1 ;;r+r §cr<li i ~J;JT 1 ~r ~ ~ ~<Ii .:r{t +rniT II S. N., (831>)
~Rt-a ~;;~.,.,f;; ~rf~ ~{qf.:fg ~r ~{ CJfa B;r,t SHJT-i& II

~~ <H;f~ ir q:st: ~T.J(t~ 1 e<r:~ ~ -tflf fq:q(y~ 11 S N. (9-12)
:1. B,L., 63
~.l. ~f~ijf- ~\ q@ qfcr qfn qrf1!J1 ~TR" ~im lfl~

II c;JJ~:{!J't ar~ ~ff Hif~ 'fi) ;nm~ 11
B"'fiin gr.r~ ~ .:rr;:r ~$!{ ~1,:r ~r.:rt~ 11 ?r
~eIB EtiTfif ~ +rh-fi ~~ n iii~T~ 11
S. N.,(124.7)
~ 180 !!t~r{ ~\ ~rR B9~ cf,g ~r@ ~ II a1q isfl{ f;;;r.r q;rfg: ~a fa~ u~ ~ 11
iif~ ~i q;r ~a a;r;; it; ~t~t~ fl ir ~'el{ §'1r.fi ifi :.:rr+r tti'{T inful' ~GrTO: If S. N.,(1306)
r;mfa: ~rr;:r fifer q~ ir g3fn el\CIT.:11~ II m SJ({ ilif5 ~q 'ilH'. iiJT{ 3f;r or.:r1~ II
ftq q ~ ~Tf@f gqr.fi ~ -ritr q~r.:r1 q 11 it efiifa q:jffil° ~ i:rtf~ RISeti Sf'{Tif1~ 11 S. N.,(l3t8)
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14.9
BRitF CRITICAL STUDY OF WORKS JN THE DJ\SAM GRANTH
1
tupak i. e., a small cannon. The word 'cannon' can be arrived at in the following manner :-
H ari - Elephant
H ari patt - (lord of elephants) Airawat
I-fari pali pati -(PosSe!'.SOr of A1ra.wo.t) Indra
flari pati pati pati - (Lord of Indra i.e., Kashyap, his) earth
Ha.ri pati pati pati patini (pati11i of tbe earth) army2
Hari pati pati pati patini arini-(The eaemy i.e., destroyer of tbe a rmy) cannon.
This kind of composition requires a thorough knowledge of the Hindu mythology
and 8tudy of Sanskrit language on the part of the poet to compose and the reader to
understand.
The view that the Guru devoted so much time to compose 1318 emblematic verses
merely to show his linguistic excellence3, would perhaps be unjust to him. There is no doubt
that he had a con1mand over language but a leader of his type, and particularly when he
was engaged in the battle of life involving multifarious activities directed against political
tyrannies and social evils, could hardly afford to indulge in compositions of a purely
linguistic nature. A close examination of the verses of the Sastra an1 Mala reveals also bis ~T
varied conceptions of what may ordinarily appear to be the instruments of mere destruction.
To the Gurui arrow, spear, sword, etc., are the means of the worship of God as t hey are
the main source of strength in the holy war. To bring home to bis disciples, coming as they
did from various religious creeds, that the \Var for which they had been militarised was no
other than the holy one, the Guru put these vveapons in the mythological set-up to secure
their ready acceptance, fill their hearts with valour to defend their faith, incite then1 to acts
of bravery and inspire them with the love for ,veapons and ardour for religious warfare4•
These en1blematic verses helped the Guru to establish the sanctity of the war he
waged against those who were the enemies not only of the people of his time but of all
their mythological gods.
Th1s composition reflects the taste of the tin1es. It has also a historical import Jn
that it is atte1npted 10 a conventional literary style5 , having for its model the emblematic
verses of great masters. The Sa~tra Nan1 !Ylala has, therefore, apparently the same
iinportance as the Sandha Bhasha, Ulla Bansian and Dri.shtikut of Sa/zajyani and Nath Pantlz
6
yogis and of great poets Chand,Vidyapati, Kabir, Sur and others~ are said to have •
' ------ -- - -
-1-. Giani Hornmn Singh Ba.llauh, in bis Shri Dashm1:.slr Kai·ya Pradeep p, 88, oxpln,ins Lho lit•st <tuti.rter of I erse No. 12~7 tbu.. : -
~f(-{[T~~,
~Rqfcr-( trrf¼-iit oliT l~.r') ) q~fqcf ~TP.11,
~ftqfoqfa--( ~Tera ~~') efiT ~i;fl+l'T ) ~~
f.'ftqfu qfaqfa-·( ~~~ ~c.rr.r'l cfi~q ~1 ) ~'i_;q'l
iRqPfcrfucrfaqQ~'t- ( ~i~qfa ~ ~f{!J ) ~.,r
~ftqfaqfrtqfa'«TQJt~~l;!Jl-( ~~T EfiT ;u~T ) iiFi_cn
2. li'rom Patf11: Fl)ot 1:1oldic1.' of t,he eo.rth-S, E. D., 312
a. The Sikh Ro\'iew, :ruly, 1!156, r. 23. 4. S. R., Vul. Y., 83
5. ~B3f ifT+f +l'T~T ;f ae-~r ~ -,ur, N~ ~~~r~ <fito~ ;ft ~~;rr, ~~<fief ~, {lra ~HT~ @lq'\
t I firB ~ qj;_s- ~~ ~~II{ B+flli~ if ~ ~) ol~~cfT ~~ ~~It 9q l °'Rerort Sorllwk f. 'omn1itteu l, JO.
6. .ll• .B,, ~-1, 3tt ; H. ~., 23.

]50
THE POETRY OF THE DA SAM GR.I\NTH
16. PAKHYAN CHARITRA P.

Introduction
The Pakhyan Chairtra is a collection of four hundred and four 1 romantic tales mainly
of women, told in verse in mixed Panjabi and Brajit. Oman in his book the MJ>stics, Ascetics
and Saillts of India, tells a very interesting story which, according to him, was the inspiring
motive or origin of these four hundred and four tales. He says, a beautiful widow, Anup
Kaur of Lahore, resolved to try her art upon the Guru and tried to decoy him in the form
of a yoLithful sadhu who would reveal to the Guru the goddess Debi herself on a lovely
spot at midnight. Tbe Guru was shocked by her wile when he discovered her purpose, and
was caught in an embarrasing situation, though be extricated hi1nself from it unscathed.
The plot, however, adds Oman, made a deep impression on him, and he wrote or more
likely, collected no less than four hundred and four tales on the wiles of women for the
timely warning, it is said, of his simple followers\
The aim of the Pakhyan Charitra, therefore, seems to be ethical, to raise the moral
standard of the readers by examples both good and bad, which may inspire them to a
nobler conduct or warn them against the wiles of the perverse and the unscrupulous.
Well bas the author said in verse 404 of the last cfzaritra:
If a dumb fell ow hears it, he will enjoy it.
If a stupid fellow he be, be would be shrewd4-.
As rjghtly called by Dr. Mohan Singh Diwana, it is an encyclopaedia of almost

all Panjabi, Non-Panjabi, Indian and Non-Indian tales known to mediaeval India
like the Italian Cento Novelle Antiche and a veritable mine of history_, mythology,'
geography and Jegeodary lore, of customs and prejudicess of the times. It
illustrates, mostly, the character and disposition of women. A step-mother en-
amoured of her step-son, the heir of a monarchy. not gratified in her desires by him,
represents to her husband alleging his evil designs upon her honour, where-upon the king
orders his exccution°. The ministers intervene and procure a respite by enlarging upon a
series of tales about the nature of \\1 ornen.
The tales fall in three groups: tales of brave deeds performed in war, tales of self-
sacrifice for honour·s sake,and tales of amorous adventures. There is no such unity of design
in the narratives as controls the scheme of stories io the Hitopadesh, Arabian Nights and
De Caniero n. The talt:;S are not arranged according to any schen1e, theme, source or
- -ta le,-a-nauutive,
• fhe term Pakhya11 is an Apabhransh form of t,he i,a.nskrit word Vpafdrya11 which means a ~hort - - au-episode
-- -
or repetition of a story ulready ~old. The term clraritra obviously tloes no~ stand for wiles tho11gb most of ehe stories do relate
to thr1n in this work The Lerm Pakhya11 ChariIra simply means character narraUvos because some of tho tales, o.g., Dhola
)foru, Kum !{on Illa. Sal llama.yanti, eLe., colloote<.l in the Pakhya11 Charitra aro snit! to havo I.Jeon already iu o:tiatence in the
Hindi liler11ture. H.B., 177. 17S.
I. The last ,11fo bears lhe 8e1·ial 11urnber 40.3. l,u~ tale b.'o. 326 ha,·ins nineieen ,,ersea is mliisir1g, Hence the totnl ni,mber o{
[tllC!" is 4.01.
2. lL P. L., 41.
3. lU. A. S. I., 197.
4. ij~ ~·if ~r ~rf&: ij \q;,r qp~~ 11 ij~ ~ T~. , " ~r~ 'qg~fff ~fcfi' 11 P. CL,, 4.0o (¾Oi)
5 li. P. L., 41.
6. P. Ch., 2 (30)

BRIEF CRITICAL STU DY OF WORKS IN THE DAS/\M GRANTH l5t
style. The compiler seems, however, to have drawn upon wider and more varied
resources than his predecessors, for his booty is the richest and tbe tales range from
ancient times to the local contemporary incidents which happened round about Anandpur.
The sources of the Pakhyan Charitra are thus no fewer than eight. The stories of the
ancient past may be traced to the Mahabharafl, the Ra,nayan2, and the Puranas 3 • The tales
of Rajput women are historical4 as well as common. Tales from the Panchtantra5 and
Hitopades!zn are included side by side with a few selected from the Persian books like Bagho
Bahar and C ,1ahar Darvesh1 , wbich wer-! studied in indigenous schools till the advent of
the English in 18748 • Popular tales9 and immortal romances10 of the Panjab also find
their place in this encyclopaedic collection. The largest share is, however, contributed by
the Pathan and Mogbul times when crime and 1nurder were not uncommon11 • Anandpur
had then a flourishing neighbourhood; humanity lived and sinnedl'.l here as elsewhere
on this side of the border, or beyond13 it.
Those were not tbe days of the printing press. Books on religion and text books for
schools and CJlJeges and classics were, no doubt, written by band and sold at book-shops
but they were neither cheap nor easi.ly available. Story books could not, therefore, be written
or sold in those days. Most of the stories other than tbose found in classics or history
books have come down the ages through oral tradition, told by the fireside or under the
village pipal trees. Even now-a-days, true stories come to ears floating on the wings of
rumours. Sex scandals w~re, no doubt, whispered from ear to ear, but the news of crimes
and murders committed under impulse, travelled from village to village and were added to
the ever-increasing stock of folk-lore. It was from tb.is inexhaustible fund of folk-lore that
Guru Gobind Singh drew his compilation.
l t appears that the frame work is based upon the coo.temporary incidents,anecdotes or
scandals which might be floating about in the folk-lore. It is, therefore, presumed that in the
main the author bases nimself upon the life and sentiments of his own days, coloured, it may
be, by the loosening of moral and social ties, during the Muslim rule in which traffic in
women, abduction, elopement, kidnapping and sale of boys and girls were common. It
may yet prove another truth that the higher and lower classes like full-blooded individuals
have always rebelled against the middle class morality. The mysteries of harem life and
the scandals that the slaves whispered about persons like Manucci, collected and
treasured, might have exercised some influence on the commoners and affected their morality
adversely.
Had these stories been composed in prose instead of in verse, the importance
of the Pakhya.n Charitra in the development of fiction would have been very great, like
1. P. Ch., 12, 320. 2. P. Cb., 102, 152. 3. P . Ch., 108,114, 115, 120, 1211, 1-il, etc. <I,, P. Cb., 89, 95, 99.
5. P Ch., 128, 144, 161. 6. P. Ch., 78, 280, 3l3, 368- 7. P. Ch,, 66, :!01, 3:i3
8. Jndigenous Education in the Panjab-Dr. R. L . .Ahuja
9_ p_ Ob., 32, 40, 6S, 70,72, 86, 89,93, 913-99, 101, 103, 106, I 08-9, 12\l-3 ,, 151, 171, 176, 183, 186-201, 219, 346.
10. P. Ch. 101, 109, 129. 11. P. Ch. 19, 46, 82, 105, 185, 189,195, 196, ~07, 222, 2.l6, 278,297, 332, otc.
12. P Ch, 16, 21, 71, a,oetc. 13. P. Ch., -i9, 5'1, 95, 280, 3!ll, 345 etc.

152 THE POETRY OF THE D~SAM GRANTH
that of the tales of the Italian Novelieri 1 in the development of drama a nd the novel in
English told dramatically by Baccaccio. But according to the fashion of the tin1es all great
compositions were rendered in verse. Here ,vas a great opportunity missed.
The last quatrain of tbe tale No.405 of the book gives us the date of its composition
as Bhadon Sudi Ashta,ni, the Sunday, 17f>3, Bikra,n, which 1nay fall on some day of
September, 1692 A.D.2 The autho r of the book of romance, it appears, used to con1pose his
verses on tbe banks of the Satdrav (Sathrj). It ,vas the habit of Guru Gobind Singh to devote
son1e hours of his busy day to literary pursuits and poetic composition. This reference
seen1s to support tl1e tradition which receives mention elsewhere also.
An Analysis of the Tales
The first tale1 like the last, is a legendary Puranic account of th e exploits of Shakti,
Bhag\vati or Kali in a war waged against demons who had jnvaded the kingdom of Indra
and expelled him from it. She came to his rescue, killed the demon warriors like Sumbh
and N isumbh and reinstaJled Indra on his throne ju heaven.
In the last tale the battle between Sat Sindhu, a kiug who flourished before the
advent of Satyayuga, and a demon, Deergb. Darb (Long-toothed), spread into a world war
which shook both heaven and earth. Even Shakti, who sprang jnto existence like goddess
Athene of Greek mythology, \Vlth all the fury exhibited io the clash of arms, could not put
an end to it until she invoked the Timeless (Akal Purakh) for His help, and thus fo rtified
she made a huge slaughter of several demons and put others to rout. In this tale the
Timeless (Akal Purakh)Himself turns the tides of war; otherwise all seemed to have been lost.
Both these compositions, the former in 48 and the latter in 375 stanzas, like the
Chandi Charitra and the Cha.ndi Di Var (in Pa njabi), centre round the legendary person of
Bhagwati, Chandi or Shaktj, the Amazonian l1eroine of the mythi0t1l age when tbe gods and
demons were often at war.
There are some heroic tales of v;1arrior women like 1"ilotama who killed Sund and
Apsund; like Draupadi3 who not only protected Arjuna in a battle but drove away
his enemies•; like Parbati who burnt alive Bhamasur, a demonr.; like Lacbhmi •tVbo put an ,
end to the life of· Jambhasur, another demoo 6 ; and others7 • A brave womans stood her
ground even while her cowardly husband took to his heels : she captured the enemy and
brought him to her man; and so on.
The tale of Padmini is jmmortal for its Rajput valourt>. There were other Rajput
brave women too, who, when a challenge was given, stood by their men and saved their
honour against the evil designs of kings like Aurangzeb10• At the death of the male
•
members of their family, a young woman and her mother-in-law committed suicide by
l. Storia De Mogur
2 . P. Ch., J0.5 (405) 3. P. Ch., 116, 4. P. Ch. 137. 5. P. Ch., J il G. P. Ch .• l fi~ 7. P . Ch., 128, 161
8 P. Cb., 96 - Thero is atill attother story of a maid of honour who iwved Jclmngir's llfo from a tiger's altack 4g
9. P. Oh., 199. 10. P. Oh., 1115

153
BRIEF CRITICAL S1UDY OF WORKS lN THE DASAM GRANTH
1
stabbing themselves, in order to avoid falling into the hands of the murderers , Seduced
into the hands of a Muslim through the machinations of an old neighbour, a non-muslim
woman set his house on fire and escaped to her house in the dark 2 • Still another sco rned
to be a 1nistress in the royal Moghlll harem and preferred to remain contented with her
commoner husband 3 •
There is another group of tales, the chief characters o[ \Vhich are given to committing
crime. One cheated a Pathan of his 1noney1 ; a nother picked a person's pocket in the fort of
Jebangir5 ; a third d efrauded Shabjehan of some wealth"; a fourth stole t,vo horses of king
Shershah7 ; a fifth hoodwinked Zain Khan 8 , a general of Akbar; a sixth a nd a seventh are
believed to have administered shoe-beatings to kings9 ~ These might probably be golis,
ma.id servants or maids of honour who at tim!s ~ot the upper h and ov~r their drunken
masters. Golis seem to h ave been unfailing accomplices in sexual crimes or domestic
infidelities or in estrangements10 • There are also tales of temples used as meeting places
by sexy lovers" and of young girls concealing their illegitimate pregnancy•'.
In most of the tales, however, the themes are love, sex debauchery, violence, crime
or poison. They are extremely racy aod frankly liceotious. In the sex ual intrigues worn.en are
often the seducers11• They smuggle in their lovers at odd hours and whea taken unawares,
12
extricate themselves successfully by using their wits or wi~es in a hundred and one ways , When
this is not possible,they elope with them in the guise of a manor a mendicant or in burka or
on a pilgrimage. Sometimes13 a woman engaged her lover as a physician, servant, gardener,
priest, astrologer or teacher and hood-winked her husband14 • In the last case she
kept her weak husband blind-folded as if suffering from so me disease and engaged
her lover as his physician. In another she introduced her roan as a yogi of Machhindra Nath
c ult and made her husband feed and \iVOrship him as a n act of merit {275 ). Driven to
extremes when crossed, she would murder her parents, her brother or sister, co-wife or her
16
husband15 , sometimes even the lover himself, if he happened to betray her by his coward1ce •
A desperate wo1nan bnrnt to death her son, her l1usband, and then lier lover and lastly
herself11• Such stories m ay not be a pleasant reading, but they do imply lessons of
warning to the reader against feminine wi\es. Most of them belong to the upper classes
among whom the women lead, for the most part, an easy and idle life, and a few
b,ing ill-matched or oversexed take to sex intrigues to break th e monotony of their dull
life. The royal harems appear to be the hot-bed of such intrigues \Vhich spring from sexual
18
rivalries and jealousies •
Sex intrigues \.Vere encouraged by the custom of Parda and religion. There a re two
tales in which two women persuaded their husbands to give them away in charity to holy
- 1.-p_ -Ch.,
-122 -- 2. P - 191- -3. P.--
. ('h.,- Ch,, -
2ll7- ¼. P., l'b. l05 6. P .. CJ1. 111 6. P. Oh., 180 7. P. Ch. :'.!46
s. P. Ch., 207 9. P. Ch.. 222, 402 10. P. Ob. *P. Cb., 88,124, 46,260,283,362 etc. **P. Ch. 15, 57, 92. U, 48, 95, '.!69.
1
11.r.Ch., 3, 14,300 12.P.Cli.,S. 18, 24,, ,iZ, no, 200, 364-, 365-a77. 13. P, Ch. 283, :H2, 331,aaz, 337,351,360, 3626,
14. P. Ch., 217, 2r,o, 278-9, 290-2. 15. r. Ch., '.!77, i80-8'.!, 287, 37'.!, 37!l, 380, 384, 397, 401.
16. P. Ch., 201, 273, 30, 301, (•10) 1267, 17. P. Ch., 126. 18.P. Ch., 2:10, 48, 58, 63-1, 77, 81-2, 8.i-6,92,97,102,131,- 6,
_ , 146, 148, 150- 1, 157, 159,150, 16.5, 167-8, 170, 185, 189-20, 102. 19-1-5, 200-1, 203, 206-12, H·, 1'7, 18, :J2,
143 4
2
o, 3o-6, 38, 41. ~. -i7, 57, 02- 63, 66. 71, 78, il3, 96, 97, 314 36, 56, 78, 88, 89, 17, o:t -

154 THE POETRY Of THE DASAl\.1 GRt\NTH
persons for their doing them menial service but tl1ese holy persons were their lovers in
disguise1. It must be a strange custom that is believed to have prevailed in those days.
There is a strange comn1entary on untouchability in two tales, in one of which a
murderess of her husband elopes with a chandal and in another she is given away to a
chandalt. In another tale we are made to believe tha t a young woman murdered her
parents and then pretended to have undergone a change of sex through a miracle
,vrought by God Shiva. Then she married her lover who was offered publicly as a female
match for bim3 • A question arises whether people believed in change of sex even in
those days.
But all the tales are not about women's \Viles. There are a dozen tales in which
women play no part. There are still others which relate men's wiles against women who
are the victims of man's high-handedness•.
There are yet other tales which are still popular in the Panjab as verse romances,
e.g., Heer Ranjah, Sohani Mahival, Mirza Sahiban, the Egyptian story of Yusuf Zuleikban,
the ancient story of Draupadi. While the compiler praises the ideal of love embodied in
some of these, he makes caustic comments on the sincerity and depth of sentiment in others.
To these he bas added tales believed to be connected with Alexander, Akbar
Shah Jehan and Aurangzeb wruch strip them of their royal pomp and seem to expose the
dog beneath the skin.
Oman bas particularly selected five tales5 four of which relate to Rajas and Ranis, to
show, among other thing,;, th.at some of the sadlzus were experts in amatory intrigues with
Ranis. That is why lovers meet their beloveds in disguise as sadhus as it happens in
the tale of Heer and Raojah. The faith in sadhuis,n is so deep that even a Raja is, like a
layman, easily hoodwinked by one who visits him in disguise as a sad/zu.
There are two tales which relate to Portuguese courts and there are two about
English men interfering in Indian States8 •
Strangely enough at the end of the last tale, there is a prayer to God, known as
Benti Olzaupai (prayer in Chaupais) in twenty six stanzas1 , which is highly philosophic
and completely detached from the topic of the Pakhyan Charitra. The vocabulary,
style and thought are similiar to those of the Guru' s devotional and other works. This
prayer has become a part of the daily recitation of the Sikhs.
It is suggested that there is some practical wisdom in these tales. They appear to
ilJustrate perversities of love and sex, which may be traced to the frailty of some and
intrigues of others. The unwary are worried against the inscrutable ways of women:
The ways of these won1eo are inscrutable.
Even the Creator cannot comprehend them 8 •
All a uspicious signs of good looks adorn thy boc.y, a nd they tre1n ulous eyes shlne in all their
lustre.
l. P. Ch., 34:J , 31i7. 2. P . Cb., 345, 308. 3. P. Ch., 350 , . P . Cb., 56, 75, 85, ! OS
u. M. A. S. l. 8fi, 197 6. P. Ch., 133, 269, 308, 332. 7. P. Ch., t 05 (376-401) S. P. Ch., 333 (12)
Djgftjzed by Panjab Ojgjtal Ljbrary / www.panjabdjgilib.org

f\nd they captivate the hearts of birds, beasts, demigods, snakes. demons gods and men alike.
( Mighty sages) like Shjva, Sanak and others remain spell bound on looking into thy eyes
And yet the wonder is that they do not pierce our hearts1 •
No body can divine the character of won1en, ficklemioded as they are :
He alone can see through their character traits wbom God succours2 •
No body can read the cnaracter of women,
Not Vishnu, Shiva and the six.faced Kartikeya etc..
Not even Brahma, the very Creator of the universe who created them3 •
There is no end to the fancies of these women.
Even the Creator bas repented for having created them so beautifully 4,
After all. no body bas understood the mind of women.
Even the Creator after having created them repented.
Even he who has created the whole U oiverse accepted defeat
After he had pro bed into the secrets of women 6•
The writer warns people against the bewitching beauty of women :
Her dark eyes shine like the eyes of a deer, the tresses of her hair a pp ear as if they were a noose.
He alone knows, round whose neck this noose is fluog: without inner knowledge how should
one be able to koow what is what 0•
The poet advises people to beware of the snares of: womanly love,
How-so-ever Cupid may enkindle his flan1es. wise men will endure countless afflictions,
But will not make the slightest love with young womeo even in such trying circumstances1.
Howsoever physical passions may ,vax and whatever trials and tribulations there may be,
One should never make love with young women even in a fit of abseot-mindedness8,
If a shrewd man lavishes his love on women io tbis world, ko.ow him, for certain, to be the
silliest ass in his heart of bearts 9•
The poet forbids sexual license with another's wife and exborts husbands to maintain
conjugal fidelity :
Ever since we began our concious lire, our Guru has given us the word :
My boy ! stick to this resolve so loog as life lasts io your body.
Let your love for your old wife grow witb tbc passage ol' time.
10
But do not enter tbe bed of another's wife even in a dream •
He enumerates Lbe consequences of liberty with another's wife:
For enjoying another's wife, Indra was dis.figured witb a thousand bhagas.
For enjoying a.oother's wife, the moon was besmeared v.ilb a dark spot.
For securing another 's wife, the ten-headeu de1non Ra van, was decapitated and again.
For securing another's wife the Kaurvas had the ir hord es deslroye<l11•
Loving anotber 1 s wife should be regarded as a sharp edged knife,
The enjoyment of another's wife sho uld be treated as a surrender of the body to the Death-God.
Those who enjoy an other 's wife in tbejr excessive fancied love for her
Die Lhe death of a d og at last and tbe same they receive &t the bands of a coward 111,
If a passion-stricken woman conJes to a m an
f\nd if be enjoys her, be goes to bell.
lie who fouls another's bed an d enj oys an o ther's wife
13
Falls headlong into tile abyss of sin •
2. P . Ch., 193 (7) :l . P. Ch., 337 {12} 4- . P. Ch., 322 (2.3) u. P. Ch, 31~ (13)
1. l-'. Cb., 21 (44)
6. P . CL., 336 ( 5) 7. P. Ch-, 17 (27) S. P . Cli., 18 {120 9. P. C'h .. 20 (12) 10. r . Cb., 21:51)
12. l'. Cll.,21 (53) 13, P. Gh,, !H4 (20
11. P. Uh., 21 (52) l

166 , THE POETRY. OF THE DASA1'1 GRANTH
Why shoulJ a m10 not get pu.nisbej immediately, if he leavos bis own home and resorts to
another 's for dissipations.
One who courts another·s wife is sute to be beaten with shoes here on earth aou to fall into
hell her ea fter1 •
A dissolute woman cannot escape punishn1ent :
The woman who rdeserts her husband and takes to aaother
•
Is sure to be punished forthwith for evj) actioni.
He suggests that effacement is the maximum punishm.ent to a woman:
To servants and to women there is only one grave punishment :
They should not be killed but be forgoL ten altogetb.er 3•
The poet feels lhal the husband is the very life-breath of a woman,
The eas1est "' ay to kill a fisb or a wotnan
ls to separ.1te the one from water and tbe other from her lover'.
Friend! I have heard to•day that the dear one would set out on a journey at day•break
And now a quarrel has st;.rted in my heart as to IYhicll will break first, the heart or the day6 .
He depreciates love with a slave girl and ,varns against its evil consequences :
He who takes a fancy for a slave girl repents to lhe last and dies the death of a dog in the Jong rune
All people depreciate and shame him who courts the love of a slave g.irl?.
The writer advises people not to disclose secrets even to their own wives:
Whatsoever calamities befall a shrewed man , be will endure faci ng countless tribulations
But in.spite of all this he ;vill not disclose bis secrets to womeo 8 •
Do not djsclose your secrets to a wo1nan. On the other hand try to get at her secrets.
This is the advice of Smri11s and the Vedas and even Kokshastra has reiterated che same advi cc.9
The poet depicts the climax of a ,voman's chaste love. He brings home to us the
tabilty of the love of a Padmini (one of the four kinds of women).
Lions , snakes, flu ids and Padmiois have this ia their nature,
The greater the suffering lhey undergo, the more they will run ahead (and not go back) 10•
Thus, the chief 1nent of these tales is moral suggestiveness. While indirectly they
instruct men in good moral behaviour, they ,Narn the nn\.vary against womenly enticements.
The tale~, also, reveal the intellec:.tual level and ethical ideals of the society in general and
wornen and sadhus in particular. \Vo1nen are shown capable of doing anything, good
or bad, within human endeavour and this is no less true of the sacllius, true and false.
The cl1arm of thc::se Lales ,vould be fully appreciated only by going through the text.
With a view to enabling a reader to have a glimpse of their charm, a translation of a few
tales is given below.They are not to be taken as representatives one's.
Fighting Ascetic Parties Pacified
There was a sanyasi called Chaur-bhara.t. t-:!is second name was Randigir which means
tbe dissolute one. There: was also a bairagi of tbe name of Balak Ram.
They became cnv1ot1~ of each olber. One day they fell out. They began to strike each
other wllh Lllt:ir CLtdgt:ls. Tbere ntcklaces broke a~uoder. Their matted hair was dishevelled.
A number of tbe, r earthen begging bowls broke.
I. P. l :h., 1S5 (11} 2. l'. Ch., 97 (73) 3.P.Ch., 33(41). .t. P.C.:L. 10S t.J.!J) 5. P.C:h., 01 1:!l)
. P.Cb .. I ~'.! (G) 7. l' Ch ., l!l:!(4) S. P. Ci;., 10 (13) O. P.Ch,, 13 {JO). l O. P.l:b., 2~7
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BR{EF CRTTCCAL STUDY OF WORKS IN THE D.ASAtvf GRANTH 157
Their caps fell away as cha.nee would have it. fbeir matted hair c-0vered them in a heap.
They were dealing blows with theLr legs and fists as if ringing bells were falling down.
All trembled. Cudgels were in action. Slippers aod shoes were used freely. 1\11 were
wounded in the face. No one remained whole.
The necklaces from the oe~ks broke in their scores. Cudgels struck the beads and the
matted hair fell in a heap. Some h,1d the scratches of finger-nails on them. They looked as if
the crescent moon was mounting an elephant.
Maoy became round-heads because of the falling of the hair. Many were done to
death and a great many took to their heels, Some were biting with their teeth. Such a battle
was never fought before.
There was such an indiscriminate shoe-beating that no body's bead was spared. No
necklace was to be seen on aoy body's neck. Tbeu Balak Ram took the shoe.
He struck a sanyasi's head with it. Theu he tbrew it at the face of another; blood
began to Gow when the face was wouoded and it looked as if drains were over-flowing with
water in the month of Sawan.
Theo all tbe sa11yasis rushed to the scene Tbey came with shoes in their bands. Chaur-
bbarat Raodigir ran and bis disciples came with burning wood.
They surrounded Balak Ram aod made him mad with shoe-beatings. He reeled and
fell to the ground as if a minaret bad been struck with lightning and crashed,
AU the round-heads were in anger. Not even one of them ran away. They ran down
staves and sticks on Cbaurbharat.
The sanyasis got angry. They rushed and administered blows with their staves. Kicks
and fists and shoes were all in action. The round-beads got the sack and fell prostrate.
Then the roundheads were inflan1ed aod they took up tbeir staves, battle-axes and sticks
and battered their adversaries. 'fbey slashed the limbs of the sanyasis, bit them, dashed
them to tbe ground and abused them by a dozen names.
Then the sanyasis rushed at them and biL them. They broke their necklaces and threw
them away. They pulled them, caughl their legs and dashed them to the ground. They aimed
their staves with both bands in full force and struck them,
The roundheads weot to Tambra Kala and complained to her that they were
oppressed by tbe sanyasis. /\fcer the queen had beard their tale, she summoned the followers
of Dattatriya i.e., the sanyalis.
Da.ttatriya aod the bairagis, those o[ Rama Nand.
The san 'l)as1s were \he followt rs of
-
The queen urgt>d them to act, a~
tbeir gurus wanted them to act. She asked
them to obey her.

Theo she said,"Pass a night at my place. lf your gurus tell )'OU to figbt, you might do
hke-wise. Otherwise you should pot harbour ill-will against eacb other ...
Theo she lodged them separately io ber house, conveyed to them tbe messages of their
gilrus at the dead of night, and told both the p,irties to act according to the wishes of their
gurus as conveyed tbro1,Jgh ber. She asked them not lo get into temper and fight again.
Thus the clever woman through a clever trick hypnotised tbem. Both the parties
fallowed th: advice of their guru and a ever quarrelled thereafter*.
This is a typical tale. Its special feature is the depiction of a fight between two
ascetic groups. The ascetics, accordiug to convention, are forbidden to us~ arms in
- - - - - - ------
•This ia ·a literal tr11nslati.on of the tale,

158
THE POETRY OF THE DASAi\'1 GRANTH
a fight. They. however. fight \Vith each other by blows. sn1acks, shoes, sticks, kicks,.
pu11ing out hair ( jartas ), throwing bo,vls etc. 'rhis is a tale full of ironical humour.
2. The Horned Rishi 1 •
There was once a saclhu, named Shnnghi Rikb (having horns). H0 lived in a dense
forest, worshipping God and knowing notb111g of the hf¢ of towns and villages or of the
ways of men. In this n1anner Lhe solitary hermit pcissed many years, till at length a dire
famine visited the land. Wheu this calamity came, tbe k1og naturally asked his vazir (prime
minister) what was to be done to alleviate the suITerings of his people, and that high
officer prudently advised biu1 that tbe Brahmans should be f ormaUy consu lted with a view to
adopting some suitable course of action.
They were accordingly senl for by tbe king, and requested to say bow the famine was
lo be stayed, and how the much needed rain was to be obtained to fertilise tbe thirsty fields.
The wise Brahmans, having considered the matter, replied that the facnioe was not
a jodg1nent from Heaven due to any sins committed by the kiag and that the earth
would certainly be blessed w[lh rain if the 'horned rishi' who dwelt in the forest, could by
any means be induced to take up his abode in tbe city,for, so was it written in the holy
shastras.
The Rajah, losing no time, sent messengers to induce the ascetic to come to his capital.
The horned saint heeded them not ; so the sovereign wen t in person to the anchorite,.
but even he could not prevail upon Shriaghi Rikb to leave bis forest-home and the penance
in which he was engaged.
In this crisis, a harlot, gaudily dressed and with her lips reddened with the pan
she was eating, presented herself before lhe Rajah and said to him jauntily-
"O King, I will bring Sbriogbi Rikh to you, on oonditioa that when I do so, you will
give me one half of your kingdoro. If you agree ro tbis, I shl:lll make the saint shave his matted
locks and put on a turban, and, having quite subdued birn, l shall lead b1m into your majesty's
presence.,. She added con6dently, ·'W1tb my beauly I can do anything I like."
The worthy Rajah, acting for the beoefit of bjs liege, accepted these extravagant conditions,
and the fair wanton went off to tbe jungles where the sadhus lived. Taking with her a party
of beautiful women arrayed in fioery and dressed to perfectioo, she prepared a habi tation for
herself in the woods, and on tbe trees arouod ber temporary abode, she hung ludnos~ aod
other delicacies, aad, when all her arrangements were complete, commenced singing to tbe
accompaniment of dulcet musical iastrumeots.
The rishi, seeing these unaccustomed sjgbts, and bearing sweet sounds, the like of
which had never before reached bis ears, became astonished, and in his perplexity can-e to
the conclusion that they must be due to visitants from another world. Feeling buogry, be
ventured to pluck some of the novel fruit (ludoos) he discovered on tbe trees nearby.
He found them deliciously sweet aod quite to his taste, and, w0ndering bow such ''fruit"
bad appeared there, attributed them to god Indra.
"Perhaps," solHoquised the sadhu, "the god ha-, been graciously pleased with my
austerities and has come down in person to witness them."
While he was thus reflecliog, he noticed a won11:1n beautifully dressed and decked with costly
jeweJlery standing a little way off. So lovely \Vas sbe that the mere ..,;ght of her removed
L Transla:tion of this a.nd the following four tales has been Lbken, wtlh a f,,w
- - - -
n1ouificS:tions, from Jhe l\{rstirs, A.i-ce!ics and
the Saints oflfldia, b~ J. C. Oroao.
:?, A JudtJO ia a we1!-kno\ln aweetmao.t of India.

BRLEF CRITlCAL STUDY OF WORKS I~ THE DASAM GRANTH 159
all his cares He wondereJ who she could p)S:>ibly be, and asked himself, "From what
distant world is this enchanting vi::dtant?"'
Suspending his austerities, be approached tbe woman, and, filled with wonder, sat down
near ber ; then becoming bolder went up to her, and, bowing low, said--
"Tell me, who art thou'? Art thou the co nsort of Sbiv-ji or of Vishnu ?"
She said, "1 am not a goddess, but the wife of Oodaluk rishi, Hearing of you-for
your fame has spread far and wide--I have come to make you my husband."
Having thus S?okeo, she lavished flaneries upon him, and in a short time, by exercising
her seductive charms upon the recluse, subdued bim to her purpose, and before long
brought him away, a willing captive, to the nearest village. When she conducted Sbringhi
Rikb. into the Rajah's domains, rain began to fall, as the Brahmans had predicted, and the
hearts of the people rejoiced greatly.
Tbe risbi was then married to one of the Rajah's daughters, and continued to live in
his fatber-io-law 's territories, \\<hlcb ror a long time derived the greatest benefit and good
for tune from bis presence. However, it so happened tbst eventually bis residence in the
laud caused an excess of rain, and it was thought desirable to lure him back to bis old mode
of life. So the services of the courtesan were once again requisitioned, and she successfully
persuaded the sadhu to return to bis fo rmer woodland haunts, wher e be resumed bis
1oo g•io terrupted a usterities1 •
A Hindu's faith in the occult powers of sodhus is well known. There is, therefore,
nothing surprising in this tale of a sail/tu enticed to bring rain to the drought-stricken land.
The Lost Son Restored
There was at one time a very great Rajah named Sukret Singb. His Rani's name was
Je\\•ankala. To them a son was born ; but for some reason or other the infant was not
satisfactory to his unnatural n1other, so she quietly flung the baby into the sea, and informed
ber husband Lbat a tiger bad carried him off. The Rajah, believing his wife's story,
comforted her , saying, " Pa1meshwar (rbe Alinighty) will give you 1nore sons.'' Twenty-five
years pas~ed after tbis event, and yet the Rani was not blessed with another child.
One day about this period-that is, twenty-five years after disappearance of her iofant-the
Rani sa"' a very bandso1ne young man, and, her heart becoming captive to bis beauty, she
sent a birhauliya (a female go-be1ween) to invite him to a cla□ destine interview . He came
at the Rani's request, and gratified her wicked desires. With the cunning of a serpent
she confided to her new lover the true story of her baby's disappearance, and bow she had
falsely stated that be had been ca riied off by a tiger.
--- ---- - -
l . ·'vYith the progress of the Fenson the urea of crop failure in [ndia is becoming narro\vcd a.nu uefinticl. Nort-hern .Boml.n,y,
. St • C t l l d'n .. d R,tlJ·iiutan,1 wtLh adJ"oinin~ por~iona of the Pu.njo.b._ n.ce ill\ olverl, though it
some of the- n atwe ,o,i;es in eo ,ra 11 tu ,. 0 , .
is sliill ,Joubtful whet.norths losR of both 1.iiuve~tl:! will be "omplcta otror very 1:o~sitl.lJ'•Llilo tracrs. •rhurc are sufficient food
~ k , J t d · ·n,. riC"'" will 880,iro econo1nv in their con<1umpt1on. R13l1ef mea~uros arf\ rea.d,v. 0110 feudatorv
s,,oc ,; in t 1e er un ry, an 1•1i-1 .. P ~- • .
, d. d cl · d t- tbe British Governn1ent antl thereb,, secured a. special 111,infull all to 1tse1J whde
:::ita.te 1soovere a. resource erue r, • • . ..
. . • • d d l' s~ .· 01ceo A wanuu.ring JJro,hwan of peculiar sancuty "'es follo1Vt1tl l.:>y crewels who
t1urro,1nd1og thslricts romame roug 1•- 11 · . • r •
. •tt b t .1 Lo fi"ply his ouculh power,; t.o tbe re,lief nf their parobecl l1elds. "01·n ou~ by U1e1r
gave
.
lum . no .
peat,(: 11 B ooasen t 1 e" c-
t saL Jown . . •
nnd yowed h1:1 would not ri•e till tblJ \H1.Let flowed O\•er l11s foe~. ht hvo houl's Lue
1mportun1ttes, the hoy 1 mans as · ,._ .
• t • dnd twelve hom-s later the Bra.bmao was unkle-tleep. Ihe s1tuo.t1on WILS save1l-and 1,be
bl'a.zen sk:v was overcast.. rain se 1n,,..
•. t, l ·. th ort semi•officially furmsheu l,y the Stu Le Lo the Political Officer."
mnn. Tlns, a 1eas •, 1.6 e rov . . _,tb. October. ll:i91l.
t-ntur<lny Renew,

160 THE POETRY OF T HE D/\SAM GR/\NTB
"Now'' said the Rani lo her paramour, "I want you to uoderstaod tbat you were
carried away by a j ogi in the forn1 of a tiger, that, instead of destroying you, the sadhu
reared you, and that, ko owiog you to be a king's son, be had disclosed to you these
important fact s of )'Our history befo re i Oing a way on a j ourney lo a very di stant land."
The Rani thus taught 1be young man, aod he agreed to act in accordance with her
wishes.
A day or two afterwards the Rani said to her husband, ''I have a stra nge but very important
news for you. Our baby son, who was carried away by a tiger, was really taken by a
jogi in the form of a tiger, but be did not devour our child. His chelas brought him other
children for bis feasts, and be spared ours becau se he was a king' s son. I have myself
seen and recognised our losL child. "
The Rajah, listeniog to these•wonderful assertions, with astooisbmeot said-
''Send for him and Jet me know the story from bis own lips."
Thereupon the young man wai- summoned to the palace and questioned.
"What really happened," said he, "bow can I possibly know ?-but what the .iogi
told me, that will I truthfully rela!e. i, And be proceeded to re-peat what the Rani bad taught
him. Sbe, acting her part well, appeared to be overcome with emotion at the youogman's
statemeots, wept false tears copiously, and in the very prest"nce of the Rajah, making her lover
the son, embraced him affectionately, and, lamenting their long separation, kissed him on the
lips again and again. She had a bed 1nade for hirn in her own room, saying as if she could
not bear her lost darling out of her sight even for a few minutes. During the eight watches
of the day aod night she guarded him from further danger and enjoyed herself right well.
A "Kind Hearted" Lady.
In the city of Sirband there lived a jogi named Swarganatb and also a woman named
Shri Chbab Man Mati, who fell desperately io love with him.
One day the jogi was io her house wheo it was made known to her that her husband
was on the point of returning borne-in fact, was qujce close at hand.
Graspiog the decidedly serious situat1on, she thus hai.tily addressed ber Jover-
"Take up your sword at once and shout ungnly, 'The tbLef who bas robbed me, has
entered here. You have concealed him; drive him away; 1 wlil certainly kill him'!"
At the same time she actually bid upon the premises the jogi's chela, a fellow who used
to come with his master as bis bodyguard and bad been appoin1ed to the post of door-keeper
and sentinel during bis guru's surreptitious visit to tbe frail, fair lady.
While matters were being tbus hastily arranged, tbe husband arrived home. The jop,i
with mucb stimulated wrath, repeated the words be bad been taught, but after a short
yet furious bow] of rage be went away, brandishing bis sword in a menacing fashion.
••Dear husb:i.nd", said the lady, explaining tb.c situation to her bewildered lord, "that
jogi was buroing with anger owing to some mistake made by bis chela. He was going to
kill him, and would have d one so but for 1he asylum 1 have afforded him. I permitted 1he
poor fellow to bide himself in our house, and tbus avoided the consequences of his Guru's
wrath. Now let us reledse lum. He is bid den in the corner, " poiuting to the place of
concealment.
Tbe husband was very pleased with the thoughtful kindness displayed by bis charming
wife. So the man who had been co ncealed in the house .was quietl y hurried ouL of tbe premises,
and went away joyfully to rejoin bis worthy guru - Lhe a moro us jogi, very gratified, iodeed,
t.bal matters had io the end turned out so salisfaolorily for bin1self.

BRIEF CRITICAL STUDY OF WORKS IN THE DASAM GRAN fH 161
The Father Duped

_ There was a Rajah named Nilk'ilte of Popcewutee city. Mangubechater, his wife, was
bk.e ao incarnation of the goddess of love, and their daughter, named Sri /\lgunjamu ttee, so
beautiful that it might be said of her that she excelled tb.e moon io brilliancy and appeared
to have been fashioned by the band of Brahma bi mse lF. There was a neighbouring Rajah,
Srimaotilk by name, too handsome to be described. So incom parable, indeed, was be that
the Sun, seeing bi s perfectio n, became ashamed or himse lf. Once Sri Alguojamutee went
to a garden to whUe away her time with other girls of her age. There she happened to see
Rajah Srimantilk and became ena moured of him. She was so much affected by this sudden
passion that whea. she wea.t home, she was like a gambler who had lost all be ever possessed.
By a sigoal from her eyes she sum mooed to ber side one of her young and trusted co mpanions,
and, glvia.g her gold and jewels , entreated her 10 bring about a union between herself and
the young Rajah wbo bad so completely captured her susceptible heart.
"If I do not get him". said the love-sick princess, ·•[ shall turn a yogini, and, flinging
away all my jewels and finery, fly to the lovely forests ; or, taking a beggar's gourd in my band,
I shall wander about the world, hving upon the alms of the charitable. I want him to be
the very apple of my eye, and failing tha t, I sha ll kill myself. Alas! Why have I lived so long.
to suffer all this torture , all this burning pain ?"
When the girl-companion saw her distress, she came close up to her and, laughing, said
in her ear-
"Don't fret ; I'll send some clever womao to him."
These simple words seemed very sweet to the love-lorn princess in her great trouble.
In accordance with her promise, the girl-friend sent a clever bichauliya to Rajah Srimaotilk._
the princess herself merely saying-
"Do what is necessary, but save my life."
The bichauliya followed the Rajah, who was out hunting, She dressed herself in costly-
garments, and decked herself with jewels of rare beauty and value. Wben the Rajah
saw such a lovely creature, a being like a real peri, in the mid st of the jungle, be was.
astonished.
·'Is this a respleolleot creature of the race of the devatas, gandharbas, daityas or nagas,
or is she really human 7 Let me inquire why she has come here . Is she not lovely 7"
Thinking thus, the Rajah approached her, a nd, viewing her beauty at close quarters~
fell in love with her at once.
The bichauliya, on her p!lrl, banded him a pearl necklace and a letter from her mistress
and while doing so, said -
"You sir, I can see, h ave falleo. in love with my beauly; but sbe who has written this, is
a thousand times lovelier than J. Come with roe and feas t your eyes."
'·Tbe Rajah, enticed by this glowing: descriplion of the charms of tbe princess , agreed
to accompany her faithful messenger. H e forgot all about bis own affairs, and, filled with
the idea of the lovely princess, put the handsome bicliauliya into his chariot and drove
where she bade him go. The way was long, but at last they arrived near the palace of
the JoveMeick princess . The Rajah now disguised himself as a sadhu aod lit his fire within
sight of ber window. Dally, with lhe permission. of ber father, tbe princess used to come and
feed the good sadhu with her own bands. At night, when every one was asleep, she would

162
THE POETllY OF THE DASAM GRANTH
visit him also. Io tbis way the priocess was very happy. No ooe recognised the disguised
Rajah or SU\pected what was going on. One day Sri Alguojamuttee went to her father and
deliberately said lhings, which, she knew, would excite his aoger. She succeeded well eaough,
for th~ King became so eor1ged tbat he ordered his vazir to luro her out of doors into the
ju o,gle. When she beard this royal command, Sri Alguojarnutee pretended to be very unhappy,
and cried bitterly, though secretly rejoicing i o her heart. ' The incensed aod implacable
father's peremptory command, "Take her away at once," was of course obeyed implicitly. and
the princess was conveyed to the f crest, and left there.
But io a very short time her lover came and joined her, and, afcer they had enjoyed
then1selves to their heart's content, be carried her off to his capital.
A Woman's Cunning
J ogsain was the oame of a certaio Rajah and his Raai's oame was Sri Saayaspati. She
had a soa born to her, who, when_ be grew up, was very beautiful. In the city over which
Jogsaio ruled there was a jat woman who fell desperately io love with the young prince, and
though s11e used to see him every day oo one pretext or another, yet she found no
opportunity to sate her desires. To gain her object she disguised herself as a ;ogi and
went to the Rnjah's palaoe, giving out that she was well versed jo janter, manter and tanter
(talismans, spell,; and magic rites). Seiziog a favourable opportunity, the pretended jogi
said to the Rajah's son-
"lf you come with me lo a lonely place, l shall show you some wonders thu will
astonish you."
The prin ce and jogi talked over the proposal ; the prince's curiosity was greatly excited,
and be said-
"I have never been out alone at night, but I will accompany you, since you are a jog,,
if you promise to raise the spirtts of the dead in my presence.''
Tile preceoded jogi agreed to perform this great miracle to please the king's soo,
and tbe two started together on. their strange, uoboly business. When they had penetrated,
side by side, soma little way iota tbe looely jungles, the jogi, turniog suddenly towards the
prince, and ta.king him entirely by :;urpdse, said sharply-
''Now do as I bid you, or I will kill you on this spot."
Tile prince, 1..1uite unprepared for such a c.>atingency, became alarmed and lost his
presence of mind.
The pseudo-jogi thereupon told her wishes without any circumlocution, and her companion
willy•nilly }'ie)ded to her wicked desires.
The depth of woman's cunning is unfathomable! God created her; but Himself repents it.
The foregoing tales speak for tnen,selves. They throw a considerab]e light upon
the conduct of love aff:iirs constantly going on behind the social curtain and depict lively
and true pictures of the perversjties of the won1en's mind.
Metres used in this vast work of 7558 quatrains and couplets, however, are only
sixteen in num bcr, viz., (,'haui?ai-4423 Oohra-1 ~30 4rilla-690 b\vaiva-185 Bhuij·ang-221
Kabitta-:!.5, Sortlra- t6, (hha11d-2i4, ' Chhapprri-5, ,, '
Rual-2, To,nar-6, '
- Ruamat-l, Bhujang'
Prayat-66, Naraj-l,Biiai•-16, 'I'otak:-18. The metre, also varies from adventure to adventure
Digitized by Panjab Digital Library/ www..panjabdigilib.org

BRIEF CRITICAL STUDY OF WORKS IN THE Dt\SAM GRANTH 163
or within a tale itself, in harmony with the 1noven1ent of the plot or the individuality
of the character.
Ooe peculiarity noticed in the use of metres here is that different metrical patterns
are adopted for the narration of these tales. While some tales are regulated by a single
metre, there are others wh1ch have more than one; the maximum variations found
in a tale are eight. An analysis of the metrical patterns governing different tales is given
below as it n1ay make a separate study by itself.
S. No. Pattern Total No. of tales
One-metre tales
1. Chaupai 641
2. Arilla 1~
3. Bhvjang Prayat 13
Two-metre tales
4. Dohra and Chaupaf 146"
5. Dohra and Ari/la 6
6. Chaupai and Ari/la 9G
7. Chaupai and S ,vaiya
8. Chaupai and Sortha 1s
Tbree·metre tales
9. Dohra, Chaupai and Ar·illa 1009
10. Dohra, Chaupai and S1vaiya 310
11. Dohra, Chaupai and Sortha 611
12. Dohra, Chaupai and Chhappai 2n

13. Dohra, Chau.pai and Kabit ta 213
14. Dohra, Chaupai and 'l'otak 111

- -
·•s·i o. Cl, 116, 15:,, 21U, 23,;, 2:37.
1. U5, 187. J\17, ~tJS, 274,
:.!!14. :29U, 300, 3111 ·•o·• ...
, _,,
:L78, ''71♦•
J 1 ·''l
_, l'
-"' t
:?Ill, 293,
30 J, :{0!1, 31) , 3li,, 3Hi, 317, 6. l 'i.J:, :!3S, 303, 300, 312, 378, as:1 -!UO. 4\.14-
0
!.I
319, 3:!J, •.'.J·>,t
:r1
.... t 3''7
J 3;':-.
~....
v ...... ~.:;o. :ll\:i. 35!},

0 , 3"''
lo:. 330. ;,3J, :Mfl. 3-13. 348, 31!1,
361, 30:.!, 303, 3GJ, :!till. 3611.
7
s. :us
lSO, atl7
-
,)
l
37::l, :no, 3~3, 3'-iS, 300, 30l , :-i!Jti, 397, 396, 3!:19 6-! 9. 5, s. !}, 10, ll, 15, 16, 18, 19, 23, 28,
26!1 l 33, 35, -11, ~.
4•, 43, -18
'
03, 110, J 2·1, 138, 139,
286 l 1-13, 114, 145, u,s, 140, l50, 151, 153, 1.J· UO, t·li·
-J , 1~r: d ,
4. 3, 4, 1-l,
:is,
--,
')•> 25, -.
•JO !.!7, 30, 31, 3·•-,
50, 51,
;JJ,
53,
,,,
1--' l5S, 10:l, 16:}, 16!1, 160,
.-
191, 199. , "'01, !!U:!. :101, 2t•5,
173, r;1, ltil, 18:?, 192,
207~ !.'.08, 110, ::na, 21-1,
36, 37,
5,J, 55, 56,
,1,l, 13,
.•-,1 t 58,
u.i,
.jlt,
.J.7.
60, 61'
-19,
6"-, 63, t,tJ, _..,.,_,
218, :?:.n, ')•1 l
-- . -- . --
'H.J. •l•>5 ...,.,6
' 230, •l'> .
_.,1 232, 234 !!41),
67, 68, II!), 70, 71, 72, 7-1, 75, 70, 77, 78, - -.
•) J •1 ~-Hi:li7, 2-19. 26U. •J-1
_,n , 154, ~55, >H;"
... ,)r;.g "60
..,u, ....... _, -J
'j tt, 83, ~4. 8~>, ~6 , ~ 87, 89. no. !lH, JOO, HU. 2HI, .2(14, :.!05, ''69 <)•oI -J "T ~,
_, :!70, ,1~7
•l"l - I • "k8
-· 1 - i i , '- 96,
•H'O 1
lUG, 101>, 107, 112, 113, l 17, 1:.!l, 1•1 ., ...... 126, l'.!7,13--l-. 333. 3:{-J' 3-l:?, 371, 374, 3,5, :no, 3i;u, 3.::2, an,1, au:;,
1:15, l..J:O, 111, 103, Hl7, HIS, I 70, 17 l, 172, 17.S. J79, -102. 100
l8U, 18'1, I 85, lll8. I1:10, 100. Ht!. Hl3, Hit!, HH, 215, 10. ;JIJ -!l.l, 80, liS, 9-!, 110, 18ti, ,!1)3, s
216, 22~, '.'!36,
,.
!!3!), !! 13, -· v, 2:.3,
,, , :.'!U3. ~07, _,_,,
t)i"'"()
273, I I.
"
13, -·,
'''I 6.J., -, la:!,
S'' :JU:! G
~75, :?SO, .:2~:?,28-1, !!87. :.!81), ~!1:?. ~H5, ~HS, 305, !j(J6, 1~. 66, l :rn
31Ji. 30S, :.110, 31 :?, :ti 3, :!l 1, 3"''
33" aa.:;. 337. 3:w, 3-11. :H4, :u5,
I --- -· •
-1, 320, ::131,
3•1'i :J•l('
:!-17. aor., 353,
13.
1-l.
?•J
:!52
-· 182
1
'-·
35•J, 356, 3;;1, 304, 3U6, 370, 377,
3-Hl,
381, 3Fli, 385, :iBi,
3Sll, 393, -)31. 1-W

J64 THE POETRY OF THE DASAM GRANTH
4
15. Do/,.-a, Chaupai and Bh11ja11i!
I
16. Dohra, Chaupai and Bh~iang-Prayat
1
17. Doh,·a, Blu1ja11g and Totak
F our-m.etTe tales
Dohr·a, Chaupai, Ari/la and Sortha 5'
18. 9,
I 9. Dohra, Chaupai, Ari/la and S,vaiya
Dohra, Chaupai, Ari/la and Bhujang 3'
20.
Dohra, Cha upai, Ari/la and Bhujang Prayat 2'
21. 1•
22. Dohra, Chaupai, Ari/la and Chhand
2•
23. Dohra, Chaupa,:, Ari/la and Kabitta
24. Dohra, Chaupai, Ari/la and Totak l''
1u
i5. 1Johra, Chaupai, Ari/la and Bifai Chhand
9"
~v. Dohra, Ciioupai, S,vaira and Kabitta I"
31a
27, Do/1ra, Chaupai, s~l'aiya and Sortha
Dohra, Clraupai, S11•aiya and Bl-n,ja,,g 4"
28.
29. Dolrra, Chaupai, Sorrha and Chhand l"
30. Dohra, Chaupai, Ruarnal and Tamar l'
31. Dohra, S1vaiya, Bhujang and Totak l"
3 t. Dohra, Swaiya, Totak and Sortha l '•
Five-metre tales
33. Dohra, Chaupai, Ari/la, Swaiya and Bln,jang

34. Dohra, Chaupai, Ari/la, S1vaiya and Totak
35. Dohra, Chaupai, Ari/la, S·,uaiya and Sortha
36. Dohr-a. Chaupai, A,-illa, Sortha and Bhujang
37. Dohra, Cha·u11ai, S,vaiya, Kabit/a and Sor-tha
Six-metre tales
38. DoJ,,-a, Chaupai, Arilia, Stvaiya, So,-tha and Kabitla l"
126
39. Dohra, Chaupai, Arilla, S,vaiya, Sor-tha and Bhujang
} :!ll
40. Do/Jra, Chaupai, Arilla, S,vaiya, Bhujang and Kabitla
-l. -]01, ,,_ 116, 123, 126, 320
'l
2. ~85
10:l, 120, 1:.u
'
1 15. 24.
92, l
3. 20 1 16,
6 I 7. l l
4. :!ll, 212, 241, 2{i9
I S, 11 4, l
0.
6-
62. \)8,
152, 176,
129,
186
JOO, 161, 164, 206, 220, 233
'
3 I 0.
_,
., .
17, 137, 147, ! Of, "03' 405
'
,_ '.!97, a:n 20. 116 l
8. 130 '.,
l 2J. 200 l
9.
10. ,oo' ·-
7 '1'>S
l
.•.
''
23.
91, 24+
100
'I
I
11. ::!67 I :!!I. 12
12. JOS l .,.
o· 133
1
103, 111, ~ 20. l 2S
]~. lS
"

BRIEF CRITICAL STUDY OF \VORKS I N TIJE DASArvt GRANTH 166
41. Dohra, Chaupai, Arilla, S1rai1Ja, B/;11ja11g lllld Cl,/1oppai

42. Dohra, Chaupai, Arilla, S1va1ya. Bhz[i[n1g and Naroj
43. Dohra, Chaupai, .11rilf.,, Su,aiya, Kabilla and C/rhand
44. Doh•ra, Chau1)ai, .-1.rilla, Bhujnng, ChhapJJai and Chhand
45. Dohra, Chaupai, S1vaiyu, Bhuja11s:,, Blt1{ja11g Pray:.Jl and S'ortha
46. Dohra, C'haupai, Sortha, Bhuja11g, To111ar and R11a111al
Seven·metre tales
47. Dohra, Cl,aupai, ~4.rilla, Su•rtiya, Chhappai, Bhujang and Chhand
Eight-metre tales
48. Dohra, Chaupai, Arilla, S1vai,yo , Kabirta , Bhi(jang, Bijai and Totak I ..
The large variety of these metrical patterns \¥as evidently intended not for
exhibiting scholarship and versalility but for relieving monotony and introducing charm.
It is in the manner of all great poets of Hindi as well as of Sanskrit literature.
The Pakhyan Charitra is a great volume abounding in sentiments of laughter, eros,
heroism, abomination and many others. Apart from the rich variety of entertainment and
delectation provided by them, the reading of these tales vvould serve to put one on guard
against dissolute and characterless men and women and e!lable him to acquire the knowledge
of ideal love and morality whicll are beneficial to life. Such tales sometimes impart far better
moral lessons and practical wisdom than any dissertations of scholars can possibly do.
Dr. Mohan Singh Diwana in bis A B istory of Panjabi Literatures, assessing
the merits of the Pakltyan Charitra, has aptly said, "The narration is brief and rapid~
phraseology, apt and pregnant ; style, adequate generally and at required places
impassionate, elaborate or sententious; psychology, extremely interesting so far as the
woman huntress is concerned ; and amassing of facts, most remarkable and inclusive.'' In
addition to this, as regards the technique of the n1ost of the tales of the Pakhyan C'haritra,
there seems to be n1ucb skill in the co-ordination of the various parts. Separate pa1 ts are
strictly subordinated to the whole. Singleness of aim and ~ingleoess of eflt:ct, the two
great essentials of a good short story, have been maintained. Plots are spun in a realistic way,
Characters ar~ beautifully sketched and proper care bas been taken to give local colouring_
introducing adequate descriptive passages. The whole evo1vemeot is, therefore, simply
masLer1y.
There is hardly any aspect of human life that has not been touched in the
narration of these tales. All the stages in the drama of life are portrayed in its characteristic
eccentricities and vicissitudes. The so-called kings, sadhus, qazis and pandits, with
all their professions to vjrtu~ and culture are subject to tbe same weaknesses as the
peasant and the pauper. The woman is the victim of, as well as the power over, man.
These tales make a very valuable contribution to the lin1ited stock of literary
ron1ances in the Hjndi hterature. - - -116
- -- l !i. 1
l
l· 217 l 6. 97
1
-
2· 14~ l ?. 21
3· 81 l 8. 266 I
4• 2·15 Gru.rtd Toinl 40-!
9. R. P. L., 4:1.

1166
'fHE PO ETRY OF THE DAS/\M GR/\.NTH
17. JAFARNAMAI-l
I
The Jafarnan1alz 1 known as Zafarna,na (Epistle of victory) in Persian 2 , is a
'letter of protest written by Guru G obind Sjngh to Aurangzeb in reply to a sumn1ons
from him. IL was written at Dina 3 to which place the Guru \Vas driven by
the army of AL1rangzeb that fell upon him while be was staying ctt 1vfachhiwara after
his \.Vithdrawal frorn Anandpur. It is written in Persian verse aod is a clear evidence of
its writer's scholarship in Persian. Tbe Zafarnanza has two part s and is composed io l ll
Ba;,s or couplets. In the first parl, ,,vh ich is an invocation to God. he enumerales the
attribt1tes of God in praise of Him, n.nd seeks tlis bles::-iogs to resolv.:! his difficulties.
The second part is Dasta11-tale or address to the king cn1pcror. While Guru Gobind
Singh con,plimenls Aurangzeb as a king of kings, as an expert swoi dsn1an and rider, generous
to his co-religi.nn1sls and prompt to kill the enc:n1ies, firm as .i mountain in battle, etc.J he
condemos hin1 for breach of failh and perjury. He had withdra,vn from Anandpur on an
assurance of safety given to him with an oath on tbe Quran but on his way to Malva, at Cham-
kaur, he ~vas taken by surprise and forced jato a pitched battle wi1h only forty of bis surviving
comrades, against overwhelming odds. All his comrades as well as his two sons were killed in
the action. For this treachery and lack of faith, says Guru Gobiod Singh, God would not kr1ow
him and would not receive him despite all his pomp and power. He, therefore, would not
accept the invitation of such a false king who did not keep his word and did not fear the
wrath of God.
After charging the emperor thus, Guru Gobind Singh reminded hitn that change was
inevitable and that a revo lution was not far off and that evtn though he had become strong
by such acts of treachery, he \Vas laying ao axe at the roots of his kingdom. Indignantly
he warned him that unarmed and forlorn as he \.Vas, he was •~1tke a coiled soake", and Lhe
fire of revolt that he had kindled, would not be quenched eveu if a few sparks bad been put
out, and that it \Vould blaze up into a mighty conflagration.
Lastly, Guru Gobind Singh asserts his right to revolt, saying.
"When all the remedies have failed, it is but lawful to resort to the sword 1" .
The GL1ru has a very telling po\ver of description and can conjure up a \vhole scene
ia very concrete words,vvithout being prolific. His 111astery over the art of description is
evident from the account of the battl e of Chan,kaur which is incidentally given in the
Zafar11an1a. He says,
"Thioe army ca me clothed like blue-bottle&, and all of a l)Udden charged with a loud shout. 6 "
"Every soldier of thine who ad vanced beyood his defenLes to a uack iny p osiLiou, fell Jeluge<l
in blood. o·'
"Thy troops \Vho had comrnitted no aggression rece ived no inj ury at our hands.7 "
"When I sa w that Nnhar Khan hnd en tered the fi ght, I q uick ly gave hi,n the tustc of my nrrow. 8 "
" 1\1,1ny ::;oldiers wl; o came with h im and hoas teu of rbei r prowess igno miniously deserted the
Jidd of ballle.~• ·
&<i\nother Afghan officer advanced liken rushiog flood, a n arrow, or a mu sket balt. 1 n"
I, IJaqum nrAnlli , I'· 136.!. :{. S. It .. Viii. V., :'!OJ V (> ,.
·I. J • ~- ., '..;. ) G ,J • .N., (:!ti)
ll, J. N ,, ( 2i) )(,._ . ~-T...."'i •., ~•''!J) 11. J . N ., (30)
... In. J. N .. (31)

BRIEF CRITICAL s·ruDY Of WORKS IN THE DASA.tvl GRAN1H 167
"He made many assaults, received 111any wounds and al last, wblle in the acr. of killing two of lllY
Sikbs1 was himself killed.1 "
2
''Khawaja tvlurdud remained behind a wall and came not fortb like a n1an. "
3
"Had 1 but seen h1s face, I would certainly have bestowed an arrow on b1m too. ' '
"At Iast many were killed on both s1des by showers of arrows and bullets.-t"
"And by the showers or arrows and bullets the eartb becaroe red as a rose. 5"
0
' 'Heads and legs lay in heaps as 1f the field were covered wilb balls and play sticks. "
"The whizzing of arrows, the twanging of bows and a universal hubbub reached the sky.•'·
"Meo, the bravest of the brave, fought like mad meo.h"
''But how could forty, even of the bra.vest, succeed when attacked bv a countless host.ij"
10
"When the lan1p of day was veiled, the queen of night came forth in her spleodour. "
11
"And God wbo protected me showed me Lhe way to escape from mine cnen1ies. "
12
'There was not a hair of my head touched, nor did I jn any way suffer. "
Here again the Guru strikes his individual note by introducing two phr ases, Sach-/re
Patsha/z13 and Zazdan Akal1!1, each made of one Hin.di and one Persian word. Such hybrid
combinations are found even in his devotional and other works which go to prove the
common authorship of these works.
The metre scheme followed in the Zaf11rnama is the one already successfully tackled
5
by Masanavi writers like Firdausi and Nizarn.i. The metre is foulan, fou,lan, foul an, foii./.1-
I n the use of language the Guru is very direct, lucid, frank ly ruthless and economical
of words.
T he purpose of writing the epistle was clearly to soften down the mona rch and
h ammer borne t he cruelty and deception practised by him.
This epistle is a very conviucing evidence that it s writer had mas tered the Persian
idiom and its use, and could wield it with the felicity of ex pression of a Persian. Had
he any shadow of doubt about his p roficiency in the use of the language, he wou ld never
have thought of addressing Aurangzeb jn Persian and that too in verse. There is hardly
any example of a man of Guru's status addressin g his contemporary a nd antagonistic king
in verse.
T he Zajarna,na, though in Persian, is a bea u6ful specimen of epistolary poetry
in t he Dasa1n Granth. In the Kris11a1 11ar10 also, which is jo Bra), we co me acrosi;; a some-
what similar forn1 of poetry \.Vhere Rukmini secretly sends a letter to Krishna for taki ng
her away from her people.
2
(ts. H1KAYATS)
The Hikayats or Tales are also in Persian verse, com prising eleven ta les37 in 752
baits or couplets. They are believed to have been coa1posed by Guru Go bind Singh hin1self
3, ,T. N., (i1ii) ~- r. 1-. •• (:!Cl) :,.J N .• l37) 6. J. N .. (3~)
l.,T.N .. (33) ~ ..r.N. (~<!) !!. ,T. 1' .. (+1) 10 J. N. \.A-:!) 11. ,1 N., .J.:J) l 2. J. N,, (-14)
7, J N. (3!1) S, ,J. N, (,IO\
15. Zafnl'naml.' (Nannk Chanel Ktlzl, l:! 16. K. A., (1073-77)
13. ,T, N., (71) 14 J". N., (100)
11. Hikayat No, Total Couplels Hika-yat No. Total Couplets
,,
"'.
65 8. •17
57 9. 44
3. 179
.J. 139 10.
IH 11. 60
6.
6
7.
40
•9
12.
- 21
Grand Total 762

THE POETRY OF THE Dt\SAN1 GRAN-rH
as '·admonitory of Aurangzeb" and ar~ further supposed to have been sent to the cn,peror
along with the Zafarna1na through l{ha1 Daya Si□gb and BhJi Dharan1 Singh who had surviv-
ed the battle of Charnkaur and escaped Lo Dina with the Guru.I There are, however. others
\Vho believe that these Hikayats could not have been sent along ,vith rhe letters and that
these have nothing to do \Vith, nor have any bearing on the letters2 • A sLudy of the I-Jikayar,·
favours the latter view. The then1e of the first l\VO tales 1s political, no douht, but the other
nine illustrate the deceit of women, and as such, they could not be a fitting con1panion
to the Zafarnan1a, the theme and the tone of which are exalted. Son1c of thtse arc trans-
lations from the Pakhyan Charitra. The introductory verses" bear the sran1p of Guru Gobind
Singh's hand. The diction, the rhythm and the vigour of the Jines are p..'.'cultarly Guru
(Jo bind Singh's own. The hybrid ;!laracter of the language, partly l3raj and parlly Per::,ian 1,
attests the sty]e and 1nanner of tlie san1e writer. The style of the Hikayais is also similar to
tl1at of the Zafarnmna. This similarity indicates that these tales also were writcen by
the author of the Z1Jarna1na. It is, ho1-vever, difficult to n1ake out definilely llo,v, why
and when tbese tales were compiled.
Of lhese eleven tales the first is that of king Mand ha ta who nominates, after a
trial, his fourth s011 as his succ~ssor. The S:!cond tale r elates ho\.v at the death of the king
of China, his ministers took up the work of administration \vith perfect co-operation
nmo 1g themselves. The third is a tale of Chb.atramati who forced Subhatta Singh into
1n1rriag~ with her after defeating him in a battle. Tbe fourth Hikayat tells the story
of a Q1zi's 1vvife 1,,vho murdered her husband and ente red secretly into the harem
of Raja Sub al. In the fiftl1 ta le the bra vc daughter of a pri1ne 111inister resc ued the
Raja from the clutche) of his enemy and then whipped hi1n for his folly, all incognito. The
sixth tale appear~ to be legendary; the niece of Asfandyar, a virgi n queen bore a son
but got rid of the child to escape shame and scandal; after long she discovered hi n1 alive
and adopted him as her heir-apparent. The seventh and the eighth HikaJJats arc tales
o f infidelity of two queens to their respective husbands. The ninth tale gives an
acco unt of toe prince and the prime mini-;ter's daughter \vho eloped into a fo reign land.
(n the tenth tale a woman, probably of high rank or noble origin, steals two horses frotn
the stables o[ Sher Shah to offer the1n as a \Vedding gift to her lover. The last Hikayat is
a story of a dare-devil woman who murdered her lover, lest he should betray her, and
then did away with the informer of her crime.
In the Dasan1 Granch, these Hikayats (tales) bear no heading. They are given
immediately after the Ja(arnan1ah. The first tale bears serial number 2. With the eleventh
tale ,vhich is numbered as the l~valfth composition, this series ends, also ending the
complete works of the Dasa1n Granth.
. 1 H.S., a.JO; ;:;. It. \' 111 'l., :!06. :!. Dnsam Lirnntl.J Nirne.i, 133. 3. Compare Hika.yat ~ (1) -1. Compare llil,a.yat 2 (4)

CHAPTEI! IV
THOUGHT VALUE
Introduction : A Retrospect
The Adi Granth has been a perennial source or inspiration to the Sikh devot ional
pocls since Gurn Nanak H e handed do,vn to l1is successors, his o,vn compositions
together ,vith tlie collections he bad made oft he devotional pieces of other sai nts, \.Vhose
disciples he had met during his travels all over north lndia, and the Punjab. Each
Guru dr..!\V upon t his fountain head and contributed his own shCJb . 11Js to it. Guru
Gobind Singh put, on the accumulated body of the v~rse, his seal of finality, \vithout
adding, however, any verses of his o,vn. It has been said that he could quote cl1apter
and verse from it. Lt is asserted by son1e that the last version of the Adi Grant!z was
dictated by him to Bhai Muni Singh at Damrlama, from tnen1ory alone 1• Daily recitations
of the Gra·nth, sermons on its text, and private devotional readingq fro n1 it, have made
Gurbani the most important; the most effective and the rnost doininating influence in the
life of the pious followers. No wonder that the tenth Guru was most deeply influenced by
the various strains of this spiritual chorus.
The Adi Granth 1nay be divided iulo t,vo parts, the bani of the Gurus and the bani
of the Bhalctas includ ng Baba Par1d, a Mu:;liru .:>ufl s1,nt. Both tlle p1rts have a deep
spiritual unity bttweeo man and his M..1ker, aod str.:ss tbe need for His Grace in the
merging of the finite with the Infinite; \Vhile the Gurbani follows the Nirguna philosophy
of Kaoir, io the bani of the Bhaktas all tbe three schools, the Sufism of Baba Farid, th e
Vaisbnavism of Ramanand, and the Krishna cult of Surdas and Mira Ba i are represented.
Nanak, it is suggested, pinned his faith, like Kabir, in ll irguna Brahn1a an d depre-
cated differences arising from the clash of creeds or dogmas2• Nanak, Dadu, Su adard,1 ,
and several others, says Dwivedi elsewhere3 , were deeply indebted to hiru, and his
ideas and exa,nples guided their line of tb.oughl aud 111ode or devotion Like\-vise Kabir•s
poetry was th.e model on which other s1.ints fa;;;hioned th~ir songs. T( 1bir provided
both the impulse and the pattern for the ,Vitguna poetry and deserves special cono::ideration
as its founder .
The devotional, didactic as \Vell as satirical verse of Guru Gob1ud Singh follo,vs in
the wake of Guru Nanak's, for which again, ,ve find a precedent in l(abi r. The corner stone
of Nirguna PhiJosopby, as professed by these saintl~ poets, is the idea of a single, i1npersooal
on,nipresent God. While, on the one hand, these sa1 ntly poets denounce most vehemently the
\Vorship of many gods, i<lols or sy1nbol~ on lhe~Lher, they dv,1ell a~ength upon the in1manence
-;:_ s. H., Vol. V, :!23; Cl. G. G. S., o'.\7iii ~- H. L. , 38 3. ILL., 3 l
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170 Tl-IE POET.RY or ·1 HE D,t\S/\tvl Gl{AN1 H
or ~he all-pervasiveness of th~ Deity 1• The con.:eption or the Nirguna and the idea of inner rcali-
satio?, of absolute oneness ,vith it are the basic fa.:ts on which Lhe !:iuperstructure of Kabir's
myst1c, half-sufi aud half-vedantic crc!d, is erected.i. To this, however, 111ust be added the
Vaishnava conception ot· complete dependence on the mercy of God\ the infinite grace of
1 he Infinite power, the dernocratis~tion of religion, che cxtcod~ng of the privilege of BhJkti
to al], irrespective of caste or sex\ and also, the use of vernacular~ in place of Sanskrit.
The fifteenth century was, as \Ve have seen above, remarkabJe for the great religious
revival led by Namdev, Ra111anand, Kabir, Mira Bai, Guru Nanak and others. The
movement \.Vas wide spread an1ong the people and dominated by religious ideals.
Being a popular movement, jt ndopteJ the vernacular as the medium of its expression.
Thi~ \.Vas a great adventure on the part of the Bhakta poets who, as Keay puts it, 'had
to feel their way' a;; the earliest auLllor.) in thts L1nguage. lt is, no doubt, true that the
period (l!00-155t)) was "the youth of Hi11di Literatureij_,,
E1nphasising the intitnate relatio n betw~en the religious poetry and the vernacular,
Keay adds that from tbe point of v,e,v of Hindi literature the significao.ce of the movement
in itiated by Ramanand was depending for its literature almost entirely in the vernacular.
·rh:. follower s a11d successors of Ramanand practically gave up tl1e use of Sanskrit aod
this, of course, gave a great impetus to the development of Hindi literature 1 •
When Guru Nanak {1469-1538) wrote, Kabir's influence was at its height and
the movement had spread all over the country. But when Guru Gobind Singh (1066-
1708) attetnpted devotional verse, things were quite different. It marked the end of the
period of the Bhakti movement, during the eighteenth century, and coinciding as it did, with
the time of decay of the Mughal Empire, it registered a decline in tbe high quality of Hindi
literature and does not contain many writers of first rate excellence8•
Elucidating the creed of Kabir, Dr. Dwivedi adds, Lhat his more practjcal teachings
stress the importance of a stri~tly moral conJuct, refute false modes of worship and
prevalent superstitions and advoc1te mutual tolerance between the Hindus and the Muslims
'l~ between sons of tb.e same father. While his utterances corn muuicating his spiritual convic-
' ions have a tone of lofty serenity and sweetness, his teachings, when be appears in the role
of a reformer, are vehement and provocative 0 The three strains, viz., 'a tone of lofty
serenity and sweetness' born of a spiritual conviction, the importance cf mutual tolerance
and moral conduct, and the refutation of the false modes of ,vorsbip and prevalent
superstitions, mentioned above, are found in the poetry of Guru Nanak as ,vell as that
of Guru Gobiod Singh.
In the Oasa111 Granrlz, the .Tap; Akal Ustat, Gian Prc.bodli, Sri JJlukhbak S,raiyas and
Shabad Hazare contain the devotional poetry of Guru Go bind Singh. In addition to
these his devotional thoughts are revealed in some parts and stray verses of his secular
works of the Dasam Granth as we11. \Ve shall oo,v examine the re}jgious poetry of the
2. H. L., 36 3. H. L,., !JO 4. ll. L., 31 5. H. L., 31 ; H.H L., 8
l , Il. L., 27
6. H. H . L. S,O 7, R.H. L. JO, 21 ; II.L., 31 S. H.L.,U,10 9. H. L. 36
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THOUGHT VALUE 17 l
Dasa111 Gra.nth in detail, in its different phases, (a) doctrinal, (b) devotional, (c) didactic
and (d) satirical.
(a) DOCTRINAL POETRY
GOD
1. Sacbcbidanand
Accordiog to Guru Go bind Singh, God is ever true, conscious and blissful
''Goel is ever the Supreme Truth, the Suprem.e Consciousness and the Supreme Bhss 1.''
2. Ever Tranquil
f.
In His play of life and death, according to Guru Gobind Singh, God is :
"Ever Calm1 " ; "WiLhout anxiety 3 " : "Without desire4 " ; ''Free from painil'' : "EnJoyer of
bliss6 ' ' ; "Like the sky abOvl! Lhe ecLrth, caltn andd~ep7. "
3. Above Birth, Death and Worldly Entanglements
God is above birth and death, and free fron1 worldly entanglements :
8
"Thou a rt fatherless, motllerless, uobcgotten, above b1rtb and dealh . "
"He is without body 0 "
"God is witbout passion, without colour, without forn1,without outline;
He is without worldly love, without anger, witbouc enmity, without jealousy ;
He is without karma, witho ul error, witbout birth and ,vithout caste ;
He bath no fr iend, no enemy, no father, no 1uotber. 10 ••
He llatb no worldly altacbment, oo house, oo desire. no home.
He is invisible, without distinguishing dress aod unboro.1v•
" He ba th no disease, no sorrow, no worldly love, no mother.
No karma, no superstition, oo birth, no caste,
He hath no jealousy, oo gar b arrd is unborn.
I bow to Him as One: I bow Lo H im as One12 "
1. B~l ~~i'{l.:f~ I Jop, 1198).Ja.p, (68) 2· ra-~H~ I Jap. (l3) 3,. f.,f~<f I ,J11p, ((1:18) 4. f.;f-i:fiTll' I Jap, (11)
6. ~~q- I Jap. (9) 6· sr~ifl I Jop (16) 7· f~+r~~~ Jfli'T l I '~:n:i1~if ~.:fr { 1l Jap, (l5S)
8. am +ff({.; ~Hf Gff cflR ~+r +r~ f~if f~~lif I A.
I ,Jop, (82) !J. {( u. (~4i) er. ~FfiT~ll I Yaj. lV, 1li)
JO. .; ~TlT .; ~rj- tj' ~Cf .; Z.~ I
.; m~ i=f ffil( ~ ~)~· .; g_~ ~ I
.; ~(+i if i:t~+f ;:r ~.:rfi ;:r ~ra 1
if f+t:i° if {t~ .f fq?f .f +ttcr I A.U,. (9 L)
Cf. Hu lrns 11eith0r form r1or colour, nor even ot1l.line:.>R, Adi Urt\ntla, .\1-ilJ,nln l, S()n1ll,, (i: 2.
{t+lTS~
...
Wl~_,,
.
if i:t [t:';ff.S~~ ~ R(;q:
... .. .
I -Bhagvadgi ta IX, {:!fl)
11. .:t' ~H~ ~ 11~ Ti' ef.f+f ;:r '-:Tfl{ I
- .. ... II
"· . ,. • r
~mrcr ~•Ref ~;iff;:rt u~q I
... ... ... 11 A. U., l \/.:!)
I :!.
- • ;:r GlTf .;
.; ~llf +it~ .:i ~T<"T I
•
~~;t if +l~t:t .; ~.:f"+f ;:r ma-• I
.:i-
~[. \<£,
~- ~. .
~+t"~, ~j{);:TT B~q I
i-l+ff Q,tfi '
~q -Tifl ~~ ' I
~q .A. U ., (01)
er. The Unsco1.1, Jn 11nil,o, rnottninnblt> uud ln.. p,;,rcc-ptihlo hus 110 time (ur) de:<liny.-.Atli Gn1nth, Soro.lb, 6: 1, .l\lahala l.
l=t<fi2 ;:i-ifl q~, ii~ ;;~ ~f~, -iT+f fi-l~::il;:r ~;;;Ji[-~ I -:\.rli Clrn11U1, Gouri, J~al,ir.
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TllE POE1 'RY OF THE DASAM GR.ANTH
•
"Thou bast no son, no grandson, no foe, no friend,

No father, no mother, no caste, no descent1 .''
"Thou were never born in the world ;
Wherefore every one describeth Thee unborn. 2' '
"He hath no worldly love, no borne, no grief, no rclnlioa,
·•················ ······ ..................................................... .
He bath no caste, no lineage. no friend, no minister.
' 1 I bow to the One f ndependent Be111~ ! l bow co the One Indepeodenl Being3 ! ·•
"Without body, colour or attachn1ent, caste, lineage or name.11 "
4. The Origin and Destiny of all Creation

God, according to Guru Gobind Singh, is the source of all )jfe, which ultimateiv ~
merges in Him :
•' As from one fire n1illions of sparks arise,
Though rising separatell', they unite again in the fire;
As from the heap of dust. several p.1rt1cl~s of dust fill 1he air,
Aod oo filling il again blend with the dust;
As in one storn1 n111lions of waves are produced,
The. waves being made of water all become water;
So from God's form non-sentient things are manifestt:d,
And, springing fro1n Him, shall be uoited in 1-:1 i10 again5".
This single passage sbows the predominantl y Vishi.shtadvaita position of the Guru's
thought.
1. Jap. (1¼8)
2. ~f., -i{1Tcf
~
~
+r ~[ ., ~r~r 1
~~
~
~\:fl ~it' G@flH I

., ., nt ~ ., ~Teti
Ch.A., lJJ.Lro., (13)
a. ~( ;r I
•. • I
.,
•••
~n,
•••
., crrn• .,
••• •••
f.{;r ., •'-
+f~ I A. U., (104)
~m ~
.'
asr .,~ ~cfi .
ij?{ "
~-r urr ;:r ,11 •
~:Ji~ ~Hf ({fq ., 11
ilT+f 11 Jap, (84-)
Of• ., a~ Slf'a'IT ~f~ I Yaj. XXX.ll, (S)

~~ Q;li ~TlT a
~<liT cmc: ~Fl '3~ (;f ~~ f~~rt g~ ~ ~~ ~n' ij" ffiijff~ 1l
~~ ~ q_~ ~ ;q;tcfi ~ 'i~ t t~ iii cfi~i:fir i~ t{ (T ~~it 11
~~ 11:i:fi ~ ~ q<lf clile :a'Cf-i{o t
qr;, ~ a(lf B~ qr-, '1 q;~r~rt IJ
~« Per~ ~q- ~ ~lief ~~ !:fffc g's, ij'f~ ~ i:rJJ {{~ ars:1 ~ ~m~n ,,
A.V. (87)
Cf-
~~a ~~ ~f;rq; ti(llT 11 <6~'li1i@;, ~~ ifg' ~nr II
,sf~ ar'\fGt- ~fur~ itf~ q(cfiltr 11 ~ CfMi ~ ~cfi cfiTU II-Adi Graoih, Snhi Ma.halo 5
"l'he univers3 comes from Coll, Jive, io Him, ti.nd returns to Hirn' 1a an exprcasioo commonly used in tl,e
Uprurishatli and Mahabltarat. lo Lhe B/iagal'adgira crea~iOll is repr~seoted 11s evolving from God, os t,he world nt the O.fJpio&<lh
of day slowly emerges from the darkness of night, and again r.l.i!lsolving or vu1tishiog in Hin:l 0.11 the world dia8ppears after
evenu1g twiligb~.-S. R., VoL V, 32~.
"Arjuna, at the eud of every Ka.lpa. (Brn,hma's day) all b3ings enter l\ly Prakrit1 (t.hf'l Prime Cause), and a.t tl10
begi.nnihg of (ffery Kolpa, I bring them forth a.g-tii11.-Bhagvudgito. IX, t 7 J
••In a tJ.iousand [JO!.s oue air ; the pots break and tho Prime (air) romaine-Ad( Grnn~h, Suhi, l : 3 l\:lahala o
•·As small sparka come forth from fire, thus do u.11 bodies, all worlds, o.tl beings, come for~h from· the On&.''
-Brihadara11yak Upa11ishad, li, i, (20)

THOUGHT VALUE 173
5. Eternal and Infinite

God, according to Guru Go bind Singh, is without beginning, without end, witho11t
measure, without equal:
''Thou art incomprehensible, 0 God, and fearless ;
Thou art most powerful, the Creator of sea and land
Thou art the unshaken, endless, unequalled, immeasurable Lord.1 "
''Boundless is His form, boundless is His voice2 . "
"Thou art an Immortal Being, Self-luminous, described Immeasurable m might.i"
6. An Eternal Mystery
God's mystery has baffled all the ages. He is, jndeed, a mystery but a benevolent mystery :
Thou art unascertainable'."
11
''Thou art unattainable and soblime5. "

''Thou art hidden among the bidden8."
"Thou hast no form or feature, no caste or lineage,
None can describe Thy appearance, colour, mark or garb.
Thou art ao Immortal Being, Self-luminous described Immeasurable in might.
Almighty Lord of millions of celestial kings, Thou art counted as the So,ereign of sovereigns.
Thou art the Lord of the tbree worlds. Gods. men aod demons, woods and even toe blades ef
grass declare Thee beyond a1J things io nature.
Who can describe all Thy names ? The wise recount ouly s uch of Thy attrib11tes as are
revealed by Thy works7."
~~ ~q ~~ 5:lttT '&ffa icRii.aa ~ ~@

.
!:JI~¥ ~ifij ~ •..
~
••• • •• • ••
(l.P'., (32)
2. A. lJ., (~)
~ii~( ~q
3.
!5t-i4i:i1 ~fu !:Jl'ii~~ Sl~T~ Jap, :1)
Cf. Ho does not unJergo tho loast obnngo-V.S.• (ii) i, 27,
Tho Upanishads declare that Ho is avikari or changeless, r,i/yam ot eternal.-Radhakrishno. : Indian. Pbil••oplly,Vol.,II,4.(3
4..
~~ { I Jap, (37) cgrnr(l:T t I ~~q I
ti. l Jap, (127) G. ~~~ii{ l. I Jap, (lil)
7. ~il'i fe:q(;:i ~ ~.; Gtm ~ qra ~~" ~ ti
~q ~fl ~ 1~ msr ~'3i ct>~ il ~<lifer fcf>l 11
!,Jl'q ~fir ~ Sf~Ta ~mcttf5' ~~ U
q;")fl- ~-~ ~·irfm «fl ~Tijjf~ iT~ II
RJ+r~ ;J{[lq ~ ~ ~~ ;fo ~ 9if r.:t~ cfi~ 11
(cf '8(if;int cf.~ cfi<l.,- cfi1.:;T .,-r;r cl~ij' ijll@ 11 Jap,(1)
Cf. ii ~~ if 'ifffi ;r~t if ffi'mif ~-q'~Gf ~ ~ti G'j.{+f I-Adi Grautib, Slok Sal.ii¥lcrit llabala 5
'f~i:rt' if Gflij~ it~ ~~ll' ~lft \ifTif~ ll'r{ I
':Jfffl~ ii Gfl;.:J~ ~o q~~ q-r~ ~~;r ~a
~~T ;{[t \ifr.:Ia: llci, ~l~ {R ~
~c.o~n .,(l·atr~ If~+I' l:{+( "3;q~ ~~lq cm:~
_.:\.di Gruntl1, Ramk:ali lfalDala 5

1'14
"To Thee who art eternal, ,vho art merciful,

Who arl invisible and subhire,
"To Thee I bow again and again.1 "
"Who art formless, indetennioable incorporeal, and unborn.
To thee I bow again and again:?.•·
11
Who art imperishable, indestructible, nan1eless and abodeless! To Thee I bow again and again 3. •··
''Gods do not know Thy secret, nor the Vedas, nor Muslin1 Books.
Thou hast no form, colour, caste or lineage, how can Thou be known ?
Thou art fatherless, motherless, unbegotlon, above birth and dea tll.
At Thee the wise ,vonder, and the tbree worlds wonder'."
God is, indeed, an impenetrable mystery vvbich sages, prophels, and seers have failed
to make out:
"Narad, Ved Vyas and otber coun tless great Munis are weary of n1editating on him and are
undergoing pains.
All the G aodharvas are tired of singing His praises and countless celestial maidens are~~ weary
of dancing,
The mighty gods like Vishnu have sought Him in vain.
But no one bas penetrated His mystery 6. "
''The astrol ogers, tbe Karm Kandis, tbe religions, the Vedas, tbe Trinity comprising Vishnu, Sbiva
and Brahma know not His secret.
Millions of Iodras, U pindras, Vyas, Sanak, S 1nat Kumar and others are weary singing
of His praises; Brabmi 1s bewildered (Jt His vustness) 0. "
1. if iitcfcf 'i;f<1fifijt I i=f*lffi"~ f~qJ ~ !I

;;mrct ~~q I ;:rqBcf ~ ll .JtLp. (2)
2, -i+rBcf ':!'.I'~ I -lBB a ~~~ 11
i=f+TBR ~cfil~ .,~~cf ~ifT~ II ,J11,p, (3)
3. q't:fmf
. ." ;q'l'f;j{' I ;:r.:raa
. .......
~+N, 11
.:rtrBrt' ~.:ti~ i=flf~<f mrit II Jap, (4 )
4. ~ct wr ., ufl~ fif~ ~~ ;;:r~\ r.fia~ 11
~q (;r ;; Grra qrcr fl -ifr.=rt f.fii[ ::?tij 11
ala ma .:r ~ra- "5ir=:nt~ ~.=r+r
"'-'
~,;J far1t1;, 11
~cfiji Gf'vfi fq.;t =cfg{ ~ili +TT~ ~ ~\ ol.=r Il Jap, (82 )
Ii. ilT'\C: m~iifi q~ P-i~TBtii ijf.:J +r~Ff ~.=fa II
f~r~ f1:1m~ l'.f~ ffir r.fi\ ir2 q;e~ ~~·a 11
rrr~ rrr~ '
~r.fi rt-a«r .;r:q ~qij ~qr\ 11
e)c1 ~q ~~ ~&:Tij\ flf{~J

"
.=fr( err~ II A. u., (200}
~ ~,-. ... ~ ~
Cf. ;:JT\{ ti ij<fi o~IB' \c qr=q ~Tt (!'3' 9;tii qr~ ;:r qrq 11-Sujan Hui.khan
6 ,$=£ff ~Jen r.fi(ii frT ~lijl ~'{+J' :qr( fET:qJ( II
;;(~ itcr i, ~T~~ fucf ~~ ~;g ~{q' ;;rf( 11
cfile (~ ll:f~ ~ f~;;:rr~ B.=f4> ~~~iiR 11
rfT:{ Tf~ ~ Bil n.:r =cf~o ~ g~ 'il'R II a.,U.(19B}
Digitized by Pa.njab Digita,l Library/ www.panjabdigilib.org

THOUGHT VALUE l 75.
7. Omnipresent
God LS omnipresent as love. It is impossible to describe or define Him :
11
Thou art the Primal Being, who never began, unborn, endless,
Worthy of all praise, revered in the three worlds, lu-ninous, n1ysterious. all prior aod above all•
Thou art the preserver, destroyer and tbe ultimate death of all.
l mmovable and happy, Tbou residesl in every pl:ice. 1 "
''Thou hast no name, home or caste, no form, colour, or n-tark,
Thou art the Primal Being beyond all, birthless. primal and perfect.
T hou art placeless, wilhout a guise, appearance or mark, without attachment.
Thou pervadest everywhere in the form of love11".
''The One God is contained in all. 3' '
"The whole world entangled in false ceremonies batb not found God's secret. 4 "
"Thou art immanent in every form, absorbed in the c011tem plation of reality, 0 Destroyer
of birtbsO",
"He is far from all and near all. 6 "
"Thou art both qualitiful and qualitiless. 7 "
"Immovable and happy thou residest in every place.8 "
8. Omniscient
The Creator is not only universal and eternal but at the same time present in the
heart of every creature of His, and knows even the innermost :
''He knoweth what is within every heart,
And the sufferings of the good and bad.
He is pleased as He casteth a look of favour
), ~Tffl: ~ ~.;r~ +!_,Rf ~ra ~ ~ ~CJR 1

~\~;; fm:Tr;; ~er ~itcr ~rft{ '3'{T-: 1
~~qy<n~ B,~tl"TQ!cf. B~ <6T ~~:fiTcyJ I
.:if~ ?~ nH.l.:iffJ ~tl"i_R ~q f«f@ I 79
Jap, ( )
er. Q,qt ~ ~q: ~l<:.'."ffl ~ BcfT : I Yo j. XXXll (4) B ~)a: srta~ rq~: Sf~T~ I Yaj, X::S:XTI,(S)
-·•> -lHf o TH ;; ~Tel" ar~~ ~Cf <rr .; ~@ I
~fr{ ~~ ~1, ~,fa- ~~ ~f¾: ~Gl9 I
~~ ~T, ;, +l"B Gll:fi, ~q ~lq ;; ,Tlf I
~~ ct~ f~r TiJl=TT g~ 'fi~~t ~a~m I Jop, (SU)
3. ~~~ =.mq B+r.:f +l'T fifmqr I Cu. A., Intro,(35)
Cf. B,i<f f;:J<=ff~1 B~T ~&qJ, B+f ii~ ,~~T BffT~iT I-Adi Gr11ntlt, Sorath :.\lahalo 5
~ ~
'l_(
lTEi:~T ~~~ o T~ F";~),T {EJ~H1 ~ Js I -Adi Gru,nt,h, 1 sa bc[ahah~ 5
It stands pervading all.-1-:!lJM?Vadgita. Xlll/l 3 ( 1v). 'fl1(1re is only ouu God ~-ho ii. hidden within us all.
-Swetaswatara Upa11lsliad h•, (ii)
4. ~~ f~~T ~f~T Blf tl ~[); ~1 +ITicffr{ -ir ~~;; q-r~W I A.U., (30)
f:i, l( ,&<TT a+r !i't 'el'c ~ qc: a'q ~~TftT g.:£19 ~m.:i1 11 Swaiya, (2)
5. ~fu 'cfR' J{fi:l-3 ;s,t':;TT I tic ~ tf~~T ~~rfa:~r' II-Aili Graatb, Sornth l\lahaln. 5
~+{ act_R ~+{if a~u I A. u., (·1) 7· <fit f-~ ~a't~ <ii~ fl~~;, B~Q° ~ I A. u., (11}
~ ~ N(fGI~ ~~a ~q ( ~ 11 Jap, (70)

176 T.l:1E POE.TRY OF Tl-IE DASAlvf GRANTH
On all, fron1 tbe ant to the huge elephanl1 ".

' 'He is grieved when I-its sainls are gneved,
And happy when His saints are happy.
He knoweth everyone·s suffenngs
And every secret of n1a n's heun 2 ' '
He is a searcher of all hear t~3 " .
9. Omnipotent
The Creator is the 'Sovereign of sovereigns', 'the Lord of the whole creation· :
"Alroighly, Lord of 1nillions of celest ittl kin£S,
Thou art counted as Sovereign of sovereigns ,
Thou art L ord of the three worlds.
Gods, men and demons, woods and even the blades of grass, declare thee be~ond all things
in nature'".
"Thou ar t the pardoner of sins,
The King of kings,
The Provider of means
And the Giver of livelihood5 ".
10. A Trinity
God is Himself the Creator, the Preserver and the Destroyer, all in one:
"The eternal Being that bast established the entire order of creation .
.. . ... ...
I. ~ ~c ~ ~\ <61 GfRcl I ~~ ~( c6T q-yt• q~Ffa- 11
~c't a
~-'q( ~B~T I {f+f 'R fq:jqr f~qra t'JiT( ~\!ff II P. Oh,, 4,f5 (317)
C!. I t j1 J wbe am in&tallcd in the hearts of all {e.s their inner wiLness).-Ohn,gvndgita XV, ( L4)
.He ia residing .in tbo heart of man.-V.S., 1, ~. 7.
t3ell'a dwelling place ie the hear~ of man.-Kotha Uponiahad, Il, iii ( 17)
2. ea-~ ~@ crrQ; a ~@r I ij@ qrQ t=n~ ~ 5{q1 11
~efi ~ ~ crt\ Cfmr.J
~ I ~c 'El'c: ~ rrc
, rrz
, -AI
"fl ~r~
-1 . , ll P. Ob., {tt;, (:JS!!)
3. G~ ef2' qc ~ ~~(\l'flifT I A. u., (2)
er 'i\ ,~~f efi! ~-~ Gff+TT I-Adi Crun~b, Bbail'au l\Iahala ~
G fcrc1faT tlT'fl~ ~~ t!cf.:JTf;:J fcf~~l 1-Yoj., L~Xll, (!OJ
cf~ -ilil~ccn~<fi ~~ij\ {fq -ifTTil ;qt\ ~~r.it ir Gfl-Rf T ~ 11
"Tl1ou seeet; &\len wben I Lry to hide" .-Adi Granth, Sri 31 : l -·-1:. Mahola 1
,i't(2- ~~ {~fuJ
{fl~ {fl&]'fur 11 if ftiri\-
&~~ .f~1q- ij~ ~\ '3l'ij~ ;:tij ;ta ~ ~ ~cf II Jap, (l)
Cf.
qf~{E6 ~IB'hr 1 ~ ~T'1T, '!_f<rcf1 ~~m~·•···'' Yaj. XIII, (4')
He has the qnnlitics of., .... 011mipCJlence.-V.S., (i) 2, J-2 (ii) I, 30.
6.
f~ ~~tl'crf Uil'T~ ~ 11 fin ~r~.; ~TO: ~ II
er.
Ri <fj~ ~~ t
II A> ~it Rt~ II
Ha le the Creator, the Omnipoteut, the Bounteous. lie provideth His Creatures with suaLenanc&,
t Jap, (ltt)
-Adi Grnnt,h, Aen-Di-Vnr, Pauri XXlV ('.?)

THOUGHT VALUE 177
Thou, o ut of Thyself, created the Universal fr:tme and Thou 1nakcsl and unmakest allL".
"Thou art the preserver, destro,er and the ultimate dealh of all!?".
I-le is the Creator and Destroyer of the world;
Hesupporteth life on sea and laod. 0 "
"It is He who kn ows the right conduct and all that is good in thi s world.
He is the Primal Being, Limitless, the Lord of Maya, the.Destroyer of the mighty and the wicked
He is the giver of food and the inspirer of wisdon,.
Even kings respect Him.
He is the Creator of tbe several Vedas, Vyas and millions of Indras and fifly-two inca rnations«'',.
"Without body, colo ur or attachment, caste, lineage or name,
Thou art the Destroyer of pride, the Punisher of the wicked, aod the G1ver of salvation
and success~".
"He destroys the wicked and feeds the world. He is beginoiogless.
He chastises the wicked and reduces the strong to atoms. He is from the very beginning
and is indivisible'".
l.
••• • •• • ••
l=I~ fffl <~) ij~~ lTlwt +f~U~ II 83

Jap, ( )
f;f.
~~m(i{f( ~cfTiff I Bhogv&dgita, X (2) ~~ Yaj., XL, (a)
~(iifqlijltf> ~il~!fi ~(If i) ~f;:f- cfi@ II Jap, (79 '
ti ~f ~ fucf: ...... q l:{cf (zr,~: I - Ka1valya. Upaoiehad I ,(8)

,,?)
3. ffl'1f .:f ~ ~a, {(cH ~~ if ~ql' if -lt:of SI~ t l l A. U. <

246 )
Of. He providet.h His crf'n~nrC's with sustenonce.- di G1·an.th, Aaa-Dj-Var, Pauri XXTV (2).
Tbnt knowable 1ubstan~•e is the 1mstoinor of beings (as Vishnu), dc-slroycr (a." Rud.ro.) t\l}d crea tor (u Brahma).
-Bbagvadgita Xill/16 (iii aud iv)
Bralmrtw ( ~ ) ia tho orig/11, support cmd end of the world- V.S., (i) I, 2 (ii) t, 23 7 (ti) 2, 3.
I(51B21-€1'T( ~:em ~a-
~Trf~it l=f;q- 'cf'R I m~ ~·~ ~qn: ~qfa ~ER ~G SJ~ II
~;:r ~HH flfm-T ~~Tc:H ~4f+Jf;=f +ff{~ I ~~ f;r~fll "fi~ ~ ~.:f cfiT2: ~-~ ~q~·~ II .A.U.,(t
97
>
~., +l'fG: ~q ~~rq., ~~J, cfilii<r -i'IT~ ., cfilT 1

(T~ ~~ ~t fuf-;r- +J)ij~, .r"t~f~ ~fer c{{"t I
RJ~r~ ~q.n B'i{r ~p:1 I - ..\di C: raDtll, Goojar1 Mahala 5-
~if ~f{ ~T'3: ~cfi q;~ q;~z., U~ ~~ ~ 6"T~ II

~a +f{ ~ ~~.,,~ ~~ arir ~~ II -Adi On1nth, Bihag&r&. Mabahl 5
He Himself createLh, an1J Ho liirnat•lf ur,:11in desLroyet.11. - \ui OrnHth, .\sf.\-Di-Yar, Pn11ri X:Xlll, (2)
It ia for Him who mode tho world l,o tnke_ c11re uf 1L- ,1di U.rnntb, Aaa,l)i,Vnr, Pnuri XXllI, (4)
5, ~lT ~Tlf -, ~lT ~ T et>~ .:ifTa qfcf ~ ;;ft!' II

~ rj~;:r ~ 8'2' Jap. {84.)
•lGr.1 !f-liiJ r:(T~=n cfiT~ 11
S.W fifij ~{ijT =m~ ~q S3lcrr{ 11

~~2'
ie2' •
~~ !Jt{i lcfg'~ ~~ {cf ~~,, A, U., ( lH)

178
THF. POETRY OF THE DASAf\1 GRANTH
11. Man's Relative

Man's relation wjth God is not simply that of a creature to his Creator ; but it
has acquired the sanctity and love that is associated with children and parents, and relation
between two friends :
"The Timeless js our Infinite Father,
The same is Goddess Kalika our Mother1 ."
"Thou art mother of the world2. "
The bood of affection has turned Him into a kiod friend ;
"Thou art tbe companioa-frieod of all 3 ,,
" He that is protected by the Friend (Syam) cannot be hurt by his enemies•."
12. The Embodiment of Love

God is the S11blimest Love. He loves His creation. Love 1s a symbol of His
existence :
"Thou pervadest everywhere in the form of Jove6."
''Thou a bidest everywhere as love0. "
By His love He has endeared all His creation to Himself:
"Thou art dea r to all7 "
''God is the sublimest love8. "
"Thou cher:isbest affection for Thy loved ones9. "
"He beareth Jove to a1110 . "
13. The Merciful
God, according to Guru Gobind Singh, is Dayalamu. and Karirn-ul-Ka111al12 and
Kripala1n 1a:
''Immortal is Thy· mercy; pure Thy justice , constant Thy renunciation ; a nd perennial Thy
b liss1·1"
1. B ~tfi@ i fqa-r 9-;TqT{T II ~f::r ;.J=;~f ilia iri?T,i II B.N., XIV(u)
er. ..._ '-' ,r., r,,
B .:TT ~;~\l'f1.:fa'T U Tcfcllol I Y [lj. XXXII, (10 I
-.'> .Jm <!l) tf.ifTffT 11 Jap, (52) 3· ,f;fi~r.'fi l I Jap, (36)
·I.
~~.ir ~r'J\ ;:i- {r~ir ~ ~ l:f., tfi::r~ ~'qr~ 11 l3.N., x11 r (2i )
Cf.
q_ ~{T r-ft'fl c!, 'g ~nJ ~lcfT 11-Acli Gre.otl,, Majh :fl!Iabala 5
~ ~ T 1:Jl@"f ¢/Tq Q;:rf{T rl~ {;rf1:7 a~ ~~ +fsl\l 11 -Adi Granr,h :Majh .l\Ia.ho.la 5
~ fr:J<fT ll'.!fi'f-T ~ ~~ GfTR <ii ~' ITT T U{ ~Jf 11 -Adi Oranth, Sornih Aft\hala 6
rJTtji:fi fq-=rr 1fJr.ff ~ gf't !:Pf ~if is'Jf({tfi ~ft Slfacrr~ 11-.\<li Gro.ntli, Hamkall Mah&la
<9ifr.'f iflcff fqffT ~cJ~cf II rc{itcf iil;~:tl' «lc!T ~{!9
'q' II-P11nd1n·git11, (28)
U ;:r) q;~::;,f;;oT ~ 'P-T\:'.ff{'iT II ) aj, XXXII (lo)
,5.
~tu,., a:;:r R( er
,.. J?f~f fi~ ~~it
IQ 'al~frr I Jap, (80)
('f. Nwopctl in lov!', i11unri111>11t e¥11rywl,ero m; ~laster is perve.,ling-Adi Granth, Sri 25 : 1, Mahala l
6. ~ ITTisfl -- I Jap, ( L2!l)
~~lif
7. ~ifffgtil ~~TJf gl Jap. (Hill) 8· ~fta- sfta I ,Jep, \68) \). ~~~ ~qfiif tI J"op, (12-i)
10.
'{$'1 Slif qi) iaa t:riflt / A.U., (:!¾·1J ~i}~ ~li'r I a. CJ•• (2'17)
11. {~m(!l ,Jap, (60) 12. Efi,"Hij[ ifiifffl Ja.p, (J5s) 13. ~gr~ Ja.p. (73)
1.J. ~f;ra- cf.\a, I ~fii«f ff1.::~ I ~(qffi "ftil I ~~Q'J' mff II .Jar, {'74)

THO UGHT VALU E 179
0
Tbou expellest the tyrants and art merciful to the poor 1. ' •
''Unparalleled 1s Thy good ness, pers,stcnt Thy f,1vour2. "
''~bou art the ho1ne of mercy 3 "
'·Ever merciful, thou art the fee der of the world4. "
"From the unseen beyo nd Tho u showerest Thy mercy on a116 . "
"Thy deeds are mercifu!G"
"Tbou art the O cean of n1ercy .' "
"Thou art the e mbJ diment of mere•/'.''
"He besto,veth tbe divine attribute a nd happiness on His servaats 0. "
"Thou re,novest in an in~ta nt the sutfa!rings of tllose whom Thou beholdest with a look.
of favour10 ."
"Compassionate to the poJr, a mine of mercy, beautiful is the holy Lord of wealth 11. ' '
''The world called Thee U cean of favour 12 . "
"It rs Tho u alooe who cbenshest the poor1a."
"On seeing Tby saints distressed, ~f hou becomest uneasy
Wherefore Thou art stylell the Kio.smao of the poor14 . "
"On beholding the poor, Thou art compassionate to them.
So we deem Thee the 'frieud of the poor.11P '
His favours work wonders:
"The dumb would recite the six shastras,
The cripple would climb mountains,
The blind would see and the deaf hear.
If God would only show favour 16 ."
I. 11.ftgq; fur,TGf t I i f ~ ~~sit l 11 Ja.1>, (153)

2. ~ j{~ ~iJ II ~T<fT Ji(ij 11 Ja.p, (170)
3. cii~C!t?:{ l
I J CLp, (171) :. ~~f.fit: l II fcr~cf~ f II J a p, (175)
5. ~ ij ~ 11 cfi~~
! ~ II Jti p, (176) 6. ii~C!Jfijicf ( I Jap ( 178) 1. <ii~~f til'<1 ~ I J a.p, (181}
8. ~~Jijj ~q I Jap, (100}
- 9. mcf if..:f ~ tfq ~;;, ij« c[Tm I P. Cb., 405 (386)
10. ~-q-r f~trR a;r '1flf6 fu~fi:~l 1 11~ arq af;{cfi .J~ ~ft ~ II P. ch.• 405 (399)
ll. ~1.:r q~~r~ ~~:.m <fit: ~1qa ij·~t ~ ~ltrqfu ~
r,. r :. ('
t 11 A. o., (246J
] 2. qi~l!JTfi=lfcl ;j'\ lf i:lcf :S'ef~:( II Ch .A , Intrn,(10)
IS. ~I~ ~TCf lTTI;r ~cifl\f II K.A.. (~3 ~)
14. ~.{ ~&1 f;J,~ ~~~T~ iif(f c:rra r.fj~~T~ ll
I ;fl.; Ch.A .• Intro. (8)
Cf.
~ a~ ~~t tfR {lQ;;:r q~ I a~ ai t1a «~r~ 11-Tulsidas
1.3. fu,{cf ~f.f q, ilcf ~':!fTtT, ~'f;;, ate{ ~ll o~ fc{~t,T II Ch.A., Int r o. (10)
Cf. i(lif" ~ 5,;:r ~ tfrij.:f ~cf~T~ I-Sun.las

~et; '3i~l ~ft1?1" tq.fe- fqrr frr~.; 'q'~ ~,~ 11 ur. ~q; ~r~ ~r~m, 11n ~~ firf,q, rr~ii 11
~-~ Zif~ ar~r ij;J ~t efifQl f~lr ~~rs 11 -itrg ~err ij ~m§! ~1 B<f.~ =lif~+fQf «ii 11
B N. l l.. ( ) Tulaidns : R am0ha1'itmnu11s,lfol-I{ond. Soratha (~)
Al!10 see P. Ch., l (43) ~=h <f-it@ ~J'i:ff~ QW..:, ~'cf~1t frrf\ll_ I
0
er. ~~ct l'flT~q i~ cfi{~if cf(~ qq)qy~~ t irc~qJ a-+r~ ~~ q,'lli\';i:{ifl~cf+f I

~TrJ,' ~~a fqtj cfif Sf~ :!.1~~ II -Adi Gra l1 t h Siok So hask ri ti Mahala. 5.

14. The Friend

It is to Him that ,ve should appeal in time of distress :
''Convey to the Dear One tbe craving of His devotees for tlim.
Without Thee the luxury of downy beds is painful like a malady ;
Life in a palace is like dwelliog amid serpents ;
Without Thee, pleasant beverages are no better than the cross or a sharp poniartl.
Without Thee, these comforts are killing like the butcher'i knife;
A pallet of straw is dearer to us, if the Dear One be then, ;
Palaces burn us like tb.c infernal fire, if Thou be oot with Ui1"
"Being Sahib', Lord of tbe Dass 3 :,.
"He protects ns in various ways from disease, sorrow aod 1'ater sprites.
The enemy aims many blows at us, bul no ne of then1 can touch our bodie-&;
For He shields us with His hand. aod wards off all kinds of evil away from••-
What more shall I siy ? He protects us even in tile mother's "omb'.' '
15. The Provident

Gt,d not only creates but also provides for the sustenance of all :
"Thou art the most supreme Lord, wbo feedesl aH from T.lly pri'YaCJ'·"
"Thou givest to all and knowest every thing'".
"AU receive their food and guidance from Thee7."
..Thou art the store of virtue, and bountiful'."
"Thy bounty extends to all tho corners of the world'."
"Thou art - tho Provider of meals and the giver of livelihood.,..,
•'Thou providest comfort afld nourishment to allu ."
''Thou art the merciful giver of breadu."
"Thou out of Thy mercy fccdcst alJl'."
''Thou art the f~eder of the world. 1' "
"Thou fillest and fecdest the whole Universe11i."
- L f~ A'IJIT~ -1. {lij !~V ~ ~itl ll
lg ~~ U~ l::~~ i:{l ~1~ -'liT f;:J~l ~ ~~ II
~..q{ ~~ ~~~ R~ ~W{T i:{l ~~
fq~TinT II
~H-~ ~r l={l{ l={~ ~rrr ~o i~,m i{T ~(1:!JT II Sb.H,, (6)
u~ ~Tlf ~ f~m~ -t;'t ~~r f~;:J ~;:J -il<Rr +m:1 11-•IUGUI

2· 3
'Jftt«r- A. U., (26) · ~ - B.N., VI (J!~
4. ~ :;m: Btlf.i a ~cit ~ a &fs liTa if~~ 11
~TT"lil
~ ~;\"=5 'if~Tt:1'6" ~ ~ o,; a'il lt<6 il ijfflfii q~ 11
(l~Q l ~~t cfi( ~ <ti\ qfq ~ ii itcii tfN II
~r~ <61' ifT({ cfi~ ~ <TT~ ~ q-c ~ ~ qc et1~ iii~ 11 A. U ., (:!-4oS)
s. 'R+f q~ q,it~~"· ~,~qr~ I Jap, (60} (I. ~~Gf e:nrr, ~~ Pl-5!.tldl I Jap, (7i )
8
7· ~,if ~.it~tr, B,cf ~TT'a't I Jap, (77) · ~J•iilil \'!Sffl I Ja.p, (11 )
9· 'i46( 'q1ifi +ff~ I Jl\p, (9S) IO. ~ cfiRii ijifiJ~ ( Ri U~ ~{~ ~ I Jap. (lt!l )
11. ~ ~(q~{fr~ fii ~(!if;\ 'TI@ II .rap, (UG) 12 · f.J; ~~cfi (~"tit l 1 .Tap, (t~l )
13· (Gf~~ (~+f ~ I Jap, (15-t) l¼. fffl~~ l t J ap (17:S.) 16· ~ ~cfi6 ~(a) 'tt-;4-qi;fi;fi ~11'~ l Jap, (lt,)

THOUGHT VALUE 181 ·
•
" rhe suppl iants are many while there is but one giver." 1
'' Co mpass1onate to the poor, an Ocean of mercy,
He beholdeth man's sins, but wearieth not giv1og.'' 2
"The Beneficient One ever beholdeth man's secret
Yet He becometh not angry, and withholdetb not their daily
"To those who know Him He giveth,
To those who know Him not He also giveth;
He giveth to the earth,
He giveth to the heavens." 4 •
''He is the bestower of food." 6
'Than 'fhou there is none other cherisher of the poor."i

'"He bestowetb on all but beggeth from none.
Wherefore He is recognised as the Providence." 7
16. The Unity in Diversity

Guru Gobind Singh believes in the unity of all creation, the central principle
of which is God Hi1nself. All life, according to him, is '"Absolutely One" 11
Addressing God, he says,
' Thou appearest i~ all forms and bebo)dest everything " 9
''Thou art like an ocean rippling with countless waves unbroken and rnysterious.''lO
''Tbou art quintessence of all things yet unformed of the elernents."ll
''Thou makest all thing~ flourish, and then scatterest away; to Thee 1 bow again and again. 11 12
"Thou art Almighty Creator. whose hand is in all concerns of the world. To Thee I bow
again and again." 13
"Thou art multifarious and yet one. "H
"Thou dwellest in all that is.'' 15
l. ~Tl~ll ~;J'f, ~ ~:cti f~i:l"'-"·H I A. LT.• (26) !!. ~T.f~~~z;r ~~;;:ii~f~ it~.:r ~~cf ~ '1t: ~cf -," ~R I A.U., (:?-(3)
3· i:r~'t ITT ~r~ ~t~cr tT~<fi ir\Ci ~iv.f ~1 it"1f"t ., err~ I -,.r .. (:!44~,
I. ij{J.l it ~il ';!;fGijif ~ ~n ~ i f ,it ~6 ~m.,- cir ~t 11 .,LU., ('.!-!'i_), 5 • ,lG:i:fl I A.U. (269)
6· 1T~'t~~cfl'lf if ~t: er)~ 1-B. N., 1 (92.)
?. if.f{<fi B+lf ~silJ~T B+r a a

I 'lfT.f &~) <t,~ar {+fa~ I Cb.A. Intro. 116)
Cf. 1:fo is the Crea.tor, f,he OmnLpotent, the Bounteous: Ilo j:irovideLh His creaLures with sustenance-.
.<\di Gra.ntl1-Asa-Li-Var, Pauli X:XIIl (2)
8· ij Q~ I Ja p,(9) 9· Ai ~\if~ -it@T I fcli ffi:ij?[ it@T I Jnp (lHi)
10. ~~~ i
a"{ 'T I ~?.: ~ ~lT II Jfl.p, t ~12-1.) ll.
' Cf~+f ~Hf. I ':g:@°c\. l=J~q-' II Jap. ilS6).
.:r+rr
l '.?. ijm Bt:Gf ~n1.:rm ~ii{ "4n ,
Jo.p. (22.) 13• ;nfl=f(f \lf{J{ I ;=n1ei fijjcn( I .rap, (.'.!4.)
14· ~;:t<li t I rrfi{ \1:1fi t 11 Jap, ('i3.) 15. ~-H.fl=lg¼rfo:Jcll~f
I J ap, (58.)
"lf", says TE'jCI Singh,"we were to study Sikhism as ll new organic rron•th ev<ilved fi·om 1he exisr.ing systen.u of though~ to
meat the net!dS of ne,~ly.ovolviog huronnit.y, we should l1t1d no difficulty fo recoi;nising Sikhi,un ris n dit!~inct system of thought.
·•Take, for instance, Guru Nanal,'s A!'la-di-Var whi<'h in its prelimino.r,y stanzas !a.ya 1lown the funda.mentnle of Sikh boli.,f
t1bo11t. God ......... God ill called 'the in-uwellor of Nature' and is described as fillin't fill tning,i 'h)-- 1u1 art tho.t is arl less' /:xii t-1).
He is not l\n impotent. meohanio f$Shioni11g pre-existiog watter into tile Universe. Ila doea uot e::tchu.le muttar, but inC"ludes and
transcends everything " ~ikhism, 5
"Tn truth, the Sikh Gurus ha.ve combined L,he \ryan idcni of imrm1ue11t·o witb che semitic i,len of trs.nsoen<leuce, without
t11king awn.y onyt11iJ1g from tho unity And lhe personal character of Clocl,"-Siklr1>1m, :S

182 ·rHE POETRY OF THE DASAtvl GRA~TH
"Thou art Lhe fountain-head of all." 1

''Thou art ooc, yet appe1.rest manifold
Verily Thou hast countless forms
Having played the inimitable play,
Thou remaioest one and above in the cod. " 1
"Thou hasL but one form, and that form is incomparable
Thou art 1n different places, a poor wuo, a lord or a king." 8
"Sornetin1es thou sittest as monarch oo tbe lotus flower ;
Sometimes as Shiv Thou galhcrcst up crealloa.
Thou d[dst display the whole creation as a miracle
Thou art the Primal One from the beganoing of Lime; Thy form was uncreatod" 4
17. The Punisher of the Evil L
God, says Guru Gobind Singh, is

"Effacer of evil acts. •'5
"lie destroyetb misery and sin; He crushetb an army of evil ,neo in a momeot. 110
''He puoishes wrong doers, tyrants, and oppressors" 7
Addressing God, he says,
''T hou repellest away 1be tyranoical." 11
" Thou expelle:st the tyran ls .
••• .. . ••• ...
Thou dcstroyc.st t he oppressors.
And removest all fea rs " 9
"Th ou slayest tho tyrants and discardest the fools' ' 10
• Thou ...... crushest t he evil doers." ' 11
'Thou puuest an ead to terror and destroyest
Thou puoishest the oppressors, the wicked. " 11
'·T hou are lhe a nnihila tor of tbe oppressors. " 13
"Oa seeiag Thy saints distrtssed, T bo u becomes, u neasy." 1'
l. ~~ f';f·t1M' J ,Tap, (6-4)
2.
~ ~ fer ~;{~ ~~ f.fif;, ~ q ~a~ I
~ cff q ~~ @in~, ~·a ~) fcofi: ({~ II Jap, (81)
"Thati, tho Rc11.I Unity ..... ,all tho worlde a ro held in it, ~he rr, is nothing whioh tninscunds it. Ast.he oni, encn::y
pervading tho ani,,erso uppeare in so many forms iu the vllrioty or obieot3, so the lnneraelf of everything, e.lwaye o uni.y,
upJJfllr8 to take on so mooy form1 but for-eyer transoeuu.s them." - KatIr Upanisltad I. P. & .'.\f. V. 15
The Ona Self is the 11uppott of Lho whole univer11e, whiol!, but for 1t, would be 1iow1Jere."
-Chhandogya Upa11isltad I. P. & M. C., 16
••Aa 11,naD sparks come forth from fir,:,, thua Jo 1111 brn.l,,M, 11,ll world~, ij.J1 Leing:1, oome forrl1 from Lho One."
-Briluularanyaka Upanilhad 1. P. & M. C., 17.
3. o.i ~q ~-i._t;f ~~TT I {~ .p.r) Ucf ,.~ ~qr 11 r,ch. -Wu (;iU4)
J. ~ ~· U~ ~~ ~z;r I ~ fu+rfk ~q) ~ifiol II a~,
6.
f~n-ir f~ftR f~&r~~:J:r:;t~~ 1 ~R' !!lfl~ 7:l~l
wf~ ~re;:rcfir~11 bh. H \ 1 · •
w:r~c1 11 r. c.:,,. ◄o;;. (3!•.•J
6
- ~It!~ ( ~{<.I" ~T~if '61 i:{~ ~~if ~ q'ql if ~cyr ~t II A u :!l.J
'1. 1B',~ ~ trfT I P. Cl,. -105 (38:!) 8· n-,=ft!!~ r~~f-if g- I .lap, (214)
9. lT~~mua l I lJ(l&i!lf;rcn~ t I ~~T~cfffB~ tI t%:~rij~fq:;':fl;;, i,

,J11p, (lft3)
lo. mi:ili;ff-.f i- I (iif~(i:f;s.:f ~ I Jap (171) t/
IL ffif'tff?.Jii Jup (l~U) 12 • w;ni~ ~ I ~iTJfi, l t
f~fq~ t I, .. .. .... 1 Jap (11:i~) 13, J11p, (l!JS) ll-. Cb. A,, lutro, (8)
Digitized by Panjab Digital Library/ www.panjabdigilil5.org

THOUGHT VALUE 183
18. The Lord of War

This is a unique conception of God, which only a soldier-poet could entertain.
God is symbolised in th~ weapons of war. God is the world-hero. God is Death. God,
as it has been noliced above, is the Punisher of the wicked and the tytannical. He helps
those who take a stand against evH-doers aod tyrants. This aspect of God has been
stressed again and again in his praise of the Timeless. To Guru Gobind Singh, God is,
as Kipling calls Him> ''The Lord God of hosts" . Guru Gobind Singh often calls God, as
in the beginning of the Akal Ustat, ''All Steel'',1 "All Death'' . 2 In the Sastra Nam Mala,
also, we find him invoking God ia the language of the weapons of war:
"Thou art the Arrow, Thou art the Spear
Thou art the Hatchet, Thou art Sword. " 3
·'Thou art the Goddess of Death, Thou art the Sword and the Arrow,
Thou art the symbol of victory, Thou art the world-hero."•
''Thou art Bhalla, Sethi, Bhatha, Katura and Barchha
Thou art Knife and Sword, Thou art Arms, Missiles,
Thou art Shield, Thou art Sword and Bhatha
Thou art the Breaker of Kavach
Thou appearest io. all these forms. " 6
In the beginning of the Bachitra Natak, he invokes God in the same style:
"I bow with love and devotion to the holy Sword,
Assist me that I may complete this work.' ''
" I bow to Him who holdeth the arrow in His haad,
I bow to the Fearless One
I bow to the God of gods who is io the present and future.'' 7
"l bow to the Scimitar, the two-edged Sword, the Falc oioo aad the Dagger.
I bo w to the Holder of the mace wllo d ffuseu llght through the fourteen worlds." •
l. ~{.il~-l~ - A. U . lnoroductory Stan:ta.. 1. ti"~ar:fi]Ql- A.U., l0t.rodi1ctory Stanz&.
a. ~~
g(' ~ ;it g.t 1 g~l <fsf{ <f~qf{ 5 · M. ( 4.)
4. tt.t~ g;{t ~rcl t g(t g;~'t ij~ ~
~~ ~l=f~ gll~l fl1'R §.ifg:t qicf'q f.=J~TJ 11
efiflfi:lcfi g+rs:_'t GI'~ §;if ~Tq'efi l1~cf~ Ii S. M. (7 )
u. iiifaefiT~ ~1 ~rr it cFKT ~ ~s! f-:qg q1r~ 11

'{~;r efi~ Tq'lf ~~ gif 5ffl: ~~ B~J~ I l B. N., I. (1)
J, ;::rii't ifl"ltfl~ 11 -iifl ~~T~ 11

-iifl ~9~~ II +{qroj ll~~ ll B. N., l . (S6)
rfITT ~ ~i fq,qJzj ~l~ II

••• ••• ••• •••
11m ~qr-OJ '1ilT ~\llwi II
(G{~ ~l'~s· ~ltfi ~,~ ~~m:~ II B. N., J. (R7)
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184 THE POETRY OF 1~BE DASAM GRANTH
·•1 bow to the /\rrow and the Musket

I bow to the Sword, spotless, fearless and unbreakable ; •
1 bow to the powerful Mace and Lance,
To which not bing is equal.' ' 1
"I bow to the Ar row and the Cannon
Which destroy the enemy.
I bow to the Sword and the Rapler which destroy the evil. " 8
1
' I bow to all weapons called shastar (which are held).
1 bow to all weapons calleJ a.star 1whicb are hurled or discharged) '' 8
" The God of war has a sword on His banner. "•
1
• 1 bow to Him,
Who holdeth the discus.

Who is not made of elements and who is terrible
I bow to Him of the Strong Teeth ;
I bow to Him Who is supremely powerful. " 6
It was Guru Gobind Siogb, who introduced the Sikh prayer with an invocation
to the Sword :
·' Having first remembered the Sword, meditate on Guru Nanak. " 6
It was he who inscribed sword (Khanda) on the Sikh banner of peace and war
in fighting against the Moghal tyranny. In support of his recourse to sword Guru Gobind
Singh expresses his belief that :
~'When all other means have failed,
It is righteo us to draw the sword.' ' 7
God, Who, as Guru Go bind Singh says, adorneth t he brave, is invoked as sword by
him, to help him to fight for the oppressed :
"Thou art the Subduei of coun tries, th'! Destroyer of tbe armies of the wicked in the battlefield.
Thou greatly adornetb the brave.
. . .
.... .. .. . ... .. .. . . . . . . . . ..,. . . . .. . .. . .. . .. . ..
......... ... I seek Thy protection ............ ... Hail to Thee, 0 Sword !' ' 8
1. if+mifi~
•
g~lf II .:rn) ~.f at~lf ~l=I'~· ~~rf II
. ,.. .
ll~r~ n:rBc ll~~1ti 11 f~i-f girffl~ ifll'.: artit ;; ail~' II B. N., 1· (SS)
i;ft\ ijftf II f~ ~ ~Tcf 11
~IJ qci
......
II fsit~ ~Be ~2:,i II
~
B. N., I. (90)
3. f-itij ~B:f ;:ff +f II .:f'ffBffl

~a' $'.I' e~ ~~ 11 if+rG':fif\ B. N., I. (01)
4. ~if~Q° ~ ~ f;:r fut r{T II P. C'h., 405 (•!01)
.
5. -tiff :q"i:ffliSJf{!j II ~~a- ~~t{!j II
if~T '3~~- 11 ~ITTfi:r8?: rrr~ II .B. N .. I. (S9)
13. fir~i:r +i11r(l't fuir\~ n~ .,y.,:fi ij!~ f1:1~~ 11 Ch.V., (I)
7. ~-~l\ ~ ~[ t)'eyla 't~!!~~a II

• i!@l(il~Bg ~1::~if ar ~it\ i'f.'-icl' 11 Zu.furnarna, (22)
~- B. N., I, (!?.)
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• THOUGH'f VALUE 186
Guru Gobind Singh addresses God as a sword to destroy his enemies : -

"I bow with love and devottoo to the Holy Sword
Assist me that I may complete this work.1 "
Dr. Narang's appreciation of the Guru's conception of the sword is worth quoting :
"The following four verses of Govind Singh forming an invocation to the sword are among
the finest of Lbeir kind to be met with io any literature of the ,vorld."
(The text is given 1n the footnote.* Here only the translation is given)
'O, Sword, that conquers countries,
That ravage~ hordes of fools,
That wagest the deadliest wars
Bes tower of all the boons'
·1 by arm, it is iofraogible
Thy name, it is unquenchable
Tby light, it is uneclipsible
Tha t shines like a hundred suns
Thy refuge I implore,
Thou soothest pure-in-heart
Thou razest the wicked to naught,
Hail. Creator of the world !
Hail, Saviour of the Globe
Upholder, 0' me-Thy slave
Hail, Thee, bail mighty Sword.'
The idea of ''Martial God". is further conveyed by Guru Gobind Singh in warlike
names that he gives Him :
I . Chhatram Chhatri 3 (~,(w,n)-Tbe best hero (warrior)
2. Sa.tram Pranasi 4 (1:rsr'si-0.Jl'il)- The Destroyer of enemies .
3. Asipan5(,;qf1-1q1-1)- Tbe Holder of Sword.
4. Asidharie (~~)- The Holder of Sword.
O. Asidhuj1 (~!';Pf)-With sword on His flag.
6. Asiketu8 (,;,r~)-With sword on His flag.
7. Kha.ragketu 9 (~lffig)-Witb sword on His flag.
8. Sastra.p,zne10 (~1';13141.t)- The Fiolder of striking weapons called sbastra (i.e., M ighty destroyer).
9. Ast1apane11 (~f1,iq1~)- fbe Hokier of missile weapons called Astra (i.e., Mighty destroyer)
IO. Astramane1 2 ('$lfr=l+1!:r)-Tbe Holder of Astra (i.e., Mighty destroyer)
11. Sa.rb-Loh13 (':lt~tilii!)-All-steel.
12. Bhagau.ti14 (+ll'raffi) -Sword.
13. Banpanaml6 ('n<ll41!!f)-The Holder of an. arrow.
----------
..
1. S. R. V, 28U: .8 N., I, (1)
.
~if\Cf sTiSf6is
,-.... . .
\qijfr.i'&~i ~fi'f{{!Jtri q{~ 11
2. T. R., 142
~~is'~~s' ~iilij~;i sllTfcr~#i ~ I •·HI# II

Bl~H:l Fi fcfi~~ ~~fa~~ ~ijf~~~ {~ '~H:ftH'.U I I
"l ~ r- .... . ~
\Tj' \Tj' ~iifirott ft;{ B2'~~R{!J ~lfi;rraqmu Gj' wr 11 D. N. I., (2)

a. Jnp, (106) !l. J ap, ( lfJS) fi. Ramil Avt &r, (863). 6. Sha.bad Ilaz~re. (4-) 7. P. Ch., 405, Bent.1 Cha.apai,(381)
s. P. Ch, .J.05 9. P. Ch ..-E~n Li Cha upo.i- 105, (.J:01 ) 10. J ap, (52 ) 11. .Tap , (152)
12. Jop (o2) 13. A. U., (I ) 14'.. Cb. V • .(1) 15. B. N ., 1 (8tl)

166 THE POETRY OF THE DASAM GR/\NTH •
14 . D!tanurpan 1 (•~:11qr,:i) T be Holder of a bow

15. Kharai;dharam 1 (ITT1f':TI~)-Tbe H older of a sword.
16. Sarang.:lho.r1 (ffi(7M{)-The Holder of a quiver.
l 7· Kharagpo.nam 4 (~q1~r)-The Holder of a sword.
The sword is the symbol of God Himself. It performs the dual role of preserving
the good and destroying the bad in this world. The poet says,
''Thou bestowest happiness oo the good, Thou terrifiest the evil, Thou scatterei-t sinners,
I seek Thy protection.
H a il ! Hail ! to tbe Creator of world,
The Saviour of crealion, my C herisher
H ail to Thee, U ::;word ! ••~
These lines clearly express the implicit faith, Guru Gobind Singh had in
the martial type of heroism. The sword to him had a divine significance. It was meant
more for self-protection than for over-powering others. Guru Gobind Singh acquired so
much attachment for the sword that his love for this weapon appears like that of reverence
which is indistinguishable from worship. The sword for him v1as a symbol of power
and self-respect. The ills of society could be remedied only with this weapon. The
\Vicked are destroyed and peace established only by force of this bright Sword.
19. The Guru

The need of a guru's guidance has throughout been acutely felt in the Bhakti
movement. This creed of guru was in vogue in the time of Guru Nanak also. He
himself revived it \Vben he installed Guru Angad in his place by ignoring the claims of
bis sons, Sri Chand and Lakhmi Das. The same cult continued till Guru Gobind Singh,
who declared that his descendant was Guru GranthtJ.
While the instruction of an earthJy guru, the one who himself has experienced
union with God, has been considered jnvaluable, the tradition of calling God as a True Guru
or a Great Teacher is also very old 1 . In his verses., Kabir is also sometimes found using
the word Guru for God Whom he also calls Sat Guru8 •
The Sikh Gurus believed that the true Guru is God Him self. In the Adi Granth
God has again and again been called as Guru8• Guru Gobind Siogh also, in his Dasan1
1. Sha.bad Ba.zure (4) 2. B. N., T, (85) 3. r.. P. (35) 4. B. N., I, (3) G.P., (29, 36) Ii. B. N. 1, (:?)
o. ~IRl~I ~ 35F-tilci1 #.{ ij"~ ~rm q~ II ~ ft:H.i:1.t ~ ~ ~ ~ +U~=W 3:r·~ 11~~11

Pa.nth Prokash, Niwa, 40, p, 338.
,. ...& "- ~ ...
'· '£_6f9(«N ~: tf.( '11'1-E(-.:.~~ 11-Pa.t&njali: 'i' ogd.nrshnn, l (!16)
8. 'l'hou l l.l~.. Godj art; tho true Guru, I om 'Phy novmu - Adi G1a11tl1, Gauri 2
V. ~ ~ 1:19 ~.... ,..,.~~ ~ ~~R:

~
II-Adi t.,rn11th, Siu Rag, J.it:1Lul1o l
+I ~q-;f( U< ~ Cfflcl~ II -Ad! OrtLuth, l:>iri Rog. ll nbe.la l
-
<ERttil +f{f ~ ~ , ~l ~~ .:tr ~f{ 11
~
~~ ~fq~ ~ { ~ l{T~ ~:iJl"T ~~ II- Adi Grontli, Sul,i M1halo. <4, .~t1l1t-apatJi
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THOUGHT VALUE 187
Granth, considers God as his True and Supreme Guru1• While speaking of his birth the
Guru states in most clear terms that his birth is due to the devotion of his parents to the
Supreme Guru Who being pleased with their devotion, sent him on a mission :
"The <:;upreme Guru was pleased with their devotion to Him.
When God gave me tllis order I assumed birth in this Kal age. '' 2
The Divine Guru sent me for religious sake. " 8
In Benti Chaupai, at the end of the Pakhyan Charitra, he r~iterates this belief, saying
Know that H e is my Guru,
Who made the whole world
Who created demigods, demons and y.1,kshas
Who is the only God incarnate from beginning to end.
My obeisaoce to Him alooe. 4
Such examples, as quoted above, are not few and far between in the Dasam Granth
to show that to Guru Gobind Singh God was the Supreme and True Guru.
The God of Guru Gobind Singh, though real to him, is a very shadowy being. Like
other Hindu thinkers he uses negatives in describing Him'. It must, however, be confessed
that the Guru's conception of God as outUned above leads one to believe that to him God
was not a mere ab5traction. The attributes be has used to describe Him are not only
impersonal but also qualitative and those which personify Him. To him God is the Saviour,
the Cherisher, the Guru as well as Akal Purakh, the Beautiful (Sundar), the Sword to punish
evil, the Holder of a bow (Dhanurpan), and the Lord of war and also Father, Mother, kind
Friend and Lord of the dass (Guru Gobind Singh). God, according to him is, uo doubt,
Almighty, All-Powerful and Supreme, yel one within lhe approach of a common man
irrespective of caste and creed and one with Whom man can have intercourse.
Guru Gobind Singh has shown a definite leaning towards Vishishtadvait conception
of God or modified monism in which man·s spirit is considered to be a portion of God and
which when finally reunited to God, retains its own individuality and conciousness.
1. P. Oh.-Benti Chsupai-4.0G (385) Ze.farnama, (71} 2. B. N. VI, (-±) 3. B . N. V1, (42) -i. P.Oh.-Benti C'1a.upo.i- 4.05 (385)
5. 'q;fi f'il('l ~ GI~~ ~lij ~ qrn -lit_.:\ f~ ll
"q ~11 ~
~
bsl ~ itl: ~~ t{
,-.. ~ "
~cfi@ Mi~
P.~
II
""~-"if-tji~~-< t ij ~~ll 1Sf ~TB ~ C+l rjj I.at ~ it;.at 11

~ ~~ U:TTTIJ ~ ~rftu ili-OJ~ II
Br~~~~~~ ~o;\°cf ~fu-OJ~q II
~
~ B~if ~ ~ cf>qq ~+r.=11~ ef \im ~ 11 Ja.p, (ll
Also eee Jap (2- 196)
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188 THE POETRY OF THE D/\SAM GRANTH
SOUL, TRANSMIGRATION AND SALVATION

Guru Gobind Singh believes, like other Bhaktas, in the emanation ?f sou! from Go~,
and its eventual salvation by way of merging into Him. This thought 1s ancient and 1s
met with jn the Upanishads and the Bhag,vadgita. There are verses in the Dasam Gra.nth,
which are inspired by this thought, e.g.,
"As in one stream millioos of waves are produced, the waves being made of water all
become water.
So from God's form non-sentient and sentient things are manifested, and springiDg from
Hio1, shall be united in Him again.'' 1
"As light blendelh with d.irkoess and darkness with Hght, so all things have sprung from God
and shall be uruted in Him. " 2
The Guru maintains further that those who do not believe in God are pu.nished by
Him io the form of trans1nigration :
"He who knows not the one God will be born time and agaia." 3
Disbelief in God is., thus, a sin in the eyes of the Guru. No less sinful is, however,
a disbelief in the mission of the Gura and a faith in the learning of ancient scriptures. The
latter sin is also punished and the disbeliever is reborn again and again until he realises
his sin. Io this connection, he rev~als that God said to bjm thus :
"They who shrink from suffering,
And, forsaking Me, adopt the way of the Veds and Snaitis,
:::.hall fall into the pit of hell,
l\od continually suffer traasm1gratio.a. "d
The transmigration of soul ca □, ac-:ording to tl1e Guru, be brought to an end and

salvation attained, if one loves God ancl endures physjcal sufferings. As narrated in the
Bachiira Natal<, God Himst!lf teJls him :
"1 hey whu endure bodily su!Te,ings.
,A,nd cease oot Lo love 1\1e,
Shall all go to paradt!le,
And there shall be no ddTerence between Me and them. ''G
The same thought is expressed in the Akal Ustat also,
'' He who with single heart meditatetb on Him even for a mo meat.
t>hall not rail into Death's noose. 0
"They who touch the feet of the Lord of ,veallh shall not again resume a body."1
1
Agaio, in the Shabad Huza9'e, the poet stresses the irnportance of the need of
God s protection only :
"Except 10 the pro1ec1ion of the one sole God nowhere is salvation "'
Guru Gobind Singh, accordingly, takes God as the origin and destiny of soul
and believes in the traus1nigration of the soul and its eventual salvation. He vehemently
rejects tile belief that salvation is obtained by penance, lip-worship and self-immolation.
1. A. U., (87) 2. A. U., (88) 3. Mehdi 1\l1r (5, ii) 4, B. N,, Vf, (2!?)
B, N., VI (!!l) II. A.U., (10) 7. A.U., (2S) 8. Sb. B,, (9)

THOUGHT VALUE 189
THE COMING OF A SAVIOUR

Guru Govind Singh believes in the idea of a saviour appearing from time to time
when the world is in troub]e and wickedness takes the upper hand of virtue. The Guru
says :
Whenever a whole avalanche of miseries and sufferings rolls down upon the human creation the
Avtar incarnates himself into eue or the other form (animal, human or supernatur al).1
He further says that he, too, has assumed birth with the same purpose:
"I assumed the bir th for the purpose of spreading the faLtb, saving the saints and extirpating the
the wicked. " 11
He, however, believes that the saviours (Avtars) are not descents or incarnations of
God ; tbey are the elevated souls blended \.Vith Kal-Purakh :
"There are millioos of Bisheo and Mabesh in the body of Ka.1-Purakh (God)." 3
These elevated souls are called upon to con1e to the rescue of mankind in dis•
tress and save them from bu1nility :
"The Infinite I<al·Pur!l.hh ordered Bisbeo to incarnate 111 lhe form ot Bawan as eighth Avtar."'
Ha viog done the needful the Av tar goes back and rernains blended with Him.
"Having relieved the earth of the burden , the A vtar (Bishen) went back to Heaven and remainea
blended with Him. " 6
THE UNIVERSAL BROTHERHOOD

The Guru's conception of universal fatherho0d of God leads to his belief in the
universal brotherhood of man . Though GurL1 Gobind Singh hated tyranny and rebelled
against it, yet he bore no ill-\vill against any religion or community. He regarded
all human beings as the children of t11e same co1nmon father :
"All men bave tbe same eyes, the same ears, the same body, the same build, a compound of
earth, air, fire and water." 6
1. ~q iJfel itij 'g\Refu ~cnu ll ijq ij'iil' ~ eTI:a $!E.lt\ l(I l l
~
Ch_ A., lnt,ro. (~)
Cf. ~T ~ ft tl~~ irnff.:TW-f fi;J ~ffif I I
('
~~~-fFl+f \:l11~ (l~+{r.:{ B.~r:ij~ I l-l:ll1ngvad(!'iL!l, lY (7)
~q ~~ irl tl\+l ~ ~r.ft cr~i ~~ ~~+{ ~f+HlTrTT

11
~fit ~ta qf~ ~~ ¢(~;--11 1 w~~ t~i;:r ~ ~ 1-:f\~T 11
cfil cfq ~~ 1;tf~ faj9\:l ~00 t 5-fl~ ~cn~~i ~~tj" cm:r 11
~ij( +ITR ijtq(W ~~ ~lt~~ r.:{;I' ~fu ~~ I
i:Fl f~~mm fq~~ ~;:j' 7f+f a-;:i:r ~~ ~g II -1'ubi: '\fnnWI, Ualkau<l, (121)
-·•• lil~ ~&fcFl Bi:f ~Rc:t u ~-8,:!' B"~ ~ .:r._ffl" :;qf{r.t II H. N. \' £, ((3)
r,. • ,,.._
OI. CfR~T~ ~fi~l P-.l-lfl{ll~ ~ ~f.cU+f 11
\:Pl
~j~~cr.:rr~-tr~ ~;~:::trfl'.t jTf jlT 11-Bua.gvadgi~a. IV (S)
a. i:f,lijta~ <ill" ~fir ~f ~tf~;;p T9(:lr{ +{~(1 11 -~liesh-slinJ i A {I)
4. ~Tm ~ , j tf.T~~~ =;w.rft II 'elU 'ffr~r f--tBil ~a:m~r~ 11-Bawn u A, (3)
5. ~+l~R ~(
....~ ..... ~--
IB ~ ~{ 11 <-filqi~~ ~T
.>..
~ ......
~qrt •
11- l~ii>han A., (◄)
6. <61~ Q.c.fi ~ (lcf; 5ffii ~rifi ifl?.; ~fff!:J ~l ~iif ~T <~r: ~ 11 -~-CJ., (86)
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lflO THE POETRY OF THE DASAM GRANTH
By nature they are the same. It is only in the out ward appearance that they differ :
·'Deities, demons, yalcsbas, heavenly singers, .tvfussalmaos and Hindu:. adopl the customary dress
of tbetr different countries " 1
They have also different modes of worship though the object of their wor~hip is the
same, the one and the same God.
"The temple and the mosque are tbe :.ame ;
The Hindu worsbip aod Mussalman prayer are tbe same. ••a
''The Sikh uurus made tbis improvemtnl on the previous idea that they declared
the whole humanity to be one, and that a man was to be honoured, not because he
aelonged to this or tb.at caste or creed, but because he was a 1nan, an en1anation of God,
whom God had given the same senses and the sa1ne soul as to other 1nen 3" :
"Recogoize all human nature as one.'' 1
"All men are the same, although tbey appear ddfc:reot uoder differeo t influences.
"The brigbt and the dark, Lhe ugly aod the beautiful, the Hindus aod the Muslims~ have
6
developed themselves according to the fashions of different countries,''
All men are the same; it is through error they appear different :
'' Allah and Abhekh are the same ;
T he Puran and the Quran are the same;
They are all alike ;
It is the One God wbo created all ."'
"What is a Hindu or a Mussalmao to one
From whose beart doubt bath vanished.?
The Muslim~ use the Tasbih and Hindus Mala ;
7
The Muslim recite tbe Quran, the Hiudu read tbe P ,ran. "
T hose who have not realtsed Lhe essential uuity of humanity in God are a source
of great mischlef to the society :
11
"Fools have wrangled and died over discussion of th~se differences ."
These wranglers do not love God. ·r h::y hav~ not had any experience of meeting
God nor do they have any principles. He further says that :
"They who love God
Heed not these divergences and live Joyfully."~
They ·who realise the primal Being
Let no otber belief er, ter their m1n<ls and hearts,
But Tbey who cherish another belief w,ll not nea!ise the Lord, Our ELernal friend ''Jc
L a:qcH ~~cf <il~ tj~ijf g{<fi f~t 1.rarR: ~r~ ~A;, i.fi l1'~ .;;r ~m! It l A. u. (SO)
2· ~~,r liB'ni lTTt

i~r ,;rr
{~;rr~ ~T~ +I Ft~ .i~ ~.:.fl ij- ~~91 if bllif 3 ~ 11 A. LT. (SG}
Cf. ~ u~r fi.:r{~;,~J\ ~Qt'@ Ta"{·f~SEff .;ft~) II P.;ifi mf~ ~~ m ~ 9(f~~r ~T~T II
\di Gra.nLh. DlHlnasari, ~Iolialn I, 15
SJhhisro, 11. ~- .-\. lJ., (SO) 5. .\ U., (8fJ)
3.
0. "lij(fi. ~it~ Bl( 3~1.=r ~fr w~:r.:r ~,~ 11<li ~i ~~q ~ I{~ trt iiF=rT"i ~ 11 A. L'. (~o,
7. ~~ ~(t! ~~T ~ ~,}iiT 1 Ta6,5 -=:;:fJTf f~~ f~m" g~~ II Ch. A. In~rn. (10)
~ ITT:rqT ~9i +l"TiH ~~s) I n:~ ~Tit g~r-, 'j"'f~T II (;h. A. l11tro. {~O)
8. 91~G fq-~~ ~q +l"1; ~ 11 Sfli if ~:n ;,

ijff~T rx._~r 11 (Jh, A Intro. (:?l)
!} • ~Tf~g~li'.f ~., Q~ q~.,T Ii ¥t~T llfcf -, q-;:J ~~ ~RT 11 Ch A. Intro. (!!l)
10. ~ ~ mer ~l~T ~rs:~l~ 11 a~ ~'ta fqqiw{ ~ arr~ 11 Ch. A. lnti·o. (i2}
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ThOUGHT VALUE
(b) DEVOTIONAL POETRY

WORSHIP
rn the centurie'i oefore Guru Gobind Singh,the Bbakti movement had developed
greatly in India. Guru Gobind Singh is in the line of succession of the religious leaders like
Ramanand, Kabir, Tulsi,Sur and Nanak who advocated bhakti or loving faith and devotion,
for those who would fiod God. According to C~uru Gobind Singh, the ultimate goal of
human existence is the attainment of real and eternal happiness which results from the
liberation of the soul from transmigration by way of its reunion with God Who is its orgin
and desti ny. For salvation and enjoyment of iohereot bliss, therefore, man must seek: unio n
w1th his Creator, and that is possible through worship alone :
Salvation
"They who touch the feet of the Lord shall not agaio resume a body.'' 1
2
"God is w..:>rshipped that by worship salv,111or, n1.1y be atlaioed."
Immortal Bliss
If you wish (to bave) ctlways happin ess of every kind, then plunge deeply into the sweetness
of God." a
"Jf thou desirest to obtain the Supreme bliss, be absorbed in tbe love of God."'
Immense V,; ealth - No Use
He apprises people of the fact that :
"Without worshipping the name of one God and loving Him, even kings are of no account.'''
"Without worsbipping the name nf the Lnrrl, rbey (emperors) went at last to their final
h ome (grave i." 4
False V/,::l'"',mp-A Distraction
He warns b;s followers against the false \Vorship which may distract then, from the
right path and cause utter frustration :
"0 mau, won.hip none but God. not a tbio g m,iJe by Him." 7
The Guru says union with God cannot be attained by false worship :
"No advantage can be obtttned by the prdCtice of fuhe rdigion."8
"The Merciful One ic; not µk-:ased with circumcision.' ·o
Speaking for himself, he says :
"l w11l not close mine eyes (u•s some Jndi.in raqi rs do) or do aoy tbiog for show.'' 10
Real Worship
The Guru, therefore, enjoins his disciples first to put faith in God, asprre for
union ·with Him. develop perfect love for Him and then meditate on His name :
FAlTH
Faith is the sheet-anchor of an aspirant. The Guru s3ys :
'·Put faith in no created thing beside lht: Creator."11
''Own l-I1m as thy God. " 111
''There is no salvation for thee ex.l;cpl 1n His name."13
"Blest is his life in this world wbo repcateth God's name with his lips and meditateth war 1n
his heart, ••ia
- - - - - - - - - - -~- -A. U., (:t4J) - -
t. A. U,, (28) 2, 13. N. I, (00-ii) :1. Sh. R., \ j -ii1)
5. A, U., (24) 6. A. l ., (23/ ';. Sh. 11., (3) s. S., ( L!J)
0. B. N., I, (JOO) 10. B. N., lV (02) l I. ::il,. H., \:;) 12, l:lb. l-1., (:iJ
13. Sb. H., (10) 14. l(. A., (!1402) C.f. At all Limes L11iuk of .!Ile und ligLt.-Bbagvadgitn Yli1 (7)

192 THE POETRY OF THE DASAM GRANTl-I
Without faith God cannot be obtained. Want of failh naturally \veakens the desire
to lead a line of spiritual discipline :
" How can be wbo is the slave of worldly desires and ever cle"er in obtaining we ..dth, obtaio the
one Lord of the world without faith in Him ?"1
"How can be who is a slave to worldly desires aod addicted to lust and wrath, find God without
faith ?''t
"Without faith how can there be any sucb meditation (on divine koowled1te). "a
ASPIRATION .
Faith begets desire, desire begets knowledge. Without Bhal'ana (aspiration) there 1s no
quest and without quest the re is no knowledge :
"Without Bhavana one caooot allain sal valioo. "~
"Without Bhatta.na there can be no knowledge.'' 5
·•Without Bhavana one cannot attain Goel " 6
PERFECT LOVE FOR AND DEVOTION TO THE MASTER
The unflinchin g faith in God and a keen aspiration for Him should develop
into perfect love for the Master and fullest and exclusive devotion to Him.
The Guru is himself enamoured of God and instructs his iollowers to develop their
love for Him Who is the highest object of love:
··ram eoarnoured of Thy form,
No o ther gift hath charms for me " 7
8
"I spe.i.k verily, bear me all ye p~ople-they who love God have obtained Him. "
The Guru then expects his followers to bt; absolutely devoted to God, because :
"He made millions of Indras and King~.
Many Brabmas and VLshous who u1editnte oo t-lim.
Many Rams, Krishans and prophets
No one ts acceptable wi hout devolion." 9
The true devotee of God lives in bl1:;s even though a poor man :
"A pallet of straw is dearer tJ us, if I be Dear one be there.
1
Palaces burn us like the infernal fire. tf Thou be not w1tb Uf). ' '0
Devotion to the Lord is a life of praise, prayer, rt.petition of God's name, righteous
deeds, etc. Thts 1s the easiest road to ~ucces') for an aspirant of bliss :
(i) Praise and Prayer
Praise and prayer are much used in ~ikhi~n1 1 'he Sikh scriptures consist chiefly
of these. 11 The Da1a1n Grantl1 contains a large nun1ber of verses in praii,e of God co,nposed
in the stotra style. The works like the Akal Ust,,r and the lap arc sol\"!ly devoted Lo this
form of poetry> while many other parts of the Gran th begin \\ ith prai~es of nnd
invocations to God.
Prayer n1eans nol a n1t>re psychological union \Vith God but a'1 active yearning
of the soul to feel o □e with H1,n, \Vho is al\.vays active, always paL,ent, and ahvays
12
h opeful. Prayer should, therefore, inspire a devotee to do God's will
,1. A. U., (7!1) 3 • .,\, u., 183) 4. A. U., (81 l
!?. .A. LI,, (S'J)
i. A.U.,(83) 7. B. N., VJ (·i-0) 8. A. U., (291
6. A. lJ., (ill)
9- A. U., (38) 10. Sh. H. (f.i) Jl 8ikhism, ( I :!HJ 12. Sikhi11m ( !26)
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THOUGHT VALUE 193
A Sikh prayer generally begins with an invocation to God. fo ll o\.ved by invocations

tQ the Gurus in the order of prec~dence. The hlghe sl i deal o f godliness, according
to the Sik.hs, was realised 1n Guru Nanak and '11 5 s u~cessors. Therefore, they
are invoked next.
"~1ay tbe Holy Sword assist me 1
Havjng first remembered Bhagaut1
Meditate on Guru Nanak, then on Guru Angad, Amardas and Ramdas, May tb.ey assist me !
I call to mind Ar_juo. Hargobind, and the holy Har l{a1,
I meditate on the holy Har Krishen
A sight of wbom dispelled all sufferings ,
I invoke Tegh Babadur that the nine Ireasures.;, may hasten to my borne.
Ye, holy Gurus, everywhere assist.'11
The Guru directs his followers lo pray for His protection :
' 'I speak lhe truth, hear it attentively-without entering the protection o f the compassionate
to the poor
And lo'ltng 1:-llm can God be fouod ?" 2
''Tbou shall only escape from Dealh 's noose.
When thou seizest the feet of l-Iim who existed before lhe world. '' 3
"I have fou nd refuge at the feet of God " 4
In the Ak,al Ustat also, protection of God is sought
" May we have the protection of the Immortal Being!
M ay \Ve have the protection or AH-steel l
May we have the protecllon of All-death !
May we have the protection of AH-steel !" 5
An excellent spiritual exercise for an aspirant is to weep before the Lord with an
open heart, in a piteous and pathetic manner aud in solitude. Al the end of the
Pakhyan Charitra in Benti Chaupai, the Guru makes supplication in the follo\ViGg words :
"0 God, give me Thy hand and pro1ec1 me,
• • .. t • • • • • • - - • • • • • • .. • • • • • "' • • • •
Deem n1e Thine own and cherish me,
O ·1 bou with the i;word on Thy banner . protecl roe,
Preserve me, 0 Thou Preserver ""

-----
•O"nt oltl wt,1,ll h or :,rosperi 1.y. In th~ Uintlu scrip1,1iro:1 tlo, i.,t1 t.r,•as1u·es 1ire speoitic1'11y mentio.ned.-S1 k hhirn, 1:20
1. Ch. di Var , (I)
••1 his p1or,r• 1s in p ruise of Rli,1gauli, or God, nnrl uot the g,1,JJo.:i.!I Dlll'ga, ns soma 1mppoi'le , In Gttt•u Orant,h Sahi b,
wherever th£ woru Uhu!!& 1t.i occur,i, ib ruell.116 G11,l o r H i.;; ,.-orshipp••r . lu llus Var Hhugml t.i L1I de➔ori ..H~•l u.s Lit, Cr L'u l,o r of
Du,rgl\, Br ahma, V, '1111u, Shiv 1, H.uma, Kl'ishnu, cbc. 1 L <·011 lu uot Le Durg,,, thorofure. 111 ~he story of Chauc..lt t h() Gorhh,ss
ia not onco uamod P.hagan~i. 111 tbo writing,; of 1..h1ro Clobinu :-5ingh, tl1e1 word Uhu\/;t,uti mo, 1 ns t.ho s.vo1·d 01· l.:ml, n11rt llocl is
often a.udi·essed t~s t lJ,i Hwo ru U1Lr11 (lohiml Sin~l·, 1,1 verv aleu.r ug,Lll\;it t he wor,;hip ot godd an<I go,ld,;,,~eH. He s11y,; :
l J o r1 ot wor h, .., auy ,:, rctu,uro.
I worship onl:1 t .. 1 Crt•ltL01:.- Hu.i:ore -<l~-Sl1u.ln,d.
I do no~ pr o p il it1! E' banesh ·
1 never metli ta t,e on Kri!lh oo or "\' 'ishn.o ,
I have heard of t hem, hut l kn1) w t he m n ot,,
lt is only God's feet I love.- Krisanil Avtu r."-Slklusm, 120
2,:B,N.,T(J00) 3. Sh.H.,(6) ~ B.N.,VI 5.A.U. (l ) 6. r. Ch.- B enti Chaup e.i-4.05 (377,381, 382).
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TllE POETRY OF THE DASAM GRANTH
(ii) Love of the Name of God

One form of devotion according to the Sikh Gurus+ is the repetition of the name•
of God. The word Na,ne means manifestation of God or His attributes, His mercies, from
which we know Him. The Guru himself imbued with the name of God stresses the need
of repetition of His Name :
''I will repeat the One Name which will be everywhere profitable. " 1
"I will repeat Thy name aod avoid endless sorrow.' •a
" Sorrow and sio have oot approached those wbo have meditateth on Thy name." 3
"Fools utter names, but know not their meanings, and worship not Him by whom man is
protected."'
"He who repeatetb Tby oan1e shall save his relatioos ."6
"Make the support of the J\,arn.e thine alms." 0
"He wbo repeateth Thy name shall be free from poverty aod the assault of e.nemies/' 7
"Without tbe support of tne one Name dee1n all religious ceremonies as superstilion.''8
•·R epeat God's name, establJsh God's name in thy heart.
D o penance unto God, and repeat His name.' 1 •
Regarding him self he says :
"I am imbued with Thy name, 0 God " 11
I am not intoxicated with any other bonour. " 11
I will not repeat any other name,
Nor establish any other God in my beart."12
"The name of no other do I pronounce. ' ' 13
"I will repeat God's name and a ll my affairs shall prosper. " H
Iu accordance with the bhakta poets, and particularly his predecessors, the nine
Gurus, Guru Go bind Singh has used for God various names belonging to the Hindu
and Muslim cults :
Hindu Cult.
Brahma, 16 Bishambar, 1c Chakradhar, 11 Ch..1krapao,15 Gobiod,19 Gopal,2° Gopinath,21
Hart,22 Madbo,23 Murari,l.1 Narayan,~ 3 \\ukand 26 Parmeshw ar,27 Prabh,28 Padmapati,'9
Umapati, 3 0 ~arangdbar ,31 Neel-K.1nLh,Jt Narhar, 38 Ni.,el•bc1sao ,3.i Binwari,30 Madmardan,3'
Dhar,1Jf it r ,37 Rarn,~ 8 Krish.i.n,:! 9 t!IC.
+ ~ &~ ;,~r ~,~ ~it ,:irn- ~~ 11-Jo.pji, I'aur1, 3.2

+Rf
C
%ilt11 ~• i'ro: ~ ~t~
-\
<ilt~ ~ ~ 11-Japj,. Pouri, 20
'The practice of the Name is ewphas1setl og1nn ~nd again in ~he 8ikh scripturef'. "-Sikhism, p. 2
'God 1s desoril.Jed both ns uirgun, nr a.b!'olu t e. and Pugno, o:r personal. Bllfore there was a ny oreaUon, God lived
abi;colu tely in liimRelf hut.'"'! en I-fe thought ofmakio1r Himself manifeitt in creation Re became related. In t he former case.
"lVheo Gori we.a Hi11,o;r•Jf tic.lf-oree.t:ed, 1.hrlre w11s uone Al11e: Ile took ~ounsel a.nd alivioe with Himself; wbut I!e did came t,o
pa!'S, 1'1let1 th~".- wai,, ouly t)11> Fnrmles" One Rimi;olf; croati<Jn was not tben (Gujri-.Ki-Var of G ur u Amar Das.) There wa.11
n o i.in. no 1 ·irt 11P 110 Vrllt1 nr M)- oth,·r rdii ious I ook, no ciiste, no ~ex.'"-Sikhism. p. 2
•\VL.,.n God benome Sai,mn or rnanffe~t 11,. I 1•1•n11 , l\'ll>lt '" nulled tlie Xi.ml• R-nrl iu or,ler to rcnli,;o Ilimself He JJlade
nururo n hcl'r-in Ho h,H Ili~ sent, und is dilfui;ecl ever.rwl,ere a11<J ir1 aJl Jhecti<111i1 l11 lho f.,rrn of love."-Sikhii;m. p. 2
l. 13. N. VI. (3; ) 2. B. N. ''I. (40) 3. B. N., VI. (41) ·I:. A. U.• (i4) li. A. U., (:'.!5)
n. ~ Ii. H .• ("2' 7. P ( h., -'H!o (-100) 8. A. U.. (50) 9. A. u., (G:?) 10. B. N ., Vl (38)
lI B. N . ,, I (3!>} 1 .,
•• B. :N., \ I {!17) J 3. B. N .. VT (as, J 4,, 13. N., Vl (61) 16. A. U., (S2)
l n. A. 0., (16-!) 17. B. N .. T (llO) 18. B . N . J, (99) HI. J ap, (94). 20. A. U., (7+)
21. .\. LJ., (it) •}Q
..,. , ..,-o•
... ..,. J up, • "- ...~> J ;!3. Sh. H., (.J.-1) !!4. 8h H., Cl-i) 25. Sb. li. (¾-iJ
2ti. ,Jnp. (!)4) 27. Jap (17~) 28. A. U. (l'.1.0) 29. A.IT., {24..t, :J4j1 :!46,l47)
30. A. U., (2ij0) 31 a P., (:!5) :t! Sil. l::f, (4•i) 33 1:>ll.H., ( 1-i) ; P.Ch., l (5)
34. Sb. .l:l . (4-i) 35. Sh.H.. (4-i) 36. Sh.U., (1) ,.
3~ Sh. 11., (l) 38. P. Ch., 1 (6)
S9 P Cb., l (t,)
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THOUGHT VALUE 196
a1u,Jim Cult.
Allab,1 Karim, 2 llazaq ,3 Rahim,' Sahib,' Rafiq, 8 etc.
The names used by him are personal and impersonal, transcendental and imniauent,
and metaphysical and mysterious :
1. Personal
God viewed as having a defioite form or shape(~)
Akal-PuTakh7-\Immortal Being)
Put an-Purahh 8 - ( Perfect Personality)
Banwa,n 11 -(Lord of vcgeta.ble kiDgdom)
Shahans!iah or Polshahu-(A King of kings)
Kharag-dharam 11 -(Holder of sword)
Ugra-dar/iam 1'.! - (With strong teet.b)
Sundar13- ( Beautiful)
H usn• u/-Wajuh 14 -(0f beautiful face and body)
2. Impersonal
God viewed as a spirit (q_,;'1 l;'q)
(i ) The For m Pute
A rup 1i-(Qf no fo r m)
AnangU-([ ncorpor ea \)
AneeJl 7 -(Countless)
Ajune 18 -(0oe who never comes io mother's womb, without tern1 □ i1Y J
Ma!ia.jo1H-(Supreme light)
(ii) God as Coo5cious

C hitH -(Conscio us)
Gian 21 -(Knowledge)
Tri Gun A~itu- (Beyonj the t hrce gunas)
(iii) God in terms of mailer, time aod space

(a) .\ 1ATERIAL
Atoli~-(Unweighuble like an ocean)
Abhangu-( Unbreakable)
Achhed 26 - ( U npicrca tile)
Ac/1hel/1~ - ( [ mperi~ba ble, l.inmo rrn.l)
1. J·op (38) A._ U., ( 'ill ~- .h•p (25) ; A. 0., \~6'.I) s. Jo..p {IJO J; A. U. (~4-t, 21.i~) -1-. A. U., (260}
i. A.U. (0, :!6), P.Ch. ¼05 (:ir:t!) 6. Ja.p (36) 7. .Tup (8~) A. U., Int1•oclaolory I.ice S. Jup (83)
!1. Sb. H., (.J.) 10. B. X., 1! (1); Jnp (1, 88) ; 11. B. N., .l (85)
CLP. (47); J, N.,pl)
13. A. U., (~NO, 21l7) U .. J11p, {21) 15. Jap, (~)
}!. 13. N., 1 (Stl)
17. Swniyo (2,5) ;Je.p (7) 18. Sh. H., {.3) : S\'l'niya 5 l!J. Sb • .E:L, (4)
1ti. J11p, (71)
20. Jt1,p; (68, 198) 21.. ,A. u .. (83) :12. A. 0., (11) ~3. A, U., (1~8)
20. B. N. I; Jo.p, (1); Cl . P. (l , 3) 26. G. P., (3)
24. Ja.p. (15)

THE POETRY OF THE DASAM GRAl'.TH
(b) TEMPORAL
.'-\di 1 -(Tbe 8eg1a oing)
Anadi~-(Without any beginiog)
J\nt 3 -(End of all)
Beat1t4 -(Beyo11d end Endless One)
Avagat-0-(Eternal, always lbe same)
Akal8 -(Timeless)
T nkal Darshi'-(Seer of tbe present, past and future)
Sada8 -(Ever-existio g)
ITamesh-ul-rawan"-(He goes on for ever)
Chakradhar10 -(One who holds the cycle of time in his own bands)
(c) SPAT[AL
Atham11 - (Placelesso
A lok12 -(Does not belong 10 any particular world)
Adts13 -(D oes nol belong t o any particular country)
Se1da-Ja.~ •Ma/1e1 ,1-(Always in the wor ld)
Tribhavan·Ma hip16-(Lord of the three worlds)
Samastam-Prasije1'-(Pervading everywhere)
(iv) Omnipresent
Sarab-bhau11e1' - {Omnipresen t)
Sarab-g.1unae 18 -(All per vading)
Adlw•urdh-a.rdham 19 -(Filler of all space below, above and in the middle)
Sr.1 •,iast-ul-n1w.1sL20 -(Dwelliag everywh,!re i.e Omnipresent)
(v) Omnipotent
Sarabpalak21 -(Presorver of all)
Sarab glialakia-( Destroyer of all)
Sarab-ko-p11nikalt 9 -(Ultimate dealh of allJ
Sa, ab hliapae2J - (Deposer of every thing)
Sur ab· th:ipae~ 5-(Creater of every thing)
Gharan-bhanja11 l-ur 16-(Preserver a11d destroyer of all)
Tnbh .:i'li:lll lvfahipu 1 -(Lord of the three worlds)
Sab·lw-l(arLa 28 -t r he creater of all)
StJb•h, 1( l~li-(T be destroyer of all)
13iswapat3'1 - (Prot~tor of the world)
Jagut-h .1131 - Destroyer of the world)
(vi) Omniscient
St1rab-Gia.ta31 -(Omn iscient)
f'arcim-Ci1c.1ta 33 -(Possessor uf perfe t kno\vledge)
T, 1hal-Dan/ii34 -(Seer of the present, past aod future)
Anf(lrtt1mi35 -(K.nowiog every thing innermost)
r• f-;h.11. ([,, 'i), l\. t;,, ~:'ii, Ch. Ch. l, (l)
..-· . \. l, ., ('.!51) 3. A. IJ., Ii) 4.. B. K. VI, (~I)
5. :--h. 1 1., ('i'), Ch. Oh. r. (1) 6. :\, U. (U) -' . Jap (t.G}; Ch. ('Lt. J. (1) i li. Jap, (li8)
I'. N. ,·r, /n:.?). G. P. (I~) oh. H., (1).

~,. ,lap, (Jilf, ) l 0, B. :>:. l, (b(I) I I. Jnp, (·}) 12. J11,p, (41) 13. Ja.p, (63)
IS. Jop, (45)
hi. K.A., (1!1110) 1;:;. ,Tnv, (I', Hi. ,Jop, 7:.! 17. J ap, ( 22, 4'i)
I 9. J a11, (fi9) 211. Jnp, (ril-1) ~I. Jap, ('iO) 'I
f)
~~- J'ap, (79) 23. Jap, (79)
24. Jap. (20) !?5. Jap, (:!O) 26. J np, (S:J) ~7. Jo.p, ( 12) 28. A. U. (10)
33. Jap, (6~)
:.!9. A.U., (10) 30. A, L.',, (75) 3l. A. L: ., (,ii) -·
3•1 Jnp, (72)
a\. U . (2)
31. Sb. JI .. (4) 35.

197
THOUGHT VALUE
3. Transcendental
(Out of, beyond ~ too high, outside)
P a ratarn1 -(Tbe soul beyond ; Tbe original Soul)
Tuhi1 -(Thou)
Turi 3-(Tbou)
Tum4 -(Thou)
Du,6 - (Very far)
Sahib6 -(Lord)
4. Immanent
(Near, pervasive, inherent)
Rame 7 -(Irnmanent)
Sarabatam 8 -(All pervading)
Sa,rab-bhaune9 -(0m nipreseot)
Sa,rab-ga un1.Ze10 -(A.ll pervad1 n g)
Sarab·dhandhe11-(Whose ba nd is i o all concerns of the world)
Adho-u,dh-ardham111-(Filler of all space above below and in the middle)
Jale18 -(Io wa ter)
Tha[eJ4 -(l n land)
Sarab-bhese'5 -{ lmmanent in every form)
5. The Guru 1·efers to God in the following other ways too :
(a) METAPHYSICAL AND MYSTIC CONCEPTS
Jkras16 -(Changeless)
Akal 17 -(Timeless)
Nribujh18 - (Not cognisable, lnascertaiaable)
Agad/119 -(Un(albomable)
Asoojha 0 -(Invisible)
Agelt 21 -(1ntangible)
Agah~'-(Unfathomable)
Agam23 -(Inaccessi ble)
A chheh 2~ -(I romortal)
Nidharic 25 --{Treasure of all excelleocies)
Amik26 -(lvfost profound)
Anblwu Parkaslr'' -(Intuitively known)
(b) THElST [C
Gopa./~ 8 -(Cherisher of the universe, Cow-herd)
Pratipal 29 -(Cherisher)
Gobindso-(Cherisher of tbe universe, Cow-keeper)
C.P.,(128) 2. A, U., (65). :5. M., (4, fi) 3. R. M .. (U) 4.. s. M., (7) Jap. (18)
5,.
l.
11. A. l!., (~6)
7. Jap, (Hl) 8. Jop, ( If.¼) u. J11p (22, 45) 10. J np, 4.J)
1 •) ,J tip, )50) 13. Jup, (6:3) 14. J ap, (G2) 15. Jap, (6li)
11. Jap, (25) -· IS. Jup, (37) 19. A,U ., (!?51) Jop (7, 127)
16. Ja,p, li. Jup, (77)
21. A. U., (247)
')')
~J. Ju J.l, .. ~• .J.2) 23. Ja.p! (16, 40, 130) 24.. .A.l ., (:!-l, )
20. Jap, (7)
26. Jnp, (12) 27. Jap, (1) 28. .A. u .• (7\l)
~5. Jap (12}
30. J a_p, (!l,j)
29. A, lJ., (190, l!J-:1-)

•
199 THE POETRY OF THE DASAM GRI\NTH
(c) AESTHETICAL ATTRIBUTES

S undar1 -(Beautiful)
Hus11-ul-Wajuh 2 -(0f beautiful face and body)
IIusnul Charag3-(beaut) of a Lamp)
Git Gite 1 -(Substaoce of all songs)
Tan Tane6 -(Substaoce of all mu!>ics)
Nad Nade0 -(Substance of a.II rhy1bmical sounds)
\Vahiguru'i'-(Won der ful Lord)
Anbhau Prahc1S8 -(Self-lum1nous)
A11up0-(Most beautiful)
Param Rupe1 0 - (Perfect Beauty)
(d) POLITICAL AND SOCIAL ATTRIBUTES
Rajan Raj11 -(The Ruler of rulers)
Shah1ll-(K.ing)
Sachche Patshah13 -(True King)
Shahan Shah 14 -(The King of kings)
Sarab Saham15-(the King of all)
Sarao Bhoope16 -(Tbe Kio a of all)
Rajadhi Rajanl7-(The Ruler of rulers)
Raj Rajeswaraml8 - 1 The Kiog of kings)
Sah Sahan18 -(Tbe Sovereign of sovereigns)
Bhoop Bhoope10-{T be Kiog of kings)
Nrinathe 21 - lKing)
Raj Raje 81 -(The Kiog of kings)
•
Sah saheu-(The Sovereign of sovereigns)
Rajan Raj 24 -(The Kiog of kings)
Rankan Rank 35 - (The Poorest of the poor)
(e) MART1AL GOD
Rokh Rokhe26 -(With terrible wrath)
Sarab Jeetaml!1 -(i\11 cooq uering)
Sarab Bh~etam 28 -(l\we-ins.piriog)
Narainae Karoor-karmae 29 -(Eternal Lord of terrible action)
(f) BELONGJ N G TO THE VEDIC RELIGION
Jndra30 -(Tbe god of firmament, tbe god of rain. the king of gods)
Indra Jndre31 -(Lord of lndras)
Bhan3:-(The Sun)
Bhan Bhane38 -(The Sun of Su □"S)
Suraj Su raje 8"-(Tbe Sun of Suns)
.,
l. A. U. (:Nll, ':! 17), G. P., (:1!1) ,)
-· ,J11p, ( l :!I) ••• J np, ( l :Jl ) 4. Jap. (47. tiSJ o. Jup, (-1-7 )
6. ,J11p, ( 48) 7. ,)up, (111trmJ11ctu1y li1,e) s. .Jnp. fl) 9. J up, (29)
10. ,Jnp, (50) 11. B. N., I (!l), ll (I) Jnp (8!1J; G, P . (:{11, ~7) I '.!. J11p, (l) 13. J • .i!\., {7 1)
l ~. Ja.p, (67, SS, 109) G. P., (30, •17) 15. G. P., (:?) 1n, 0. P •t (2) 17. B. N., I (0) 18, ,T11p (-5'.!)
Ht. .Jnp, (59)
:?4.B. N. TI. (i)
•lO .
~
•I
...a- ..
,Jup, (5JJ
,l f1p (90)
:?I.
2U.
J ap, (A1;)
Jup, (HS)
~--
•l•'l
.,-
,lap, (1,7)
,lnp, (llJ)
!!:J. Jap, (117J
- I• !?S. JUJ), (UU)
lP. J ~v. (63) ao. Jup, (119) 31. Jap, (18&) J'.:!. Jap, {11 0) 33. Jup, (.J.0, 4.i, b!IJ 3,L Ju.p, (JlS6)
Digitized by Panjab Digita l Library / www.panjabdigilib.org

THOUGHT VALUE
Chattdfal - (Tbe moon)

Chandra Cha11dre'!- (The M ooo or moonsJ
Rc1vi3 -(Tbe Suo)
Sha.shi4 - (The Moon)
(g) BELONGING TO TH E HINDU NJYTHOLOGY

Kaclth5 - (The Tortoise)
M achh6 - (The Fish)
Chakar pane7 -(Holdetb the disc)
.L\! uro.triis·- ~The enemy o f A1ur demon, Appellau on of Krishna j
Padmapatiff- fLvrd of wealth)
U m.,pati1~- (Lord of Uma)
B a nwa ri11 - ( Lord of forests)
(b) NEW NAMES OP' GOD INVENTED BY GURU GOBlND SINGH A5 EMBODIMENT AND
SOURCE OF BRAVERY
AkaP2 - (The Immortal)
Sarabloh13 - ( All-steel)
M a ha nlohu-(Great-steel)
Sarabka/16 -(All-death)
Maha.nka /1 6 -(Great-death)
Asidhuj1 7 - (Having sword on his banner)
Kharaeketu18 -(Haviog sword on bis banner)
Asipa n19 -(Haviog sword in bis hand)
Guru Gobind Singh has, thus, used many names for God. But it is not in any
way to countenance polytheism ; rather, in this way he leads people to feel that though they
might use different naxnes, there is only one God.
The repetition of the name of God with Guru Go bind Singh, seems, rather to be a
means by which he reminds himself of God's reality and brings to recollection all that
the name connotes, and so it helps him to realize his union with God.
(iii) Meditation and Introspection

Guru Gobind Singh has expatiated upon tbe value of meditation, introspection
and inner-realisation of self as an element in the Supreme. He says :
" 0 men, meditate io your hearts oo Him whose immeasurable oower is diffused throughout
tbe world " 20
Without meditating on the name of the Compassionate to the poor> the Deathless,
they have al last gone to the Death's abode." 21
" Sorro w and sio have not approached those who have meditatetb on Thy name," 1
" Without medita tion o n div1ne knowledge fo ols are drowned in hell's river.""
I. Jnp, ( ll!Jl :!. ,Tap. (4-i, 18,i) :-1 . K . A., ( llJUO) 4. K • .\., (1900 ) :'i, P . Ch., I (l ii)
o. P. f'li ., J. I 1:-,,
~
/ . B. N . , J, (8!l) s. Sh . n ,, t.J - il !l. .\ . U., (244, ~-Ill, 240, 247} 10. A. TT , (~50)
II . ~h.li.. (l - \' ' ) I" A . U , (2ii2J: ,lop, {I!).!) ; I :l A. U., (1) J !l.. K ••.\., (• 1:15)
Ch. Cl,. 1. (1)
1,5. A. U., l otrod uctory st11.111:a 16 . .K. A (-1:1;1) 1-;. I'. Ch.- Ben ti Ohaup111
-iO:i (381 )
.lS. P. Ch.-BenH Chaupui -401i (406) 19. Hu.m1-1, Avt u.r, ISll:I) :!O. \ , ( T.• (:!:iO)
~ 1. ,\, u .. (:?62) -~-
•'h l
0. ~-. VI (::JS) ....
"'l •.\ • L". , ·•
IS..,'
Digitized by Panjab Digital Library l www.panjabdigilib.org

-
200 THE POETRY OF THE DA5AM GRANTH
"Re who wilh single heart meditatelh on Him even for a moment, !.hall not fall into
Death's noose.' •1
"They who meditate on any one else shall die of arguments and conteotions." 2
"I will meditate on the name of the Endless one and obtain tbe suprerne ltght. " 3
"I will meditate on the Supreme and thus remove en<lless sins.""'
"On no other do I meditate." 6
Faith and meditation beget kno\vledge and knowledge leads to self-realisation.
(iv) Divine Knowledge

Tbe poet tells us that the highest object of knowledge is God :
"1:-Je who is subJeot to worldly desires dancetb with gestures, but being devoid of divine knowledge
bow shall he obtain heaven ?" 0
How maoy fly in the fumament ! How many dwell in water! But they shall all be burnt in the
fire for want of divine knowledge. 7
1
'Without divine kno\1/ledge (penetents and readl!rs of the Vedas) are nil subject to the noose of
death and ever wander through Lbe cycle of ages." 8
''How shall the wretch who is subject to woman and devoted to Just and ·wralb, be saved without
the knowledge of one God.'·' 9
\,Vjthout Bhavna there js no quest and without quest there is no knowledge.
Guru Gobind Singh despises tbe traditional beliefs of blind fo1lov1ers of orthodox religion :
"Without divine knowledge one is never absorbed in tbe great benefactor. ' 110
"\.Vitbout divine knowledge (the,) are always subject to the noose of death and ever wander
through lhe cycle of ages.' •1 1
"Beiog devoid of divine knowledgt:, how shall he obtain heaven. " 12
(v) Good Actions

The life of devotion and introspection is not to be one of idle 1nysticism but of
active service done in the midst of \.Vorldly relations . There can be no worship without
good actions. These actions, however 1 are not to be formal deeds of so-called merit, but
should be inspired by au intense desire to please God and to ser ve fellow men." At the end
or the Chandi Charitra, the Guru says :
''Give me this power, 0 Almighty,
From righteous deeds I may never refrain,
Fearles5ly may l fight all battles of life.
Full confidence may I ever have in asserting my battles,
When the mortal life comes to a close
May I die witb the joy and courage of a martyr."18
1. A. U., (10) ~. B. N., Vl {41) 3 R.N., VI (41) 4. B.N, VI (39) n. B. N. 1 VI, (38) 6. A. U., (82)
7. A. U .. (80) 8. A. U., (76) 9. A. U,, (71) 10. A. U., (R2) 11. A. U., (76) 12. A. U., (8~)
« ~i:fT ~ mm: ~t ~ tf.~+r.l a
cfiij~· ~ ~) ll
;:i- :s~ ~R 'BT ~ij sitr-:r ~~T f.=r~ ~~ ~rq.:ft ~1J tfi~t 11
•
~ fu~ ~TCR ~l ;r.; ir

~~ qff~'q G:;g !!~ aa ~~ II
ij;f«f ~q ~ ~~tl A~;:i- ~~ ~ ~1 ~~ ~ (f&f ~:Fi +f~ 11 Ch. Ch, I., (231)

THOUGHT VALUE 20 l
In the same spirit, he adds :

"I am the son of a Kshatri, not of a Brabman, bow can I perform austerities?
How c.in [ tur11 my attention to Thee, 0 Lord, and for sake domestic affairs 7
Now be pleased to grant me tbt: boon l crave with clasped bands that
When the end of my life cometh T may d,e fighting in the mighty batlle." 1
Love and Favour of God

In the end, the Guru firmly believes that all the efforts for the attainment of God,
without the light and favour of God, are fruitless:
"Wilbou l the li!!,ht of true love bath any one obtained tbe honour of finding God, " 2
"Without a partic1e of tbe Love and favour of God tbev (S1ravagis, Sudbs, Sidhs, Jogis, Jatis,
Demons, Demigods, Kelig1ous sects) are only worth a rat Ii (a little),"3
''God holds dear not only those who love Him but He also grants His love to those who do
not love Him.'' 4
The way, as Guru Go bind Singh says.to realize Him is only one and th,it, too is not
kno\vledge, formahsm or the so called meritoriou:; actions which eslablisli a clain1 to
reward, but love aud faith, the aim being to obtain final e,nancipation and the grace
of God.
(c) DIDACTIC PoETRY

The didactic strain in the religious poetry of Guru Gobind Singh, or for
matter of that, in the poetry of Guru Nanak, may be traced, as ,ve have hinted at
already, to the iniluence of the Nirguna School of Bhakti Movement. These mystics were,
reformists as well. Ramanand and T(abir grounded their philosophy on everyday life
and combined their mysticism with 1noral teaching~. Good actions, good thoughts and
good words formed the basic conduct which showed the way to spiritual life. Kabir, and
after him, Naoak stressed the importance of strictly moral conduct and refuted false
prevalent superstition5. The critics of today may not like didacticism in poetry but there
was a time \Vhen poetry was con1posed not for poetry's sake but for inak.ing human being
better than before. It was not a hand-maid of Cupid as it is today, but of God himself.
It does indeed make moral teaching more forceful which otherwise would be direct, dry
and hard to assimilate.
The ain1 of the didactic poetry in Gu_ru Gobind Singh's works is to develop a good
n1oral character which will have the way for spicitual progress. A pure mind and a pure
l. ~~'t it 1l_Q° ~ ilf+fil <if ilrf( ~ ij3 ~T~ ~ ~ i:fii T 11

~ '?;£~(~~r( ~ar if~ iiT g~ r~ll ~ITT r~<'f ffi1l l:lit 11
~if ~l+ii ~ ~, ctt i[.:f ilfi~ -31T~ 63 ~-TT{J cf>{ Gtt~ c6{T 11
~if ~~ ~ S!f~~ Rr(TYT if~ ~@ ~, ,., ~ crq ~+ti :m:r 11 K.A., (2-1-80)
~ ~if !;J~T~ nriil qfq fa"&"' ftfi.; t(t q~iflllcf qp~ 11 A. U ,, 124'5}
3. A. U., (21) 4. A. U., (243)

- -
20.2 THE POETRY Of THE DASJ\M GRANTH
heart can beget true and noble desires which alone can render one fiL for spiritual devotion.
According to Guru Gobind Singh:
"God is virtue" (Karam and Dharam)1
"Perennial Fount of virtue. " 2
One should, therefore, be virtuous. One should be truthful.
"t.very body ought to be a man of word, and n •)t uttt!r oni.: tbing while Ile n1edltaletb aoother.''3
"Tbe merciful showeth mercy LO him who :1ctel11 bonestly. "J
Regarding a/zinsa, the Guru says :
"Smite ool anyone mercilesslv "ith th¢ sword, or a sword froru high sh,Lll smtte thyself. " 5
The Gurus laid the foundation of man's uplift, not on such short-cu ts in tna11tras,
miracles or mysteries, but on man's own hurnan1Ly, his own character; as it is character
alone, the character already for1ned, which helps us in moral crises. 0
"lie is not J.ppcased by incantatt Jns, wrillcn or spnken cir by charms ·•1
Man is endowed with such weak faculties that he stumbles at each step and yet it .
is expected of him that :
"He should not step on the bed of anotber's wife even in a dream.•••
Condemning egoism, the Guru says,
''Gods and demons have been ruined by their egoism. " 9
He, the refore, advises the disciples, saying :
''/\ruass the wealth of coo teru platioo and run away from egoism, the mortal sin. ••11
Yog, asceticism and renunciation are not religious denominations, creeds . or cults,
but each embodies a set of moral virtues.
(i) Renunciation
Regarding renunciation, he says:
"0 man, practise asceticism in tb1s way:-
Coosider tby house altogether as tbe fores t and rem.11n a n anchoret at heart
Make contineoce tby maned ba1r, union with God tbine ablutil' ns, thy daily religious duties
tbe growth of thy nails.
Divine knowledge tby spiritual guide; admooiSh thy he,ut and apply God's name as ashes to
thy body.
Eat little, sleep littJe, love mercy and forbearance.
Ever practise mildness and pdtience, and thou »ball be freed from the three qualities.
Attach not to thy heart lust wrath covetousness, obstinacy, a_nd worldly love.
Thus shalt thou bebolcl the Real Soul of this \\Orld, and obu.ia the Supreme Beiog. "H
(ii) Asceticism
Ascetism, to him is an attitude of mind that should be applied to the facts of life:
"0 mortal, touch tbe feet of the Supreme Beiog.
Wby sleepest thou Lhe sleep of worl<\ly Jove ? Be sometimes wakeful and alert.
Why instruct others, 0 beasr, since thou bast no knowledge thyself?
Why ever accumulates.in ? Even now lay aside the Jove of it.
Deem such cb1ogs simply as errors and love truly religious acts.
Ever lav up the remembrance of God ; renounce and flee from mortal sin.
By this means shalt thou not eacouoter sorrow or sin, aod escape from Death's noose.
l f I hc, 11 r!ec;ire ever to have a hapniness of every kind, be absorbed in God's love. " 1!
J. ,Tap, (87) :!. J a p, (IGl) :I • ./. N . (6f>) -l . ,J. N., (101) 6. ,T. N, (09)
o. Sikhiism, 8 7. Ch .•\. Intro. ( Ii) 8. P Cb., 21 (ii ) 11. , \ l .'. , (24,,) 10. Sb. TT., (3)
11. Sh. H., (1) Cf. Bl.uinvd,:rH o JI (/i5r} and XIJ (T2.lii) J2. Rh. H ., (3 )

TliOUGHT VALUE 203
About yog, the Guru thinks thus metaphorically :

"O man, practise Jog in this way :
Make truth thy born, sincerity thy necklace, and apply n1editations as ashes lo thy body
Make restraint of tby heart, 1hy lyre, aod the support of tbe Name thine alms ;
Play 1be pri1nal essence as tby strings, and tbou shalt bear God's s11,eet song.
By the practice of the songs of divine knowledge, waves of mel1Jdy J.nd exquisite pleasure
shall be produced.
The c1emons aad the demigods in their celestial chariots will be aston1sheJ and the muois
intoxicated with delight.
Admonish thy heart, don the garb of self-restraint, and utter God's name inaudibly.
1
So shalt thy body ever remain like gold, aod death never approach thee.''
The Guru denounces the prevalent form of yog :

'1 0 Jogi, jog consisteth not 10 matted hair.
Why wear thyself out and kill thyself wanderiog? Coosider this in thy mind.
The man who knowetb the supreme divine koowledge shall obtain tbe great re,ward;
He shall then res1rain bis mind in one place, and not ruo wandering from door to door.
What availeth it to leave one's home, run away, aod dwell in forest.
When one's heart ever remaioetb at home? Such a person is not an udasi.
Boasting of thy religious fervour, thou deceivest the world by tbe exercise of great deception."
Thou thinkest in thy heart that thou hast abandoned worldly love, but worldy love bath
not abandoned thee."~
On another occasion he says :
"0 Yogi, yog lies not in saffroo coloured clothes.
Not in growing matted hairs, not io smearing ashes oo the body, nor in growing nails.
If one could attain yog by living io the forest, the birds who ever live in the jungle should
be called Yogis.
If ru bbiog the body with ashes could help attain yog the elephant which always throws dust
on its head should deserve at well. You should think over tbis in your mind.
If bathing at boly places could avail, the frogs and the fishes which ever live in holy waters.
would have earned it.
The cat and the heron are always found in meditation. Do they know what is yog ? Silting.
therefore, in meditation witb eyes closed does not lead to yogas.
If hardships are borne in realising God just as tbey are done io hoodwinkiog people,
Then one may attain great knowledge and taste tbe divine nectar." 3
(iii) Worldly Pomp and Show

The worldly power and possessions at last fail rnan in his spiritual progress or
salvation :
"Emperors before whom strong armeJ kings used to lowly bow their heads, in countless
numhers (also translated-regardless of their own position).
Who possessed proud elephants with golden trappings, incomparable, tall, painted with bdgh
colou!S ;
MillioDs of horses wbicb bounded like deer, and weire fleeter than the wind.
Wbat mattered it bow great those emperors were ? They at last departed bare-footed. " 8
::il.i. H., tZ) :?. Paras N ntJJ J.. (9 7) 3. Paras Nath ;i•. (9S) A. U., (22)

204- THE POETRY OP THE DASAM GRAN rH
The earthly glory is vanity. It has no spiritual value :

"Though they roamed and conquered all countries beating their various drums ;
Though many beautiful elepbants trumpeted loud, and thousands of horses of royal breed
neighed for them.
Who can number sucb kings in the past, the future, aod the present 1 They can not be
counted-
Yet without worshipping the name of God tbe Lord of wealth, tb~y weot at last to their final
bome.''1
Even those '11 ho have made conquests of the world came to a sad end for being
wit hout tbe favour of God :
"Trained soldiers, powerful, irresl -sli ble, well accoutred with coals of mall crush tb.eir
enemies ;
Filled with high martial spirit they would put mountains to flight, themselves unshaken ;
Thoy would shatter their enemjes, destroy rebels, crush the pride off urious elephants ;
Yet without the favour of God, the Lord of wealth they should all depart at Jast and leave the
world.• ' 2
For ~ven Lhe emperors and mighty warriors have supplicated the favour of God
as the worldly glory appeared to be unstable to them :
"Countless heroes ver:? valiant, without hesitation face the edge of the sword,
Subdue countries, crush rebels, and the pride or furious elephants,
Break powerful forts and even without fighting conquer in every direction.
But their efforts avail not, the Lord jg the commander of them all-the suppliants are n,ao y
while there is but one Giver."3
The emperors, lords, nobles, great donors cannot achieve salvation by virtue of
their possessions :
"Lords of men, and elephants, rulers who reign in the three worlds,
Who perform millions of ablutions, make gifts of elephants and other animals, and marry brides
at various splendid swayamv ars (Assc:mblages in ancient times at whicb young women
selected their busbands).
They with Brahma, Shiv, Vishnu, and [odar shall at last be entangled and fall Into Death's
noose;
But they who touch the feet of tbe Lord of wealtb shall not a.gain resume a body•.,,
Even the commanders of bests and mighty armies Jeft the world deprived of all
their power, for they had not worshipped God and earned His grace :
Human Glory and power become lasting by His grace/;
Worldly wealth and human relations are short-lived and cannot accompany the
soul to the God's court :
"Wby impress false religion on the world ? It will be of no service to it.
Why run about for the sake of wealth ? thou shalt not be able to fly from Death' s mym1dons.
Son, wife, friends, disciple, companions •none of these will bear witness for thee.
Think , 0 thi nk . thou thoughtless and g reat brute, thou shalt at lhe last moment have to depart
I, A. U., (23) :!. A. IJ., (:!i.i) 3. .A. u .. (2fl) ,t.. A. U., (2S) r.. A. U. 6. s., (31)

THOUGHT VALUE 205
"Hear, 0 foot when lire leaveth thy body, ,he wife crying out •Ghost, ghost', will flee thee.
Thy son, thy wife, thy friends, and companions will give orders to remove thee quickly,
When life leaveth thy body all thy mansions, storehouses1 lands, and forts will become the
property of others.
Think, 0 think, thou thoughtless and great brute, thou shalt at the last moment have to
depart alone.1
On the other hand virtue will march glorious, destroy sins and achieve bliss :
"Even the demons, gods, and ghosts who repeat God's name in pas,, future, and present,
All the beings which in sea and land every moment set up God in their.hearts,
Shall find their good deeds and glory increase, they shall hear the voices of gratulation and the
multitude of their sins shall depart,
The congregations of saints wander happy in the ,vorld, a11 their enemies oo beholding them
are cowei.l.''2
The Guru condemns indulgence in luxury and the habits of vice which power or
purse form in man :
"How can he who is tbe slave of wordly desires and ever clever in obtaining wealth, obtain the
one Lord of tbe world without faith io Him."8
(d) SATIRE
The Religious Revival or Bhakti movement had two aspects, the positive as well as
the negative, the devotional as well as the reformative. The movement, as a whole, writes
Keay, was a revolt against the cold intellectualism of Brahmanic philosophy and, the lifeless
formalism of mere ceremonial~. It was this aspect of the movement which adopted satire
as the weapon of religious reform. The Bhc.kta poets attacked the cold intellectualism
which justified caste, and ceremonial formalism which upheld the superioritly of the priest-
craft. The poor people who were at the lowest rung of the social ladder, were doubly
handicapped and consequently treated with scant religious courtesy or co11sideration. The
neo-humanism of the Bhaktas could not accept that position as justifiable against their
ideals o1 comn1on Godhead and humanity.
Kabir led the attack. He attempted satirical verse. The nigura had got initiation at
the feet of Ramanand by having recourse to a clever stratagem5 • I-Te, therefore, appreciated
and sympathised witb the disabilities of 01bers around him. He had that ' 1arnazing bold-
ness \J,lith ,vhich he attacked the religious practices of his day, tolerating no sbame and
deuu1nding reality in all those who were seeking after God". He had at the same ti me, tbe
moral earnestness of appeal to men to put things of God first 0• He may, t 1.erefore, be
regarded probably first great satirist in Hindi poetry. He ,1/as, thus, a source of insriration,
in this negative aspect also, to Guru Nanak and his foll o,vers. It is, therefore, possible to
appreci ate the elen1ent of satire in the poetry of Guru Gohiod Singh who waged a constant
\\1ar against orthodoxy which appeared tu side in the passive attituc1e of the hill Rajas
to\vards the tyrannical Mughal ruler s. \Ve find in hi1n echoes of Kabir's 'stinging satireH
which. like the latter, he Ja~bed ruthl essly.
l . S., (~8) 2. A. U ., (27 J 3. A. U , (:!8) 4. H,ILL, Hl.
6. H.11 L, 20. G. H.11.L ,~5 7, li.B.L, 2,5,
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206 THE POETRY OF TH E Dr\SA~1 G RAN ,H
Satire, in religious verse, appears to begin with th~ Bhaktas of the School of
Ramanand. Most of them belonged to the lower classes and had inherited unconsciously
the spirit Qf revolt against the forn1alism, caste superiority and cultural aristocracy of
Brahmanic religion of those days. Ran1anand delivered his message of Bhakli and
Spiritual Unity in Hindi instead of in Sanskrit. cAnd this/'says Dr. Kshili Mohan Sen,''gave
a great impetus to the Hindi literature. ,n
In his hymns or songs, he protested against the oppr~ssive nature of religion with
its insistence on. pilgrimage, observance of vows, worship of images, rituals, etc. He
taught tolerance and a strong faith in God. 2
Kabir was a very powerful representative of the school and the most popular of all
the Bhaktas whose influence dominated the Puojab. ''With an uncommon power'', says
Dr. Kshiti Mohan Sen, ''he dealt his blows against the false practices of his times.'''
And he "has left many fiery sayings against caste, image worship aud sectarianism." 4 To
me iL apoears that Kabir is the first reltgious satirist who influenced Guru Nanak and his
followers down to Guru Gobind Singh in didactic and satirical verse. 6 Iu Bfzakti
Kusun1a,~;ali, Mahamahopadhyaya Laxmidhar Shastri brings out, after giving quotations
from Ramanand, Dharni, Tulsi, Surdas, Kabir, Palto, Sahjabai, Rai Dass, etc., that racial
discrimination, untouchability, the degradation of women, caste distinctions, colour
prejudices, religious denorninations,dead rituals, life-less cere rionies, animal sacrifices, futi le
1
pilgrimages have alJ pulled humanity very low. They are, therefore, to be discarded in
favour of sweet tolerance, and love for all. 6
While Guru Gobiod Siogh's utterances communicating his spiritual conv1ct1ons
have a tone of lofty ~erenity and sweetness. bis teachings, when he appears in the role
of a reformer) are vehement and provocative.
(i) Idol-Worship
Guru Gobind Singh does not appreciate idol-worship for the simple reason
that the irnages are inanin1ate and cannot respood to the feelings of the worshippers :-
"Wtthout God's name thou canst not be saved.
How shalt thou flee from Him who beholdeth lhe fourteen worlds in His power ?
Ham and Rabim whose names lhou repeatest cannot save thee.
tlrabma, Vishnu, Shiv, the sun and moon are all in the power of Death.
The Veds, the Purans. the Quran, all sects, Jndar, Sheshnag, the kings of the Munis,
Meditated for many ages on Him, who is c 1lled the Indescribable but could form no conceptiuo
of Hirn.
Why should He whose form aod colour are not known be caJled black 7 (The reference herl'
is to the Hindu God Krishna).
Wben thou shalt seize and cling to God's feet, thou &ha lt be freed from the noose of Death " 1
1. :hl.l\1.1. 72. :! , M,JI.I,7l LQ73fn. 3. J\I,M,1., 95, Jl0. 4. M.M.I., l Ol,
5 M.M.J. 10l-l03. o. l hakli 1.;u1111motiJali, X to Xll. 7. Sb. H., (10)
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201
THOUGH f VALUE
'Some worshipping stones put them on their beads, some suspend lingams from their necks.
Some see God in the south, some bow their beads to the west.
Some fools worship idols, other busy themselves with worshipping the dead.
1
The whole world entangled in false ceremonies both oot found God's secret."
The stone cannot be God and cannot, tberefore, be an object of worship :
"Why worship a ~tone? God is not in a stone. Worship him as God, by the worship of
whom all thy sins will be erased.
And by uttering whose name thou shalt be freed from all thy mental and bodily eC1tanglc-
ments.
'fvfalce tbe medita1ion of God ever thy rule of action ; no advantage can be obtoined by the
practice of false religion. " 1
Upholding monotheism the Guru says,
"I recognise none but the one God:
I know God as the Destroyer, the Fashioner, the Omnipotent and Eternal Creator.
What availeth it to men to worship stones in various ways with great love and devotion ?
Tbe hand growetb weary by loucbiog stones, and no spiritual power is obtained.
Rice, incense, lamps are offered to stones, bul they eat nothing.
What spiritual power is in them, 0 fool ? What blessing can they bestow on thee ?
If they bad life, they might give thee something, be assured of thls in thought. word and deed-
Except in tbe protection of the one sole God nowhere is salvation. "ll
(ii) Grave-Worship
Grave-worship is also a superstition like idol-worship :
"If for ages thou do penance to a stone, it will never please thee.
O fool, it will never generously lift its arm to requite thee.
Say, what confidence can be placed in it ? When trouble arises, it will not come to save
thee.
O ignorant and obstinate man be assured that thy false religion and superstition will ruin
tbee.""
Worsrup of images is, therefore, a false ritual which cannot help discover Goct's
secret:
(iii) Religious Controversies
Condemning barren religious controversies, the satirist says,
''The l\,luhammadans use tasbis, the Hindus ma/as;
The for mer read the Quran and the latter the Purans ;
Fools bave died over the discus!>ioo ;
They were not imbued with God's deep love." 5 ..
(iv) Mere Repetition of God's Name
Guru believes in sincere devotion and not in mere lip-worship .
"Without love God cannot be obtained."6
!•If any one were,by repeat ing God's name, to obtain God Who cannot be obtained by Ji •worsbi
the warbler ever uttereth · Tu bi ! tu bi l"1 P P
-1. -
Sb. li., (10) 2. s., (10) 3. Sh. H., (0) 4-. s .• (21)
5. Ch. A., In~ro. (~O) 6. s., (17) 7. A. U., (84-ii)

208 THE POETRY OF THE DASAtvl GRANTl-1
{v) Rituals
Most of the religious creeds lay stress o n rituals, ceremonies and other perfor ma aces
but do not inculcate the love of God:
'fI have wandered aod in their own homes seen crowds of Sa,ravagis, Sudhs (n1eans the clean in
contradistinclion to the sara.vagis who are reputed to be dtrty in their babJts) S,dhs, Jogis,
and jatis,
Brave demons, demoogods feasting on nectar, and crowds of saints of various sects.
I have seen the religions of all countries, but none appeared to be that of Lord of Life.
Without a particle of the love and favo ur of God they are only worth a ratti (Also translated-
regardless of their own positioo.)"J
··False religion is without fruit, by the worship of stones Thou bas wasted million of ages.
How can perfection be obtained by touching stones ?
Nay, strength and prosperity thus decrease, and 1be nine Lreasures are .n ot obtaioed.
Time passeth away while saying to-day to-day: Tl1ou shalt not accomplish thine object; art tbou
not ashamed ?
0 fool, thou hast not worshipped God, so th y life hath been passed in vain.' ' 11
"Without the power of a perfect love for tbe Master, who has won the noble God ?"3
(vi) Worship of Gods and Goddesses

Ac~ording to Guru Nanak, God's will is above Nature as well as working within it,
and inspile of its .i1nmanence it acts not as an arbitrary force but as a personal presence
working most intelligently. The first thing about God is that He is indivisibly One, above
every other being however highly conceived, such as Vishnu, Brahma or Shiva or as Rama
and Krishna. The second thing is that He is the highest moral being who has inscribed all
men with His name or moral presence. Guru Gobind Singh is also of tbe same view and
equally against the belief in gods and goddesses as they are subject to death and are,
therefore, imperfect and powerless :
"Ram and Rahim whose nan1es t hou repeateth, cannot save thee,
- ....... ... ............ ... ·~· ................ -
When thou shalt seize and cling to God's feet, thou shalt be freed from the noose of Death."~
Whatever powers they have are found in God Himself:
"0 God, my honour restetb ~ i th T hee.
It is Thou who are the blue-Lbroa1ed, man-lion, moving in tbe water, blue-robed, wearing a
peck lace of flowers , (The gyanis translate banwari- dwe Iler in , he forest).
It is Thou who are the primal Being, Supreme God, Lord, Pure, living on air;
It is Thou who are the Lord of Lakshmi, Great Light, Destroyer of the pride of Madhu,
Bestower of Salvation, Destroyer of Mur.
It is Thou who art changeless. undecayiog, sleepless, without evil passions, preserver from
bell.
Ocean of mercy, Seer of the past, present and future 1 Effacer of evil acts.
It is thou who bast the bow in the baod, who art patient. Supporter of the earth, Changeless,
Wielder of the sword.
I of feeble intellect have taken the prot('clion of Thy feet ; take my hand and save me."6
-------
l . .A, U., (2S) :!, S., (iOJ a. A, U., (2[1), K. A., (:!487) 4, Sh. H., (10) 6, Sb.II., (4)

THOUGH 'f VALUE
The gods also depend upon God for their position and power :
in the past, future
''Even the demons, gods, serpents, and ghosts, who repeat G Jd 's naD.le,
and present,
All 1J1e beings which in sea and land every moment set up God in their hearts,
Shall find their good de.:ds and glory incr~ase ; ttley shall hear the voices of gratulation and the
multitude of their s1ns shall depart.
The co agreg::itions of saints wander happy io the world ; all their enemies, on beholding them,
are cowed ui
The names given to gods are generic and do not connote any special powers
possessed by them :
"The tortois~, the fish, and the shark n1ay all b.:: called Nara.)1a11, if you speak of God as
Kaulnabh, the lake in which there is a lotus is also ka.uhiabh.
If you speak of God as Gopioatb, all Gujars are Gopiaatbs, all cowherds Gopals ; if you call
God Kikhikesb, that is a oame taken by superiors of religious orders.
I f ~ou call God Madbav, thal is the bumble bee, Kaoiya is the name of the woodpecker, if you
speak of God as the Destroyer of Kans, you speak of the myrmidons of Death.
Fools utter oames, but know nol their meanings, and worship not l Ii o by whom man is
prolected." 2
The gods also like human beings seek to attain God in various ways :
''Demigods, demons, sheshnag serpents, famous sidhs have done great penance :
Tbe Veds, The Purans, tbe Qttrao, all have grown W<:ary siogtug Thy praises, 0 God, but
Thou art not known unto them.
Thou koowest all hearts on earth, in heaven, in the nether regions, aod in every direction.
3
Thy praises ft\l the ea.rt b , they entering my heart told me thls. "
Gods like Krishna are subject to birth and death like other living beings :
'-'Ye say tbal God is uoconceived and uoboro, how could he have been b.)rn from the womb
of Kausbalya ?
If he whom we call Krishna were God, wb.y was be subject lo death ?
Why should God whom ye descdbe as holy and without enmity have driven Arjuo's Char iot ?
Worship as God Him. whose secret none hath koowo or shall know."'
"Say if Krishan were the Ocean of mercy, why should the hunter 's arrow have struck him ?
If he can save other families, why did he destroy bis own ?
Say, wby did he, wbo called himself the eternal and the uaconcdved, enter into the womb
of Devaki?
Why did he, who had no father or mother, call Vasudev his father ?"6
It is not correct thal Brahma, Visbnu or Shiv is Lord of the Universe. It is dull-
headedness to think so :
"Why call Shiv God, and why speak of Brahn1a as God?
God 1s not Ram Chandar, Krishan or Vishnu who ye suppose lo be lords of the world.
Sukhdev P.irasar, and Vyns erred in abandoning the one God and worshipping many gods.
All have se l up fah;e religions : I in every wny believe that there is but ooe God. " 8
"Some Wl'\rship Brahma as God. others point co Shiv as God.
Borne say that Vishnu 1s tlD Lord of the world, and that by worshipping him all sins are erased.
Think on thi'> a lbousand limes. 0 fool, at the last hour all thy gods ,vill forsake thee,
Meditate on Him in thy heart who wa~. is. and ever sbalt be " 7
~
l. A. U .. (27) 2. A. U., (71} 3. s.. (0) 4. s., (1:?)

u, i-;,, (l:l) 0. S., (l!i) 7, S., (Hi)
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210 THE POETRY OF THB DASAM GRANTH
(vii) Religious Sects

(i) The various sects prevailing in the country do not help io the attainment of
God, because they cannot win the love and grace of God :
" l have wandered and in their own homes seen crowtls of Sarav Jgts, Sudhs, Sidhs, Jogis,
aad Jatis.
Brave den1ons, demigods feasting on nectar, and crowds of saints of vari ous secls.
I have seen the religions of all countries, but none appeared to be Lhat o[ the Lord of life.
Without a particle of the lo ve and favour of God they are only worth a ratti " 1
(;i) They are Jike different poses wh ich actor-man assumes in order to play a
particular part :
14
Like an actor, n1ao sometimes poseth as a Jogi or Bairagi, sometin1es he assumeth the guise of
a Sanya.si.
Sometimes he appreareth to liv~ on air, some titnes he sitteth in an attitude of contemplation,
soo_1etimes in bis infatuaLion for self he singeth n1aoy praises of men.
Somelimes he is a Brahamachari. sometimes he producetb a garden in his band sometimes
he holdcth a fakiT's staff and deceiveth meo's senses.
He who is subject to worldly desires danceth with greslures ; but being devoid of divine
knowledge, how sha 11 he obtain heaven "t
(iii) The yogis, and yatis are like ordinary men, mere mortals or heroes :
" Jogis, Jatis, Bram.acharis, and very great lungs, the shadow of whose umbrellas extended for
n1a.ny miles.
Who wandered subduing k.ingdoms and crushing the pride of very great kings,
Sovereigns like Maan• aod lords of the un1brella like D,1lip 1 greal kings who prided tbe1nselves
on the strength of their arms.
Proud men like Dara, like the kings of Delhi, and like Durj odhan , having enjoyed the earth in
their turn al last were blended wtth iL. '' 3
(iv) The creeds of Dattatre, Gorakh or Ran1anand and Moham111ad do not stand
for the worship of God :-
"Afterwards I created D attatr e who also struck out his own patb H e paved not bis finger
nails, he decorated his head witb maltered hair, and paid no heed lo my worship."1
Then I cteated Gorakb who made great kings hts disciples,
Aod tearing their ears put rings in them,
But be thought not of the way of l\l y love.· ·5
"Then I created Ramanand
Who wore the garb of a Bairagi,
Put a wooden necklace on his oeck,
And paid no ht:ed to my worship.''6
"They who were created by ~le
Slruck out their several pJ Lbs.
I then created tvlohanunad,
/\nd made hin1 king l) f ,, rc1bia."
He too established a rdigion of his own,
''Cut oJT Lhc foreskins of all his followers
• Al t\andl,i.1 ri
---
3, .t l u.. (7!>)
1. A. U-, (.!lJ 2. A. lJ., (82}
4, lJ • •'f., .v I, (~:ll 6. B. ~ .• \'l (!!1 ) 6. JJ. 'X. , \' J t t,i) 7. g, .N., VJ, (~t>J
Digitize.d by Panjab Digital Library/ www.panjabdigilib.org

"fH uUG HT VALUr~
An J 1uade every one re peat his name ;

l:!ut no one fixed the true name in man's bean ." 1
•
"All the.;e were wrapped up in themselves,
Aod none of them recognised Me, the Sup1cme Beiog."J
(v) The YogisJ the Sanyasis, the Mohammedans cannot tell the secret of God :-
" If any one go to a monastery of Jogis, they will ask him to repeat the oarne of Gorakh;
If any one go to a monastery of Sanyasis, they will say that only Dattatre is true, and they will
give him his name as the spell of initiation ;
If any one go to the Mussalmans, they will seize and convert him to the faith of Muhammad-
Eve1y sect deemeth that tbe Creator is with itself alone ; but no one cao disclose the Creator's
secret.' '3
(vi) The followers of different creeds are parasites on the worldly men and d o not
enlighten tbe1n abou t the ways of God :
"lf any one go to t he Jogis they will tell him to gi ve every thing-house and property-to
them;
If aoy one baste to the Sanyasis, they will tell him to part with his house in the name of
Dattatre ;
lf aoy one go to the masands, they will tell him to bring all his property at once and give it to
them.
Every one saith, 'Bring me, Bring me,' but no body will show me God."'
(vii) The masands too have become corrupt like the others :
" If any one serve the masands, they will say, 'Fetch and give us all thine offering5.
'Go at once and make a present to us or whatever property is in thy house.
'Think on us n ight and day, aod menLioo not others even by mistake.'
If they bear of any one giving, they ru o to hicn evl!o at night, they are not at all pleased at not
receiving. " 6
'' They put oil into their eyos to make people believe that they are shedding tears.
lf they see any of their owo worshippers w~althy, they serve up sacred food and feed him
with it.
lf they see him without wealth, they give him nothing, though he beg for it ; they will not
even show bim tneir faces.
0
Those beasts plunder men, and never siog the praises of the Supreme Being. "
11 Tbey close their eyes like cranes and offer the world a spectacle of deceit.
They go about with their hands bowed down like poachers ; cats on seeing such attitudes woulJ
be ashamed,
The more they go about clioging to tho hope of wealth the more th.ey lose this world and the
next.
Thou hast not repeated God's name, O Fool ; why art thou entangled in thy domestig
affairs ?" 7
(viii) Hypocrisy
The Guru is of the opinion that the different religions or wandering sects that
assume religious garbs practise hypocrisy in the name of religion :
nTbey who wear a religious garb
A re deemed naught by the saints of God
2. l:l. :S., \ ' I (25} 3 "I., (20)
l. B. N ., VI {'.!i}
6. s., ('.!8) 6, s., (2~1) '1. s., (30)
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.212
THE POE TRY OF THE D/\SAM GRANTH
Understand this, all rren , in your hearts,

That God is not obtained by hypocrisy." 1
They succeed in deceiving the kings :
They who act for the sake of display,
Shall not obtain s:ilvation in 1be next wordly;
And it is only for life their affans prosper
Kings on seeiog their acting worships tbem." 2
Bat God is not to be found by mummery.
Yet every one wandereth about thus searching for Him.
•
He who keepeth his heart in subjection
Recogoizeth the Supreme Being. "S
They make spiritual slaves of people :
''They who by wearing a religious garb keep the people of the world in subjection .
Shall at last be cut WHb the shears of Death aod take up their abode in bell."'
They make a good job fleecing people :
''They who present appearances to the world,
Experiences extreme pleasure in fleecing others,
Spurious, and not worth a kauri. is the religion
Of those who practise suspension of the breath by stopping their noses." 5
(ix) Religious Hypocrisy

The Guru denounces those who specialise ''in closing their eyes'' :
"They who practise spurious religion ia the world.
Shall fall into the pit of hell.
He who can in no way subdue his heart
Sl:tal] not go to heaven by gesticulaLion. " 6
"They wbo practise hypocrisy by clo!ing their eyes.
Should be treated as blind men.
Since the road is not seen by closing one's eyes,
< How can such persons, my brethren, meet the Infioite ?" 7
"\Vhat availeth tt to sit closing both eyes and meclitating like a crane?
This world is lost, and the next also for those who go about bathing in the seven seas.
They pass their Hves in vain, dwelling in Lhe midst of sin.
I speak verily ; bear me aU ye people-they who love God have obtained Him. " 8
He takes up yogis sharply and says that they have befooled the world believing
that the strength of Yog l1es in hypocrisy and that they have persuaded themselves to believe
that they have turned their back on JJd.(l}a ; but as a matter of fact l'.1aya has still a hold on
them. He condemns them saying :
''0 Jogi, Jog cons1steth oot in matted hair.
Why \Vear thyself out and kill thyself wandering ? Consider this in thy mind.
The man who kno v,,eth the supreme divine kn o wledge shall obtain the great reward;
He sha ll then restrain hrs mind 1n one pl,icc, and not ru □ wandering from door to door.
\\'111t c.1v.illc1h il lo leave on('_. home, run a\\ay, anti <lwell in a forest."
L
5.
U. N .. \' r {!.i:l)
B . N. Y J (57)
;)
li.
II. N .• YI (:i,IJ
II, t\., , l (68)
3. li. N., VI, (ii5) -1,JJ. K,, VI (ouJ ·-
7. l:!. N ., VJ (Gll) 8. A, U., (!:!9)

..
THOUGHT VALUE 213
When one's hea rt ever remainetb at home? Such a person is not an Udasi.
B Jasting of thy religious fervour, thou deceivest the world by the exercise o f grea t deception.
Thou thinkest in thy heart that thou ba~t abandoo.ed worldly love, but worldly love hath not
abandoned thee.' ' 1
Ex.ternal marks of the yogi serve only to deceive men :

"J man with the garb, religion consisteth not io wearing a garb.
It consistetb not io wearing matted hair and long nails, or in smearing ashes on the body, or
dyeing thy raiment.
If man obtain Jog by dwelling io the forest, the bird ever dwelletb there.
The elephant ever tbrowetb dust on his head; consider this in thy heart.
Frogs and fishes ever bathe at places of pilgrimage.
Tbe cat, the wolf, and the crane meditate; wtiat know they of religion 1
As thou end urest pain to deceive men, do so also for God's sake,
Thus sbalt thou know great divine knowledge and quaff the supreme nectar." 2
"0 mao, by attitudes of contemplation, matted hair, and the overgrown nails of thy hands thou
deceivest all people.
Thou goest about with ashes smeared on thy face and cbeatest all the demigods and the
demons.
Addicted to avarice thou wanderest from house to house; the means by which Jog is obtained
thou hast all forgotten.
Thou bast lost all shame and succeeded in nothing ; without love, God cannot be obtained."~
This hypocrisy is practised for the sake of belly :

"0 foolish man, why play the hypocnte? Thou losest thine honour by practising hypocrisy.
0 cheat why cheat people? This world is lost to tbee and so is the next.
\Vhere the Compassionate to the poor dwellelb, there shalt thou find no place.
Thiok, 0 think, thou thoughtless and great fool, the Unseen is not found by assuming garbs.'''
The uuboly practise hypocrisy for the sake of their bellies ;
Without hypocrisy they can obtain naught.
The men who meditate on the one Being
Never practise hypocrisy on aoy one. " 0
''Without hypocrisy they would obtain nothing,
For no one would bow before any of them.
If no one had a belly,
Who would describe anyone as rich or poor."6
Believers in one God regard their belly as ootb ing :

"They who have concluded that God is one
Never practise hypocrisy ou any one
They give their beads, but abandon not their determination;
They regard their bodies as nothing. " 7
"Men who split their ears are called Jogis.
With great deceit they betake themselves to the forest .
They who know not (he virtue of the One Name
Belong neither to the forest nor to the bousehold. " 8
-1.-P.-N.,-(!fl)
---
2. P . ~-, {98)
- - - - - - - - -4.- s.
3. 8., (17)
-(18)
-
5. Ch. A., Intro. (24) 6, Cb- A., lnlro. (25) 7. Ch. A., Tntr.o. (26} 8. Ch.A,, Int r o. (27)
....

(x) Magical Practices

Guru Gobind Singh, in his Bachirra Natal.:, says that his father preferred death to
performing a n1iracle, ,vhich according to him \Vas 1an act of jugglery or make-believ~ of
,vhich any man of God would be asharned.' 1 These he regarded as Rhar111jal. Those who
practise magic or perform miracles or unnatural tricks are equally condernnab]e :
·•Swine eat fillh; elephants and donlcey3 bespatter lhemselves w1th dust ; jackals live at places of
cremation r
Owls Ji ve in tombs ; deer wander alone in the forest , trees ever die in silence,
The man wbo restraineth bis seed should only have the credit of lhe hermaphrodite ; monkeys
ever wander bare-footed.
How shall the ,vretcb who is subject to a woman and devoted to lust and wrath, b: saved without
the knowledge of the one God ?' ' 1
"It is kno,Yn that demons live in the forest, a ll children oo earth drink milk, aud serpents
live on air.
They who eat grass and renounce the desire of wealth, are no more tban calves and oxen.
They who By io the heavens have only tbe attribute of birds ; they who fngage in meditation
resemble cranes, cats and wolves.
All great gyanis who knew, but asserted not themselves, never allowed such deceit ns the above
to enter their hearts even by mistake.' ' 3
They who live in the earth should be called the offspring of worms ; they who live in the
heavens should be called birds.
As they do, so they become :
''They who eat fruit should be called the offspring of monkeys ; they who wander unseen should
be accounted as ghosts.
They who float on water are II ke gao geris : they \Vho eat fire like challors ;
They who worship the sun have the attribute of tbe lotus ; they who worship the moon, of
water-lilies." '
Such feats or performances cannot discover the' secrets of God :
"God is the Protector and Destroyer of the world, Compassionate to the poor, Punisher of
enemies, ever the Cberisber1 and free from Death's noose.
Jogis, wearers of matted bair, celibates, the true, great Brabmcharis who undergo hunger and
thirst in their divine meditation,
They who perform the niwali feat, who sacrifice to water, fire, and wind, who hold their heads.
down, who stand on one leg and never sit.
Men, serpents, deities, and demons find not God 's secrets ; the Vedg and the books of tbe
M ussalmans say that God is iodescriba ble, " 5
Peacocks skip about danc ing, the thunder roaretb and the lightning presentetb many phases.
If God be obtained by being cold or bot, there is nothing colder than the moon, nothing holler
than tbe sun ; if by being a Rajah God may be obtailled, there is no king equal to Iodar
who filletb the whole world.
Nowhere can be found a pen1teot like Shiv, a reader of the Veds liko primal Brahma, or
penitents like the sons of Brahma ;
Yet without divine knowledge they are all subject to ttle noose of death and ever wander
through the cycle of ages.' •u
1, s. s. I., (8) 2. A. U.,(71) 3. A. U., (72)
4. A. U., {73) Ci, A. U., (72) 6· A. U ,, (73)
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THOUGH'f VALUE 216
''It is not by the practice of perpetual silence, nor by the ostensible relinquishment of -pride.
nor by the adoption of a religious dress, nor by shaving the bead,
Nor by wearing a wooden necklace, nor by twisting matted hair round tbe bead tbat God
is fouod.
I speak the truth, hear it attentively-without enteriog tbe protection of the Compassionate to
the poor
1
And loving Him can God be found ? Tbe Merciful One is not pleased with circumcision. "
(xi) Pilgrimage
· Going on pilgrimage and doing other acts of merit are in vain unless one bears
God in mind :
·'Meo bathe at places of pilgrimage, exercise mercy, curb their passions, bestow gifts, exercise
abstinence, and perform various special ceremonies-
The Veds, the Purans, the Qurao, and the other books of the Mussalmans, the earth and heaven
all have I seen ;
Thousands of fasters, Jatis wbo practised contioeoc ·, all bave I carefully observed;
Yet without worshipping the name of the ooe God aud loving Him even kings are of no
account. ":I
(xii) False Practices.
Yogic feats and acts of penances are equally fruitless becau~e, being _physical
-exercjses, they cannot contribute to man's spiritual progress:
"The peacocks dance, the frogs croak, and tbe clouds ever thunder;
The tree ever standetb oo one leg in the forest; as for those who take not life, the Saravagi
bloweth on the ground before putting bis feet on it;
The stones through several ages remain in one place; the ravens and the kites travel from country
to country,
How can the poor fellow (the wretch) who is without divine knowledge and who is never absorbed
io the great Benefactor, be saved without faith in Him ?"3
"Like an actor man sometimes poseth as a Jogi or Bairagl; sometimes he assumeth the guise of a
Sanyasi.
Sometimes he appeareth to live on air, sometimes he sitteth in an attitude of contemplation,
sometimes in bis infatuation for pelf he singetb many praises of men.
Sometimes he is a Brabmacbari, sometimes he produceth a garden 10 his band, sometimes he
boldetb a fakir's staff and deceiveth men's senses.
He who is subject to worldly desires danceth wlth gestures; but being devoid of divioe knowledge,
how shall be obtain beaveD ?"'
"lo the cold season the jackal barketh five limes, and the elephant and the donkey utter various
cries.
What availetb it to be cut in twain by the saw at Banaras ? Thieves cut men in pieces and kill
them with axes.
What avaUetb it that a fool hath put a haller round his neck and drowned himself in the Ganges?
Thags put men to death by putting halters round their necks.
\.Vithout meditation on divine knowledge fools are drowned in hell's river; and without faith how
can there be any such medilatioo ?" 5
" If any one were to obtain by penance the Lord who suffereth not pain, the wounded man
soffereth pain of many ktnd<i.
- - -- - - - - - - - - - - - - - - -- -- --
1. B.N,1(100) 2. A. U., (24) 3. A . U., (81) 4-. A. U ., (82) 5 . A, U ., (83)
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216 THE POETRY OP THB DASAM GRANTH
If anyone were by repeating God's name to obtain God who cannot be obtained by Hp-worship,
the warbler ever uttcreth 'Tu hi, Tu bi I'
If anyone were to obtain God by flying in the heavens, the bird called anal wandereth in the
firmament.
If salvatioo be oblained by burniog oneself io tbe fire, why should not the Sati and a\so tbe
serpent which liveth in hell be saved ?" 1
"Artillerymen, huntsmen wearing decoy dresses, and they who eat opium, bow their beads many
times.
What availeth it that men perform prostrations of different kinds to God? They are like
wrestlers practising the exercise of da nd.
What availeth it that men lie with their faces turned up 7 If they do not heartily bow to the-
supreme God, they are only as sick men,
How can he who is the slave of worldly desires and ever clever in obtaining wealth, obtain tbe-
one Lord of tbe world witbout faith in Him ?" 1
"Peacocks skip about dancing, the thunder roareth and the lightning presentetb many phases.
lf God be obt&1ned by being cold or hot, there is nothing colder than the moon, nothing hotter
than the sun, if by beiog a raj a God may be obtaiued, there is no king equal to r ndar who
,
I filletb the whole world.
Nowhere can be fouod a penitent like a Shiv, a reader of the Veds li({e primal Brahma, or
penitents like the sons of Brahma;
Yet ·without divine knowledge they are all subject to the noose of Death and ever wander through
the cycle of ages.' •s
~'One Shiv was born, one died, and one was born again; there have also been many incarnations of
Ram Chandar and Krishan.
How many Brahmas and Vishnus have there been ! How many Veds and Purans ! How 1naoy
collections of Simritis have been and passed away !
How maoy preachers and i\1ada.ars• ! .How many Castors and Pollux.es I tlow many Aosavatars
have succumbed to death !
How many priests and prophets have there been ! they are so roaoy that they cannot be counted;
from dust they sprang aod to dust tbey returned!''
5
~•Why performest thou false peoaoce to the gods ? lt will not avail thee a Kduri.''
(xiii) Religious Learning
Mere learning of religious books or theological controversies cannot be helpful in
attaining spiritual heights, which i'> prin1arily a matter of heart :
!'The Veds, lhe Purans, the Quran, all bav~ grown weary singing Thy praises, 0 God, but thou.
art not known unto them. " 6
These books of theology and religious philosophy cannot explain the mystery of God:
!'The Veds and the books of the Mussalmans have not found God's secret; all the Sidbs have grown
weary contemplating Him.
Tbe Shnritis, Sbastars, Veds, and Purans all describe Hiru jn various ways;
But God who was in tbe beginning, and who had no beginning, whose story is unfathomabl~,
cannot be known. He saved such as Dhru, Prahlad, and Ajamal.
The courtesan was saved by repeating God's name; that nan1e 1s my support, the object of
my thougbts." 7
3. A. U., (76) *Mndaar we.a a celebra.~ed Muham.medan aainL.
L A.U.,(84) 2. A, U., (70)
5. B. N., 1. (98, i) o. s., (8) 7. s.• (!l)
4. A, U., (77)
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217
THOUGHT VALUE
"He who made n1illion,; of tndars, He who made and destroyed some millions of Baw,1n.
Demons, demigods, serpeo1s, sheshoags, birds and beasts ionuo1crable, .
To who01 till today Shiv and Brahma are doing pen:ince without finding His limit,
He whose secrets the Veds and the Quran have not penetrated, is the great Being whom the Guru
(Guru Tegh Babadur) bath shown me," 1
11ere controversy dries up the spirit of devotion :
"They who were smitten by the Simritis abandoned my worship.
They who attached their hearts to my feet
Did not walk in the way of the Simritis" 1
•'God remaineth apart from those
Who indulge in wrangling and pride.
He is not found in the Veds or the books of tbe Muhammedans.
1
Know this 10 your hearts, 0 saints of God. "
Although the Guru has written so much satirising the religious practices, he does
not altogether despise Hindu beliefs in the God-heads of Brahma, Vishnu, Mahesh and
others. He feels that even though these persons are also of divine origin and even though
they, too, have been sent by God to preach true religion, they have failed. For, each one
of them has led to a different interpretation of God. In the Buchitra ,.Vatak, he proclaims
to all men \vhat God told him :
"ln their (demons') places I established the gods :
They also busied themselves with receiving sacrifices and worship
4
And called themselves supreme be1og. "
"Mabadev called b1mself the imperishable God ;
Vishnu too declared bim:.clf to be God,
Brahma called himself the supreme Brahma,
And no body thought Me to be God.' ' 11
• 1They (Eight Sakb1s) told people to worship them,
8
And st11d, 'There is no God but us.''
7
"How many worshipped the sun and moon !''
How m.1.ny made burnt offerings ! How many worshipped the wind l
"Some recognized a stone as God. " 8
0 Jhey whon1 I appointed to watch over creatures,
On coining into this world called tbemselves Gods.

They altogether f"rgot my orders.
And ttcaffe absorbed each in his ov.:n praise··~
Therefore the Guru takes it almost as his duly to preach the true religion:
••Nothing is to be obtained by putting hopes in others;
Put the hopes of your hearts 10 tbe one God alone
Nothing is obtained by hop1nv in others ;
Put the hopes of your hearts in Him.''n
He discourages the old religious practices of the Hindu!> and the Muslims :
••Millions of men may read the Qurno.
'{bey may read 1onumerable Purans
But it shall be of no use to them in the future (life)
11
And the power of fate shall still rule over them.''
•• H,- IS YI 1~)
4. H. ~ .. \'I (7)
-
1.
-
:;,, (10) 6. B. N , , I (0)
3. 13. X .. Yl (61)
7. D. N., YI (10)
8. B. N., V[ (11)
Ii. 13. :{,, V 1 (8) 10. B. N., Yl (41J) 11. U. N., YI ('17)
\I, B. N., VI {12)

Duncan Greenlees in hjs work, the Gospel of Guru Granth Sahib, has tried to
appreciate this satirical vein in a very sympathetic manner, when he says:
"This is not an attack on sacred books but on biblliolatory, relying oo adherence to one rather
than another to supply the lack of virtue and devotion."1
The Guru's general attitude towards religions is, however, based on doctrines and
philosophies of his predecessors who recognised all tbe religions leading to the threshold
of God. In this respect, in the Akal Ustat, he says-
"Tbe temple and the mosque are the same ;
Tbe Hindu worship and the Mussahnan prayer are the ~ame : all men are the same ; it is through
error they appear different.
• • • II. t • • • • . .. • o t o I t t t t t It • t t. t. t t t t o o o to • It t t • • • • • • ♦• o • o • • •
Allah and Abhekb a re the same ; the Puraos and the Quran are the same ; they are all alike ;
it is the one God who created all. " 2
To sum up, the best of Guru Gobiad Singh is found in his devotional poetry,
not in his satirical or didactic verses. The heart makes fuller an1ends for the bead which
is liable to be impatient and intolerant towards the failings of the common man. It is his
devotional poetry which rises from abundance of love or pity, of self-surrender or humility.
Such poetry of his comes home to men's bosoms and it is this poetry that is chanted in
moments of devotion or distress :
"0 God, glve me Thy hand and protect me,
And all my desires shaU be fulfilled
May my beart be ever attached to Thy feet
Deem me thy own and cherish me !" 3
Secular Poetry
The secular poetry was the hall-mark of the Ritika/ of the I-Iindi literature.:• The
Dasan1 Granth which belongs to this period presents abundant poetry of this kind. This
poetry of the Das am Granl h may \.Vell be classi fled into ( a) heroic. (b) auto biographical,
(c) 1nytbological and (d) cbaracterological poetry. These are discussed below.
(a) HEROIC POETRY
Guru Gobind Singh developed into a soldier-poet. It is jnteresting to study the
evolution of bis art under the stress of circumstances. He was essentially a poet who
took to s,vord and tben wrote martial verse to breathe fire into tl1e 1ninds of his fellow
soldiers.
The Guru believed that it was a mission of his life to fight against the oppressors;
He says-
''I assuroe birth for the purpose of spreading the faith,
Savi □ g the saints, and extirpaling all tyrants." 6
To fulfil this mission wa'3 not an easy task, particularly in the days of the Mughal
tyraony. He had to face n1any difficulties which \.Vere further aggravated by the bigoted
policy of Aurangzeb. To those open to reason, he preached his 1nessage and against those
who believed only in the physic~l force, he raised his sword.
His revolt against the e □ emies of religion and his attempts at war poetry were
1. G. G. Cl-. S., ~lJ !l. A. l'."., (S!l) 3. P. Ch .-l!ooti C'hau pni- 105 (377) !, li. L., 79 5. B.N.,\'1(43)

210
THOUGHT VALUE '
not in any way prompted by any desire for wealth, land or fame. 1 He attempted the heroic
verse and had it sung or recited to his soldiers with the sole purpose of inspiring the
people \\ ith the will to be perpetual fighters of the battle of Dharma i.e., to uphold
1
rjghteousness. At the end of the Krisana,·tar, the poet says :

11 0 God, I am composing the story of Bhagout for no other motive than to fire men •s hearts
. witb the feeling of holy war."~
He, therefore, infused martial spirit into then1 by his soul-inspiring and heart-stirring
descriptions of battles. Commenting on h.is Chandi Charitra I, at the end, the poet says,
I '
"This composition is imbued with raudra rasa. " 3
Again, at the end of Chandi Charitra, II he says,
"Even if a low coward bears this ballad, be will be thrilled with love of war and offer himself to
fight in the battle."~
At the end of Chandi Charitra [, he prays to Chandi to grant him the object
(na1nil) wit l1 which this composition has been attempted.
"Chandi 1 grant the object with whicb the poet has translated it."5
No doubt, he took to sword but that was only as the last resort towards the
fulfiln1eot of his mission. In the Zafarna1nah, addressing Aurangzeb, he says-
"Chun I(aa,y uz hamah heelte dar guzasht
Halal ust burdan ba shamsher dast"
"When all other means have failed
lt is righteous to draw the sword.' ·e
Guru Gobind Singh himself \Vas a brave soldier. This is evident fron1 his o,vn
writings in the Bachitra Natak. While describing the battle of Bhangani tbat he fought, he says
"When this insignificant creature saw
Shah Sangrarn fall in battle,
He took up bis bow and arrows.
With the first arrow I struck a Khan
•• I • • • •• I •.t • • , f • • • • • • ,I, • l • • • • • • • ·• • I I • • • • e• e • • • • • • t o- • • • • t • •
Who fell to the ground.

I then drew out another
And aimed at tbe face of Bikhan Khan.
The bloody Khan fled leaving bis horse,
Whqm the third arrow struck and killed. " 7
11
When I felt tbe touch of tbe arrow,
My wrath was kindled,
l took up my bow
And began to discharge arrows in ab undance. " 8
He could never forget that in his veins ran the blood of brave Kshatriyas. He,
therefore, could not think of adopting an attitude of escapism to,vards the disturbed
conditions of his time. He ,vrites,
~•I am the son of a Kshatri, not of a Brahman ; how can I perfor1n austerities ?
How can I turn my attention to Thee, 0 Lord,
And forsake domestic affairs.' ' 9
-----
1. l~. A., (l!lOl) 2. K. A,, (2491) 3. Ch. Ch., 1 (232) 4. Oh. Cb., II ( 200) 5. Ch. Ch. l (2311)
6. J. N., (22} 7. D.N.,Vlll,(24,!?5) S. B. N., VUI (31) 9. K. A., (2489)
•
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220 THE POETRY OF THE D/\SAM GRANTH
Rather, he was anxious to die in a battle-field and therefore prayed to God :

"Now be pleased lo grant me the boon, I crave with clasped haods,
. '..
.. .. . ... ... ... . ... .
.... ... ... .. ... . . ... .. . - -- ...
Thal when the end of my life cometh,
I may die fighting in a mighty battle. ''1
In battles, he al\vays felt that he had full proteclioo of the Almighty on whose
injunctions he was acting:
"Who can meditate aaythiog against those who enter the saints' protection 7
God preservetb them as the toogue is preserved among the teeth; He destroyetb their enemies
and alJayeth their suffering. " 11
"The Master Himself saved (me) by His sbieldiag baad. " 3
''What can an er.emy do to him whom the Friend preserveth ·1
He cannot even touch bis shadow ; all his attacks would be fruitless,"'
"All-death savetb all His saints.
He hath tortured and destroyed all sinoers,
He had shown wonderful things to His saints
And saved them from all misery." 5
"Knowing me to be His slave Heh ath aided me,
He bath given His band and saved me. " 8
"The Lord of the world saved me. n 7
He, therefore, never felt proud of vjctory which he ahvays thought, was won through
God's grace. After the victory in the battle of Bhangani, be said :
' 'It is through tbe favour of Eternal God, I gained the victory. " 8
Ju defeat, desertion or despair, he believed that Almighty alone could save him and
therefore, lie always lifted his voice to ~fahakal to protect him with hrs helping hands:
"Mahakal, be Thou my protector,
All steel, I am Tby slave;
Deeming me Thioe own, preserve me ;
Think of mine booour-deeruiog me Thioe own, cherish me." 11
Even at the most gloomy hour he invoked only the Almighty for help, guidance
and protection and none else.
The Guru did not believe in deviating from the right course even while fighting
against the enemy. At the end of the Chandi Clzaritra I, the Guru seeks God's blessings in
the same spirit of a true warrior :
''Give me this power, 0 Almigbty !
From righteous deeds l may never refrain. " 1°
Nor did he ex peel his enemy to use any foul means. In his letter of protest to
Auraagzeb, he charged the emperor with breach of faith for his co1nmanders began to
pursue him in 1he sands of Bhatinda inspite of their having promised protection on his
surrendering the fort of Anandpur. While dealing with his unscrupulous ene,njes who had
gone back on their word of honour, the Guru asserted that it was the sacred duty of a man
like him lo dra,v the sword and fight againsl his enemy to the last.u
l. J{ ..\,, l:!iiistt) :?. 13. N., Xlll (25) 3, B. N .• X rn (23) 4:. B. N., Xlll (2-1:)
a. B. N., Xl V (1) G. B. :N"., XIV(:!, iii, h·) ?. B. N., XI (!i9) 8. B. N., \ "Ill {34;)
9. K. A. (4.35) 10. Cu. Ch., l (231) 11. J. N., (22)
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THOUGHT VALUE ' ,.
He did not regard the loss of his father, mother, sons, followers he incurred,
as acts of benevolence to the oppressed. On the other hand, he took them as acts
of duty incumbent. on him for the fulfilment of his mission. This is what he always
expected his followers to do. He says, .
"Blest is bis life in this world who repeatetb God's name with his mouth and contemplates war in
bis heart. " 1
Guru Go bind Singh regarded the death of a soldier as the death of a martyr equal
to the fruit of many years' devotion and ensured honour and glory in the next world. 2 He
prays to God :
11
When this mortal Life comes to a close may I die with the joy and courage of a martyr l" 3
He, the refore, earnestly prays to God:
" Be pleased to grant me the boon
T crave wlth clasped hands
That wben the end of my life cometh
• I may die fighting In a battle !1 ' •
1"hC) heroic poetry in the Dasam Granth may be classified into two types, the
realistic and conventional. The realistic war poetry treats the themes of fight in which Guru
Gobind Singh was himself engaged. It dea)s with events of history and their description
is authentic, for Guru Gobind Stngh himself was a commanding general and soldier.
The conventional war poetry is mytbical, legendary or historical. It describes battle-scenes
in which gods, aocient or legendary heroes , fought against their demon or mortal enemies.
Tbe great quality of the poet of the Dasa,n Granth is that he is able to thrill his readers
with martial spirit. He succeeds in creating the moods of enthusiasm and exaltation
associated with the poetry of Vir-rasa from time immemorial.
(b) AUTOBIOGRAPHICAL POETRY

Dr. Mohan Singh Diwana, io his essay on "Guru Go bind Singh as a Poet", while
pointing out the personal element in Guru Gobind Singh's poetry, says,
"The personal element is something entirely new io him. No other saint or poet before him in
the whole history of lndian literature bas left an autobiography, which is informed by such
strength of narration, such earnest conviction of tbe goal and such truth and freedom and
fearlessness of factual indictment. '1 do not care for any god or man, says be ; am not
afraid of them, resling as I am in His bosom with my fullest trust in his Divine Omnipresent
Aid.' A great man, for, an entirely self-conscious, self-confident, humourful and integrit~-
cbarged person.' ' 5
This is indeed the distinct feature of the Baclzilra Natak, a narrative verse, in which
he gives his ancestral account mixed with legendary lore, the detailed account of his
previous birth, his discourse with God when he was not quite willing to leave His lotus-
feet, the story of his life, mission and the battles that he fought againsL his enemies. It is,
no doubt, an incomplete story but its authentic value is immensely great. Historians have
liberally drawn on this composition in their account of the political conditions prevailing in
1. K. A., (2489) 2. M.acauliffo : How tbe Silibs became a. ,l\IiliLant Raco, p. 2U 3. Ch. CJh., 1 (231)
4.. Oh. Ch,, I (231) 6. Cf. 8. N., I (92. 93) , fl (-l, 5) , V (13, lJ) • VI (3, 4, 5, 33, 31, 35, 3U, 37, as, 30, 40, 42, 53)

222 THE POETRY OP THE DASAM GRANTH
the Punjab of his days. Towards the close of the Bachitra Natak, he discloses his plan of
the Bachitra Natak Granth which was yet to be completed.
The traits of the personality of Guru Go bind Singh, as revealed in his autobiography,
distinguish him from bis predecessors. His personality, though in agreement with other
Gurus in the essentials of Sikhism, struck a new note. It would appear as if under tbe
stress of circumstances, the personality of the Sikh Gurus evolved in the form of Guru
Go bind Singb's personality. He had, no doubt, all the saintly qualities of his predecessors,
the Gurus, but that was only one side of his personality. He was a saint for the good
but for the wicked be was a soldier determined to finish him and extirpate the evil from
the universe. Like his predecessors, he bad no false vanity. He was full of humility but
humble he would be only to those who knew the value of humility. To others he was a
fierce opponent prepared to pay in the same coin 1 • Like other Gurus, be entertained
no fear of any mortal and be could sacrifice anything and everything for his principles, but
be would not leave things to take their own shape. He would, on the other hand, spare
no pains or consider no sacrifice too great to see the evil puoished and the good rewarded .
•
He had a complete reliance on God, like his predecessors. He considered
himself God's chosen instrument for spreading the faith, saving the saints and extirpating
all tyrants.' In regard to the extirpation of tyrants, Dr. lndubhusban Banerjee has
beautifully brought out the Guru's conception of the role of sword in the following words :
"But for these purposes, particularly the second one• the old weapons of service, humility
and prayer were wholly out of place and in the very opening verses of tbe Bachitra Natak
the Guru makes his position clear. His reliance was on G od and the t{oly Sword. 'fhe past that
he bad inherited aod the circumstances in which he was placed naturally led hirn to think
of God as the punisher of the wicked, a nd as the Sword is a great weapon for that purpose,
in the Guru's mind the two become identical. ' God subdues enemies so does the Sword; therefore
the Sword is God and God is the Sword .''3
The Guru remained unmoved even in the most difficult hours of his life, fighting
incessantly against enemies of humanity. He had an independent character and was frank
4
and bold in his statements. He had a strong personality and adhered to his convictions.
The personality of Guru Gobind Singh, therefore, combined in it the various divergent
traits rendering him fully competent to fulfil his mission. It was this type of personality,
bis age needed but this would not urge him to escape the realities of life.
The art of biography was seldom tried in the medieval Hindi or Panjabi literature.
ln Hindi, there are stray examples of this type of composition : Gosain Charitra by Beni
Madhav, Tutsi Charit by Baba Raghbar Dass. In Gurmukhi script, however, there are some
more examples : Gur Bi/as by Bhai Darbara Singh, by Bhai Sukha Singh, by Mohan Kavi
and Ja11a1n Sakhi by Bhai Ganesha Singh based on the lives of the Sikh Gurus. Similarly in
autobiography, the field was a1most new. The Bhakta poets, like the secular poets in Hindi
and Panjabi, had given some hints or clues about important incidents of their lives,scattered
here and there in thGir devo tional verses, but no poet, except Jain poet Banarsi Das who
wrote his incomplete autobiography in Ardfza Kathanalc, had ever thought of giving, or tried
to give an account of his birth, parentage, his dreams and adven tures. It was left to Guru
Go bind Singh to make a fre sh experiment in the art of a utobiography.
-- l.--er. B.- N .• Ylll, (:J7. 3~) "Hero the third p urpose meuiio ned a l,ove.
4. R. N .. Yl (33--H), 4-2, 6~)
:i. Locl11l,lrn~l111u l!un~rjer): Evolul ion of 1.hu Kl111le11. 97, Ufl
!i. H. S. 1, 12-1-:!6 ; il. l:i. :!28, Sl1uklu anti lJr. Hazl.lri Prasad Dw ivecli doub t l ha 11uthc:11t ici ty ot 1hese biogra p hie,i
becattSe of the ui uch divergent mutter iu t.hein.
t>. H . S. I., 2221 230, 231
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THOUGHT VALUE
(c) MYTHOLOGICAL POETRY

Guru Gobind Singh had long felt the need for awakening the slumbering souls of
the down-trodden people. The masses had completely lost their way in the intricate paths
of numerous creeds and castes and were mistaking the distortions for facts. In the intro-
duction of the Chaubis A vtar he writes,
"Men are entangled with their own a[airs ; no one knowetb the Supreme God.
Some (Hindus) go to the places of cremation, other (Mussalmans) to cecnetries ; but God is at
neither. " 1
To those who had pinned their absolute faith in him, he in his capacity as a Guru
proceeded to enlighten them through his didactic poetry. But to those who had been attracted
towards him not because of their faith in his religious doctrines but for his heroism, and
whose faith in the Guru was still in its formative stage, he gave a psychological treatment.
He knew that with such neople neither religious sermons would be effective nor would the
satirical approach bring any fruit. He, therefore: used the method of suggestiveness to bring
them into his fold and, with this in view, he rendered freely in vernacular all the stories
of the Avtars of Vishnu, Brahma and Rudra and the goddess Chaadi. Through this
compendium he sought to bring such people into his fold who otherwise would have shown
reluctance in following his lead because of their different faith. Accordingly, the entire
volume is devoted only to the narration of the life-stories of the A vtars, \Vithout the poet's
indulging in any sort of criticism or interpretations thereof. He, however, does not forget
to ren.11ud the reader, in a mild tone, of his own convictions when and wherever he feels
that a particular work or portion of the story• is likely to distract the people from the path
he considers rjgb.t. But while doing so he appears to have exercised caution in not
vehemently refuting these myths. In the Krisanavtar accordingly the poet writes :
•·I do not at the outset propitiate Ganesb,
[ never meditate on Kdshan or Vishnu ;
I bave beard of them but l know them not ;
lt 1s only God 's feet I love." 2
Again, in Sheslz-Shayi Avtar, he says :
Tbere are millions of Bishen and Mahesh in the body of Akal·Purakh 3 •
1n the introduction of the Ohaubis Avtar he says,
·'They who recognize the Primal Being as One God,
Allow no other belief to enter their hearts."'
''They who cherish any other belief,
Shall be debarred from meeting the friend. 115
In other works also he loses no opportunity to bring home to his followers the
fictional aspect of these myths. He says,
"He made millions of lndras and Bawans ;
He created a11d destroyed Brahmas and Shiv
The fourteen worlds He made as a play,
And again blended them with Himself.' •e
1. Oh. A., Intro. (lSJ Also eee Oh. A., Intro. (19 to 25) :!.1(. A., (433)
-'• Ch. A., Intro. (21) 3. Shosh-Sho.yi A, (l)
5. Ch. A., Intro. (~2) 6. .1\, . U., (U)

'fHE POETRY OF THE DASAlvl GRANTH
"He created millioos of worms like Krishoa. " 1

"I will not repeat any other name nor establish any other god in my heart. '' 2
It is n1ost)y in these religious works, he is at times sarcastic, and vehemently refutes
these myths.
The poet's absolute faith in Bhagauti as revealed in the first pauri of C/zandi-di-Var
,vhich is included in the daily prayers of the Sikhs should not lead one to think that by
Bhagauti he means any goddess. The word Bhagauti, whenever used by Guru Gobiud Singh
stands for A.kal-Puraklz, the Creator Himself, and for none else.
This co1npendium has a utility also for the Sikhs, for it serves as a very
comprehensive ke-.y to the mythological illusions referred to iu the Adi Granth, without
which it becomes difficult to appreciate fully the contents of this sacred book.
The most important feature of this work is chiefly the description of the war scenes.
In the course of the Guru's narrating his stories, his dwelling on the war scenes reveals
that be did not hesitate to exploit fully tllose portions of the stories which suited his
underlying motive of inciting his men to holy war which had become a mission of his
life. It is evident from his own writings :
'!0 God, I am composing the story of Bhagout in Hindi verse,
For no other motive than to ftre men's heart with the feeling of holy war.f•a
While concluding the Ohandi Charitra I, he says that his composition is infor1ned.
with raudra rasa through and through, and that he has achieved the nimit (object) he had
placed before himself in the composition :-
"This poem is imbued with raudra rasa." 4
At the end of Chandi Charitra II, he says,
"Even if a low coward hears the ballad, be will be thrilled with the love of war a □ d offer himself
to fight in the battle.' •s
Of the Mythological compositions, the C1ltandi Charitra first and second and Chan(li-
di-Var are purely war poems. The other compositions where war descriptions are
found are Kaclzh Avtar, Bairah Avtar, Bavan Avtar, Paras Rrini Avtar, Rudra Avtar,
.fallancllzar Avtar, Vishnu Avtar, Suraj Av tar, Ra,navtar, Krisanavtar, Nar Avtar, Ka/;ki Avtar.
There are duels, mass fights accompanied with storms of dust, filling the whole
atmosphere with sounds and noises of all sorts.
(d) CHARACTEROLOGICAL POETRY

The Pakhyan Charitra is a rich gallery of descriptions of human types in 1nixed
Punjabi and Braji. These Charitras are good examples of the art of character delineation.
Though many of these characters belong to ancient times they appear. to describe even some
of our living acquaintances. The aim of this work, as already discussed in the preceding
chapter, is to raise the moral standard of the readers by exa~pl~s of various t~pes_of good
and evil which may warn them against sex urges appearing 1n many a d1sgu1se, and
-- . -- -
J. B. N •• I (~7} 2. B. N. , V1 (37) 4-. Cb. Cb., I (232) 5. Ch. Ch. II, (260)

I I • THOUGHT VALlJB .. ' 225
strengthen their moral convictions. These Pakbyans have been designed pri1narily for the
simple people who had not the religlous back-ground strong enough to check such
deviations from moral side of life.
The poet was, undoubtedly, fully aware of the human weakness brought out by sexual
urges and gave a timely warning to his followers from going astray. Here it may not be
out of place to mention that io these tales at no stage has the poet introduced the religious
or moral force. He has, on the other hand, applied the effective technique of suggestiveoess
by acquainting his followers with the motives that lie behi1td the acts of all types of
people one comes across iu life and tbus developing in them an insight into the bu1uan
character.
The poet, at many places, has, through the Pakflyan Charitra, tried to enlighten
his disciples on the subtlety of woman's nature knowing fully well that it is far beyond
the understanding of an ordinary person unless tile reality is laid bare to him through
the grace of God. He regarded it as his mission to eradicate the evil from the
universe, by warning the people against such temptations. He says:
No body can divine the character of a woman, fickle-minded as they are
He alone, can see through their character traits whom God succours.1
No body can read the character of woman
Not Vishnu, Shiva ao.d the six-faced Kartikeya, etc.
No\ even Brahma, the very creator of the universe who created them. 1
He goes so far as even to assert that
There is no end to the fancies of these women.
Even tbe Creator has repented for having created them. 3
After all, no body bas understood the mind of women
Even the Creator after having created them repented
Even He Wbo has created the whole universe accepted defeat
After be had probed into the secrets of woman.'
The poet does not hesitate even to quote instances, when required, from his
personal life to impress upon the people the charitra of the womeo.5
The women-characters of these tales, almost all, suffer from passionate desires and
they use all the means, fair and foul, at their command to attract the opposite sex to
have their thirst quenched:
0 beautiful Ono I do not besmear such a sbapelv form with dust. Do not waste your youth,
0 maiden t
When old age comes, thou sbalt repent thy youth, thal is no more. 6
Do not be proud of riches and youth !
We are all bappy, 0 youlbful one!
Be thou also the same.
Old age will come aod youth will depart.
-
- l. l'.Ch.;1113(7)
- - - - - -- - - - - .
2. P, Ch., 377 ll2) 3. P. Ch., 322 (25)
-!. P, Cb,, 312 {13) ii. Of. P. Ch., 16, 21, 23 6. F. Ob., 303 ( 11)
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'226 THE POETRY OP THE DASAM GRANTB
Then thou shalt rue it all the more

When thou recallest these times.1
They talk about the significance of merry-making with women of exquisite beauty
by arguing that their beauty is only a temporary phase of their development and will soon
fade out leaving the opposite sex repenting for not having enjoyed it ;
Why to be vain of this youthful life which is fleeting and sticks to no body.
Come, Jet us both enjoy it. Why trust it (fleeting youth) ?1
Among the men-characters of the tales, there are two types that we come across.
The men-characters of the first type of these tales, soon after they fall a prey to the
coquetry of the opposite sex, suddenly come to themselves ; the philosophic element in
them brightens up and they, realising that th~se are only distractions diverting the man
from l1is real path, sooo manage to be out of their clutches.3
The other type, which appears to represent the earthly ignorant merry-makers, fall
an easy prej' to the evil desires of the opposite sex, lose themselves completely in their
physical charms, thus preparing for both spiritual and physical death.1
The first type is exemplary, and sets an jdeal before the readers which they are
persuaded to achieve even at the cost of their all. The second type is a bit realistic
one, revealing the human weaknesses, thereby warning the readers against them.
From the themes discussed above, under Secular Poetry of the Dasan1, Granth, it is
evident that like Bhushan, who strangely enough wrote heroic poetry in the Riti period,
its poet tried to lift its poetry from the rut into which the poetic creations of his
contemporaries tended to fall. He hit new marks by introducing autobiographical poetry
which,according to Dr. Iodubhushan Banerjee, is undoubtedly the most important of all the
records about Guru Gobind Singh,5 and by reorientating heroic and mythological poetry.
Character-tales which previously existed in Apbhransh,6 Rajasthani,7 and Avadhi8 for
preaching religion, morality and social harmony appear in the Dasam Granth profusely
in Braj. The reason for the profuseness of these tales was apparently the Guru's desire
to impart practical wisdom in the language of the day and in the mode of literature that
specially appealed to the masses. The Guru rightly understood the importance of
the secular form of poetry for the uplift of the masses and gave it its well-deserved
•
prom1nence.
1. P. <:'h .. 303 (16) 2. P. Ch., 303 (16) S. P . Ch.• 16, 21, 23

4. .P. ('Ji., lll. 118,202,290. 5. Inclubhualian Banerjee : E"olulion oft.be K.h&lsa, lii
cJ. H !\rin1nah l(oohhnr: Apbhraosb Sahitya, 40, 41 : Jla.7,ari Prasad Dwh•cdi: Hindi Sahitya, l 9, 79.
7. Slit:kla : II. 8. I., 231 S. Rrun K.uma.r Verma: Hindi SaWtya Ki. Aulocha.aa.tmak ItihflB, 477
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CHAPTER V
ART VALUE
In the preceding chapter, the attention of the reader has been drawn mainly le the
thought currents contained in the different parts of the Dasani Granth and their
general importance as an interpretation of life. We now take up the discussion of its
art value.
'Art is a notoriously shifty and uncertain word.n Here by art we mean the way,
conditioned by the nature of the poet's inspiration,2 the thought has been expressed : the
way 'it has been shaped, ordered, isolated, organized, designed ; above all, so unified in
its own distinctive character that it will always be substantially the same experience
whatever mind it may lodge in.' 3 '1'1'ot only thought but, equally, emotions, sensuous
impressions, psychological intuitions and the mass of infinitely variable associations that
accompany the movement of tho11ght, are communicated to the reader's mind.' 4 The matter
of the poet, thus, becomes the reader's experience while not ceasing to be the poet's.
The thought is not so much car tied by the technique as e,nbodied in it, as inextricably as
vitality is in ftesh.' 5
What exactly constitutes poetry has been a subject of controversy among writers
of Indian literature from time immemorial. There are different schools holding different
views on this matter. According to Bharat Muni, Rasa6 is the soul of poetry. whereas Anand-
vardhan in Dhtvanyalok believes that Dh,vani' (suggestion) is the soul of poetry. There
is another school which stresses the importance of Alankars8 (figures of speech). There
are still others who lay emphasis on Gunas 0 and Riti10 as the main constituents of the
poetry. On a closer view, most of these schools reveal themselves more in the nature
of style and technique than the emotional content of imagination.
In the Ritikal of Hindi literature also, in which Guru Gobind Singh lived aod
wrote, the poets laid stress on one or the other theory. "For instance,Das and Kulpati Misra
valued above everything Vyanjana and Dh111ani, Mati Ram and Padmakar regarded Rasa
as the very soul of poetry and Keshavdas and Jaswant Singh were first and foremost
followers of the Alankar School."11 It should be remembered that in the Ritikal "1?.iti as
used in Hindi literary terminology'' came to mean ''a particular method or mode of
writing poetry and comprehends within its scope various cults like Rasa, Alankar and
Dh,rani."12
1. Ln.,ceilea Abercrombie : The Arb of Wordsworth, p. 12 2. Ibid, p. 30
- --
3. Ibid, p ;;
4. Lascelles Aberoromliie : Principles of Litero-vy Criticism, p. 38 6. LasoellesAbercrombie: The Art of Wordsworth, p. 1
6 - ;; ~ UH~ C!fif.i'iif~~: Sl4dd 1-Bbarnt }! uni : Natya Sutrtl VI, <fm UfIBf<6 cfi~+J: 1- Vishwan i,th : ISnhitya Dl\rpttn, 1,3
7 CfTT~.Q€ll l, l-!i ccrf; , : 1-DhwnnyalolcJ,2 8· i;ffil;R:T ~cf P W..:rTrfflffcri:rrvllT<ff I+RI''\
-Hajuno.k B,uyyal;; : Alankt.rs11,rvc,:sw:.
!I. f.:rg"aj
..
Wfo.. l
~ I {Ill d ~ 1- Ago.i Pu ran, 3,1,0, l
l O. flfo (l, IH CfTTclltlf 1-Vomau : Kavyalo.nko.r Sutra 1, 3, 6 l I. H. L., SG 12. H. L., Sa
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228 THE POETRY OF THE DASt\M GRANTH
Instead of entering into a futile controversy on the subject as to what is the soul
of poetry we prefer to examine here the poetry of the Dasa,n. Granth in the light of
all these definitions or claims. Riti and Alankars being more akin to each other have been
taken together and discussed under the beading Alallkars. Here only such topics will be
taken up as are generally included by the conventional writers in the field of art.
(a) RASAS
The theory of Rasa has been discussed by the great masters of poetics mostly \Vitb
reference to drama, suggesting that Rasa signifies the restbetic pleasure, enjoyed by the
audien_c e while witnessing a play which has poetry, music and action as its main
constituents. This emotional effect on a responsive audience is produced, through a
harmonious blend111g and representation of appropriate Vibhavas (Determinants),
Anubhavas (Consequents) and Jlyabhichari Bhavas (Transitory states), all reacting
on the Sthayi Bhavas (Domioant states) of the audience. Poetry, unUke drama, is
handicapped in its emotional effect in several ways. It is read in cold print instead of
being recited by actors in variegated costumes and in a colourful setting. The reader of
poetry misses the living voice of the actor, throbbing or resonant with emotions and
supplemented by dynamic gestures. The reader in solo also misses the infection of the
collective response which emotionally helps a member of the audience in the enjoyment
of resthetic pleasure. Thus handicapped and stripped of all external aids as well as of
living touches poetry resorts to diction, imagery and other poetic devices helpful to the
experience of Rasa or resthetic pleasure in the mind of the reader. We shall see in the
following pages how far the poet of the Dasan1 Granth has succeeded in depicting different
Rasas in the various parts of the Dasa,n Granth.
1. Shringar Rasa
Shringar Rosa is a characteristic Rasa of highly sensuous poetry which is mainly
occupied with erotic motives and is based upon physical attraction between the hero
and the heroine. The poet describes them from top to toe (Nak/z Shikh) and the cycle of
seasons in relation to the changing moods of the lovers. The poet creates such situations a~
g1ve him full scope for the display of amorous fancies and sentiments. He gives at length
rich and colourful pictures of sports and surroundings ideally suited to meetings between
lovers and their sweet hearts. Such poetry is apt to become tedious if the poet indulges
1n excessive eroticism and sensuousness.
The poetry of Shringar Rasa in the Dasa,n Grant/1 has for its theme various aspects
and stages of love, viz., Poorvanurag (attachment before seeing or meeting)/ Raas Lila
1. ij~fm:
t
BTU ~~A ~ ~ru ;jfa ~ q;f +I.ff ctrft ttffi ,fr T{ ~ ~ ll
~(I \;.f~
i+n ~~ ~ q:.fr ij i l ~ q- t):m ?;flTT ;m~ ~ qRf ;f o/<l +ft II

m'~ ~ rn rr~ ~ ~ llt Bl:IT~ cfil~ ~·q- ~ ;.r;~ w:!'Ttf ~ll ~ ~ ll
~~ ~ ~ ~ ~(q( ~ si'l~ cfif;j{ =qid_.?r ti um ~T~ ~i~ BT~:.. Tl~
K. A•• (638)
11
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ART VALUE 229
(circuiar dance) jncluding Prenz Prasang (courtship or love-talks)i, Maan Virah (woman's
1
tr uculence) l, Maan Mochan (reconciliation)3, Sa111arpan (complete self-surrender or self-
1
dedication)
- - -and -Pravas Virah (separation because of stay abroad)6 • Poets have mostly
l. ij;r .er ~ fuf fu-
~ ~ f~ltl+tr.iijijf ,:l~(r~ ~ ~(ifij ar ~fl ~f;@ ~T-TT II

~ ~ ~ ~ ~ 6"ir [ ff ( Tefil Wf ~{f~ (r.tf II
~lliij(cft ~ qi-q.-{ it ~+£ ~ ~ <fiT ~HT E(fa' q'gjf;JT 11
(141+1 ~ ~+ie?ii1 w.t ~fer~ ~ ~.:i- ~~ij' '-1?:fr+r Pct~ 11 K. A., (663)
AJso see K. A., (66 i-673. 66:l, tS70 and 671 I. For text see the Appendix.
~ lITTf =q-ift ~ ~ ij m~r tnf::r ~+r ~t m~ ~·~~ t II

-i(~g.r:.eft Q'{ ff ~ ~ ~ {
~~.-t ~ 1J+t ½J;I<~ Il
~ <fit~ frRcm @~ ~ fun.fr m +r.,) ij~ ~ 55r~"t t ll
~ ~~ '3'qm +J.-t ;) crfu BT (@ :i:TRJ ~ '9&r t K. A., (6i7) 11
For more verses see K. A., (693-iii, 700, 702. 711i-1ii, 720). Text is given in the AppendL~ pp. ,·-xiii.
For English rendering see pages 92 to 08.
3. Radba·Maan·Mocban
(Analysis) Verse No.
(.'~use ofTroculence-(JeaJousy) {tillr+1 11T ~qt-t~l<rrT. ............. , ... ... ...... 11-s. D., p.1,U, 14.3 687,700
Means of persuasion
Saam ertr (sweet words) mq;m:r m ,R 2f;r7 -s:n:rrfu '3'9"e-TT i:fTM' II
m lHflTfc:r~ ~, ;:::~ @f~ "{ff~tf.:r 11-Rasikpriyo, p. 100

~1111 f~ ~-it <TTfcr lferl'l!l•ll i:r<iif~cra-: 11
m;;;r -~4ri
.ft~tl°eiT'CTTTrcrt 11-RaaaroavsudhaJcn,r, p. 17<!
fsrq)fcmcfi~
~ni'rfcr <TTlfa' 11-Rasarnavsu<lhakar, p. 174
08!!, 083, 608,
Daan, Daa,n ~R qftf (Preseotatious, Bribery) 699, 713
'
Bhed ~ (FricUon, :Oissenaion) ' ~ .... ' . .....
~
tT<mRij~CfG;fi'fl{ 11-8. D., p.14t-l

GS5, 0S6
Nati ,rfij1Prano.ti sn:!]fc'f (Entroaty)
'fRift: lflli'f .:rfu . 11-S. D., p, 146
0S8, 703, 717
Upekhsha ~~TT (Inclliference)
tfl•H~i ti qf~~~l} ~lfl~Cf~1T<r~1:~'l: 11-S. D., p. 146 0!10, O!ll, 7~1,
Rasontar "{IDi'{f"{ Prosa11g Vidlrva11s srtf.T- 7:!3
~m~Q1~: ifi)i:n;;(~r "{ffi.:~r~+i 11-s. D ., p. l-16 ';31, 73:i-737,
~ (Change of mood Qt suuject-runtter) 740, 7!3, 745
T-in G"°t g gQlfff f~Q'\'T1J ~ B1T~ 11
4
• c(t~ ~-g ~f13 iifra;t
~fu ~ ijlllr{' ~ ~r1r nfu rrr~ ~rr if ~·tfi ~'t 11
ijffi t ~T c{(et,T SWll~ ~ ~ ~ ~ q~
l'Riifcy( lI
~ ~ t+l(.i{O. ~ ~ ~ a ~·~r fr~rm.:r ~ nt'f>t II K..A., (749)
X X X X X X X
&~~ ~ 1:1f13 ~ ~~ a r~-it"1R -e~ a~ ~,{ ~1 ,1
~ it Q<f ~2" gij(T13 i\'Git f~ffi' ~ ~1 ~m+lia- ~~T l1 IC.A., (7ii3)
For English rendering see pnge 102.
5.
.,;:ta@ ~ ~~ ~ RRQlltr cfi~ ~f~ .jf f~ inf{ ll
ffl ~ fu.-t ~ l1<t cll'9 ~Hirii1i fl<TI @.f[_' ~rt II a
mlcra t ~ ~ HiTT' i{rr criW1
~"' { ~{ti II ~:rm ~r
~<t nit ~~ if ~{r{ ;:i ~r.=Rt ~ IR~ II K. ,\ ., (801}
Also see K .A . 1 (703-800, $02-817)
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described separation due to stay abroad, as it is evident in Batal11nahas.1 The themes of love-
making and union are often found in romances like those described in the Pakhyan Charitra :
A well decorated maiden came like a wreath of tbe Ragas (Melodies, which are fascinating).
Her presence iUumined my house as if a row of lamps bad flooded it with light.
She has stung my heart with the jingle of her anklets as if they were a pair of scorpions. ~he
tas made a slave of me by casting her magic charms.
She has maddened gods and demons alike with the lustre of her teeth. She has wrung my
heart with her looks cast askance.
Her gold-like body shines forth in such radiance that the shining sun is but a flicker before it.
Tbe passionate one has left a vision like the trains of a sweet tune (which is tickling to the
senscs).1
The setting of the poetry of Shringar Rasa often consists of rivers1 lakes,gardens with
bowersand flowers, forests with deer, occassionally hills in the back-ground, river-banks,
moonlit nights, clouds and raio, breezes, morning hours, etc.• Nature forms as a rule a
harmonious back-ground for the drama of love. In the poetry of union and separatjon,
nature works as an active agent-as an excitant in spring, rainy season, and wjnter. The
phenomena of nature enhance mutual charms in the time of union but burn the very soul
of the distressed person by aggravating the sense of loneliness and personal grief:
The month when fierce winds blew and cyclones and dust storms raged, and
The beat of the sun was irksome, was all the same pleasant.
For, we sported with Krishna in th~ cool splashing water of the river.
At that time the season was pleasant. Now it is painful.'
X X X X X X X X
When the clouds cleared a little, the shades of trees appeared pleasant. 0 frieod I
We loitered wit.h Syam. We wore clothes bearing the colours of flowe1s.
We sported in love and the time simply beggared description.
Owing to Krishna's love, the season was pleasant but now in his absence it bas become-
extremely painful.6
In the Krisaflavtar we meet with poetry of Shringat· Rasa in all ils stages but the
treatment appears to be conventional. In the life of saintliness that the poet led, tbere could
be little scope for such experiences. Imaginatively, however, the poet of the Krisanartar
seems to have realised through the story of Krishna and Radhika from the BhagH'al
and the literature floating in the Riti period before he came into the field, \.Vhat these
could be. The treatment of Shringar Rasa in the Hindi poetry has been ever since its
inception, most conventional at which every verse-maker must have made an attempt.
Verses illustrating sentiments of Shringar in union and separation have been given
in lhe Appendix as the Shringar Rasa therein would appear to approximate to the necessary
tests.
2. Vir Rasa
The poetry of Vir Rosa bas its origin in the bards who celebrated in song the
valour and heroism of their patrons and their race.0 They were known as Charnas, Bhatras,
Sevagas, and Pancho/is. They had a long line of successors who carried on the tradition
of bardic poetry. Chand Bardaj, for instance, belonged t~ a family of bards and the
3. Seo pp. 8\1, !JO, !11
1. K . A., (8611-S70, 011-0:?5) li'or tti:-.t s"" Appendix pp. 1 lo,. 2, P. Cli,, (183) (i
+. K . ,\ , (1:!71) v. K. A., (87~)
0. IT. II. L., (11 )

•
ART VALUE 231
famous poet, Srrrdas, is said by some to have been one of his descendants. Sarangdhar is
said to have been another descendant of Chand Bardai and Saraogdbar was himself the
writer of Ha,n;r Rasso like his ancestor's work Prithviraj Rasso. Chand Bardats son,
Jalban, is also said to have b een a poet and ''it is possibJe", says Keay, ''that some parts
of the Rasso were composed by him". 1
The period of Hindi poetry for about two hundred years after 1200 A. D. was most
frui tful jn bardic poetry which constituted the main body of literature of Rajputana2, the
Punjab and the areas near about Delhi.:i
According to Dr. Dwivedi, war poetry was tbe natural product of those times
when major clans of Rajputs had carved out for themselves k ingdoms, great and smalJ,
and were constantly at war ~vith one another. Each of them had a minstrel at his court who
improvised strains of war and love to a1nuse and flatter his patron. In times of war, be
attended his chief in the field of battle aod inspired him and ltis forces to acts of heroism
by bis thrill ing ballads.4 This poetry was composed in Dingal, wilh several refined elements
of the Sanskrit prosodist, Piogal and in an unchiselled dialect of Hindi which abounded in
harsh sounds and was capable of producing rugged melodies. Ballad was the popular form
which lent i tself to music and memory both. Such are the three ballads : Prithviraj Rasso
Al/aha Kha.nda of Jagnik, Haniir Rasso of Sarangdhar. The description of endless feuds
among the Raj puts themselves and lheir wars against the Turks are the themes of these lhree
outstanding compositions of the period. The houses of Chauhans, Chandelas, R athors and
Ranthambors and their wonderful exploits are sung in these compositions by their devoted
bards celebrating their dignity, valour and heroism.n
In course of time, when Hindi literature developed a literary tradition, other poets
came into prominence as writers of the poetry of the Vir Rasa. Bh ushan gave this bardic
tradition an artificial and literary vogue. He dedicated his talents particularly t.o Vir
and Raudra Rasas, for his keen sense of personal and racial self-respect found champions of
the Hindu cause in Shivaji and Nlaharaja Chhatrasal of Panna. He made their exploits the
theme of his poetry and gave the poetry of the early Riti School a new orientation a nd lifted
it to a very high level. His Shivraj Bhushan, S/Jiva Bavani and Chhatrasal Dasak are
his outstanding works.6 Maharaja Chhatrasal inspire1 yet another poet, J..,al, kno\vn as
Gora Lal Purohit, a favourite of the Maharaj a. His famous ,vork Chhatra Prakash
is a long narrative poem which gives a graphic account of patriotic and brave efforts c,f
ChhatrasaPs fathe r, Champat Rai Bundela, and Chbatrasal's own brave deeds, breathing
nobility, heroism and patriotism-the main constituents of Vir Rasa.7 Sujan Clzaritra of
Sudan of Mathura gives a chronological sequence of the rule of Raja Sujan Singh and relates
1. _H. H, L .. 1~, 14, 16.
!l, The ~njput bards sang oxtemporo to the \l'Ul'•drum facing the haru reality of lifo. Ii was t h<J dance of net,ure,
tho Siva's Tnnda1•, thnb Lhey sri,w bef..,ro t.bem Can someone today create tlmt type of poch_v tl,rou!!;h imagination ? The
boroio son Liment and emotion, ensbrined in. every bn tt le-so11i of Rajosthani lac gunge, ie the origiual usset of Rnjast,han, nod
the pride of lndiaat lacge.-Rahind ransth Tagore: 'rhe alorleni "Review, December 1!138, p. 710.
3, H. L., ll, 20 4. Fl. L., 11 , 12, 13 6. lJ. L., 13, 16, 18, 19 6. II. L., 98 f. 7. H. L., 123 f.
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I
the Raja's exploits. The poet excels in the description of preparations for battles just as Lal
1
and Bhushan excel in describing battles and the flight of the defeated arn1y respectivcly.
The third tradition of poetry of Vir Rasa is as ancient as the culture of the country.
It came down to us through the Sanskrit verse which was rendered in Hindi by poets like
Tulsi (Ra111ayan), Chintamani (Ran1ayan), Padmakar Bhatta (Rani Rasayan), Sabal Singh
Chauhan (JJl ahabharat) and numerous other minor poets who translated these epics freely
in almost all dialects throughout the ages. 2
In the Punjab, the bardic and the epic traditions were alive and popular at the
time of Guru Gobind Singh. The cycle of Ramayana was still played, as it has been
through ages, in the villages on the eve of celebrations of the Dusse.hra festival. The
brave deeds of Raja Sablvan were also recited in the form of folk-ballads in the Panjab.
They were no doubt very popular among the people, even as the story of Schrab and Rustam
was loved by the common people. The renewal of tl1e struggle for existence under the
tyranny of Aurangzeb revived the poetry of Jlir Rasa which thrilled the hearts of the
oppressed. The sacrifices made by Guru Arjan Dev and Guru Tegb Bahadur lent a religious
tinge to the struggle, and developed the religious aspect of the Vir Rasa. The military
spirit of Guru Hargobind was reborn in Guru Gobind Singh who found poetry of Vir Rasa
as the right medium for infusing in bis disciples the spirit of revolt and independence on
the one hand and sacrjfice on the other.
Guru Gobind Singh is one of the greatest in Hindi literature as a writer of poetry cf
Vir Rasa. The only poets who can match him in this kind of poetry are Chandra Bardai and
Bhushan. His Chandi Oharitra-in thre~ versions, and compositions of Avtars are excellent
poetry. The stories are not original but the treatment is magnificent. The narratives
develop without a break. The stories acquire dignity from the characterisation of the
heroes. In every work, in thought, word and deed, the hero is every iuch a hero of
action calling for courage and sacrifice. The diction is appropriate to the content of brave
thoughts and great deeds and the metrical pattern of the verse is traditionally what
had been often used before for the writing of poetry of war and heroism. The great quality
of Guru Gobind Singh is that be is able to thrill his readers. He succeeds in creating the
moods of enthusiasm and exaltation from time immemorial associated with the poetry of
Vir Raso.
In the Dasam Granth, the poetry of Vir Rasa is found in the Bachilra Natak, the
Avtars, three versions of Chandi Charitra, including V'1r Shri Bhagauti .Ti Ki (in Panjabi),
Pakhyan Oharitra and Jaffarnamah (in Persian). This poetry describes preparations for
war, the action, the victory or defeat of an army, with the help of alankars, appropriate
diction and harmonious metres. The chief attributes of Vir Rasa here are enthusiasm, fury
(Raudra), pride, hatred (Bibhatsa), romance, courage, self-sacrifice and dash. As R_audra a?d
Bib/zatsa Rasas are allied wjth Vir Rasa, the examples of botb of them are found side by side
with those of the Vir Rasa. - - - - - -2, H.L.,02,117,122
1. .~. L., 12il f.

ART VALUE 233
A few passages of the original Durga Snpta Sati as translated in Braj by Guru
Gobind Singh describing the war between Durga and demons arc translated here as
specimens of heroic sentiment ;
The Lord of the world bas waged this war in order to relieve the world of ils misery (to redeem
it from oppression).
The trumpeting of elephants is like the thunder of clouds. Their white tusks are like herons
flying in a row.
The sword of the warriors wearing their armours flash like lightoiog in dark clouds.
The horde of demons descend upon their enemy gods like dark clouds. 1
X X Y X -..
Full of wrath Durga bas taken the field. Dhoomra Lochan too bas advanced with his army.
\Vben the swords and lhe arrows ft: 11 and struck, lhe goddess seized a spear and
Thrust it into the enemy's mouth, which chipped off bis lip eveo as chisel cuts off iron.
His teeth were like the pure wb1le water of the Ganges, his body ltke the dark water of the
Jaruna.
The blood flowed from his lips red like the water of the Saraswati. Tbis is as it were a picture
of Triveni. 3
X X X X Y
On being struck, Dhoomra Lochan cned out, aod leading bands of the demons
And drawing a sword, be stabbed the tiger in the chest,
Cbandi too seized her sword and collecting her strength chopped ofI his bead which fell into
the land of demons
Like dates fallen off the tree when the storm blows.3
X X X X X
When Durga heard the outcries of the demons. her eyes were full of fire.
On heating the wrathful voice of the goddess, Sbivji was disturbed in bis meditation and
tbe featbers of G arud dropped ofI on the ground.
The fire of Chandi's eyes blazed forth like the wild fire.
And burnt all her enemies to ashes just as poison intoxicates bees to death.'
When Chand and Mund, the demons, arrayed their army 1n battle-order and took
the initiative, there arose a thick cloud of dust as if the very earth ( Vasundlzara) bea ved
upwards towards the lndralok. The poet has described it in a beautiful simile :-
Fired up, Chand and Mund selected four types of the best forces, came forward to give a battle
to Durga,
The whole earth resting on the bead of Shesh Nag began to quake like a boat in a stream,
The dust raised by the hoofs of the steeJs rose in clouds to the sky,
As if tbe earth herself bad left for Brahma Lok begging for relief from oppression.5
The scene of battle waged by Girija Bhawani is equally matchless ;
When she beard of the shouts of the demons, Durga flared up.
She put on her armour, rode on her tiger aod blew her conch aod proceeded to the battle•
field,
Sbe descended Crom the heights on her enemies
Just as Bahari (falcon. a bird of prey) stoops down upon a 01gbt of Koonj and sparrows.a
An arrow shot from Durga's bow increased ten times in its deadliness aod got transfixed into
the bodies of the demons.
l. Ch. Ch. J, (6:!)
- _ ... - -- -·
.2. Cb. Cb. l , (!17 ) 3. < h. Ch. 1, (!J9)
,. Ch. Ch. I, ( 101 ) u. Ch. t:h. I, (lli8) 6. Cb. C'l1. I, (110)

And appeared as if they were trees bare of leaves after the blowing of the winter (Phalgun)
wind.1
X X X X X
When the StTooger enemy Mund was knocked down
She turned to Chand to do away with him likewise.
She slaughtered his army to a soldier. The battle that she gave was dreadful.
She attacked him with a spe1r and cut off bis head even as Sbivjl beheaded Ganesh with
his trideDt. •
The head of tbe enemy was cut off with a spear in a manner in which Shanker
had beheaded Gajanan. I:Iow picturesque is the language !
Equally interesting is the fall of the demon at the hand of Chandi. This is compared
to the fall of Hanuma11, while carrying the mountain (shail), at the hands of Bharat
The brave demon flew in aager and delivered an attack and wallowed the sea of blood.
Holdrng his sword a.nd protecting himself with a shield he rushed at the tiger.
While allacking, he was shot by arrows of Cbandi and was laill low,
Just as Bharat, Ran1's youager brother had knocked Hao uman down with ruouotain ilself.8
He rose up again, seizing the sword advanced to fight with Cbaodi
He wounded the tiger and streams of blood rushed forth from his body
······················••-..............·-·•• ............................ ,. ...- .........................
As if showers of raio fallen on the mountain of Gaeru had dyed the earth below in red. 4
'fhe field of battle is drenched with blood shed by Chandi and this sight is
coaipared to the scene at the Gaeru mountain when washed by rain. The expression is
characterised by force and heroism~ like the crimson of the dawn.
Chand i flew in passion and plunged into a .fierce battle.
She trampled down her enemies as an oilman crushes the oil seeds in order to extract oil.
1·be blood ran down in lbe fie ld j ust as coloured water is splashed on the ground when bis
(dyer's) clay-basin gets broken,
The open wounds looked bright red like lamps burning in a tower. 6
How expressive it is of crushing the enemy like linseed (ti/), of the spurting of
blood as if from the broke11 vessel of the dyer, of the display of the wounds, inflicted by
weapons like the flan1e of global lamp, and of the fiery sentiments of heroism !
When Kall graspeLI her deadly sword and roared out, the Sumeru mountain shook,
The paradise shrank with fear and big mountains began to roll back in all tbe tea directions.
Panic seized all tbe four teen lokas and even Brahma was upset.
Sbivji lost his state of meditation, and the cracks and fissures appeared in the earth. 6
X X X X X
He bro.kc through tbe horde of the enemy thlck like the clouds and took up h1s bow and arrow
in such a manner,
That he killed mountain-like dark demons just as the rays of the sun destroy darkJ1ess.
The whole army was routed. How can a poet describe such a scene ?
It was just like Katl1vas fleeing from the battle-field at the sight of the blood-besmeared fdce of
Bbim.1
X X X X X
Obeying the wor<l of Sumbb, Nisambh marched in battle-array
Like the ir censed Arjun fighting against Karuo in the ballle-fiel<l of the Great War of
the Mababhare.t
J. Cb Ch., T (11 J ) ~- r:11. t'h. 1 ( llt.1 3. Ch. Ch., I ( l fi5/ 4. Cl1. Ch., I (160) .
6. Ch. Ch., 1 (157 ) 6, Ch. Ch., T (160) 7. (;h. C'h., I ( I SO)
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ART VALUE 235-
The arrows of Cbaodi struck a great many demons and broke across their bodies.
Like the sprouts of tbe paddy seeds breaking forth tbe soil in the 1nonth of Savan.l
The arrows of Chandi piercing through the body of demons are compared to the
seeds sprouting and penetrating through the soil to the surface. How wonderful ! Such
comparisons are not a few.
Takiog a lance, she pushed it into enemy's head so vigorously
That it pierced through bis helmet and turban as well.
Ajel of blood was shot out above bis head
Like the inlense glare of Shivji's sight on the opening of his third eye. 2
The stream of blood issuing above is compared to the tripple stare of Mabesh
concentrated on Kamdev. How brilliant is the flight of imagination !
The demon pulled the lance out and thrust it back on her.
It struck her on the mouth and she began to bleed profusely though it added to her charms,
Like the red spittal of ohewed betel-leaf splashed ia the neck of Padrnaoi.3
At the defeat of the demons, the gods could not contain then1selves for joy at the
sight of the goddess and began to pay her the tribute of victory. It is described thus :-
All the gods assembled together and prepared a paint of rice, saffron and sandal wood.
Having perambulated around her countless times, they put a sacred mark of triumph on her
fore-head,
Which appeared as if the auspicious planet (of Mangal) had entered the orbit of the moon.'
In the concluding verse, the author's feeling of heroism is revealed like the flowers.
tossing in spring :
"Give me this Power O' Almighty,
From righteous deeds I may never refrain !
Fearlessly may 1 fight all battles of life,
Full confidence may I ever ha vo
In asserting my moral vict0ries I
May my supreme acnb.ition and learning be
To sing of Thy glor_y and Victory !
When this mortal life oomes to a close
May I die witb the joy and courage of a martyr !"6
The Chandi Charitra is a free translation of Durga Sapta Sati. The great leader~
the conqueror of enemies, the Jover of war, Guru Gobind Singh has translated only those
portions of it which are expressive of the heroic sentiments. He himself was a hero. He
saw Chand and Mund, the goddess and the demons as examples of heroism.
The translator bas shown in this work his mastery of similes and epigrams. He
has not merely told the story of the goddess and her battles but has also described in detail
all the various incidents, interl3rding them with similes and metaphors and thus giving a
vivid and lively picture of the field of battle and the various fighters. In the concluding line
of the work the translator hints at thi£ characteristic :
This Chaudi Cbaritra has been written in verse. The whole poem is full of martial spirit
(Raudra Ra.sa),
· - 1 . Ch. Ch., I ( 188) 2. Ch. Ch 1 I , 193) .," , C'l I , (. 'I l I , ( I'"
"" ) I C'l1. C'h., l ("-•-h'.l
•I
-- -
o Ch. Cb., t (231)

Each verse is more stirring than the o tber. All the s1miles from top to toe are new aod fresh.
The story of the Sa1,sai (seven hundred couplets) composed by the poet for tbc pleasure of it
has concluded.
It would surety fulfil the wish-whatever that be-of the reader or the listener.
But-when an incident or a detail is mentioned incidentally or when the incident
is not suggestive of heroic sentiments, it is translated briefly in order to carry on the sense
of the narrative ; for jnstance, shlokas 93, 94- and 100 of the seventh canto of Durga Sapta
Sari have been translated in one couplet only.
Similarly shlokas 18 to 21 of the sixth canto have been translated in one s1va;ya
only :
After surveying the forces of the demons, Chaodi turned the tiger round stiarply.
Tbe tiger moves about more rapidly than the wheel of fire, the whirl-wind, umbrella over the
head of the bridegroom or the lance.
In that fight lhe tiger lashed round in such a maoner that even the eddies of a river stand no
comparison with it.
No other simi le suggests itself. It appeared as if there was a whirl of tiger-faces all around. 2
The fury of the lion and its attack on the demon is described in graphic similes.
From the descrjption of the battles given above, it would be evident that the poet
has risen to very great heights in the depiction of Vir Rasa.
3. Sbant Rasa
The poetry of religious devotion is a poetry of Shant Rasa. Guru Gobind Singh was
the tenth Guru of the house of Nanak who, it is believed, owed his inspiration to the
teachings of Kabir. Guru Gobind Singh, therefore, follows Guru Nanak, a votary of the
Nirgun School of poetry, which put no faith in incarnations, gods or goddesses, no faith in
caste system which resulted in false sense of social superiority, and faith io the no·
exploitation of the lower classes and untouchability. Further, it put no faith· in rituals, fasts
and pilgrimages in the quest for spjritual knowledge positively. The Nirgun philosophy was
eclectic, combining as it did, with Vedantic monism, lslan1ic monotheism and Indian
mysticism of Sidhs, Gorakh panthis, Sufis, and Vaishnavism of Ramanand.3
"The corner stone of Nirgun philosophy'', writes Dr. Dwivedi, ''is the idea of a
single impersonal om11ipresent God. These mystic reformers dwelt on the immanence of the
Deity, without form or colour beyond comprehension and expression. They, therefore,
stressed the importance of deep introspection and rapt meditation in order to realise the
oneness of the individual soul with the universal soul. Such a realisation ,vould break the
illusion under \.Vhich the common man lives. '' 4
The poetry of the srunt-singers is the poetry of love that opens up the hidden recesses
of the heart, and lifts oae above the earthly-self ridden by troubles and \.VOrries. Such a
poetry heals the wounded soul, sustains the depressed and fills the pious with ecstasy. That
is why music bolds a very in1portant place in devotional poetry, both as a part of it., and as
1. Ch Lh., I (232) 2. CL.Ch., 1 (21 1)
1
•-..,. H . H . 'u.., 18.f' ·• 1 " ' ·H L
J ... ' - " ' • ._, '''-:1, "~
.. ... u
4, ll. H . L., :.!Uf, 24 ; H. L., 25, 27, 3J; 35, a~

ART VALUE 23'1
-an instrumental accompaniment. The darbars of the Sikh Gurus gave a place of honour
to musicians or Ragis who set the.ir compositions to music in the religious gatherings or
congregations. Guru Gobind Singh's poetry is musical in more aspects than one.
The attributes of the poetry of Shant Rasa are, besides singing praises of God and
His saints or spiritual preceptors, the outpouring of emotion, self-surrender, indifference to-
wards the world for its transitoriness, sense of renunciation, attainment of divine knowledge,
humanity, service, faith in the grace of God, the immortalily of sou], and self-realisation in
union with God. The poetry of Shant Raya has characteristics like these and by its
impassioned music, influences the mind and the heart of man which takes things in the spirit
of resignation and has nothing but loviog regard for God and His creatures even in extreme
adversity.
Some examples of the poetry of Sha11t Rasa of Guru Gobind Singh have already
,been given in the third chapter. Some more may be presented bere :
(a) T'bose who have conquered sovereigns at home and abroad, killed great generals and
kings,
Whose houses were full of all the eight siddhis and nine treasures in their fullness,
Who possessed great many moon-faced wives, who could not keep count of their boarded
1iches,
All these have yielded to Jam, the death-god. Ia the absence of the Name, they have in the
end passed away bare-footed.1
The trend of the verse is towards renunciation which acquires force from the
vivid back-ground of objective reality on ,.vhich it is presented. Power and pomp, riches
and beauty all appear like bubbles in the absence of God's name.
(b) I accompanied neither Ravan, nor Mabiravao, neither Manu nor Nal in their last journey to
tbe other world ;
Nor did I go with Bhoj, the monarchs of Delhi and Kauravas, not even with the mighty
monarch of the Ragbu race, (Rama).
Uptil now 1 have accompanied nobody. I tell the truth swearing by all those have destroyed
the hordes of srns.
Wake up O callous beast J I did not accompany anybody to the other world nor flinched from
my position.1
By describing the sorry fate of even the greatest of the great, the poet creates a
sense of void 1 and resignation dawns upon the mind as a necessary consequence.
(a) Why to put on these saffron robes, 0 sages ? Tbey shaU all be consumed by tire.
Why do you start this tradition? lt will last only for a day or two. It cannot go on for
ever.
The ways of grim Kal are all powerful. No yogi, howsoever great, can play any bide-and-seek
with them, try how much so ever he migbt.
0 great sage I this handsome body of yours shall at last be stark dead and shall be reduced to
ashes and mixed up with tbe dust of the crema tion ground.a
The verse prepares the mind fo r sincere devotion, sho rn o f symbolism and
convention and is, therefore, an il1ustra tion of the pacific sentiment. No thin g extraneous
l. Dattatireya A., (491) ::l. Dattatreya A., ( 49:?)
3. lJuttar..reyu. A ., (493)
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is of any avail in the pilgrimage to the Great, hereafter, not even the handsomest body,
which is nearest the soul.
Listen, O sage l Why dost thou subsist on air, nothing shall accrue to tbee by such
subsistence.
Why dost thou colour thy ro':,es with ochre ·1 By such devices thou shalt not realise God.
Refer to the Veds and the Purans, they shall all vouchsafe tbe same truths.
Thou hast not consumed thy passions, and yet thou calle~t thyself nude. Even thy matted hair
shall not accompany thy bead.1
This verse shows the true path to self-realisation. Forms and rituals do not help.
One has to consign one's passions to flames which means sublimation of emotions and
purification of heart. So this is also pacifism.
Thus in the depiction of Shant Rasa also-not of the type of forest-hermits but
of the vigorous kind of a saviour of the good-which is required for self-devotion, self-
realisation and succcssful completion of the task in hand, the Guru bas turned a new leaf.
4. Hasya Rasa
As the day breaks the shrew of a newly married girl begin, to thunder, threaten and prohibit.
People cannot stand her storming.
The poor mother-in-law all terror-stricken, looks at her with a bated breath. The sister. in-law
(the ,vife of the elder brother of her husband) turns back from the door-steps.
The neighbours have resorted to the woods for their residence (out of fear of he,). All the
people are deeply distressed.
If you ask for water she will burl a stone. Is it a woman or a lioness that has entered the house 1 z
This verse is an example of the sentiment of laughter which bas been fed and
heightened by a series of incongruent exaggerated verbal images. The clin1ax is reached
in the third line. 'Pas Prosin ba~,s gahyo ban' etc. (i.e., leaving their houses the neigbbours
took to the forest for habitation) and the terror-striking shrew is presented in her ludicrous
colours in the last line. 'Paani ke 1naangat Paa.thar n1aa.rat'-tbis simile of the Sandeh
A/ankar suggesting her to be a blood• thirsty shrew has further added another peal of
laughter to the already forceful word-pictures of the preceding three lines 'Saasu ke
traas na aavat swaas. etc.
5. Bbayaoak Rasa
(a) i\t places severed heads are to be seen, at olbers falJen trunks are heaving on tbe bare earth
In some places broken thighs are rigghng in paio, elsewhere, beautiful hands are
bounding up.
Theo in some places there are sky-rovers to be seen ; in still others, ghouls are shrieki og
In some places goblins are gigglirig ; in o1hers, B/1afravas are howling.
1. JJattotreye. A., (41HJ

~. ~
...
sa mi ij\ti 6f\~ ~tt ~ ~t-l& i,~r 11
~ ?fm .:t ~q ~B" ~~Ril ~ Mi~ ~@ f~oT.:tl II
CRTfuif -:tm n~it 9.t itl'I +tu: B ~ ITT" .-!-:fit.I 1'1)- 11
t iJino qr~~ +trot .:ff~ J"cf.clr ~H: ii ~ ~ II
f( P. Cb 40, (l':l)
F or snore examples ei,e :P. Ch., 155; P. Ch., !!tO (17, 18, 10, -1 2, .Jll1 112) ; l{. A., (lGl ) ;CLan cl1.di-Vor, (17,114)
Digitized by Panjab Digital Library/ www.panjabdigil-ib.org

ART VALUE 239
In this way the monkey emerged victorious and the demon-son of Ravan was done to death.
Branded and unbranded inveterate warriors fled with blades of grass caught in their teeth (i.e.,
like domestic beasts.)•
X X X X X
(b) Demons are falling in the battle and demon-infants are scurrying about;
Casting their loyalty to the winds warriors are fleeing for their life.
Truaks with mutilated limbs are going up like a bl,ndiag storm.
Each and every mighty warrior when struck with an arrow fal.ls oo the battle ground. 2
X X X X X
Growing long hair on their heads, with ugly shapes, and coarse hair on their bodies ;
Such as crunch hum..i.n bones in their jaws and gnash their teeth,
Tbeir eyes shot with blood. Who is there who can display his strength to grapple
with them?
With bows and arrows stringed they roam all tbe night and commit aJI sorts of sins every day. 3
6. Karooa Rasa
Drawing over me a dark veil of disguise; deserting the realm of the king ; and disguised
as an ascetic, I shall accompaoy thee.
I shall transgress the bounds of the family traditions, shall shake off the royal pomp and show.
But 1 shall not turn away from thee. Such is my resolve.
I shall wear rings io my ears and l:lesmear my face
with ashes but I shall not swerve
from my deterwjna1ioo. 0 my son l I shall consign to fian1es the paraphernalia of
royalty.
Disguised as an ascetic and casting off the hardships of Kaushal, I shall accompany king Ram
Chandra (to the woods).4
I.
- - - --- - -
<fi'[. ~fi fu.rr ~ ~"[.' ~·:s q~ \1\ 11
f~{t ~'tl <r~a cfi(. ~a g
~ q=ry ~a r.fi~· =q-rera
" "'
~cfi« ~ · +mr;r ~~
~[.· +f+fqif~ II
l( mfg m ~er <1i'r +f{ ~ ~ U~ITT!Jf 11
~ ~·~ ':5r<t1il wrr ~o't iTf%: m~ ~ crkFt ~~r 11 R. A., (374)
ftRi:I '3iliji ~ ~ ~ futj 11
rj,5{(1 f~mil~ 'tlt +riQ !>IT~ ffl +£i 11
~ ~.l:l ~.cl{!Jf cfi~\:l eitffi cfii II
i:!Fia- au~~ ~t fiRa ~ ~~-!:1 11 R. A.., (791)
a.
~ GT~ f~\ ~~ ~~ ~ ~ ~ Uit ~ f~il ~ u
~ m ~ ~l~R "ifrila- t ~<t ~ia- m ~ ~ ~ ~ II
@: Q{~Q i ~~ ~~ Brt cfi~ f~l Gf§J i ~ t 11
m: ajq: ~rJTl ~ 1" ~ W-1 ~r'f ~1 f.:ra qrcr.:l ~ 11 x. A., fl46-t)
<.firt cfiT\ iilift ~l=l ~:r5TT ~ t6l ~ ~ ~rw it ~ ; ~l=f ~r~.f ~') fQ'tUR ir 11
1~ ~ tfif~ ~ u~~ t Br~ ~ zjfrt ~ ~ intt !!lr.f w
~ fat~t~ ITT 11
!f~T ~ ~ril m~ ~l9 7r fiil~ :sru ~~ it rf ~ 11_a u~ ~rn ;m~ ~ 11
~}~ii!ft c6T ~'1)- ~R i:fi~tif ~ ~ ~~ U~T ,r~-4~ ~ ~ BITl ~ fumft mII
R. A.• ( 266)

THE POETRY OF THE DASA~1 GRANTH
7. Vatsalya Rasa
No sooner did Rukmani see him than her breast filled with milk.
She was ovcr•powered wi1h emo1ion, und the p.1thetic sentiment overf\OWlng bee bean,.
iihe uttered these words.
•Q friend! Exactly like the one here was my son who was be~towed oa us by the Lord and
then snatched away.' 1
So saying she heaved a deep sigh and her eyes shed tears, says poet Syam.
Other Rasas
The other Rasas, too, have been trc!ated at numerous places io most or the works,
sometin1es dominant and somclimcs subdued. Jt is not considered necessary to delve
into them here.
It has been noticed that the faulls going under the name of J?asa-doslz like Rusa·11
Bhas' i. c. disharmonious mingling of n1utually opposing sentiments and Su:a11aan1 Kirtan
i. e. use of words signifying the name of the very sentiment or eo1otion sought to be
employed, exist. The erotic similes and conjectures used while depicting heroic and
pathetic sentiments particularly in Chandi Charitra I and 1.Vihkalanki A vtar are not
appropriate. But such instances are very fe\V and do not count much in the appreciation
of the poetry of the Dasanz Granth.
From all that has been said above it would be seen that Guru Gobind Singh has
dwelt upon a variety of human sentiments. ranging from the erotic to the martial and
comic, and has invariably succeeded in creating the proper n1ood, eminently suited to a
particular Rasa.
All the Rasas have their proper places in the poetry of Guru Gobind Singh who
\Vas sensitive and appreciative enough to react sympathetically to beauty as well as pathos
wherever they were found. In consequence, the Dasa,n Gra11th 1s lull of episodes that
touch the heart and make a po\verful appeal. The poet has prescnte<l these episodes.
elaborately and has sought \Vith care .ind enthusiasm to develop their full implications
in terms of moral ideal and human feelings.
-- --- --
1. q(<.(q mf( ~~~ if; ij ~1:T{ql q~ B'r llR ~~· 11
ittg ~ '3£fu© f:qo ~ ~{ (~ ~t ~r( ~ ij~f~ II
~T e{ir .ef~~ ~t ijij ~l srll ~ ~~ it ~ i=l' ~ ~~ II
<it ~ ~~ ~l'B wn
ctiTF.{ ~+{ ~~ -lit
~~ ll ;\~ K. A., (2U3-t)
i\1
•er. ~ ~ ~ ~f~ m: 3~'t, tfi(~, <t~ I P,, ,an JJha,i:a r, by l'urau ~ingh
Alio see (~ f~t ~ RR ,~r qt~ <no ~ ~\ ~ ~R ~it '<l~ t II
\:TT. 'ITTwt~
~-~ ~T~ mil ~t ~ 'q.;{o ~~ m;n ~ 'i.{~ W2 ~ ~,;{ { II
4,B( B\' m~ qc mm ~({ mfu ~T lf-q (fTT ~ !Wfl llfll llt {
~a'T II
ua-r ~6l~B
~
~ ~R u:~ ~r~r ~ cfit'fJ!, ~ ~tR<f. q;T~~r ~rfr <6l {
• ~ , &:.;.... ,.
II
R.A.,(lOU)
W- E:nt ll'{ ~ii ·+r~ ,.,~&t t,IBI~
~t( ~;:{ ~f3'i II
!f~n rn'fl ~qt~ 3:q( ~fll (i ~~ mtt tit~ll II
'6~ ~n ~Jr;{l-l if:~ it~ ~' {lcr. t~U°( II
-':t
cfT~ cy{~ ,..
~q ~le CR ~fG: "'if.',..."
~TG ~~.-(({-:.I ~Tcl<lit~ II H. A., (llilJ
2, hlir f:lit'~ of brrnt: ond orotio nttmonte . C'h. Ch., 1 (lll1J. mm,;hr.g of 11t11 rn•'I of tc,rr-or und c-ros: N, A., (3Jll);
mtogliui:; ot (ru 1 01,d l tl1 t.,c S(lr,.tln n,t . N, j.., (400).
3, Anger ,n R. A., t14i, l4~J and C'I. cL., tllll, I 15); fr.;r 1n R. A. (iO'); 11orrow in B. N., Y, (10).

ART VALUE 24l
There is a flood of the pacific sentiment in the Adi Grcuuh. Self-abnegaLion a?d
renunciation have been extolled and their attendant virtuesJ &uch as mercy, generosity
calmness and simplicity, have been etnphasized. We have been advised to renounce
passions and to subdue the restless sense organs. But its penetrating insight has ignored
the eradication of those ailments or
the cosmic self which ar!! thorn3 jo the path of the
good intentions of this holy book. This deficiency has b~en made up by lhe com.position
of the Dascnn Gy·an1h. 1n this book: Guru Gobind Singb. has thrown together such inspiring
sentiments as would urge one to resist the destroyers of civ1lisauon, its virLues, peace,
truth, justice and generosity. It was to inspire this power that he gave the d=scriptions,
of battles in such a forceflll language as could infuse life even into the dead.
It was again tbis aim that urged him to present three renderings of the Durga Sapia
Sati. The third rendering found in the Pauris is so inspiring and powerful that it can mak~
blood race even in dry bones. In the Krisanavtar, Kb.arag Singh's combat has been
narrated so vividly that its reading can turn even cowards into heroes. Such wonderful
descriptions are found at several other places.
(b) GUNAS
Gunas are embellishments of language, They heighten the effect of Rasast, as they are
related to words and through them to sentences. There are three principal gu,n as: 1nadhurya
(s~veetness), oja (stilnularion) and prasad (perspicuity or lucidity). lt is these gunas which
make tbe composition madhur (sweet), parush (harsh) and prasad, (perspicuous or lucid)
respectively. In the Dasa,n Granth, all these giu1as are found in their proper places in
all compositions in their different forJDs.
I. Madburya Gana
lv.ladkurya Guna melts the heart and exhilarates it. It is found more in the pathetic
sentiment than in the erotic sentiment, in separaLion more than in pathos, in pacification
more than in separation. The Dhawanya/ok points out that the 1nadhurya is a special
characteristic of Shringar, that it reaches the highest pitch jn the Vipralarnbh Shringar
and Karun. J.Jiadhurya is produced by the letters from~--- to ~ excepting the 't' warga (i!Ef~)
each letter being preceded by the nasal of the class to which it belongs. l tis also
produced by letters '~, '~. 'T' lvarga, however, combined with a short vowel, ~ounds harsh
2
to the ears. It is consequently destructive of 1nadhurya. In the Dasam Grantlz, ,nadhurya
g·una is found most in the Krisanavtar and tbj Pakhyan Oharitra. The reason is that large
portions of these works are erotic in character. Some stanzas conia1ning ,nadhur:ya guna
are cited in the foot-note.3
1. S. D. K., 364 ~
- - - - - -~- - - - - - - - - -----
2. Ibid, 27, 3t:!4
'.I. (a) srmt 'tim (Q_ m: ~·;;f tfi~ ~'1 ffRgT~ ~ 11
~·~a tfiij ~ ' ~C!l ~ ~~ q} ~ fu~ +11t n
ij~
all~ 1c{ if ~ rfiR. ~ ~( fffff ~ ii ~;:Of 11
:st"Rf.:tit ~
fu;:r m +IB'-fi~ 2ff~r . ~) 'ififf~ ;:r ~t 11 K. A. (922)
R ereswe.et letters on t he whole have been pressed into service and mall the four feat ther e is eu ph ony (pJeasiiig souud)
of Jetter ~"1t h ~ and lfT I
(b) ~;{ ~,~ <ti~ ~~;:y f~r~ ~fur ~a ~~ ~ :g'@ firn f~ © II

chl~ ~ri ~Cftcf fr~i7 ci'f~iITT ~T'TT ~ ~~ 1{! ri£t ~ ~;J ~-- .-r f~ tr 11
i:{f\~ ~,~ ll~m tf@' <iu.tfn crRt ~q iD' cf.l ;filq ~ ~ ~ fff q ~ 11
itm !re{ {iji l{ i3:ifllll'. ~'lTm: t <!fr.ti' ff.={ ;f{l ~ft ~n cit(
H are, too, tuo swee~ lette1·s bave bel}n u1ted.
f~ ~ II Oh. CL. I (S9)

24-2 THE POETRY OP THE DASAM GRANTH
2. Oja Guna
Oja guna stimulates the heart. It is found in an increasing measure in the heroic
sentiment, the sentiment of abomjnation and the sentiment of horror. Conjunct
consonants, double consonants, rakar, 't' u•arga and long compounds are expressive of Oja
guna. Whenever there is occasion for the heroic sentiment or the sentiment of horror or
abomination, Oja has spontaneously appeared in the Dasani Granlh. 1 Exainples of these are
specially to be found in the Ran1ai•tar, C'h:1ndi Charitra I, Chandi Oharilra II, Var Siri
Bhagauti ji ki aod Bachitra Natak. In the Dasani Granth, Oja guna 1s also found in verses
in praise of God, Sword etc. 2
3. Prasad Gun11
The compositions which are characterised by clarity of expre5sion are said to contain
prasad guna. Ma(thurya and oja gn11as are confined to particular ~entiments but prasad guna
,can be employed in all sorts of compositions, because madlrurya and oja relate to the
exterior forms of words while prasad pertains to their sense. The n1oment the words are
uttered, the meaoiog is apprehended and it pervades the n1ind at once. Io the case of Vir
rasa or raudra rasa it pervades like fire in dry fuel, and in the case of Shringar or Karuna
like water in a clean sheet of cloth. The words of a passage are so well adapted to the sense
.,_
-- -
1. (a) ijjl an( 11 ~ cm ll i~ GRil. 11 i't{ e6lm II
ri; ~II~ iii!'~. ll ofi=r.:~ ~H:1-i( II '3{~ ~~- II
~
~ 11Rn6 11 cftl:i ~ II 11~~ ~i II (I~ ffii ll
"' .
~ ~ ,,,, . ..,:. . ~
{'ti ~ II mf ~II~ ~II
~
~' II ~-1i ....,
cylitJ ~i 11 ~i¼t illi 11 ml ~ " 11 ';5fffi?I
~II
. ~ ,:::r
~
,... ., fJlll~ ~ II 'i'.f# ~T, II afi:Fli
.
im: II
.
~ II si ~
\~4 q{.j II ~1 ~ll II~ ~II
.:i~ cmt't 11 fl~ rtTif 11 @iif eftt II a~ ~i II
Wit . '
~ II q,~?.P, ~~ II~
' •
R. A., (501-9)
~IIW'TI ;Jll!f 11
Here repetitions of conjunct consononts preceded by vowel~ or '1° or Ola.re expressive of rugged style.
(b)
Oh. Cb., IT (213)
B. N., Xi (.W)
Here L"epeti~ions of '.s e.nu s , harsh sound• rkar • anupras nnd· lo""'
-. compounds used pro1vun
· ,.,. dly are a JI expressive
· o r rugged
style
Z. Compurt1 (a) :if.l<R4s~~~ {cl(n~ijl{~S ~l(f(-OJ4;g il{'>l~ ti
~,s~(~<S ff~ffl ~rfu~+j.g +IT"W-+i 11
~◄:◄{4aii,Wi
.. ~
~(+r~or ~P-t:@l~<i:ti ~~<!i 11
Jf '.:I" ~•1"61<-01 fu'~~:a;.m~ i:i+{ ?:Tfuqrou ~ a:n 11 B. N., l {2)
{b) ~~ijf~~ ';51"~~(~~ ~W-AAi'{~ ~~ 11

~ffiE(i-t((l!J C@cf~l:JT(~ ~,..,f.:ti:4!~ ~ II A. tJ., (211)
Digitized by Panjab Digital Libra:ry / www.panjabdigiUb.org

ART VALUE 243:
as to vividly present the meaning of the poet to the reader's mind. The religious poetry,
the autobiographical poetry and many other parts of the Dasa,n Gt'anth are full of
Prasad guna. 1
Thus, as in other essentials of poetics, our poet, even in the effectuation of gunas or
in the embellishment of language, is equally good.
(C) DH \1/ANI
According to Vishwa Nath, the author of the Sahitya Darpan, as explained by Dr. Kane}
the Dhwani theory is only an extension of the Rasa theory. ft took over the idea of rasa from
drama into the field of poetry. The Rasa theory took account only of a complete dramatic
work. The main object of a dramatic work is the ~volution of some Rasa, Sl,ringar, Ka, 111za
etc., by means of Bhavas and Vibhavas. This naturally presupposes a con1position of some
length. Bllt if there be a single charming verse, it cannot be said to evolve a rasa, although it
may suggest some one or more of the constituents (bbavas} that bring about the reUshing of
a complete rasa. Such single pieces would be outside the pale of Kavya according
to the Dbwani school, if it were said that the soul of Kavya is Rasa alone. Rasa can
only be suggested and not directly expressed. Hence it may be advanced that the best poetry
is that which contains a charmjog Vyangya (suggested) sense. 2 But tbougb it is possible to
extract some sort of Vyangya (suggested sense) from any sentence or word, all the words of
sentences are not necessarily Kavya ; only those words which have particular qualities and
are arranged in a particular manner and contain a charming Vyangya, constitute Kavya. 3
Dh1vani (suggestion) according to the Dhwanyalok is the soul of poetry.·1 The author
of the Dhwanyalok cites the testimony of ancient writers in support of bis statement
l.
mt1 ~~ ~ P-rocf ~Tt t{l.U ara- ~fcf ~~ ~cf,ti ~if!'~ ~t ~rim)' 11
"e1«~1t ~ " mlll~ ~r~ ~~r 'q'f', 'l_;J; {fl: 416..:t ~ { ~~ QITW ti
~ {({ nh~ +\.:ti~ ~R ~ +t~ ciTTCf {T~ ma~ mlTT~ ~J{ ~TW II
1lf~ ~{ lfifij ~T{ ~~ ~ , ~~ q-=q U~ q'(sa' aC@ &J~ ffi"9'~T 11
A.U, {90)
Here the letter ~ in oombluation wiih 3;ff and lebter ~ in oombina.tio·o with Q; have beon a.bundao tly used. 'l'be
let.te1· ~
in combino.Lion with f has also ho.d many repetitions 'fbe verse is, therefore, d1.void of Madhurya a,nd Uja Gunas and
is an es.ample of Prasv,d Guna.
fii'il f;Jf., ;Jfij r~m R:J~~'m ,1 tlcf q'TC{ ~ f-1efif(! ii ~{WT II

~ ~ ':Jf~ ~.:f ~ ~l{r ll ij{fu'.ff iff~ iffct.t a- ~ II 8. N. Vil (,U}
X X X X X X X X
,..
f~ ;;( ~~ ~ '3lf~ en{ II ~m
l{t ~ e' SI{ =q~ it~ 11
-~ ~lmlm-
ti ~ <tif~ ~"' ~ ~~ '1cM II B. N., VI (5)
fit~ f~ ~ll {iril
~;:r QflU s1~rr qiil~ II n~ m%: e«';t ft~ ~~ II
~ \ .:{I@
." ,.._
...
m;:r cfiU ~<r.ru I l B~ g.:rr ~ijf cf)
q,._ CfRT 1t B. N., X (4)
3. S. D. K., Chnp.11, 36!➔•
-Dwa.n ayalok, 3lf.
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.244 1 HE POETRY OP THE DASAM GRANTH
,t hat the soul of poetry is suggestion which assumes only the form of Rasa, etc.1
Dhwani is divided into three kinds, viz.,
(i) Vastu, Dh,vani, in which a distinct (different) subject matter or topic
is suggested.
(U) Alanka.r Dhwani, in which the suggested sense would constitute a figure
of speech; the expressed sense does not, however, do so.
(Ni) Rasa Dlnvani, where Bf1a11a etc , are the principal element and where the
expressed sense of ,vords, and the figures of speech are dependent upon
Rasa, etc.
Now we shall illustrate from the Dasa,n Granth all the three kinds and their sub-
.kinds of Dlnvani.
1. Vastu Dbwaoi
(a) Destruction rained in tbe battlefield and scarfs fell away,
When sharp arrows fiC"W, heroes rolled, and badly scathed.
Trunks and heads fell asunder and the battle-field presented a horrible sight.
Heroes have fallen as if the revellers of holi had dropped on their beds after having splashed
coloured waters and become tired at the gambling table. 2
This verse presents a word-picture of the clash of arms, the falJing @f foes and the
horrible view of the battle-field on account of the severed trunks and heads. The meaning
is expressed. All the same, the clash of arms is depicted in such a vivid manner that it sends
.a thrill of terror through the mind and helps in the realisation of the pertinent
.sentiment of horror. This is an illustration of the depiction of emotion through theme.
(b) They have become deaf to all other sounds. "Strike, strike well", are tbe words that they utter.
With a challenging force they rush on unmindfull of the impact of countless weapons of
warfare. 3
This verse describes the zeal and &iogleness of purpose displayed by warrjors on
1he battle-field. They are deaf to all sounds and the only sound that their lips utter is
''strike and kill". They are shouting and rushing forward in the thick of the combat
quite unmindful of the enemies' weapons of warfare. The scene is quite enthusing and leads
one naturally to the realisation of the heroic sentiment from an expressed meaning which
the words of the verse convey. This, again, is a depiction of the same kind of emotion.
(c) The younger brother (Laxman) lifted and embraced him (Rama).
Theo be wiped his face and said,
1.
~{{ ~ £ITTi fn1: ;;m: 0q')( 1 ~ a~ R~ ~ fil~ ({I'( I

~l: tf-s R.t ,m m;r ~ I +r.U ~ q~ ~ ~ ~ 11 l\J. A., (-43)
.fi~ -l cf.~ ~r~lft l ~ irrR +itR mtciii'

11
, ,. - ~-"'·
5 ~c6 ~o ~~ t ~.\ff B+i3l ~'ll" ll B.N., III (11)
Digjtized by Panjab Digital Library/ www.panjabdigilib.org

ART VALUE 246
'Why do you feel so dispirited. Take heart, 0 Lord !
Where could Si La go ? Just look for her. •1
The verse is a neat example of the pathetic sentiment. The whole situation aod
ihe surroundings (in the wilderness) aid and heighten the emotion that flows through
the lines.
(d) 0 friend ! once there was a time when the po.laash tree was io full bloom and a pleasant
breeze was blowing there.
On one side bees were humming and on tho other the darling of Nand was playing on
bis flutt.
Gods were pleased on bearing its notes and the sigot was indescribable.
Tbe season was pleasant at that time but now it bas become painful. 1
The verse suggests the intensity of the emotion of separation. The same
,surroundings which presented a bracing sight have grown dreary and dismal in separation.
By a simple presentation of facts and phenomeaa blended jnto a vivid impression, the
poet has stirred the heart in his usual suggestive manner through another simple
expression: Then the season lVas pleasant ,· now it is painful.
(e) All the trees of Braj are io blossom. Blossoming creepers have entwined them.
Lotuses are bloo~iog in ponds. Their charm bas reached its climax.
Parrots and cukoos have fascinated the miod but without the lover being near they ao not
appeal to their heart.
The hard-hearted one has spent his time with slave girls. He has not experienced the pangs
of love and the paio of separatioo. 3
In this verse, by the presentation of nature as back-ground that stirs up amorous

feelings, the erotic sentiment has been aroused and the intriguing nature of the situation
has added a sting ( Daassi ke sang rahyo) to the pangs of separation.
(f) I accompanied neither Ravan nor Mabi.ravan, nei1ber Manu nor Nal, in their last journey to
the other world ;
Nor did I go with Bhoj, the monarch of Delhi and Kauravas, not even with the mighty
rnonarch of the Raghav race (i.e., Rama).
Up till now l have accompanied nobody. I tell the truth swearing by all those who have
destroyed the hoards of sins.
l. ------- ---
Qf fi iii)~ igor~ ij '3f9i ~ I ~{q ~ ~ ~.:ff ~t 11
~ ~{ ~ Sf~ ~ tRt I BT~ ~
fu~( BN ~ II ~T
~- R. A., ( 357J
2.
~ ~ll {t r-ii~ifi 'nr& ~ ~ er~ ~ ijW~ 11
~~ ~·~mt' { ~ ~ ~ ~ ~ ~~& i:15tl{ II
Uqj ~ Wt i ~ ~cyf ~r ief;.r ~ iR;wt ~tr ~ 11
~it ~~ ~~{efi Pit ~cf ~&~ ~~ ~ ~~ H K. A., (8691
~ ~~ fw,~ fit~ it ~ ~ Qfilf fffi:fl=ft cy1q2,~ II
i~ ,~ B~ ~{'3' ij·~ m~ ~( ~ ~~ II
~Q i{~ ~cli&l efil ~a ~ ftirff
~~<IT ijcfi r{ ~rt 11
~ % ~frl ~~ ~ ~ cft1i:fiq\ ~ fyir ~~) rf cfiBtl 11 1(. A., (Hl4)
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246 THE POETRY OF THE DASAM GR.t\NTH
Wake up O callous beast ! I dld not accompany aoybody to the other world nor flinch
from my position.1
The verse is an illustration of emotion from objective reality. Material prosperity
and worldly might are of no avail when the hour of judgement comes ; hence the
urgency of waking up betimes to spiritual reality. By describing the sorry fate of even the
mightiest of the mighty, the poet creates a sense of void and resignation as a necessary
consequence.
2. Alankar Dhwani
(a) In verse No. 1669 , Chandi Charitra I, the figure Asangati predominates. Chandi
herself is not the A sh raya (subject) but the poet is the Ashraya. Chandi has been relegated
to the position of stimulus. The quaking of the Meru mountain etc., is the excitant,
Everywhere the figures are suggestive of the tbenJe as well as of the emotion. The two
have been neatly blended together.
(b) In the last two lines of verse No. 101 3 of Chandi Charitra I, the theme has been
suggested by the figure, illustration (drishtant). It suggests the destruction of the
enemies. The fury of blood-shot eyes bas appeared in its full force through the illustration
of submarine fire (barvanal).
(c) In the last three lines of verse No. 1084 of Ghandi Charitra I, the theme has been
suggested by the figures of conjecture <utpreksha) which reflect the magnitude and the
destructive nature of the battle_
(d) Verse No, J 11 6 of Chandi Charitra I, is an example of depiction of the theme
---
1. (lct.-t~ ;i-f~~:tf4.-'( ~ ~ ~ ~~ ~ "q~ ~ ~ f!3 II
m~ fcfijl'')qq ctrr (fl{ ~ --tt" tfP-T ~l (~f~ q~ q;3 11
tjfu ~ ~Gf Qff .-tt' q;T( *
Br:q- Efiij ~'ti' ~~ i'{fil ~~ 11
~ ~ ~Q ~ ;{fl~ ifill t Bfll ~ °.:{ ~'t i[l 11 u. A., (,t92)
2. ;t°~ ~@~ ~~~ ij{~~ ~t ~ ~cl( +ffjfij ~Rt 11

~T~ qft~r @i:! ~~ ml'<ti ~~~ ~~ ~ ~ ~~ ~ a II
fu~~ ~~SSII ~ iiT€t ~ ~, ~ ~f~ ~qa
fcli~=.fir~ 11
~rjil t ~ft{ ~{-{ ~ ~ tf,TmBT cfiTml' f~qf<l ~~rit ,, 11 Ch.'".;Ch. I, (166)
a. ~ ijf;t~ ~:l ~ ~ ff~ ~ ~~ ij.=.ff ~@l~ 11

!' Rr~ ~fu~ ~ it ijf.;t ; ~~ rJ:fc ~e ~ qoo~t 11
~rr ~~fQf iiiir clife{ ~ i3cu:rr fut'( <6) ~iro~i
~611~<:it f:t'3 11
~~ ~~ ~{7->TI ~ ~~::{ ri'r firE ~i:t' g:•ffi(~ cfiT +flcn~i II Ch. ob. r, (LOIJ.
4. i'tq ~ (it ~~ ~3 ~ ·6 ij ~ ~~~ ~ +iOO 11

a~ -?tQ t ~Q ~r ffi:tt ~ itN cRrrf;:f .:{f~ ~~ 11
~ iITTi~ ~ ~T .:,f+f ciil' ~f.=l t +l'<l a ~qm ;J 2@ 11
+f.f +fR ~~ f.-ie.1 H'1 ~t ~) ~ ~''I!.'' ttl?l7 ;r
-., nfl<fi 'cl°~T 11 Cb. C'h. 1·, (108)-,
5. ~g ~-:ra a
an~ ~ {cfi a
~ ~1 a- e~e cfi! er~ 11
(!f,:.€j~ ~ cfift ~~ ~ ay{ ~d~ +1r4li ~ ~ rtra" II
rir ffi am: ~Uil ~ ~rail i:J'tlTT ~ \l~ f~ m ll
tfil'l-1 Cf~ ~ n~ ~ ~ qtg f~ ,{ ~ oT~ ll ~Ccb.~Ch. 1, c111).
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ART VALUE 2.(7
through alankars. The poet while describing the battle-scene, has made use of a simile to
suggest that Girija Bhawani was matchless in the battle-field.
(e) Beggars had no more desire for riches. Charities flowed in gold-stream..
lf one came for begging a single object, he returned home with tweaty.1
9
Here the figures 'contradiction 'exaggeration' and erraptuning (praharshan) have
,
combined to bring into relief tile heroic sentiment of charitableness. Therefore, we have
the depiction of a sentiment through an alankar.
(f) No sooner did Hari (Nihblanki Avtar) arrive than he smashed millions of horses1 elephants and
ebariots in the king's army.
At places, harness and accoutrement were lyiog fallen. At other places monarchs bad falien and
steeds of good breed had bolted off and were wandering and neighing.
Elsewhere crowns, elephants and bows were lying on the battle-field aud wiuriors were fighting
grasping one another's locks and tearing them off.2
The arrows of Kalkl were flying like wind and piercing the enemy who appeared like clouds.
In this verse the figures are suggestive of the heroic sentiment. The factual depiction
itself points to a heroic deed. The similes 'Pawan samaan' and 'Ari baadal se' have
heightened the effect.
(g) Being filled with shame, enemy-kings have fied to all the four quarters. They never came back
to give a siege.
Gallant warriors with bows and swords, clubs and spears, have on them the drunkenness of
battle. They are all hilarious and irritated.
True to their salt and sensible, the gallants w1th arms reaching their knees, were bound by
their word and so they never turned back.
Tbey fell on the battle-field, acquired fame and io this way by giving battle to Hari they crossed
the ocean of existence. 3
This verse is a superb example of the heroic sentiment. The figure is 'Indirect
description' ( Aprastut-prashansha) and it is present both in the first and the fourth Jines.
The second and the third lines contai □ a factual description. The action is swift,
breath-taking and decisive. The sentiment is herojc and its charm is reared and heightened
by the first and the fourth lines through the figures of Aprastut-prashansha.
('1) To others they would say ' Give away and enjoy your riches' ;
But wben it comes to tben1selves they would take care to eat their surplus of cooked daal.
They are extremely fraudulent people aa.d they carry their frauds with them wherever
they go.
They would rob people in the open bazar in broad-day-light.
They would not part with their kauri lbat they have in hand. But they would go abeggiog
for every single kau1i that would go to increase their store.
They would not hesitate to make love advances even to their own daughters.
Are they the nestling of greed or are they Attachment personified ?
- -1.-R.
-A,,
-- ----------
\182) -- - - - - - - - - - - - - - - - - - ---
2. N. A., (388)
3. N. A., (395)
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Are they a brood of miserliness or are they puupery Incarnate, who knows ?1
The verse is an example of the sentiment of abomination. Hypocrisy and fraud,
greed and miserliness, lust and beggarliness, bave all combined to create deep feelings of
disgust. The figure Sandeh in the fourth line presents the pictures of a disintegrated
personality which eludes the grasp of the artist and has thereby added to the feelings of
disgust.
(i~ The month when fierce winds blew and cyclonei and dust-storms raged,
And the beat of the suo was irksome, was all the same pleasant,
For we sported with Krisana in tbe cool splashing wuLt>r of river.
At that time the season was pleasant, now it is painful.'
The verse is an example of Viprala1nbh A'3hringar suggested by the contrast in the

setting in the absence of Krishna. The refrain of the fourth line brings it into vivid relief.
"Toun samai sukh daik tlzi rit", etc. The figure is antithesis and serves to aggravate an
unbearable environmental situation into mental agony. .
3. Bbal' Dhwaoi
(a) 0 friend ! in the month of Jeth, we sported on the nver banks and our hearts were ever
exhilarated.
We had all applied sandal pastes on our persons and the earth was bcsprinkled with rose-water.
Our clothes were well scented and the splendour of tbe scene was indescribable.
These moments were pleasant but now the time bas become painful ju Syama's separation,3
This verse is an i1lustration of the erotic sentiment, arising out of the separation
of the lover and the beloved. The month of Jeth, sandal-paste, rose-water, perfumes-
all are there. But the central figure Syarn is not to be found. These lines, therefore,
describe the changed mood of the beloved in the absence of the human touch which has
imparted loveliness and hilarity to the surroundings. The emotion of the feeling of pleasure
is changed into one of feeling of pain.
(b) When a paralysing smiting actioo was resorted to, all the W;lrriors left their weapons and
took to their heels.
~~ ~ cfi~ij W:F-lf g+t ~ 'tel~ ~ qf~ ~ isf~ ooa ~ ~ ( t 11

~ it srct-.n q'{q=q;i i6T f<if~ m
fr{~ {T ~ ij!TlJ;:r ~ ~cij ;;r~r{ t lI
~~ ~ i{ ~ ~ m"t
ffil +tfr1 ~ij 3c!._3Ct ~ <fi6-o am) efi~ fir+r~R t 11
mmrr ~ ~It \ ~ t:11'.«H ~ +llt i ~ ~T ~ S~~ ~i:11' q:f~f..fcff{ { II P. Ch 266 111~)
• ·~ r..
~.:t S[~ ~ r~~ ~~( ~ 1:r1~.:r ~ ~T{ 11
~ ~~ fir[ ;:rr~ ~fr ij ~ . ij~~~cfi ~Tcffil ~rt 11
~if tjn H~ ~+f ~emf
t ~@tT!' tfl'l<fi ifiITTf ~ 11
~ HH ~ e.,~"6 ~ (li;'f ~~ lilf& .:rf ~{,;fi:{r~ II K . .:\ ., (871)
a. ~ ~ ~lqT ar< ~T ~if ~(Ile, T'9cf ifffl~ ~ II
~r
~ ~ .
~~ ~ a.f ~')q Bii ij ~Tq~ ~ fiwmf II

~ ijlltl' .:rm1 <F.9 <4T ~ ate.fir i:r~r 9'•ft ~ ~ 11
ijlrf ~~ ~~ ~l TI: ~ :!6( H~H:r f~T ~lcir.{l~ 11 K., A., (870}
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ART VALUE 249
Throwing their weapons aod putting off their armours, they fled as one man and never once
thundered.
Io such a situation the majestic Kalki incarnation heaped up all the weapons of warfare and
stood resplendent beside then,.
The earth. the skies, the nether regions, were all taken aback. Gods and demons were botll
ashamed by His excelling splendour. 1
The first two lines of this verse verge ou the sentiment of fear. The next two
lines are an illustration of the sentiment of wonder hinging on the cosmic majesty of
Lord Kalki pervading a11 the three worlds. Here the sentiment is a consummation of the
emotion of awe suggested by the imposing majesty of the deity.
(c) Demons arc falling in tile battle and demons' iofaots are scurrying about,
Casting their loyalty to the 1,vinds warriors are fleeting for tbeir life,
Trunks with mutilated limbs are going up like a blinding storm.
Each and every mighty warrior when struck with an arrow falls on the battle-grouod. 2
Trus verse depicts the horror of the battle. The main s~ntiment here is the
sentiment of fear which by contrast suggests the counter-sentiment of heroism . The
last two Jines are an illustration of the sentiment of abomination which in its turn is
suggestive of fear.
(d) The verse 24923 of the Krisanavtar is an illustration of a subtle combination of
the pacific and the heroic sentiments. The heroic sentiment is suggested by the expression
"Chitta men jucldh viohaare'' and metaphors in ''Jasu, naav chare bhav saagar taare". The
predominant idea is that of the pacific sentiment which is generated by such simple
expressions as ''Dhanya jiyo tilz ko jag nien''. ''deli anitta na nitta rahe" and issustained and
consummated by a series of vivid metaphors in the third and fourth lines wherein
courage is the abode of the self-resigned, intellect is the lamp that lights the heart and
self-knowledge is the broom thal sweeps the filth of self-diffidence.
As shown above there is a spattering of instances of suggestiveness in the poetry of
the Dasan1 Gira1ith. If suggestiveness is the merit of good poeLry, the poetry of this
Granth more than amply stands the test.
1. +tR +r'if\' P-lfl.W: ~ ij9 ~~ ~~ ~~ +ic ~ 11

~Tft~m~ '36'R ~r~ ~ ~ aff( +i~ ~t)' rrr~
ij II
~ cfiijiqif ~~ cf~ fir{ ~'=Bf ~ ~~ +rict fr:f{~ 11
:i:rq-
·d-..
~m '«fT< efq;~ ~if ~cr sr~cr
lt it~
-,, ~ 11
ijif~ ~1"31 N. A., (39S)
2. fiRa ~~ ,t!i .nn+r ~ ftm 11
a'~i:f f~~") l:li ~ mil ~ W- 11
aia ~ ~.1:l1:UT ~ cll:'«f cfii 11
ijll"jcf fmcr ~ ~H[cP~ II
ill~ E(~ B. A •• (791)
3. l:F{ i\"m f~ if ~rt ~ ~(cf ~ ~~ f=q-~ ~ ~~ Fr'q'R 11

~{ ~Dli1 ~ f.:R; ~~ ~ 'lR d +{~fflil( ~ 11
~ ~Hr ;r.:tT~ li ~ ~ ij~)qqi f~~ ~~1 11
fri~~ cfir ~r +rllg ~4' ~ 'tikt<d1 ~n: ai$_,~ 11 rr. A., (249!'?)

260 THE POETRY OF THE DASSAM GRANTH
(d) ALANKARS
Human nature has an instinctive love for beauty. It is ever attracted by beauty
The poet is, however, so affected by it that he wants to communicate it to others
He wants to express his aesthetic experience in such a way that other people may
also experience it, emotionally and imaginatively. His expression n1ust, therefore,
be beautiful. In order to make his expressions beautiful he resorts to figures
-of speech. The function of alankar, according Lo Mahimabhatta1, is to heighten
the effect of poetry. It is to aid the poet to say more pointedly whether the poet exalts
or does the opposite. Alankar is to help him. Masters of poetics in Sanskrit have attached
great importance to figures of speech, and have regarded th.em as a n essential part of
poetry. Acharya Dandi' has laid down i n his Kavyadarsh. that figures are those attributes
which enhance the beauty of poetry. Jayadevs has gone a step further. According to
him " Poetry without embellishment is just like fire without heat." lf figures are, like the
· heat of fire, so important, they must be accepted as the lift!-breath of poetry. The
Agnipuran also accepts figures of speech as an element of poetry, which enhance
sentiment and the enjoyment thereof. It is said 10 Agnipura,rt that Saraswati without
embellishment is just jjke a widow, while a piece of embellished composition is like a
woman who enjoys her conjugal bliss and is proud of it.5 Bhamaha6 says that even the
beautiful face of a woman does not show itself to advantage without ornaments.
Figures, full of sense and sound, enrich the beauty of the damsel that is poetry.
\ In poetry, figures give an edge to the impression that it communicates. Poetry charged
with the po\vers of words and full of en1be1lishment is certainly more impressive than an
ordinary composition. According to Ram Chandra Shukla', 'Alankar is the name of a
device ,vhich contributes to the intensity of the realisation of the beauty, merits and actions
of things and the superbness of emotions'. ln reality, when a poet is not fully satisfied
with the con1mu □ ication of beauty ia various ways, he ex.presses the entbusiam and ardour
of his heart through a figure. Re explores the whole creation in order to lend beauty to
the exposilion of his themes through similes, conjectures, metaphors, etc. He finds in the
soothing beams of lhe moon the coolness of the beautiful face. lo the eyes of fawn s,
he recognises the innocence of the eyes of his beloved, and in the slow gait of a drunken
tusker he finds the resemblance of his beloved,s graceful movement. Owing to the
eternal association of nature and man, the poet seeks out his similes of beauty in the
vast f1t!Jd of naturl!. Thus the poet creates a likeness between the sentient and the
inasetient, between tnan and nature, and things of nature acquire a peculiar significance by
becon1jng the standards of comparison.
L f~rc:fitlfqcfjqr·..1;1j ~i:ts~r ;f ~~f~rr. 1 ~~t.l ~~~,~r,:q~{'TT~~ ll-,·. Rugbn1n: s . C. A , s., so
.,
EfiT;;!i,;rh,lFfRl'•\:lllriwt~{fiSJ~~ 11-Kavyadt'n·sh 2, 11
3. ~r:w\efiU@ <4: cf.~ !(k-if~ttl:..t~t,dl II ~ <{ ~~ ~~l'.!.!+lr\~ ~~r 11-Juyndev: Cbanclmlok
lli11cJi l{av,-n
•
Men P rakrit i-Chitnrn, 5;1
~~f~<fiT,,f&.aT f~~ ~{FRO 11 -Agn.ipurnn 0. ~ ff,Rt;rrqf~ri f~p:rrfCJ 6tREll!Ji4t◄+!, 11-BhnmabG
~,~ <fir ~q.q re:~;t
ih: ~~1 ~ ~Cf, ~ {!)" ilh fif.m <JiT ~~<fi ~ ~~ cfiU~ it ~ ~ ~lfiji
~~ ~~ ~Fe@ c1iJ wl11l ~krlcfil( l 1- II. K. P. c., 6::i

ART VALUE 251
In the field of poetry, a witty utterance contributiog Lo the excellence of emotion,

sentiment, form or embellishment is called a figure. Figures are the exterior form or raiment
of poetry, while sentiments or emotions constnute its soul. Just as the body is rnert \.Vithout
the soul, so poetry is Ufeless without sentiment. Figures, however, help in the realisation of
sentiment and emotion.
According
1
to Keshav, a woman as well as poetry cannot shine to advantage without
ornamentation. Behari, however, disapproves of the use of ornamentation saying that
ornaments are just like rust on a mirror. 3 In this connection it has to be observed that
ornaments when they are out of place, no doubt, contribute to ugUness instead of increasing
beauty and are a burden to the body. A woman has a natura1 beauty even without
ornaments. Similarly figures of speech add to beauty if they are appropriate ; but if, they
are employed for their own sake, they become a burden to poetry. The emolional beauty
of poetry, however, remains intact even without the employment of embellishment. Thuii
figures of speech are accidental attributes of poetry. Good poetry can be composed even
without figures. But an utterance, though full of figures, would be mere versification,.
if it lacks sentiment.
Our aim, now, is to examine the figures of speech of the Dasam Granth to see how
far they have been used successfully in it.
Sbabda AJankar
First of an we shall consider the figures pertaining to sound. Firstly, sound-figures.
create musical effects. They lend music and now to the rhythm of the line. In a long line
alliteration helps to create balance. In an emotional expression or action, alliteration carries
the effect to climax. Secondly, besides lending music, alliteration deepens the meaning of
the verse or makes it more pointed or impressive. Thirdly, aUiteration givcsJ though
not often, a striking turn to an idea when it moves from one rhythm to another.
Guru Gobind Singh bas a good ear for the verbal music, the appropriateness of
sound to suggest the meaning and sentiment. lt is really a marvel of sound-effect that he
produces with utmost ease. Colour, smell, sound, and touch, we are able to directly
realise in his verse.
Guru Gobind Singh was a great master of words ; surely the delicate and charming
effects were easy of achievement for him when they were needed. He discovered the sound-
effects required for rawdra and biblzatsa rasas.
Sound-effects also count for rasa ; the first effect a verse produces on its n1ere
reading or hearing, holds the mind to the end. Even the jingle in the sounds or the clash
of words is weicome for the rasa to be s1.1ggested. Similar sound-groups do not do
violence to the sen se ; rather they somet mes add to the charm of the diction. The
1
poet simply delights in such innocent as~onances.
1. ~ f~ it~~) ~T, ~~n Tll9t' 11-Keshav : Kav ipriya

2. e:~ ~ it ~~ I-Bihari
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Alliterations preponderate in the Dasan1 Granth. All the var1et1es of alliteration

discovered by critics so far have been employed in this book. Here are a few examples
of alliteration :
(a)
Chhekanupras (Single .Al1iteration). Words which are closely connected in a
sentence begin with the same letter, e. g.,
Kud-rat Kama.al Raajak Raheem.1
In this verse~ and \ are used twice to enhance the flow in the reading of the verse.
Trin-nin teeram.Brin-nin beeram.
Dhran-nan dhaalam, ]ran•nan jwaalam.1
Here again the letters Q , ;;r, <! and ~ are used twice to produce sound-effects which
count for the relish of Rasa.
Cl1aavad1 chinkram. Daakanee dinkaram. 8
In this verse 'if" and ~ are each used twice for the same purpose.
(b) Vrittyanupl'as (Harmonious alliteration). It occurs when a single consonant
is repeated once or more than ooce or when many consonants occur once again but not in
the same order or when many consonants occur more than once and in the same order.
The varieties of the Vrittyanupras and the examples thereof in the Dasa,n Grantlz are=
(i) Upnagarika or Vaidharvi Lalit, (Suggestive of Madhurya g-una). This style
is used in the expres~ion of Shringar, Hasya and Karuna sentiments. Letters
of lingual class 3re to be avoided, e. g.,
B isunaath Biswambhar Btdnaath Baalaaka.r Bajeegar Baandhaari Bandhan bataaiye.'
Mee-rt heen keene chheen lecne hain bidhup roop chitta ke churaaibe hau choran samaan hai.a
Tarbhar par saT. Nirkhat sur nar. Harpur pur sar. Nirkhat bar na.r. 0
Phool, rahe sar saaras sundar sobh samooh badhi adhikaa·ae. 1
(ii) Parusha or Gaudi (Suggestive of Oja guna). Tt consists in the use of letters of
lingual class and conjuncts and double consonants. This style indicates f/ ir
Raudra and Bhayanak sentiments, e. g., '
Khag kha.nd bihandam hhaldal khandam t1tiran mandam barbandam.8
As tutte ghane tulte ~asatra aneh. Je jutte katte sabai reh gayo bhoopat ek. 9
@~ i:filTI'ij{ ~~i:fi 1:~+f 11 l1. U., {260)

l.
2. fi.t~fl!.[l!J ~~ 11 II ~~tll GTQT II ~~tlltll ~~ 11
f~{!Jf'1.)~ ifR R. 1~., {533 )
3. :q1;iir ~~ ~t~'r ~~ · R. A., (422)
~r4 fffl+TI: ~?.f ~~ ~if ~T~ I
5ff~<fi< ift~h1ft 0. P., {12;
6. +tr.lv~ ~;{ ~'it titT;t t

fq~ ~ r~ i ~~J~~ ir
~ m:tr.:t 1 t P. Ch. l!!, (8)
o. at"~ Cf{ B{ 11 f;,:,:~ ~ .:f\ II ~\ ~ ~ m II f.:l<lc@ ~ ~, 11 ll. il., {Hi'1)
7. 'f,~ ~ ~ Bf~ ~{~< B'M ~'i~ ~ S?.TT't:!'lif({ I

8. ~n let~ fr:r~~ ~-Hrl~~ ~ %i@«!J +i~ !il(-:t-s II B. N., l (2)
{l, ~ ~ ~ ~ gf B'B?f ~~<Ii II •
~ ~ ~ Bl ~ rim 4ltfa ~ II N. A., (376)
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ART VALUE 253
(iii) Kon1ala or Panchali (Suggestive or Prasad guna). It consists in the use of
letters other than those intended for Aladlzur_ra and Oja gunas. This style is
useful for expressing Shringar, Shant and Adbhut scntin1ents, e.g.,
]eev jrte Jal mai thal mai pal hee pal mt1i sabh thaap thapain-ge. 1
Chhatrudhaat1 cJ1liatrapati cl1hailroop clth1ti11,1th cJ1hounil,ar chaa-i-aabar chhatripat gaa-i•J'e.•
Of the Vritt;1a11upras all the varieties have heen aptly employed. The poet has
resorted to these varieties in order to achieve the consun1nu1tion of different sentiments.
(c) latanupra'i. This is a repetition of words in the same sense but in a different
application, e.g.,
Ahhand khand hhond hai Adand dand eland hain.

- -- -
Aj~e, Jeet jet't ka1 basekh raaj mand hain.3
-- - -
S11./lwo;j dhoom dl1oom hce karat sain bhoom hee.'
--
There is no dearth of exainples of this kind of alliteration in the Dasa,n Granth.
(d) Jl'eepsa. It consists in the repetition of the san1e ,vords for sho,viog abundance
of regard, wonder, cunos1ty, felicity of emotions and emphasis, e.g.,
Suma ti ,\Jahaa tikh Raghbhar. Dundab baojat d<J'T dar.
Jag hee aisee dhun ghar gha'T. Poor rahee dhun sur pur.6
Purii Ben1aaj Alaht!sh bhayo. Jin dand llaalwo te riaa layo.
Jeea bhaant bhuu11t ~ukhce naraa. At: g,irJb sab cl1hut ur dhaaraa, 8
Be~11 beeni ba •ai barangan daari daari phulei. 7
The words dar, ghar, bhaant have been repeated to sho,v e1nphasis and feli:.:ity of
emotions. The ,vords been and daari are each one repeated because of the pleasure the
heavenly maidens feel at the sight of brave warriors arranged in the battle-field.
(e) S/1rut1•a11111Jras. This is repeated utterance of a single sound springing fro1n
a common vocal box,e. g.,
Ghataa SaavantJm 1aan S1amam suhaa)'am.
Mance neel nag,yam lakham sees 11iaayam.8
Jn this
verse the letters ~, q, a od ~ are repeated four, three and t\\'O tin1es
I.
\lfltf f~~ ~ il' ~~ +i qffl ~ r.rm ;) T:f+f- ~q- ~qif 11
~"TIU ~qfcr ~5'~ fu,<;;:rr~ i,raj"Jl:f.~ orrr~~ &:~fqo ◄ 11~0. 11
. A. U., ( ~7)
. . -~ "1 . ..... ~ G. I:>., (4~)

~«i'z ~6 ~f:lt <J: ~E~ ~s ~ \t 11
~Rf ~,a a')~ i.i ~it~ ,r~ ;fs i 11
·-1.
~:f \lt '1~ (T <l'.\tf ~~ 4i,lf {t 11
.5.
~ ~~ft~ ~~~ II :;;·~+f tiT.itfil
Ch. A., S. A., (SI)
~ ctn' ~ ~~ ~ ~ II ~ {t) ~-t ~ ~ II

~ ~~jf $ ~t II fl{~ :§:S ;r,y~ -t a oHIT II
G. R . A., {iU3J
~ ~ra ~a B~T ~u 11 ~@ TR-:J T:r~ ;z-a- ~ r.Rr 11

~ ~f.:r
'-' -;;:i
7.
~t ~tn~ ~fR ~rf't ~ffl' 11
B.A., (Ben Rojo, 103}
~cf ~l~lii i:fRJ f'.llii ~r:q- II ~~ .ft~ ~fit~ C!I~ ~h..:r f;f~ 11
8. Ch. Cb., 11 (7 !}
B. N. I.. (li9)
o;g;tized by Panjab Digital Library I www.panjabdigilib.org

respectively. These letters are all dental. The use of such letters in sequence imparts force
and sweetness to the composition.
(/) Antyanupras (Final alJiteration) . Tn the Dasa,n Granth there are almost all
the types of Antyanupras experimented successfully in over eighteen thousand verses of all
the works taken together. But there is in evidence a special preference for Sarvantyanupras.
Here are some examples :
( i) Sarvantyanupras :
Gwaar ke haath pai haath dharai Hari Syam kahai taru ke taru tl1aadhe
Paat ke paat dha-rae peeyoro tzr dekli ji.sai ati aanand baadl1e.
Taa cJ1habi kee ati nee upamaa lu.ibi jiu chun lee tis 1~0 chun kaadhe.
Maanhu paavas kee rut mai chapalaa chamki gfian saawan gaadfle.1
All the Slvaiyas are illustrations of this kind. In descriptions this form finds a proper
place. The poet takes delight in innocent assonances.
(ii) Sanzaantyanupras :
lndraan Indra. Balaa.n Baal.
Rankaan Rank. Kalaan Kaal. 2
In this verse the A11upras is at the end of the second and four th charans.
(iii) Visha,nanlyanupras :
Dundabh tabai bajaaee. Aa-ae jo Mathura nikti.
Taa chhabi ko nirkhaaee. Harakh bhayo harikhaa•eke,8
In this verse the Anupras is at the end of the first pause of each line. All the Sorthas
are examples of Visha,nantyanupras.
(iv) Sam-vishamantyanupras :
Tumree prabhaa tumai bani aa-ee. Aouran te naili jaat bataa-ee.
Tumree k1iaa tum hee prabh jaa no. Ooch neech kas sakat bakhaano. 4
Gun gan udaar. Mahimaa apaar.
Aasan abhang. Upama<1 anang.r.
l. {:li:ft..~ lijl4fB - ~ t ~2f q ~~ ~ ~ft ~~ cfjt ~ ~ ~ ora' ll
qrc t6T ~~{T ~ ~
qrc rlt rJ{~
~f(l ~~ iiT~ 11
ffl ~~ ~ ~fu © ~~r cnf1f f-:r~ ~ ffl rat{ ~ ~ <lira- 11
~I~.§ 41'6''8 cit ~ i:i' ~q<i{r ~WliT ~ ~~

.
11 rira- K. A., (318,
~- ~ ~lJTijtlfe"- ~Tirll1" ll ii!T<ifl-t~Q'f 11
{<fifrR'li 11 <f.T©r.:t<T,Tm 11 Jap, ( !,O)
~-~ll a~ ~r, ~rt{ it ll~T f<l~R 11
~r ~f~ it f.,~r{ g_,l]f -.:t~ {R@~i 11 IC A., (26)
4. ~~itli-(iqfa3{16-
g+1U ~+IT ~ ~f.t 55ll~ ll ~.ta- ~ ma qijlt II
§'l'U f~ s~ ir ~lt ~r.:ir 11 ~~ .ft'ef ~ frcfjcf ct~l;tr 11 H.N., Il (ti)
r,
5. 11 m~+rr ~qR II
•
II ~qllf ~.-{~ I II Jop, (87)
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ART VALUE 255
In these verses the Anupras is at the end of the first and second, and third and fourth
lines. AU the Clzaupais are examples of tlris ldnd.
Another form of verse in this category is Blrinna Tukaant which corresponds to
blank verse in English. In blank verse there is no final alliteration. In the Dasam Granth
there are examples of this-an attempt rare in Hindi literature but first in Panjabi
literature, e.g.,
Jutte beer Jujjhare dhaggan vaj,iee-aan.
Bajjae naad karaarae dalaa musaahdaa.
Lujjhae karan)•are sangha·r soorme.
Vutthe jaanu daraare ghaneear kaibari. 1
In this verse each line eods with a different letter or syllable. The whole of the
Chandi-di-Var which is in Sirkhandi metre, and verses in ,4nant Tuka Bhujang Prayat and
Anant Tuka Swaiya metres of the Dasani Granth are in blank verse.
(g) Naad,..saundarya (Onomatopoeia) is an arrangement of words and sounds io
poetry which seems to suggest the object, the scene or the incident. The sounds suggest the
sense. For instance,
Damaa dam dauroo sitaa sait chhattram.
Haa haa hooh hoasam jhamaa jhamm attram.
M ahaaghor sabdam bajai sankh aisam.
Pra lai ka.al ke kaa I ki j waal jaisam.i
T rir•rir teeram. Brir-rir bee'l"am.
Dhrir-rir dholam. Brir-rir bolam. 8
Kara kari kripaana-um juta jutee juaanium.
Subeer jaagra.damjage laraak laagardam page. 4
In these verses the onomatopoeia has rendered the style suggestive and picturesque.
(h) YaJnak is a repetition of more syllables than one in the same order but in a
different sense. The employment of J:-a,nak is found in many places in the Dasani Granth
l. f+l;:~ ijcfiRI'
~ ~ ~rt i:nnf 11
1!?~~
~ ~ -mt q"ffl ~fflRT 11
~~ ffl~t ~en: ~~ 11
~ ~T~ 6Ut ~')~ ~~r II
R. A., (470)
2. G'il~+{
~ fuQf ~Q ~ri?r" ll
~(r ~ tfffi ifti=m +fif+f ~~· 11
~~ tt-rl{ ~~ tj~ i{tj ll
~~ i q5fijf ct't ~m ~ -
s:fB 11 B. N., I (lv)
fu~~~JJ< II~f'wifl~ 11 f>~~R~ i@ ll f1t~f(~ if)'~ 11 N. A., (·l:TO)
4. ~ cfifr f'Etiq1l_!_1tf II '1f2T ~~l ~ 1-0]4 11
ij4'~ ~~ ~ 11 ~f.fi qWT"fct ~ Il Ch. Ch., Il (176}

256 THE POETRY OF THE D/\SA~1. GRANTH
but with restraint. Sometimes its application is very apt and impressive, Here are some-
examples:
Chat pat sainam khatpat bhaajct.
]hat pat ju.jh310 lakh ran raaje.
Satpat bhaaje atpat sooram.
]hat-pat bisri ghatpat hooram. 1
Nares sang ka.i da·a£. Prabeen been ke la-ae.
3
Sanaddha baddh hui chafe. Subeer beerhaa bh1.le.
Gahi baan k,ip,ian bikhai na dario.
Risso rc1n-chitra bachitra kario. 8
( i) S'lesh (Paranomasia) is the expression of more than one meaning by words.
naturally bearing one signification. 1t, more appropriately, comes under figures of sense.
It is very effective in gnomic utterances, e. g.,
(i) Kaachhan ek tahaa mil gaee so•aa chook pukarat bh~ee. 4
.
··" ········· .......................... , ............ ,. ............ ········· ........ .6
Jo so-ve so mool gwaa-ve jo jaage Hari hridai basaavai.
In this verse a vegetable-selling ,voman hawks for so-aa chook ( ~T ~ J. These
words reached tbe ear of Dattatreya who took its meaning as "He who sleeps, loses"
whereas the vegetable-hawker meant only the two kinds of vegetables so-aa and chook.
In this verse the expressjoa so-aachook bas more than one meaning though the
word naturally bears one signification.
8
(ii) Madira lia,- matta maha bhabhham. Ban main ma110 baagh bach-cha. babkam.
In this verse there is a slesh jn the word kari (~) which means (a) having been made
(b) elephant.
(iii) Ta.a-tee go.hu Aatam bas1har kee bllichliaa naam adhaaram.
Baaje pa ram taar tatu Tiari ko upja, raag rasaara m 7
There is a slesh in the word rag ({Tll) which means both love and colour.
---
l. ~
B. A., (62-t)
-
-1w tjrr ~' ~ 11 ~')~ ~if ~ ~ 11
~";t;g: q s~ ~ 11 Wtl~ ifR~J ~ 11 H.. A., (187)
3. ~ ~l~ f~cn~ f~ .t ~f~m 11

ft~ ;ir ~ m qffi ~ft~ 11 .N. A., (470)
UJ6 a~r fmn flt 11 Bl~T ~ ~@ ~ 11
. . . . . . . . . ..... . . . . . . . . . . . . . . . . . . . . . . ~ • • • ~ 4. •. • '. • ... + ••••• . ... .......... .
lJ. A., (200)
5.
················~··········~·· .. ... ....... .. •.. 0. A,. (2 10J
6. ~\l <f.( ffif ~~ Il ~ ~ :.:!~ ~T~ 2'T.fr ij~~ II
li~T B. N., l (53}
7. cffffi lfs ~ Id ii $ ~ <61 ~ c{H:r ~l:TTt 11

~~ 'R+l di{ 6§; ~f~ c6t ;sqii" Ull n:IR 11 Sb. H., (2)
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ART VALUE 267
(iv) lv.1.aanjaar ih than ik aa-yo tum ho haeri adhik dar paa-yo.*
In this verse the word n1aanjaar (~r~) has two meanings : a male cat and my friend-
ln reply to a query made by her husband Gautarn Rishi, when he suspected some body to
have come to her in his absence, she used th.e word nzaanjaar which had two meanings
and conveyed one to her and the other to him though naturally it bore one signification
for him and for her. Here, in fact, the word rnaa11Ja:.,r (iTT:ifll( bears the meaning of n1alt
cat when it is pronounced as a \Vhole and bears the second meaninc.r when it is spoken
separately as n1aan jaar (ill ~R) i.e., my friend. Such use of a word is a kind of slesh alankar
(double entendre)t and is called ablza11~ slesh according to Vishwa Nath and gudhotar
according to Bhai Kahan Singh.·~
(;) BhaJhuchilra or B'1asha-sal'nvak. W~ also find in the Dasatn Grnntlz a composi•
tion of the type of Bhashac/Jitra which contains expressions of different dialects and
languages, e.g.,
Gaaje mahaan soo, ghummee ranim hoor b/1armee nabha-r, poor behhu.m anoopam ............... Dingal.
Vale vallt.l saan-ee_ieeve.e juggaan taanee tai11de gholeeJaan-ee a!a1Jeet aise. . .. Lehandi Panjabi
Lago laar thaane baro raaj ma.hane h1ho a-our kJne ha thee chhaad Lhesae. . .. ... ........ .. Sindhi.
Baro aa11 moko bhajo aan triko chalo clevloko tajo beg Lankl.:j: ...... ...... .•. Avadht.
Bhashach;tra is introduced probably for inlellcctual deligbl of the reader.

Artba Alankar
Arthalankars are figures of sense, Io the Dasani Granth we have traced nearly five
dozen kinds and sub-kinds of Artha/ankars from the simple or concrete to the 1nost subtle.
The number of these Alankars may be even more. The figures traced are:
1
Upama1, lv!alopama , Luptoplma3, Roopak4, Saangroopak 5, Sandeh 6, U/lekh7, Utprekshas,
9
Gamyotpreksha , Atishayokti 10 , Asambandhatt!ihayokt1 11 , Roopkati~ha.yokti1 ~ Chaplati-
shayokti13, Tulyayogita14 , Karakdeepak 15, Artiwvriti·deepak16, Pratiuastoopatna 17, D1ish-
19 0 21
tantt8, V,,attrek , Parikar' , Arthaslesh , Aprastut Prashanshan, Vinoktit", V1todhabhas 1',
25
Vi'l'odh , Vihhavanaaa, V1sheshokL19. 1 , An 1 ariya 28 , Vishesh~u, Ekflua/1 30 , Ar1umon 31 ParyaJ•a 8',
1
.,,, .._ ,.,

*BliITT ~ cl ~ ~) §;+i qif fff{ ~r,.l::l'li 6, -
1
•
--
-
qr~ II I'. Ch .• 115, (
--
tS-, D. K., 196. 7)
til~ ~ ~ ~•m {m [( ~(m .....rl"# "' .

~ aflcl ~ct 11
••G . S. A., 85.
'
~ ~~ ~,t :ilTctl ~'Tr ~nt ~i 'cffQfl crrr t ~<!fri:!'m .tt~"' ll C
<!f ffl &R '-TT~ ~) ,l ~ 'lrrf ~ ~ i( -

~1 ~r;g ~~ II
rf,frf
aro ~ ~r 41it ~r-, ITT.,;) ~ ~~ <ITTcit ij'jff Gfff ~~ II ~
R. A., ( I Ui)
1. Cb. Ch .• l, liilJ) ; Ch. \ •. (:l9) 2. Ch. L h., l, (146) ; K. A., ( 709} ; A LI .• (26J) ; J:'. Ch .• 183 (6) 3. K. A., (677) 4. N.A.
(395).R.A.,(2'17). 5. ~11.H,(2). 6. R.A.,rll5,l72),A.U.,(19,lHiO) ·N.A.,(575). 7. A. U,,(lfi,iH,65,56.137, IGO);R,A ...
(li1, :!i3); K. A., (848.126!1, l~il,). 8. Ch. Clt. I, (62. !12 IOI, 1Pl3, l.'>6 157 218): N. A., (23, 38'.1, 300, b\11, 3{N): fl.-\. (lGS,.
16!), 36l, 609); K. A., (1177, 1:{s ,, ::!~lJ); I'. Oh, I. c~o). o. Uh. v., \:!5, 4.2). 11). Oh. Ch. I. (ii ,l-!71: K. A., (391,726): H.. A .• (l-l9
162, 3~:l); N ..A., (31J, 43, !17. ltlfl. 1 : Ch. V .. ·1.-;j: Ch. Ch .. I. (l!J. 156). ll 8. A . Aj l{aja. (~ii). 12. Cf1., Ch. I, (89); R. A., ( lui).
13, B. A. AJ Rnja (25} ; K. A., (7:!:)). 1·1. ~-A. (lii6): K. A., (33!, 1"13): R . .\., (1+9). 11. X. A., (156); K. \ ., (~31, 33:l. :Jaat
R. A., (l49). Hi. N. A., (3H;1, •1!1.;}; H. ~ .. (!110). Iii. N A., (3S~). 17. N. A., (:ll17. f,03). I S. H. A., (3!?&). JO. IL A., (07?),
20. .EL A., (GflO, 1\67). ~I Ii."'·· 1 (53). :!~. N. >\., (3!1/i). 23. ,\ e .. (60) i fl. A .• (559); K ...\. (873). 2·1. R. A., (2~5. n59)
0. P. (32 ; Hh }l., (7) ; A. IT., ( ll>I ); l{. A. (1.583) ~5. N. A., (:{llii); fi. ;\,, (lli2, 651:1); I, A. (871). ~6. Oh. V., (l!i). :!7. A. U.
(2•i); K. A., (1583); N. A., (113). 2·. , . A,, ("48). 2A. Ch. Y., (:!-iii). 30. Qh. Oh., I. (-l2). 31. K. A., (1654). 32. A. U, (5!. 52, 53)-+-

•
'268 THE POETRY OF THE DASAM GRANTH
89
Vikalpa38 , Prat),aneek84 , Prateep36 , Samariya86, Prashnottar31 , Bhauil..58 , At) ukti , 1
,~ V • · L •45 y Lt ·.ae
Vishadan 40 , Mithyadftyavasit"'1, Poorvaroop 49 , Anugya48, Good ho!ta, , 1 untol(tl , Uf' 1 ,
53
Avrittdfepak41 , Niru.&t1 48, Pratigya.49 A nupalabdhi50 , U datta 61, Ra t11avali6\ Vakrokti ,
Kaku•vakroktist , Mudra.oS, Asangati66 , Bhranti or Vibhram67 , Goodhokt158 •
The main principles on which the figures of sense depend are sia,ilarity- real or
imaginary, dissitnilarity, hyperbole and reasoning. For practical purposes we may accept
the fo urfold priuciples because the number of Arthalnnkars is large and ever-changing and
would defy any atte1npt at an accurate classification. Accordingly, the Arthalankars of the
Dasan1 Grau th can be correspondingly classified as (a) Upan1a, Utpreksha, Sandeh,
Drishtant, Pradeep etc., (b) Virodh, Asangati, eto., (c) Atishayokti, Udatta, etc., and
(d) Ullekha, etc.
There is an infinite wealth of Arthalankars in the Dasam Gra111h. In the Jap, Sri
Mukhbak S11,aiJ•as and Bachitra Natak these are,bowever, rarely met with though they contain
Shabdalankars in no small number. The poet is a conscious artist who trjes to make his
expression as varied and rich as possible. He e1uploys, therefore, son1e Alankar or other in
almost every verse. Upa,na, Utpreksha, Atishayokti, and Ullekh are n1ore frequently used
than others. He has a special preference for Upan1a and Urpreksha Alankars, which ar e the
chief tests of a good poetry. Sometimes in his descriptions, particu larly in Krisanavtar, there
appears to be a super-abundance of Alankars. In only one stanza1 of four Jines as many as
n ine alankars viz., Atislzayokti , Asangati, Tulya-yogita, Veepsa, Vrittyanupras, Anty anupras,
Udatta, Triskar and Ad/zik appear. In two other stanzas2 we have in each eight and six
alankars. In these three stanzas play of flute is described in a rjch and varied expression.
Elsewhere, too, his verse is richly laden with alunkars like a fruit tree in the height of season.
The alankars are drawn fron1 various sources not excluding literary, mythological
.o r even conventional, for i nstance,
It (youtb) shall desert thee and waoder about like a mendicant in tiger's skin thrown over his
shoulders. 3
Chandi trampled down her enemies as an oilman crushes oil-seeds to extract oil.
The blood ran down in the field just as coloured water is splashed on the ground when his
(dyer's) clay-basin gets broke.a
The open wounds looked bright-red like lamps bur ning in a tower.'
When tbe lamp of day was veiled, the queen of nigbt can1e forth in her splendour .'
She (Cb.andi) attacked him (the demon) with a spear aad cut off bis bead eveo as Shivji beheaded
Ganesh with his trident6 •
Th_e trumpeting of elephants is like the thuoder-clouds. Their white tusks are li"e herons flying
10 a row.
The swords of the warriors wearing lheir armours flash like lightning in dark clouds.'
The very sight of thy face has infatuated me even as the cltakor birds are infatuated by the
sight of the n1oon8.
- +-:rn.
·---
Ch. Cb. 1, (05). 34. U. N., X, (10). :l:i. K . .A., (679) ; R. A., (15t) 36. T{. A .. ('538). li7. K. A., (fi8l)-
:.,g_ N. A., (70}; B. N., I , (29); K. A., (871), 3!l. G. P. (!135). 40. P. Ch., 40 (1..J:). -.1:1. K. A., (1613), 42. Je.p, (SJ). 43. Sb. H., (ti).
4!. P . Cb., 115 i K A., (729). 45. Sri Mukl1bok fwaiya, {321. 46. P. Ch., 260 (35). 4.7. N. A., (382). 48, A. CJ., (7,!.). ill. K.
A., ( 1187, 1613}. 50, A. li., ( 272). 51. A. U., (63-69, 161,) ; R. A., (380, 38:l); B . .A·• (7, 8, 12, 13J. fi2. N, A., (150) ; K. A., (331,
332 3 3) i B. A., V (20); 1•. A., (171). f3. K. A., (7~9) Kt1ha.n Singh ~nils this Alnnkar as Avihnttha.l 64. R. A., (l¼S). 6'S. B. N.
i[Il, ('J). 56. :S-. A.,(' ~:l, 3!13); Ch. Cli. T, (16ti). L7. K. A. (~032) i Ch. V. (28 v). 58. K. A., (729).
l. K. A., (338); for text see appendix, r 11ge 1. 2. IC A., (:!31, 332); for text seo oppenJix, pogo l. 3. R. A., (703)
J. Ch. Cb., I (156 1• 5. J. N., (•12). 6. CJ1, Ch,, I (116). 7. Oh. Ch., (62) 8. K . A. (743).
Digitized by Panjab Digital Library/ www.panjabdigHib.org

ART VALUE
Whose beautiful face radiates, who so sbioes in her grandeur.
As if the moon, the deer, tbe lion and the parrot had all obtained all their pecuilar beauties.
from this lady 1 •
Whose face resembled moon-light and whose person was extremely beautiful ltke gold2•
There are some instances, however, in which the Alankars used are faulty. For
example,
(i) In verse No. 635 of Ramavtars the simile used in comparing Rama's sleaJing
of hearts ,vitb a thief stea)jng of wealth is unedifying.
(ii) )n verse No. I94 of the Ohandi Oharitra I.i, the poetic fancy used in representing
the spouting of blood from the Goddess's throat at the piercing of a demon's
spear as fresh betel-leaf spit of a Ceylonese damsel, is not apt due to the
un~eemly mixture of heroic and erotic sentiments.
(iii) ln verse No. 384 of the Nih-Kalanki Avtar the last line is a violence to the
Veepsa Alankar due to lack of balance witb the preceding three lines.
Saaj saaj ke saba.i salaaj beer dhaavheen.
Joojh ;'oojh kai marain pralok lok paavheen.
Dhaai dhaai kai hathee aghaai ghaai jhelheen.
Pachhel paavana. chalain arel beer thelhten1°'.
(iv) In verse No. 155 of the Ramavtare, the suspicion entertained by Sita a bout Ram
winning another girl by exhibition of his bravery is not appropriate to the-
character of Sita depicted in the epic and the Alankar aimed at in this context
is not clear.
Another speciality noticed in the Alankars of the Dasan1 Grant!, is that they bave
been used mainly with reference to the following :
I. Those inspiring sent;ments to11'ards personal God, gods and goddesses :
The Tenth Guru bad no faith in gods. All the same, he has employed figures far
more effectively in the portrayal of the miraculous deeds of gods and godesses, for instance,
(i) The distinction between a deity or a demon does not exist in the eyes of God.
He is omnipresent. This truth the poet has demonstrated tbrough the figure
of 'apparent contradiction' ( Virodhab/zas ) in verse No. 13 of tbe Aku/ Us1ai 7•
1, K. A., (606)
2. K. A., (6i8)
3. ro~rl!.f ~')~ lI ~t ~, ~') t 11
~~ ~ij f~ II ;i;n :q-~ f.q~ 11
1-L A., (635)
4. ~ f.:IEfiTH ; ~il crt q(Qf ~ a-~ T.fs !;!"~ i ~') II
~f ~ cifTt @~ i ~\Cf ~ cf& ~3<{ cr~m
~fu{f ~fif ct);ft 11
'{~ ~ir ~qi\' ~ il <ti~ ~ ~~ ~ ~ cfi~ ~ 11
+flrlg ru~,&~q ~ ;=fJ( il~ ~ ~in, cfi'l lftcfl ~~;:o Il Ch. Ch ., I (1 9~}.
s. m~ Hr~~~ H,fil3f ~ ~r~1 11 ~~ ~ ~ ~t sr&l'~ &r:ti qprft 11
qr{ qr~ ~ lfoT ~;:;rr:{ 'c:ff{ ~~1 11 ~~ crri:f.lr ~~ ~{m tft~ ~ft 11
a. Bl~ ~~ ~<~I { ~~ ~ Uq cJi~ ir,:r iiWr ~~it II
ffil B~THf.:t ffl cit f'i{ll" ~~ ilR~ ~ ~, if~it 11
7. efi[ ~aT., ~ Rell~ a N<T:lim.t cfi[ . ~I'{~ if ~'fl'f{ +ra' ~cf ~ II
R . A., ( 1.5.'i)
A . U., (13)

:260 THE POETRY OP THE DASA M GRt\Nl H
(ii) The Vritit variety of verse No. J 5 of the Akal Us1a1 1 has 1ncJde it all the more
attractive. In this very contexl the Ullekh Ala11kar bas not only made the
apparently contradictory manifestation ot God faith-inspiring but has also
powerfully expounded His all-con, prehensive form as in the Gitc:1.
(iii) The divine couple, Ram and Sita, is ~•ell-known as inseparable in tbe world.
In stanza No. 848 of the Ra,navrnr\ the Guru has, by en1ploying the Anyonya
Alankar, beautifully portrayed their mutual indispensability, corporeal or
spiritual.
(iv) It is said in the Vedas that the Universe has emerged from thal Sole Lord and
it merges also in that One God. Tbe Tenth Guru in verse No. 81 of the Japa
has n1ade this profound truth intelligible by the employment of the Poorvaroop
Alankar.
<v) The Sufis who have had medieval reputation and who regard God as the
beloved, say, 'Wheu you love, you must have the madness of a lover.' The
lover in his craze of love is always after love, no matter whether it is weird,
fatal or wholly revolting. How consuu1mately has the poet of the Dasa,n Granth
1n verse No. 6 of the Shabad Hazare' carried home tbis elaborate mystic
doctrine with the aid of Anugya and Triskar Alankars ! Further the poet has
depicted the wondrous form of God. This not only inspires faith in us but
also gives us strength to understand Him.
2. Those 1-vhich augment the beauty of e,nolions :
The second category of the Alankars ,vhich on account of their originality, give
expression to human emotions are generally the san1e \\<hich a,e found in the compositions
of other master-poets . Some of them are expressive of peculiar senuments which can be
called a personal co □ t ri bu1ion of 1he Tenth Gun.J. 1 hey are further classifiable as
(a) conveottonal p0et1c emotions and (b) novel ideas.
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ART VALUE 261
(a) (i) In the expression Daa,nan .Tiu Durga Da,nk{d in verse No. 50 of the Chandi
Charitra 11, Vrit1;1anupras and Lupropan1a have combined to produce the
effect of the terrific speed and the destructive nature of Durga.
(0) The expression Chand ke judd/1a ke dolt paraane etc., in verse No. 146 of
Chandi Charitra 12, is \vorthy of note. Though it is a commonplace occurrence
that co\vards are seen flying fro111 battle, yet the flight depicted here by the
aid of Jfa/opanza is not to be found elsewhere.
(hi) The portrayal of Ran1's glorious and fascinating appearance in verse No. 172
of Ran1avtar3 could only be accompHshed by the subtle use of Ullekh Alankar.
(iv) What a beautiful al1•sided picture of Durga, in verse No. t9 of the Chandi
Charitra 14 , is portrayed by the 111e1aphorical use of hyperbole !
Such figures of speech may be found in the ,.vorks of other poets also because they
are poetic conventions but the twists given by the Guru at places are really remarkable.
(b) (v) Io verse No. 209 of the Datta Avtar6 in the single expression of So-aa chook, bow
exquisitely have the contradictory sentiments of Shr;ngar and Shant been
harmonised through Slesh ! Its clarification is implied in verse No. 2106 on
account of the interpretation of the Ashrai (subject). Such a perception is
unique in poetry.
(vi) Narayan, Kaulnaabh, Gopinatb, Rikbikesh, Madhav- all these names of
Lord Krishna have come do\vn to us by tradition but that these names also
have some hidden significance becomes clear only through the Nirukti Alan/car
used in verse No. 7-t of the Alea/ Ustat 1 •
------- - - - - - - - - - , - - - - - - - -
l. ~ ':Jl'ft ~' % ~ 90 ~ r{r.r.:t f~ ~(Tlf ~~~ 11 Ch. Ob., 1. (60)
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nit~ ~,r1e ;::rr~ ~" ~-c..B ~ -s1~ 'i~q ~~ ~ iil(l.:itm" &. 11 R. A., {112)
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t II A, u., (7!)
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3. Those expressive of qualities and action :

A few Alankars of the Guru which express external gestures and peculiarities a long
with emotions, deserve separate treatment. For instance,
(i) In the Kaku-T''akrokti Alankar. in verse No. 148 of the Ra,navtar1, the depiclion
of want of shelter and the omnipre8ence of Ran1 v.1 herever the enemies go is
unparalleled. The manifestation of the mental instab1li ty and contrariety of
action seems to be the underlying motive for tbe use of this Alan/car.
(ii) In verse No. 395 of the Nih-kalanki Avtar\ the ernployn,ent of v;rodhablias
Alankar has served to depict si1nultan(!ously a number of actjons such as heroes-'
warfare, their prowess, Lord KaU.i'.'• inveterateness and enemies' emancipation
through death. To die for glory is good. But to die thinking that it Jjes in
death only is not praise\vort by. Here the poet has strangely but very skilfully
made death the cause of emancipation.
(iii) Similarly in verse No. lot of the Rt1111aPtar3, Virodlr cl/an/car depicts gratification
of the greed of beggars by satiation.
4. Those expressire of 11·ord-pictures or sound pictures :
Some Alankars of the Guru are unique in the portrayal of beauty and action.
For instance,
(i) In verse No. 384 of the Nih-Kalanki A~1tar' how beautifulJy has the J/eepsa
A/ankar presented the disposition of the armies of the enemy !
(ii) In verse No. 62 of Clw11di Charitra 1°, in tbe experssion Unu.1diyo n-1anu ghor
gha1nand ghataa, the Utpreksha A lankar has port, ayed the aggressive form of
the army. Here the whole secret centres in un1ad para.
--
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~ t.f@ ~111.:t ~ t.11~ II an'U<Ji dlla tR ~ :ifl~ 11 R. A., (Hi2j
Other ,•ersei> of this kind arc N. A., (3ll3), Ch. V, (15); re A •• (87J); !'tc.
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~f;j\' m qr~t II
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~ ~ ~t ~ft ~ ~ ~.tfsm mm crl1'. 1-.1ii:: ~2r 11 Ch. Cl1., I. (112)

ART VALUE 263
(iii) How natural and unique is the spectacle of the glow of the glow-worm in
verse No. 218 of the Chandi Charitra 1 1 in the comprehension of the spa rks
flyin g from the rattUng of swords !
(iv) Battle is a heroic feat. [Joli is purely a sportive festiva l. But how tbe super-
imposition of holi on warfare in verse No. I ~85 of the Krisanavtar 2 has made
the spectacle impressive and astonishing !
(v ) How th t employment of the figure of doubt created by the compari son of
the thundering bride with a lioness in verse No. 1-t of the Pakhyan C/iarirro :i
No. 40 has helped in the depiction of the true nature of the f orn,er ! This is
but a small instance of the ability of tbe poet in the use of figures of speech.
Io brief, the Alankars used in tbe Dasrun Granth are myriad. They ha, e been
skilfully \Voven in the texture of poetry in a natural way. Though, at certain pl aces, they
portray emotions i □ a conventiona l vein, they lend beauty to the situation or action in
the setting used. ln m:1ny places there are also new fligbts seen. It is sajd that art lies
in the concealment of art. This is borne out by the Alankars used in the Dasa111 Gra,uh.
Thus it is clear that also from the point of view of the Alankars as well as the theories
co11nected with them, the poetry of the Dasani Granth is a successful accompli shmenl.
The study of these schools of thought regarding poetry does not, of course, exb au~ t
the interest of poetry on the technical side. There are innumerable other matters which
equally deserve attention. There is for jnstaa.ce, the metre which is a distinctive and
fundamental characteristic of poetry as a form of art ; music, rag and raganis, and melody
which by themselves make a profound appeal to the feeling; language which communicates
the peculiar character of the poet's experience with the most penetrating vigour, the finest
definition and the subtlest detail to the reader ; diction which creates the appropriate
emotional atmosphere ; descriptions which lend realism and diversity to a narrative ;
nature which gives an unfailing aesthetic delight to be awa re of the infinite in things and
transcending things, for to contemplate nature is to enter into the divine community of all
being 1. All su:;h topics which are included in l he te<,;hnique and style will now be treated.
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bij q:jffl fif; ~ ffll i{f.ffflat ~ ~;rn: ~u 1,
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~"r €Ii i:1ina err~ +11<a -UR ~ ~ m~~ ~rtft 11 P. 01,., 40 (14)
4-. Lascelles Aberl!J'Otnbie : The Art of JVordswort!,, 26.
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264- THE POETRY OF THE DASAM GRANTH
(e) METRE
The place of prosody in Indian pnetry is very ancient and in1portant. The Vedas
are regarded as tbe n1ost ancient books of the world and they have been composed in verse.
ln this ,vay, India is a pioneer in the field of prosody also. How very in1portant prosody
was regarded in the Vedic times is clear from the fact that prosody has been included in
the six ancillaries (=wt : subservient sciences) of i,edas-the phonetics (Shiksha), Etymology
(Nirukta), Gra1n1nar (Vyakaran), Dituals (Ka/pa), /\stronon1y (.lyotish) and Prosody
(Clrha111/). 1 ~rhis is but proper. ln fact there is n'> perfect flow jn poetry without prosody.
Then again music also has an in1portant place. It has the power to influence not only
men but also heasts and trees. 1herefore. if poetry is for life, we cannot dissociate it from
music. Jn otl1er words to ignore= prosody is to lessen the fascination of poetry, for,
prosody is :i science of the rules that generate the beauty of sound and music.
Prosody is sub-divided into two kiods 1 f,'edic and secular (cyUfcfiofi). There are some
metres ,vhich have been employed in the VeJas only. for instance, Anushtubh, Gayatri, Ushnik,
etc., ,vbicb are called Vedic metres. Metres employed jn the non-Vedic literatures such
as the Puranas, and the ornate poems ( Kavya Grant ha) are called secular. Secular metres
are furlher sub-divided into two main categories, A1atrik (+trb4<h) or Jati io which syllabic
instants are counted, and Varnik (~lll!q;) or T1ritta in which the nu1nber and order of short
and long vo\.vels are taken into consideration.
In Sanskrit the ::.age Nag Raj Pingal has been recognised as the founder of prosody.
Kalidas, Ganga Dass, Kidar Bhatta have done a great deal in its development. Apbb ransh
borrowed metres from Sanskrit and the san1e have been further borrowed by Hindi.
Acharyas like Keshav Bhikhari Dass, Padmakar (Ritika1) and Jaggan Nath Prasad (Adhunik-
1
kal) have greatly contributed towards the structure and propagation of 1netres in Hindi.
In Hindi also the two categories Nlatrik and Varnik have been recognised. In
metres like Kabbitta etc., in which only letters are counted. the cooditions for the counting
of ga11ns have been relaxed to facilitate the development of Hindi poetry. This is not a third
kind of metre in Hindi, but a aew forn1 brought in the Tlarn;k metre.
lo the initial period of Hindi literature Doha metre is found employed in the
Apbbransh compositions of Jain saints. Later in Prithvi Raj ,Rasso and other bardic poems,
Chap1,a(ra, Dvha, 1'on1ar, Trorak, Galla, and Arya metres prevalent at the time, have been
employed. Kabir and other Nirgun saint poets of the Blzakti period have used the
hackneyed Doha metre. Jayasi and other mystic poets adopted Doha, Chaupaaee metres for
their !)tories. The contemporary Ashia Chhaap l~ ~J poets of Keshav have mostly
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ART VALUE 265
composed Padas. Surdas, Nand Dass, Parmanand Dass and some others have here and
there used Doha 1 Rolla~ Chaupaaee, Clil1appa_ra, Saar, and Sarsi also.
Alnong the conteinporaries cf Keshav, Tulsidas is the only exception, who used
most n1etres before Keshav. A1nong 111atrik metres \~ hich Tuisidas employed, are Chaupaaee
DiJha, Sortha, C!iaupaiya, Dilla, To,nar, Harigeetika, Tribhangi, C/zhappaya, Jhoolna and
Sohar. t\mong Va1•11ik metres he used Anus/Jtup, lndravajra, Totak, Nags1raroopilli, Bhujang
Prayat, Ji,f a!i11i, Ra1hoddl1,atta, Basant-Tilka. Vans/zasthavilarn , Shardool- Vikridit, Sragdhara,
Kireet;, ];Jalti, Dur-n1alika and Kabitta.
Keshav has overstepped Tulsi in this field. He has surpassed his predecessors
in the number of tbe use of the metres. In addition to the old ones, he has used Dhatta,
Prajjhatika, .drilla, Padakulak, I ribhang;, Kundalva, Geetika, Madhub!,ar, Mohan, Vijayu,
Padnzavati, Harigeetika, Chaubola, Hariprira, Roopmala, which are Matrik ,· and Shri,
Dandak, Tarni}a, So,nrqji, Kiunar-Lalita, Hans, Samanika, Narach, Visheshak, Cha11cha!a,
Shashivadna, Cha11chari, Malli, VijohaJ Turanga,11, Katn1a, Sanyuta, Modak, Tarak, Kallzans,
S'l-vaagata, Motnak, Anukoola, Tan1ras, Mattagayand, Cha1nar, Chandrakala, K;reet
Slvaiya, Madira Sivaiya, Sundari Slvaiya, Tan-vi, Sun1ukhi, Kusian-Vic/zitra, Jvfotiyadan1
Sarvati, T1varftgati, Drutta-Vi!ambit, ChitrOJJada, !vlatta-tf aatang, Leelakara11-Dandak,
Anangsheklzar Dandak, Dur,nil S1vaiya, U11e11dra Vqjra, C'handravartJna, Pra,nitaakshara,
Prithv;, .11Ja/!ika, Gangodak, Manora,na, Ka111al, Nishi-PalikaJ which are Varnik.
Guru Go bind Singh~ too, has e1nployed both the varieties of metres in large num ber,
He has kept in view the tendency of the age also in the use of the prevailing metres.
The names of lhese metres, their special features, their sources, their alternative names,
na1nes of the works iu which used, their frequency of use, their previous attempts in
Hindi literature, some novelties in tbe application of old and new metres, etc., are given
in the tab les on the following pages to show· t11e vast ground covered by the poet of
the Dasa111 Gra11th in this field, his mastery over the art of prosodyJ and his power to
inven t even new metres suit able to the realisation of a rasa.
--
1. -- --
Ilira, LA.l Di.xit- - --Keshavdas,
: Acltarya - - --202. -- -- - -- - - - - - - - -- - - - - - - - -
,,.

ART VALUE 266
of syllabic instants (matras)

Co~fPOSl'l'IONS L'f
F11EQVENOY RE1i1An'Ks
W11ICH 'C/St:n
Chaubis (Nilt,) Avtar 4
Chaubis ( Ni!z,) A vtar
Bachitra Nc1tak 1 An early, form of Chaupaaee 3 • It has been profustly useci in uarraiive
Clwubis (Ruilra-2 Suraj-2 poetry of Hindi literature.
Krismt-14) A vtar 18
Sastra N a,n Ma/a 253
Pakltyati Charitra 690
962
Chaubis (Nih.) Avtar 2 A kind of Arilla.
Choubis (Nih.) A1•tar 4 In Hindi Chhand Prakash6 it is shown as a Vanzile A{etrc. ln the Dasam
Granth it is Visham Matrik.
Gian. Prabodh !I: In the A di Granrh, Kalas is a colllbinaLion of two di lferent metres. In the
C/1aubis (Ram) Avtar 9 Dasan1 Granth the combination is that of Chaupai and Tribhangl. But
the poet ba.s named the Cliaupai as Kalas and continued the name of the
second verse as Triblta11gi. 'l'l.tis speoia.lity, found both in Ra1navtar and
Ginn Prabodli, confirms one authorship of both,
Chaubis ( Ni/1. ) A 1•tar 6 Kunda/is itre commonly usec.l in Hindi. Kundalis of poot Giriclhar are
especially well known. Tulsi, Kesliav and others have also written their
composiWons in Kunda/is. Zvioderu poets too use it freely.
Chaubis (Nih .) A-vtar It is a kind of G(1ha nzetre10 • In Hindi Chhand Prakash 11 it baa been
defined as having four charans with 62 matras in all. But in the Dasam
Gra11th it is of two charons with 27 ;nc1trc1s in ea.ch and 54- in all. This is
Chaubis (Nih.-8, poet's ne\\ form of metre.
Ram-8) Avtar 16
Chaubis (Nih .) Avtar 2 This metre is employed in war poetry. It is also used in danre. On its
being sung dancerR know the moment when they have to change their
movements,
Chaubis (Ram) Avtar 3 It would do wcl.l to take this not as a. metre but as one of the kinda of
A /atikars. Cliaubola as found in Ran-iavtar may be defined as havjng four
charans in four different languages and otherwise called Blu1sha Samak
Alanko,.
Chaubis ( Nili.) A vtar 4 't'he ,erv•
name is explanatory of the definition.
Cha11bis (Ra1n) Avtar 8 A kind of Charpat.
-- - - - ---·- -- ---
9. H. ,~ .• 93. 10. G.D.. ll.i4. ll. H. C. P., 240. l:?. B. 8. R. A. s., ao: R. A., 95. 13. G.D.. 179.

....
ART VALUE 267
CoMl'O!ITTIO~s L~
WIIlOJi I lilgD Jl'BF.Qr.TENOY REMARKS
Alea/ Ustat 10 In Hindi Pingal Sfit1srra we fu11l two different metres, Chaupai ( '<114~ ) a.ud
Bachitra Natak 162 Chaupaaee (:.nm) by name. The 1lrst kind hos 15 ,natras and the seronrl
Chandi Clwrio·a JI 20 16. Strangely enough in the Dasam Grcmth we have under the name
Gian Prabod/i 16 of Cltaupai a metre witli 16 n1atras always. In the Sikh poetical works
Clint,bis A v/ar 414 Chaupai and Clzaupaaee are the aame3 • From the point of usage Chaupaaee
Brahma ,l 1•tar 56 is the most popular metre in Hindi literature. Chaupaaee is tbe metre
R11dra Avtar 79 which links up bhe verse episodes in a nar.ra.Lire. In early perio<ls
Sasrro ,Vanz 111 ala 344 Padd/zaria w11,5 more favoured tl an C'1a11paaee.
Pakhyan Cfwritra 4424
5556
Jap ]
In the Dasam Gran th many kinds of Chhappa; have appeared under
Bachitrt1 N atak l different names. This metre bas been profusely usecl by all Hindi poets•
Gian Prabodh 8 The C'hhappai of Nabhnr1n::1 is specially noticeable. Chhappai is .inother
C!wubis (Ra,n-10 Krisan-5 name for Shardool-T'ikreedit in Prakrit 6 •
/llih-4-) 4vtar 19
Ruclra (Paras Nath) Avtar 47
Pak/iyan Charitra 5
81
Sastra Nmn Mala All kinds of metres are Pometin1es pnt unclor the heading 'Clrhand'. Verise-
Paklryan Charitra No. 725 of Sastra Nmn Afala, which js in Tornar, is given the heading
Clihmui, rrulsidAs also has gi,ren the hearting Clzhand to metres like Hari-
geetika etc.
Sa.ftra l\farn Mala I In the Dosam Granrh Chhand Wadda is written in p]ac-e of -flarigeetika,
C/iaubis ( N ih. ) Avtar 2
Akal Ustat 20 In Hindi this metre is A1atrik, but Ka.ha.u Singh Las taken it as Varnik
Gia11 Prabodlz 22 aJso Laving IIS s1. 1s1 in Elr\dl 'l1'arter10• E'l"en iI we Lake ib so, ou1 llfatrik
Chcwbis ~1l'tat· ~G clefinit,ion .holds good. Tn Sanskrit also there is a Varnik 111etre of th is
Rrahn1a A rtar 70 name. Io Hiutli, Tu]iiidas has usecl the Jvf atrik variety. Keshavdns's
R11dra ( Dana-~6, Paras
ap1Jlkation of the 1netre is (\onllned to the Vanzile variety with one or two
l\'arh-1!) 41'1a1· 60 exceptions. l(oshav bni; named this metre as Padfzarika .
Pakhycm Clu,ritra 6
20-1:
lka/ Ustat 20 Tulsi, Keshav .and other old masters have used this.
Bad,ltra Natak 2
Gian Prabodh 7
Chaubis A vtar 12
4L
,.. Akal Ustat 10 In Hindi Pingal Shastra, Do/10 or Dohra is of ma.ny kinJs. In the Dasa1n
Baclzitra JVatak 38 Grantlz a!Jnost o.11 tLe ki11d~ ure met with. Doha is uest suited for shorter
Cha11di Charitra I 80 patteros uf verse. It be<'a1ne tire medium of the n1ystie seutiments o.f Sic/1,s
Chandi Charitra II 14: like Sarh, f...onha. T11/opa etc. IL helped Gorakh Nath for his tea.dungs. J t.
Gian Prabodh 2
oon-veyetl tlie teacltir1gs of a fr1:e-willed person like Kabir. It 111ade its ·wav
Cha11bis Avtar 454 into the fi~kl of erotics also. Behari 's Dohas 11re \\ ell-known for extrem-~
Bra/11110 Avtar 1 condensation and refinement of utterance. Jayasi. Tu/.t:i and ~ome others
Rudra (Datta-], Paras
ha.ve usPt<l it for long na1-rt1.tive poetry. It is the ruost. poplllar of a.U 1!te
Nath-7) J1 tar 1 8 commonly used metres.
S11,aiya Jo J...ichh Lekh Likltio
Bid/1110 I
Sastra Nam A-Jala 711
Pakhyan Charitra 1830
3149
(I . G·•. D.• 203. l o. Q_ H . L. 'IBO ll, J D Tr 105 l"" F.. -f'.l. 11 .\ ~ , 31'1 T'.l R
-.\.-' I- -11 -H, ~ ---
.If! - -~ - --
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ART VALUB 268
00:MPOSlTIONB rN
F REQUEN CY Rm.1AIIKS
WUI OR USEO
Chauhis (Nih.) Avtar 4

Chandi-di-Var 55 It iB of several kinds. In the Adi Grantli many verse-forms under this
heading a.re met with. This form of composition is both in metrically
regulated form and otherwise. It is 1n1tsical in cliaracter and is sung by the
cow-t bar<ls2 • Strictly speaking it ic1 a, form of poetry anrl not a. metre,
Shahad Hazare 10 These are songr3 controlled by different Rags and Raganis. Ancient poets
Rudra (Paras Nath) Avtar 45 ba.ve used it freely. In Sant and Bhakta poets we find it, userl in its
augmented form (containing more than four charans). Their Banis are
beautifully versified in Padas antl acquh·e seriousness and djgnity from the
spiritual experience and conviction of the great saints. Thie is also a form
of poetry and not a metre.
Chaubis (Nih.) A vtar 3 T11is metre is a form of double Chaupai. By adding a doha before, it be-
comes a Shalpadi metre which is also called tbe Ba;n1a1,.;c Dhvani.
Akal Ustat 38 Paddhari, at times, is taken to mean Cltaupaaee. T he convention of calling

Bachitra Natak 2 Chaupaaee by the name of Paddhari rloes not a,ppear to be an old one. 6
Gian Praboclh 16
Chaubis Avtar 92
Brahma Avtar 40
Rudra (Datta) Avtar 124
312
BrahnJa (Vyas) Avtar, 5 It is another form of Madhubhar 1 •
Chandi Charitra I 2 It is a kind of Arilla°.
Chaubis (Ram) Avtar 2
Cllaubis (Ram) A vtar 4
Chaubis (Krisan) Avtar 5 See Pad. Vishnupad has been a. medium of composition of Surdas and
Rudra (Paras Nath) Avtar 45 Mirabai.
Jafar1101t1ah 111 Bait has been 11sed in Arabic, Persian and Urdu poetry. Santokh Singb
(Hikayals) 762 usPd it i.Q Hindi poetry and poets like Varas Stia.h a.nd Batiz in Panja.bi
-86a poetry. The met.re scheme followed in the baits of the Jafarnamah eto.•
is Jou/an, fou[an, foulan, f ou/. Bait is a. ver8e-form and not a metre.
Chaubis (Ram) Avtar 3 Kesha.v has used it nndbr tile name of Twaritgati with Ill , ISi, 111 , sin eaoh
quarter.
Chauhis (Ram) Avtar 14 Al1 the k inds of rhymes are found in the Ramavtar 14•
Jap 17
Bachitra N atak 12
Chandi Charitra I 8
Chaubis (Nih.) A-vtar 11
Brahma Avtar 34:
Rudra (Datta) A vtar 15
97
0, G.D., 225 fn. 10. G. D,, 261.
----
11. G.D., 262. 12. G- D., 276. 13. J . 0 V., 161. 14. R. A., (655, 660, 667}. 15. B. B. R . A. S., 20.
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I
ART VALUE 269
COMPll!ll'l'10N.S IN
WJHCK IJSED Fn:n:QUE:,rcy
Chaubis (Nih.) A l'lar 7 Madho is a, kind of Anlla2 •

Chaubis (,Y ih.) A 1•tar 4 See M adhubhar.
Rudra ( Datta) A vtar 4 This is a kind of Hairgeetika.
Cha11b;s (Rani) Ai-tar 8 .Nlohani is a vaniik metre also6 •

Brahma ( Aj Rl-lja) Avtar 8
Rudra (Datta-18, Paras
Na1h-l8) A 1•tar 36
--
65
Chaubfa (Nih.) A vtar 2
Cllandi Clwritra If 2 This is also a varnik metred.

Cha11bis (Ra11z) A vtar l
Pakhyan Charitra 16
19
Chaubis (Rmn-4 Nih.-3) Bhai Kahan Singh, in his Guru Chhond Divakar11, gives its other name a.s
Avtar 7 Shriklrand whicli is a. meL1·e in Sanskrit.
Cho11di-di-Var 55
62
Chaubis (Rani) Avtar 8 Keshav has used Sukhda metre witll 22Matras a-nd two Laghus at the end 12•
Cllaubis (Nih,) Avtar 4
Chandi Charitra II 9 See Madhubhar. Be~ause certain metres contain the strains of musical
instruments Lhe word sangeet is prefixed to them14 , They are intended to
be sung or recited to work up fury in the warriors or to increase the tempo
of war.
Chaubis (Ranz) Al'lar 8 See Chhappai. I t is amenable to music.
Rudra (Paras Nath) rlvtar 9
17
Clzauh,~~ (Ra,n) A1•tar 4 See Ba!ira. It is inten<lell to be sung or recited,
Bra!unn (Vyas) A 1tar 1
2 See Padhari. Tt is intended to be sung or recited,
Chandi Charitra I 7 In the Adi Grantlt, Sortha is gh-en under Salok, In Hindi literatt1re Sortlra
Chandi Charitro fl l has been profusely used.
Chaubis (Ra,n-a, Krilan-37,
Ni/1.-4) Avtor 44
Sascra Nanz A1a/a 2
Pakhyan C'haritra 20
80
Chaubis (Nih.) 41'/ar 2 From the point of view of usa.ge thi::I mei:re is very popular. Old and
modern poets of note 11n,ve n.dopted it. ,vith l\Iaithlisharan Gupta. ic io a
very fascinating metre. I~ .is th.e augn1ented forn1 that we come across in
the songs of Sant and Bhakta poets.
Chaubfs (Nih.) A 11tar 2 It is also a varnik metre18•
Chaubis ( N ih.) A 1•tar 4 If pau11e is at 8 and 7, 11.11<1 Lag!1u and G11ru at the end, it is called Hausi
ia Hindi. KesLav has used this ruet,re in Ra,,z Chandrilca with Sil in the
beginnine of the 1nctre.
O. J. D. V. 172. 10, G. U., 112; J. D. V., 172. 11. G.D., 127. l~. H. U. P., 61, 13. G. D,, llS. lci,. G. D,, 12J. 15. B. B. H. A. S., 21-:-

At{T VALUE 2i0
and positition of syllables (ve>r11a.1i)
('OM rofi 11 IO'l/11 I "I

I\ 11J1 u 1.;s1:n
llra/11110 (,\I 011dhaf<1 Uaju)

A ,·tar
C/,nubf~ (Nii,,) A \1/nr II
Ch,iubis ( Ran, Artor) 16
Choubis (,Viii.) Artar 6 This metre ie used iu the iVihka{anki Avtar to repr•J l11ce tlie so11nd of Lhe-
n,•Lunl ndinn.
R11dra (Paras Nath) Avtar 12
Chauhis (Ran,) t1•1ar 10 See A.k1·a. 'rhi-. metre ii:1 used i11 the Ra1na1•tnr to teproducu the sound of
the ac~uoJ ac•tion. •
Cltaubis (Ai/1,) A 1•rar 3
Chaubis (Ra111) A 1•tar 1(1
Chaubls (Viii. ) A1•tar See Akra.

Cliaubis (Ran1) Avtar 8
Chaubis (St"aJ) .A1•1ar 1 See Akra10 •

C.J1a11his ( Rarn-~9 Nili.-t,)
Artar
R1tdta (Datta) h•rar
Chaubis ( Ra,n) A 1·tar 211
C.lzaubis (Rain) 1l'!ar 4 A kind of Apoorab 1a.
Chaubis (Ra,n) A1•tar (\
Chaubis (Rani) 4 1•1ar fi
Chaubls (Rani) Avtar 8 fn t.hitt met rt•, ns t,ho na.m(I ,1Jiow:,, Lhere is no rh,yming nl tl1c end 11l.
.lap 8 There 11ro four kinds or tliis metre : /. Sliti. 2. ,Huhi. 3. }.frigcndra nnu
Of dlt'l'IC the oxnmplt,>➔ of the I.,~~ three nru found in t,he Jap c,f
17
4. Sltaslri •
l,lw Da.1·<J1n Gr1111tl1.
Chauhis ( Ra,n) A rrar 9
Jo. G. D,, t\t), 11. 0. D .. 70. 12. Q, D,, 71. 13. G. D. 7!. 11. •J,D,, ii. 15. G, D., i7. lU. G.D., OS. l'i. (;. D., 7~.
Digitized by Panjab Digital Library J www.panjabdig·iUb.org

ART VALUE 271
Co,1POSl'l'tnr.:8 I ~
\\'lHCH t"S t,; tJ F 11 lCr.;?UENOY RlmA.mrs
Bral1rna (Vyas, Aj Raja) A 1•tar n

Clwubis (Ran,) A.,•tar 13
Chaub1s ( Ra,n) ,1 vtar 10 A kin<l of S11•aiya 3 •
Chaub,s (Nil,,) Avtar
Al,af Usrat 4-1- R'abitta is i1 met re of fine 1uove1nents and is good for Shringar H,od Vir
Cha11di Charitra 1 7 ra~a JIOetry. fts 01i~in is shro11de<l in mystery. It, is profusely found in
Gian Prahodh 8 old Hindi litero.vure. Tulsidns made a large nae of thi1:1 metre. Kabittas
Chaubis I Ram-ri:>, of Pacln1akar are lH.:ll·known.
Krisan-11) A rtar 69
Bralmta (r yas) Artar 1
Pah.hyan Charifra 25
164
Chaubis (Ni/1.) A 11/ar 2 See Asta.
Chaubis (Ram) Avtar 8 Kesha v has used this metre in his works.
Cha11bis (tlih .) Avtar 8

Cl101uli Clwritra fl 4 In W1e Dasarn Gra11rh, the rnet ltns 11serl this metre both as 1llalrik0 and
Cliaubi~ (Nill.) ,h1tar 11 10
Vanrik • '1'1.-e jusnfit·aL1tm for this remains to be found out as tLis is
Rudra (Daua) Avtar s poet'~ own iu\·ent.inn.
2a
Chaubis (Ran,• Avr..zr 8 In /Sanaknt tli il:l metro is eiilled Dodfzakl'.!,
Chauhis ( Nih) Avrar 12 In Nih-Kalanki Avtar (229) it appears as Kripankrit but 1n Datta Aiitar
Datta ,I vtar (389) it appears as ,lladhubhar13,
a4
.lap 8 See Uchha!.
Rudra (Datta) Avcar 19
Jap 32
Cltauhfa ( Rarn-6, Nih.-19)
1l1 1tar 25
Chaubis ( ,V ih.) 1h•tar 2 J,eflhnv has 1Jserl this nl(>tre.
Chaubis (Nih.) 4.vtar 2
C/iaubis ( Ra,n-3. Jhoolna is nl:,,o kn0~·n ns ,11a/rik metre20• Medieval poets hn.'ITe used it
J{risan-4) A 1·tar 7 freely.
Chaubis (Rani) A 1·tar 4
ln the Dasanr Gra11tl1, Sornraji or Ardha Bhujang is named as Jhoo/a~a.
Chaubis (1Vib.) A 1•tar 8 According to the dclinit1on there should be four clrara11s in this metre.
But in lite l\'ih-Kala11ki Avtar we have only two.
Chaubis (Ni/1.) 41•/ar 2J. See Asra.
Rudra (Datto) A1•tar 2
26
Chaubis (Rani) Avtar 8 See 4.sta. A kind of Tarak 26•
~- .N
..•\.,~:-.-. -IO-.n· .·,c .,.111. 11. ,-\_ l),, lJS. 12. C.S.,4:J. la. G.D.,10·0.-1•." D •t- 1..,L • 1~, '" l) 1~,., ltl , G', D •o 17-3 - - --
:•
2-1 o;,,,
(I. u., 111n. ~.,. Cl. D., 200. 20,...,. G.D., -~oo.
' -.: V. L o"'' •· ... ,
Djgitized by Panjab Digital Library/ www.panjabdigilib.org

ART VALUE 272
Cent rosn 11.it-·'-' 1 •;

\\ 1111'11 IJBEh
Chaubis (Rain) . I rrar ti Sc(, Ugadlla. i\letre J n which sound i;onvey~ tl,t! se11~e.
Chaubis ( Ram) Avtar See Akva.
Akal ustat
BachiJra Notak
Clrandr Charitro I
Clrandi Charitra JI 4:
Giau Prnbodh 16
(/rauhis (Nar-10, Nar,i11gh-
l6. Rudra-16, Gour Badlt-3,
Jallandlrar-0, Suraj-2,
Rarn-27, Ar isa11- lO,
J\ilt.-ll) Avtar 101
B,aJr,no ( Prilhu-2., Dalip-1)
A war 3
Rudra (Datta-1:i,
Paras 1\fat/1- l "2} A 1•tar
Pa/1/Jyan C/rantra 18
232
Chaubis (Rani) -iwar 10 See Ak1·a. 'T'Jtis hai- l1een used to reproduce tbe llonnd of .1,·turd nrtion.
Chaubis tRa,11) A 1•/ar 8 See AA I'll. The poet hns used t-hie n1etre al,;o to reproduce the sound of
actual fighting.
Chaubis (1Vih.) A1·tar 10 See Akara. This metre is osed to show the sound that echoe!' the sense.
It repL·oduces th<' sounds of /'vlridang.
Clwubis ( Nur~ingh-:3, C!zand-4, rn ,1.,rse No. ~3 of Narsingh A 11tar of the Dasanz Gra11th. Dodhak has
Ra111-lU) .lvtar 17 been usod fnr Alodak nlso wbich is SIi. SIi, SIi, Stl in etir.h quarter7 •
Bra/11110 (Al andhasa Raja) •
A vrar 5
Cha11b1s (Rant-4, Nrh.-0)
Avtar 10
Cha11b1s (Ranz) A.vtar 5
Akal Ustat 20 Chandra, Ranltii l1Hs ui>e•·l 1\arach metre )Ht\"ing 18 syllables with first two
Clrandi Chantra JI .21 as 111 (Nagan).
Bral1n1a (Intro-:?, Balim;ki-6)
•I 1·1ar 8
Rudra (Paras No1h) Awar 30
Pakhyan Charitra 1
Bachitra Natak 33
Gian Prabodh 37
.:9
Gian Prabodh 12 See 1Yagsaroopini
Chaubis (Suraj-4, Ram-5)
Avtar 9
-tl
Chandi Churttra If This iR tlie sarue 1u1 Naroj. But the wurrl Bridh is udded to show the
Giufl Probodh 5 opposite of Laghu iu ,Yara_; Lag/11112•
Chaub,s ( Rudra) A 1•tar 4
-- ll,
10
G. T"I,, ~:.!l. 11). C. D., 22!!. 11. U. D., 2!!3, 1~. U. D,, 2:!3.
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• • ART VALUE 273
C1>~fl•OStTJll>:S fN
f•'lllNUENCY ,
WHH!Jl l'St:1,
Akal Ustat io See Nagsarupi Aradh. •
Chaubis (Rain) A 1•tar 6

Chandi-di-Var 1
Chaubis (A'ill.) Al'tar 2 lo the Dasani Gran//1 Totak is shown as Padhisatka6 , n.t, pla<"ee.
Clwubis (Nih.) Avior 4:
Brnlm1a (Vyas) Avtar 5
Cltaubis (Nih.) A 1·tar 2 In the Dasa11i Gra11tl1 it, is Lhe same as }.rfodok. In books of prosody it,
is s11, Ill, ISi, ISi , 1.8
Clu111bis (N ih.) A vtar 4
Gian Prabodh 19 This is a Pa'!hto au<l Persian n1etrc. There the long lyrics in Tilanga Rag
are famous as snrh . ln the Gian Prabodh under the heading B"hira T1i·eel
Pascliami, the,n, is a proyer coutnining nineteen such \'erses. This i~ noi;
in Pasehin1i language hut it is surely on the ho.lance of Pa.shto i11id
Perajan Jyrits1U.
R11dra (Datta) A 1•tar 2 This is the first kind of Cliitrapad, 16
Chartbis ( Nih.) Avtar 4
Cltnndi Charilra JI 11 Cbanrlra BarcJai hos used ~his as a Atatrik metre.
Chauhis (;Varsinglz-'J,
Suraj-2) Avtar 4
Chaubis (l1rih.) Artar 4
(1mubis (Rarn) J1•tar 4

Cl,a11bis (fiih.) ,1,·tar 4 See Naraj
Clwubis ( Nili.) A vtar (3
Jap Jl The first kind fa Sonrraji or Sankhnari,'-3

Clmubis (Ntlr.) .ll•tar 17
R11dra ( Datta-60. Paras
Nath-23) A11ar 83
141
Cha11bis (Ni/1.) J rrar 25 This metre iR used to dcscrilie dest,rnction in war,!?•1
BachiTl'u .Natak 4I Seo Astar. Bhujang is. in fa,•t., the Ha.me a.s Bhujang Prayat. Cf ,Varsingh
Chaubfs I 1•/ar [>;j Avl(J}' (32).
Pakhyan ( harfrra 221
,'j 17
Jap 62 See Astar. ln thu Jap, fJhujang Prayat is written in 11lace of Aradh B!iujanrt
Akal r.,sra, 30 Prayat \\ hirh it rca lly j,_/11 • •
BncltNrn Natak 72
Cha11di ( /Jaritra fl 70
Gia11 Prabodh 88
Chauhis A l'far 117
Brnhnw A l'tar 22
R11dra (Dat1a~l7 1 Paras
82
'.
1Yath-GG) 41·tor
Pakhyan Chari1ro fi6
t\OY
J :;, G, u., 263. 11.i. G. LJ., 2'i4.

274-
ART VA'.LUE
CI/MPOSl'tIO:-'S I~,
W UICl:i USF.D
The
Chaubis (Nr/1.) Avtar 6 See Bhagwati. In the Dasatn Grantlz this metre )1ae both the kinds.
2
first kind is given untler Somraji or Sankhnari,
Chaubis (Nih.) Avtar 9
Chaubis (Suraj-7 , Ram-11) 8ee Akra.
Al'tar 18
Brahma (Vyas) A,•tar 5 See Totak.
Clwndi Charitra If l
C!laubis (Rani) Avtar
-23:l4
Chaubis (Nih.) A.vtar 4
Chaubis (Nih.) Avtar 4 See Akra. Anolilier n11me {or this is Tflka. 9
Chaubis (Nilt.) A vtar 2
Rudra (Datta) Avtar 3 See Akva.
Jap 8
Akal Ustat 20
Chandi Charitra II (Under
Ruamal-6, R11al-9) 15
Gian Prabodh 30
Chauhis (Rudra-4 Ram-22)
A \•tar 26
Brahnza (Prithu Raja-2,
Bharat and Sagar Rajas-23)
Artar 25
Rudra (Datta-Hi, Paras
Nath-41) Avtar 6i
Sastra N arri Mala 2
Pakhyan Charitra 3
186
Chandi Charitra l l Tl, 1s is not the namo of o. metre. Prakrit poetry in Perman is na.med
Rekhra, parbicularly a metrical compos1t,ion "·hich contains lineB both in
Hindi and Persian wordB mixed. A<'rordingly Kabitlo (A,fanhar) in the
Chandi Chc11·itra I ie sbo~-n as Rekhta.u
C/wubis (ft,fachh-3, Paras, ~ee Utbhuj. In Lhc Jap (245) Aradli B/11cja11g is nained ns Rnsmva/. Tho
Ratn-13, Rudra-10, Bachitra Natak also contains the same form of Raswal. 13
Ram-100, Nih.-35) .A1•tar 179
Rudra (Datta-17, Paras
Nath-3 ) Avtar 20
Jap 5
Bachitra Natak 90
Chandi Claaritra II 69
Ginn Prabodh 17
380
Clraubis (Ram-8' In the Dasam Grant!, Pra1nanika is namer! Sarnanako, wl erens San,anaka is
l'lih.-4) Avtar l~ :;is, ISi, '.:.15
..__
10. G. D., 30-1. ll. C. D. :~OJ. l'.?. G. D., 3l•fi. 13. G. D., 2!.l7 f. Li. ~- E. D., 650. 15. G. D., S-t.
!l. G. D., 30'1.

I\RT VALUE 275
CO!l.l l' OSITCONS J!'I
WlUCll O'SEO l"Rl':QUl!INOY
Akal U~·tat 20 It is of forty-eight kinrls. Of these the exampJes for tlte following can
Bachirra Natak 11 be seell in the Dasa,n Gra1Hh: M adira 2; fndav or j\f alti; 3 Ra,naya'; Kreet 6;
Cftandi Charitra J 134 Durml/6 ; Manoj 1 ; U1a11ka11 8:, Surdhun/ 9 SarJ1agam;io. Swaiya has a soft
Cf1m1bis ( Ra,n-26, Krisa11-
gliding movement a ppropriate for oonveying the silkeo smoothnes1:1 of
1782, 'J,li/i.-28) Autar 1836 sensnous Jove poetry. I.o the Dasa1n Grant/1 (Krisa11avlar) we find t.his
Brolm1a (Aj Raja) A.vtar 13 1netre used for 't\-ar poetry also. This metre belonga to Braj. Its use is
Rudra ( Darra-S, Paras
met with even .in. Saus.k.rit prosod.v, It is a popular metre in Hindi. The
llfath-10) Avrar 18 Swa1jlas of Raskhan are especia:Jly noticeable.
Sri Afukhbak S11,1aiya 32
Swaiya _io Kichii Lek!,
Likhio Bidhna 3
Pakfryt111 Charitra 185
225::!
Clumbis (Rant) Avtar I According to tl1e name of the met.re all the chara11s should rl.J3,rue
differently. BuL in the verse given in the Raniavtar ouly one charan rhyines
d.i ll'erentl y.
Clwubis (Rani) Avtar s See Rua,na!.
Chauhis (Nih.) Avtar 4
Chauhis ( Rani) Avtar 18 See Dodhak. Sundari is also a kind of Swaiya but by ha.Jving the c.hara11 a.
modak chhand is formed ·which is also known as Su11dari as it is J1ere.
Clwubis (Nih .) Avtar 4
Kesha1, has used this metre 17 • Ia the Dasan1 Granth complete Bhujnng
Prayat is, a.t plaoes, written as So,nraji.
Clia11di Charitra If 7 See Bhujang Prayat.
Chaubis (Ra,n-13, Nih.-24)
Av1ar 37
44
Clrandi Charltra II I See Nara).
Chaubis (R am ) Avta,· 8 See Padhisataka, In the Dasam Granth it ha.a two forms . In the Ramavtar
it is the same as Pad/Jisataka but ia the Nih-Kalanki A1•tar, Totak is given
th.is name.
B1·al1rna (Vyas) .Avta1· 6 See Aruha.
See Aradh Bhujang. I n the Dasam Gl"anth, Sankhnari is given under Aradh
Bhujang!~.
Jap [,I See Akva .
Chaubis (Nih.) Avtar 30
Brahma (Manu Roja-1,
Prir/111 Raja-24) Avtar 25
Chaubis (Ram) Avtar

••
14
Position of syllables (usu' Is 10 Persian Poetry)

Jafarnan-,ah Ill
(Hikayats) 752
863
~z ~A., (3 83). 9. Oh. Ch. I, {SS). IO. R. A., (607). 11. B. B. R. A. S. {A. & P.)•l9'17, 20. 12. G.D., l09, 13. G, D., 116. l¾. J . D. V., 173 •
. 11p ~; 0 . D., 124. ~3. G. V., 120. 24. G.D., 13,
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The foregoing tables give us in a nutshell a hundred and fifty metres, of three
varieties (,natrik and Parnik in Hindi and Panjabi and of usu'/ in Persian poetry), used by
Guru Gobind Singh in 1be Dasan, Grant!, of which a hundred and six are traditional
(including Sanskrit, Prakrit, Apbhraosb, Hindi, Persian and Arabic) and the remaining
forty-four new as well as traditional ones used under new names which though they pose
a problem to lhe prosodist for their proper c]assi6ca1ion and exposition, are new land-u1arks
in the field of prosody- After Keshav Guru Gobind Singh would appear 10 stand out as
the greatest in the use of syllabic (varnik) n1etres in Hindi literature.
Another feature of interest is the number of verses used abundantly in Chaupai,
Dohra and S,vaiya metres. Out of n1ore than eighteen thousand verses in the Dasani Grant/,
the C/zaupai alone occupies 5,55-l verses while the Dohra and s11,aiya 3, L49 and 2,262
respectively. This is as it should be; these metres were very much liked by the poets or
Riti period. •
It will not be f•ir to conclude this part of the study of the Gra111h without mention-
ing a few defects. The defects may fall into three categories, viz.,
(i) Divergence of the metre from its definition given in 1vorks of prosody. For
instance, staoza No. 326 of the Ra,navtar is a ,natrik. metre with eight 1natras in
each quarter and is named Sukhda whereas in Hindi Pingal Shastra, Sukhda has
11venty-two nzatras. Similarly verse No. 31 together with the preceding and
sncceeding verses of the Nih-Kalanki Avtar having two charans has been styled
as Tar Naraj 1vhereas according to the definition of this metre they should have
four charans each, Again, verse No_ 72 of lhe Ni/z-Kalauki APtar bas been
shown as Ela metre and of the vishani 1natrik type whereas according to Hindi
prosody it is varnik with 11s, 1s1, 111 , 155, haviog pause at 5 and 10.
(iii Lack of flow in accordance with the de6n itioo given to the mei.-e. For
example, in verse No. 695 of the Ranzavtar the ,vords ai'tfum, fin,'lt and
-.~'6a{<n will have to be respectively read as ai't'lt, r.,ii't• and "f'6'«!1 to satisfy the
requirements of the B/11,jang Prayat metre. This will have 10 be ascribed
either to the peculiarity of the Gurmukbi script or the carelessness of the
amanuenses. The same reasons will have to be ascribed to verse No. 110 of
the Chandi Clzaritra If ,vbere the metre with twenty-three syllables in each
charan and seven bhagans and t\VO gurus is termed Manohar. It is, ho,vever
1
tbe same as MattagJ •and in Hindi and a kind of S,vaiya_
(iii) Defective pause or splitt ing of a ,vord into two in the middle for the purpose of
pause. For instance, in verse No. 90 of the Akal Ustat, the defective pause at
the first and third quarter of each line results in the incorrect splitting of ,vords
in the middle. The same is the case with pause ln tr;:t-<l-il.-1 at eight in the first
quarter of the fourth charan of verse No. 42 of the Gian Prabodh.
1. Sir George Abraham Griora<:in, lll !,ia Li11g11is1ic Sun•ey of .India, VOJ. I, p,ui J, page 2, bat. ulso observed that. wh t•n { is
followed [in radbhw• words by IM-ter .;r, i~ ~olrns Lhe fo rm \/€f.

ART VALUE 277
Traditioa tbough not so often followed lays down the use of particular metres
for particular sentiments. For example, in Hindi, S1.vaiya is appropriate to the erotic,
pathetic and pacific senti ,nents; Chhappai to the sentiments of heroism, terror and fear;
Narach to herois,n, etc. There are certain metres wbicb are used in all cases, for instance,
Chaupaaee, Doha and Sortha which suit all th e sentiments. Guru Gobind Singh, !bough
he departs at places has taken notico of the trad,tioa ; for example, he has depicted the
heroism of Goddess C!tandi in Nara) i.e. Narach ruetre, in the Chandi Charilra Ii'. The
instances of the departure from tradition are his use of S111aiya metre for the herojc poetry
in tl1e Krisanav/ar and the extension of certain devotional metres like Haribobnana, Madhu•
bhar. etr ., to tbe heroic poetry as in tbe Nih-Kalanki A Ptar and Chandi Charitra I, etc.', and
heroic 1netre like Bl111ia11g Praya r to devotional poetry as in the]ap•.
Among the variety of metres already stated, the blank verse used by Guru
Gobind Singh deserves a special mention. fhe use of blank verse was hitherto confined
mostly to Sanskrit. But as in Hindi, Chandra Bardai and Keshav ,vere pioneers in Ibis
field, so 1vas Guru Gobind Singh in so far as blank verse in Panjabi is concerned.
Guru Go bind Singh was a facile metrist and this is seen in the fact tbat he bas used
the shertest as well as the longest metres in his Grant/,. The syllables and syllabic instants
of 1netres vary from one to thirty-one in the Varnik class and eight to forty in tbe Matrik
class respectively. A sustained efforL in their composition is discernible to show the poet's
skill and ability in handling tbe metres with ease. The metres su it the mood of the topic
a□d the needs of recitation.
(f) Music, RAGS AND RAGINIS
As already stated music influences not only men but also beasts and trees, etc.
It has been said tbat poetry is niusic in words. Tberefore in poetry, if it is to influence
life, rnusicjs essential lo prosody. This is in abundance in the poetry of the Dasan-1 Granth.
In addition, in the Dasa,n Grant Ii \Ve come across metres like Sang it Ohhappai, Sang it
Naraj, Sangit Padhisaraka: Sangir Pac/hari, Sangi/ Bahra, Sangit Bhuja11g~Prayat and Sa11git
Madhub/iar. All these n1etrical verses 1vb1cb are sung with the aid of instruments with
due rega rd for rhythm and beat bave tbe prefix Sangi/ before their names.
There are son1e other metres without lhe prefix :-:. angit like Trirka, Trin-nin, etc.,
which also are intended to prodLJce rnarlial m·usic by i □1itatiog the sounds of ,:veapons of
war and inusical instruments. ln these the same rhYme is often continued in all the lines of
a stanza for producing the same effect. ln connection witb Viar-narratives be has invented
these musical sounds, after tbose foun d in the Apbhransh period', to work up fury in the
L Cb. Ch. 11, ( l..Ei, :tO. :H, ,n. <1-B, 110, l~U. 140--Hi, Jtl5, 173, 174).
2 . .N. A,. (331-300, 07-11.lt. ltll-ltl:I), Oh. Ch.1, (21! - 81, 201-205) .
~- J11p., (2-~8, •W-0-l, (H-'13, etc.).
-1. (.;oUJ.psre e:,can1ple11 t,\iv,u:i in theApbhra11sh SDliilya pp. 64, 65, b6, 114,116, Hl, 170, 177, 171}

warriors, to show·the quick an.d J1ectic speed of th e battle with the beat of drum and other
instruments and to depjct indiscrimioate destruction in \Var. Here the poet has put. the
words showing the sounds of n11·idang, etc., to a new purpose in the realm of emotions
which otherwise have no meanings but which in the context in which they have been used
lead special s ig □ ificance a □ d hel p in tbe better relishing of the rasa. Io this respect our
poet has correctly made the metre subservient to the emotion, changing according to
mood and situation. He has thus sho,vn his kee □ love for music.
There is another type of musical compositions. They consist of Shabads, Padas or
songs which are meant to create pious feel ings in the religious•mi □ ded people. Ordi □ arily
a metrical composition is sung to music but in the compositions of the Sidhs a □ d other
saints most of the verses are not metrical. They are regulated by different musical
measurements (rags a □d raginis). This traditio □ is noticeable i □ bhakta poets like Sur and
Tulsi and other saints like Kabir and Dadu, too. The Sur Sagar by Sur alone contains
thousands of padas composed under rags and raginis.
Ia connection with such compositions Dr. Kshitimoban Sen also says, "Most of
these sayiogs (padas) of the saint-poets are songs ; for, this was the favourite form of
preaching with Bhaktas of the medieval India. They have expressed themselves in poetry
and music. Kabir was not only a good composer but a good singer, too. . ........... Nanak
was fond of music and was himself a composer of songs. His disciple Mardana too was
good singer." This is true i □deed . These shabads or rags are treated with sanctity as they
are associated with devotio □al so ngs. The Vishnu Puran calls Lord Vishnu as Shabda
lncarnate and makes songs and forms of poetry His emanations 1•
1·he poetry of the Gurus which was composed bet,vee □ 1500 and 1700 A. D. bas a
prominent place i □ rags. The ,vhole of the Bani of the Adi Gra11th fron1 page 8 to 1352 is
in rags and we have as many as thirty-one rags in this holy book. The Ac/i Gra11tl, includes
banis of the bhaktas along with those of the Gurus. Thus we fi □ d that out of I,430 pages
l,3i4 are in rags. We do not come across such a big collection of rags in Gurmukhi script
elsewhere.
Guru Gobind Singh was fully aware of the value of these rags and raginis in
creating an atmosphere most coaducive to pious feelings. The table given below ,vill show
the names of the rags, ragilliS and the n1usica) styles used and the places where they are
found in tile Dasam Gran th.
Compositions Toea{ No.
,.
S. No. Rag, Ra.gini or Musical Sty le
Ram Kali ( Ragini')
in whicl1 fo und
Shabad Hazare
Paras Natlt
Serial No. of .hymns
I, 2, 3
86, 87
of hymns
3
2
2. Sorath (Rag) Shabad Hazare 4 I
Paras Nath
12
I.
2. M. K., IV, 3005.

ART VALUE 27~
S . No. R ag, R agini or Mus ical S tyle Co mpositions Tot al No.

in which found Serial N o. of lt ymns
of hymns
3. Ka/ian (Ragini' ) Shabad Hazare 5 l
Paras Nath 103 I
4. Bilatval ( Rag/,!) Shabad Hazare 8 l
5. Devgandhari (Ragini') S habad Hazare 9 10 i
Paras Natl, ' 111
102, 2
s. Kl,ial (Style of music') Sha bad H azare 6 1
7. 1"i/ang•-Kafi• (Rag and
Ragini n1ixed7) Sltabad Ha zare 7 l
8. Pora} (Ragini•) Paras Nath 75, 92, 119 3
9. Kafi (Ragini')
(Some call it by the
name of Dhamar") Paras Nath 76, 93, 94, 109, l 15 5
10. Suhi (Ragini") Paras Na1h 80,81, 116 3
I I. Sarang (Rag") Paras Nath 88, 89, 91, 96, 99, 112 6
12. Gauri (Ragini") Paras Nath 90,106 2
13. Dhanosari (Ragini'') Paras Natl, 95 l
14. Tilang (Rag") Paras Nath 100 1
15. Kedara (Rag'") Paras Nath 101 I
16. Maru (Rag") Paras Nath IU4, 107, 108 3
17. Bhairo (Rag") Paras Nath 105 1
18. Adan (a) (Rag") Paras Nath 113 1
19. Basant (Rag" ) Paras Nath 118 l
Thus in the Dasa,n Granth we find th at all the hymns contained in the Shabad
Hazare and some padas in the Paras N a1/z rlvtar are co mposed under different musical
measurements (rags and raginis) and musical sty les which succeed eminently in creating
an atmosphere of halo and sanctity after the n_1anner of the great saint-poets. The styles
used also reveal the poet's accurate knowledge of their use at particular times and in
definite contexts. Not only this; the poet knows the type of music to be given on
particular occasions, for example, in ro1nantic narrations tbe words evince a jingle of bells,
in description of battles they resound the beat of drums, in the express ion of pathetic or
pacific sentiments they are skilfully muffled, e1c. He gives us music, martial and hymnal,
sacred and secular, simple and complex. In him we find a saint singing hymnal songs, a
soldier giving martial music, a householder singing virtues of a good life and a painter
creating wonderful pictures in music.
J. M. K ., Vol. II , IJ23. ::. !II. K., VuJ. I V , 211:!:.!.
3. M. K ., Vol. Ill, 1947.
it. M. K ., Vol. JJ, 1~29 , 6. 1\1 . .K .. Vol. Ill, 177'1.
6. M. IL , Vol. U, !163.
7. Thia mixod form i11 found in the Adi Granth a lso.-M, K ., Vol. Ir, 953.
8. M. K ., Vol. ll, l)fi6.
9KK,~lrr. m . JQ MK .• h l. 14001. 11. ll"f. K ., Val. l, 665.
12. M. K, Vol. I, 558. 1,. ?ti. K ., Vol . l I. ll tl~.
l!. M .K., Vol.J.U, 1!176.
15. ill. K ., Vol. Ill, I 774. 16. i\I. K ., Vo l. lf, 1038,
17. ilI. K .. Vo l. IV, 2893.
IS. M. K., Vql. I V, 2768. 10. H, V, Pur t l , Ei,
~O. ~I. K .. Vol. IV, 2471.

•
280 THE PO ET RY OP THE DASAM GRANTH
(g) LANGUAG E
The Dasa,n Grant!,, consisting of eighteen parts, is all in verse1 . With the exception
of ChandL-di-Var \Vhich is in Panjabi and of the Hikayats and Jafarnan1ah which are in
2
Persian, it is all written in Braj or Hindu i or older Hindi or Hindi (Braj Bhasha) • Braj was
a dialect of ,vcstern Hi ndi, spoken in Mu ttra and the surro unding districts . It was a li tera ry
d ialect as well, a nd the chief dialect ror poetry in the sixteenth century3 • Secular poetry like
that of Bihari and devotional poetry like that of· Sur and Miran were both wrj tten in
Braj. After Saurseni , \Vester n Hind i or Braj or Hind ui enjoyed a s pecial prestige and was
adopted for literary pu rp0ses in the Panjab as well5. 8 0 th Braj and Pa njabi poetry had
attained a very high level of poetic tech niqueo. Gorakh N ath, \vho is believed to have
flourished in the Panjab before Guru Nanak. wrote his verse in the then prevailing literary
dialect7. The Sikh Gur us made their compositions partly in Panjabi but largely in Braj&.
Guru G obind Singh \Vas born in Pat na and spent about the first nine years of bis
early childhood there where E1stern H indi i.e. Bihari was spoken and taught as a regional
dialect. 1--Te n1ust have, as a child, picked u p the regional language from his play-mates and
n1ost pro bably learnt it at school as well. l t appears t o elCplain his bias for H indi. This
bias may further be taken as one of the factors which led to his adopting the Braj . Again,
Guru Gobind Sin gh see1ns to have been infl uenced by the Ha11z11nan,zatak, a master- piece
of Braj1, popula r in his times and studied in indigenou" school<:. He always kept th is boo k
witl1 him and delighted in its recitat ion9 • He must have been further infl uenced in bis
choice of t he language hy the place given to the Bhaktas in the boly grant!,. Braj was
nearer to the djalect of Kabir, to that of Vidyapati (i.e., Mathili) and of Sur and Miran
than to Panjabi.
Added to this, Braj had at this time achieved a greater vogue as a literary dialect
-- -
I. il. :-; ., 366 ; H, l:l. L . , 68.
2. !!lf. mR;ef~ ~ +lf'lfr m~~ ~~~fq"T {, {B'li' ~ ~~ .,{fl '3~~ ~~lllt!JT-B~T f~4~i ~
W4~i:R crt~ §~rt I ft6~i N-~t ~Ft ~ ~1, ~t srirn ~R ~ ~!~ q, 1
n~r ~ r \ f.6;:g ~
q'~Ti:f <.tiT arr&-;~lfcyf ~ T q~ t
I <6}~ ;itf ~~ +IT t.f~;f'r i1l ~ 6,>~615.d ~ t
I ~ef,l 1-il~ ~ SUlrrjef1dl
tr t , ~~ ~ !:f<fil, ~ !(I~~ ~a~ ~~ t t:J; ~;{it ;f~m'TT ~ fcizy:rar ~ ~fr rt 1 ~ ~~i:r w.r
m~ TT({l' +{PTT li° f©"t.tfT ll1.JT { 1-Ayodhyo. oingh Up ollhyo ye. (H . s. V., 3SSff)•
H uzari l' nt..«ncl Dwiv,,cli 111. ~, J51i); ltom Chandra Shukla (H. S. 1., 2S) ; :\Johan Singh D iwa aa (R. P. L., 40);
t.: unin~lmrn (II . ::;., 3/io); Ke11y \il. II. L., 5e); 'l'ai1i (Lax111i Sagar, 05) ; Tr111np (A.G .. I 'XX V loot note 7 ),
3. Uporll1yn.ya. (H . ~- V., 3~.;); V.irroa (R. A. J., 16, l6-1Y50 l<ld); Sliukla (il. S. 1., '.!!ls 11). ltOl~Y 1Il. II. L, 3, i~); Kellog
(n. R. , . 6S fT,.
L Kooy (H. H . L,, :?U o- ,. 6. Dw 1vedi , n ,\., (il. L., 4}; T oRi, (La.'<mi Sugar, 65).
6.
7.
:'l-l olm11. -,ingh Uiwnca (Guru Gvbiml Singh as a Poer) . . . .
Dtt ivrd i B . ,, ., (TT., L., Sl; K eay (H. H. L. l O, !ll ); Slmk tu. { U. 8. I .• 11-); Bhagiroth nlIBhrn (H , R. <::.., 1) .
•
•
t'. Kl;uy (JI. JT. L .. fii)i Ayodhya DI.! Up,ulh,vnya (Et. f. V ., H,3 ff) ; ITv.t!nti P,1, ·net 11\\j\•otli {Jl 0, !l8).
9. ~ ~!IN~. fer._ ~~ ~f4' (~~it?\lci:li) ~ ~ "514.=t m~ ~ ~~ 9'~-tf~ <:f;'{ ~l:l ~ c'fim ~ I

- Ayu11l1ya Singh U pa.dh ynyn, '11. S. , •., 381 ff).
·~fr{ ~f2:<.fi ~ ~~f f~ ~T· it ~ i\° ll15f fq"q' ~~~ e- 1-Rcporl Sodlrak Committee, TI, c l ., 13.

ART YALU!!
than any of these. Keay rigbtly asserts tbat tbe poets of Braj felt very strongly the
tendencies towards tbe perfection of the poetic art, ......... and fame of their poetry ,vas so
great that from their time onward Braj Bhasha came to be regarded as a ch ief poetic
dialect of Hindi.'
Guru Gobind Singh accepted the literary co1Jventions a nd therefore composed his
works mostl y in Braj but in bis devotional works his literary medium is not pure Braj. It
has a mixture of elements of Avadhi, Panjabi. Persian , Arabic and Diugal like the literary
medium of ruany other poets of note of hi s age.' His secular compositions, however, are
comparatively free from such admixture.
The language of Guru Gobind Siogh•s verse is highly developed and faultless.'
It is refined, polished and has a smooth flow.'
1. H. H.L., 72; H. S. V., 389. 2. Ram Chandra Sbukla (H. S. I. , 226J.
3. Shukla (H . S. I., 286); Dwivedi .EI. P. (B. S., 155); Ayodbya :Singh Upadhyaya (H. :::l. V. , 387, 3 t0) .
Compare
f.n~ fu~q ~ fl. ~- ~ <!~q ~ f'!i ~ ii; 1? ~ f'n

GJoJ ll&Jsr.r ~ 11
$1 ii; '1"11!1 'ii; ',,I'! '!_ci' "l'«IT{ it f'n fu>rar 'liT {ldir it fli; ~ r '!if <!R ~ 11
'l!t'!<l ii; <!Rif ~ f'li 'fir.I[ ;J, 'li1ijf ~ f., ldcl'l a); f!_qt it f'f' fllet'l ii; 'ff'! it Ii •· u., 119)
"'" Ri[<! m; '11:'l <IT<! "I~ 'l'RI ;if.;i fir;;: 11
~ ,',r "I,; 1:@ 'T@ ,m,; 'Ii~ 'l <l'fi@ fit.;;: 11
"'""
~
'f_{@
• •
"""'"
,...,.
'f'f.l'il '>ll>Jdlf.,
'""-
"'~
:n c--1.!_1,~
II
-tine u urRJ ~ {11l?Jl<JJ •il~ ~ 11
/;::.....,_.....,fl, ~' ,..,_
,~s<!J ~s,, q W
1
'1{ ~ "" 'ld '!'![cf<!) 'Iii';<[ II
<'I ~
ld(il'll'1 'f.>.f =ra
'o'!'I 'li(ll'll<! <!{'Id ~[<f ~ ii
Jap, (I)
bl"! "IT"![ @t, 'lit -'!'l 'I ,s@ ~ .:ft f'l'<! i¼ '!J~ fa'lt1 11
~. "IA'<! 'l r.f'tl ,t "IE '![ii "~ 'l'ffiln{ <ITT II
ifu:.r l'!Tll e[il(~ ~t "" ;arf<l !! ,rq"' f,r" 'wlr"lrl 11
fri"lf'T~ ii s~;ir lf'l[ ,r2a ilr 'lilo,or f!ioiln: :a);i!Ti 11 K, A. , {24!.!?)
4. Tasi (Laxmi Sagar, 65); :Shuklo. (H. S. l., 286): Up~dhyo.ya ( l:f. S. V., 3~9};
~ ej;[ >if'fl +IT W'! ~sit ii "lir'.11 "lr>~'li qf{ljf[.~cl "TT( l!i'li[lll![ t 1- Dwh•,d;, H . e. (H, S., 165).
compa, o S{'11 "!Ti@ of@!fi ,;f( l'!'lfl '!['! 'Ii{ 'Ii['! 11
"!Fl<! <!( ..:ii 'fi[[e it Ill[{ ,t 'le iiTT'l 11 K. A. , { l'.rnJ)
l;!Tl!Jc! ~ m sriJ rn ~ '!Ji amm vi ,rf.'a ~ 11
1/ q,r 'I '(o[ m,r 'j'~'TT fuor ~ TI!1l i\or f;;'fil(d lt.t"t 11
lil°'1! qftm 1'!{'11 en: ~~ '{'11:"f 'Iii 1:ill h'I• 'fie ~ ~i;TT 11
'ITT off[ d'l ~1! iiWT'l ~ U'IT II cs""" ,;Ti[ 'lmf.;,1~1 11
"''"m H<R ;Js fu,:ar.r,n't 11 ~.r <1Tf.r !J:f. ij\s •arl: 11 "P. Ch., 405 (376)

(b) DICTION
The Dasan, Granth as already slated contains eighteen works. These eighteen
compositions have been at1en1pted oo a 'large number of themes like religion, morality,
armoury, autobiography, history, politics, ,nytbol ogy, legend, woman, etc. The number of
words in it appears 10 run into lakhs.
Tbe diction of these compositions is indeed ricb, varied and copious. The diver-
sity of themes lends itself to a ,veal th of words. The variety of treatment makes the choice
still ,vider and teuds to exploit all possible resources of expression. There are numerous
descriptive passages; there are 1nany long and short narratives ; there are still maoy lyrical
pieces interspersed here and there. All these need different types of ,vords for diverse
treatment. There is apt to be a lot of repetition , ,vhich no doubt there is, in the nature of
topics treated here and there.
But there is a ,vealth and variety of expression which would bring credit even to
a mundane poet. 'Every line of his', says Doctor Mohan Singh Diwaoa, 'is redolent of the
light perfun1e of well-digested scholarship. It sits lightly on him for he knows it is only
adornment and not the spring of inspiration itself'.' <His illusions illume, not hide. Every
thing in the domain of Hindu, Budhistic and Muslin,, religious and literary vocabulary and
ideas is n1et with in his poetry' .' He has indeed ransacked and exploited the whole literary
tradition represented by the Ra1na;1a11, Mahabharat, Bhag,vadgita, Srilnad Bhag,vat, Vishnu
Puran, Markandeya Pura,,, Vishnu Shahasrana,n, natakas, miscellaneous devotiooa) and
sufistic by runs, both Braj and panjabi poetry and all the religious creeds; io short, be laid bis
band on every thing and compelled it to yield the meaning to him. Therefore, a knowledge
of the different dialects of his time was natural to him, and tbis is easily discernible in the
Dasa,n Granth. As they n1ake an interesting study they are discussed below :
I. Panjabi :
Guru Gobind Singh was a Paojabi, who lived in the Paojab for the most part of his
life. Panjabi was his n1other tongue. The language of affection is always the mother
tongue. Panjabi is, therefore, the vehicle of the poignant feelings in his works. War
was another reality, rather a stern one. In those days of Aurangzeb•s tyrannical persecution
Guru Gobind Singh was often in conflict with the rulers. He was either busy with prepara-
tions for war or was actually engaged in it. War, therefore, was a favourite theme of his
verse. He could best express himself in the language of the soldiers who fought with him.
Panjabi words, therefore, occur again and again in his martial verse and in emotional
moments.
Besides C!,andi-di-Var which is solely in Pa □jabi there are some verses here and
there composed in Panja bi language. In Shabad Hazare there is for instance a well-known
verse Mitra Piare nun ......... ', which is instinct with the deepest pathos ever experienced by
' .
a soul in distress. It is a message to God addressed as to a friend .
2. Ibid. 3. Sh. H., (0). See page 143 for text.
I. ~foban Singh Diw11na, tGrlfu Gabind Singlr as a Poes).

ART VALUE 283
In the Ra1navtar', there are four stanzas in Sirkhandi metre which describe a scene
of battle between Ram and Meghnad in the war of Lanka. The diction of these stanzas can
well be compared ,vith that of the Cha11di-di-Var, describing war scenes.
In the Ni/r-Ka/anki Avtar' , again, we find the Sirkhandi n1etre repeated thrice,
describing the rejoicings of the soldiers on the birth of Kalki and their preparations for
fighting in a battle.
In the Pak/rya11 Cl,aritra', ,ve come across a stanza in Panjabi poetry. In this the
thirst of love in the eyes of gopis in the absence of Krishna is described beautifully.
2, Arabic and Persian :
Guru Gobind Singh is believed to have learnt Persian from a Mohammedan teacher,
Pir Mohammad by name, whose descendants, ,ve are told, still possess an autograph letter,
given to their ancestor by the Guru himse!L' Persia11 was in those days the court language
all over India. It was also tbe language of the religion of tbe rulers. Words of Persian and
Arabic were used abundantly in religious and literary discussions and they found their way
into the common speech in all the provinces. It was but natural that the writer of the
Jafar11an1ah, tbe Persian epistle to Aurangzeb, should have made an appropriate use of
Persian words. Such words are found particularly in the Jap ." In this religious composition
both Persian and Arabic words have been used in religious and ethical passages. The
Persian words likeshikasl (defeat), saaz (maker), raaz (secret), 111aah (moon), baa/aa (above),
and the Arabic words like za111aa11 (being surety for), /raraa1n (unlawful), are used in describ-
ing physical objects and relations. There are certain verbs also like k1111a11d, diha11d which
have been adopted for their condensed expression and for the purpose of rhyme also.•
The Arabic words, however, are strangely enough nearly thrice the Persian words.
These words are the Muslim theological terms relating to God, His attributes or religious
state of mind in invocation, e.g., Allah (God, Most high) ; Raaziq (Providence, Giver of
the necessities of life) ; Karee111 (The Giver of Grace, Generous, Munificieot) ; Khaalik (The
1. R . A., {4G7-47U ).
,. fm'!iit ~a; ~ ills tj~n'T s'nT mi\'lll 11
mnr
.,.,sj 'If'!!
mn f.-All.r r.ieim .,;Iii -"'"i
~ 'l. 'le' 11
11
. "'
<ll'l'!! a!Tl!f o!ilTI 'IZI es,Ta<!J\ 11 N.A ,,(179)
.",leo ~e e N. A . , ( 183-I Sl ).
, 1«<1<11 ~ 'Ori\ >1tJ"''l f.tir@ ti,ft S<i:.s ~'l i:l.i'i a:i !Jll'"
tJj,,,Ji'll •<llil '('"11 'IT@ lll!IQJT 11
"'1oTT 0:'ff nifil«i fs<ri '"l•t-l\•i ',I a¾ Bill <isl~ '( <fe'l <fl, 'lll'll1'.!TT 11 P. Ch,, 12 (6)
-t. G. G. S., 2,
5. Compan?I
Ja.p, {li2)
Al so compare Jop, (] 20, 12 1, l '.!3, 124 , l :? j )
6, '!ITT! ,i;t ef.\"1
AlBO aoe Jap, (162).
t ~ ~'\ ai?t rilj',T t ll'lTlfi'I nfl:'a;T \ fq; it:. ii ll'ISl<IT \ II • u., 1,60)
K11111t1d- Aor1st tense of kardo11-to du. Da/1ind-.c\orist tense o f dadon-lo gh- e.
Digitized by Panjab Digital Library I www.panjabdigilib.org

284 THE POETRY OF TH E DASAM GRANTH
Creator); Raheen, (The Merciful); Aqii• (Helpless, Weak); Azeez (Dear, Valuable. Precious);_
A:een, (Great, Powerful in determination, Excellent, Rare, Determined to accomplish);
A111eek (Deep) ; A/eek (Loving) ; Kaa,ni/ (Perfect); etc,.
In the Krisanavtar1 , a whole stanza is composed in Persian. Whi]e its diction is
Persian, the metre (S, vaiya) is Braji. lt indicates the poet's command over expression in the ·
classical language and his literary tendency to adapt classical elements to his poetic
expression. In the Ramavtar2 also, there are several stanzas describing the entry of Ram,
Laxman and Sita in Ayodhya, after 1he fight with Ravan. composed partly in Persian and
partly in Braj.
In the description of war scenes in tbe Krisanavtar the names of some warriors are,
like those of Muslims derived from Persia11 or Arabic or both. For instance, Sher Khan
(Persia□); Said Khan (Arabic and Persian); Sayyed Meeru (Arabic and Persian) ; Sheik
Sadique (Arabic) ; Jaman (Indian) ; Nahar Khan (Arabic and Persian) ; Jharajhar Khan
(Indian and Persian) ; Balbir Khan (Indian and Persian); Bahadar Khan (Persian); Nihang
Khan (Persian); Bharang Khan (Indian and Persian) ; Jharang Khan (Arabic and Persian);
Wahad Khan (Arabic and Persian); Tahir Khan (Arabic and Persian).'
It is difficult to accept the suggestion implied here that warriors in Tertiary age
(D,vapar Yug) bore names of Arabic or Persian origin. They appear to be instances of
anachronism.
3. Sanskrit,
A significant feature of the diction of the religious works like the Jap, Akal Ustat,
Shabad Haza re and S,vaiya Sri ]iuk/zbak is the use of Sanskrit words of which there is a fair
sprinkling in them. They appear to vary bet,veen ten and fifteen per cent. The terminology
of religion and spiritualism, and names and words used in praise of God and describing
man's relation with Him, are comn1on to all the vernaculars of Jndia. They are found in the
songs of Bhaktas and discourses of the ascetics and preachers. They are tatsa,n words
borrowed bodily from the same source viz., Sanskrit. These words are also used in temples
and religious discourses in the original form. Guru Gobind Singh, therefore, adopted
words like 0111, Brah111a, Gopal, Hari, Narayan, Pratipal, Karla (Creator); Aroop (of no
form) ; Chit (Conscious); Asi (sword) ; Asur (demon) ; Akapat (not deceitful) ; Akaan1
(without desire); Agaadh (Fathomless); Akhand (Indestructible, Perfect) ; Abaadh (Above
harm); Abhit (dauntless); Hanta (Desttoycr), etc.
L :in ,~r.:e: lj;r.{ a\linl airr,;:e: qi\ "" 'liNf Sol '(lls'I 11
'II w-1 :in ~ w,t P-1'!1 ~fil'l q,i llt 'I ;;f(I w,l 'Iii,'! II
i'r'l >PTT ~,m -:r%lt•" 1<11'! 'lliii o:ra:.Zt a. '(11," 11
,.
'°"' n~il ~ 8 f,\o:r1'.Ra "'l! WI" f,, ci~
mirr Bi[\ '1''1'1(1 11· 4('"'" 'Ii~ o~(I II
n,.'•" 11 "· A .• 1.,,, 1
far'I TT(iif ~I "'11(1 II '!,: '1'1~ Soi;i 11 t R. A., (05S)

Aleo see R.A.,(606-~7, 669-GijS)
3. Coroparn K. A., (11!93, Hi96, 1597, 1600, lt!Ol, ltl03, l(lQ,i., 1600, 1601 }

ART VALUl,; 285
There is another type of Sanskrit words whlch have more than one meaning and
can be used in different contexts. Guru Gobind Singh used suc h tarsa111 and tadbhav words
to enrich his meanings and add to his wealth of expression. For instance,
Tatsan1 :
Chakra (i) Form, a wbeel-C/iakra d1ihan aru b/l.ranjaat aru paat nahinjih. 1
Thou bast no forr:n or feature, oo ca1r,te or lineage.
(ii) /\ weapon, Sudo. rsban chakra- Chakra bakra phirai chatur chak ma.an }1ee pur teen. 1
Tby discus of authority revolves in the fou r regains, and the three worlds bow
to Tbee.
(iii) Realm . ran ge, directions. sides-Chatra c/1akra karta. 1
Of the world of four directions Thou ar t the creator.
Taa,1 (i) Rhythm -Namo taan taane~.
All hail to Thee. Tbou art the bie:best rhythm.
(ii) Expanse extension, encompas~iog-Namo Paramtaanam. 6
Hai l 1~ Tbee Wb o art all-encompassing.
Tadbha,, :
Baran (i) Colour-Namastam Abaniae. 6
I bow to Thee Who hast rio colour.
(ii) Caste -Abaran hain. 1
Tbou art without caste.
(iii) Bei ng, form, figure. outward appearance-Ki Audhoot barnai.s
Immutabl e is Thy being
Ka-ram (i) Action-Aalisya Karam 9
Uotainied are Tby actions.
(ii) Deeds- Na karmarn . Na faaa-ae. Ajar1mam Ajaa-ae.ie
Thou art above deeds, wi1hout body, binh, or issue.
(iii) Rituals-Na.mastam Akarman.u
I bow to Thee who art above rituals,
There are some evidences of the influence of classical works in his composition of
the Jap. There are certain words and expressions ,vbich put one in mind of the well-known
classical verses io the Gita , the Ratnayan etc. Such parallelisms are interesting to note.u
I . J&.p, ( 1). 2. Jap, (82J. 3. J&. p, (60) . 4. Jnp, {41). 5. Jap, (10). 6. JB.p, (23). 7. Ja.p, {34). 8. Jap, (104/. 9. J11.p, (Vl)
10. Ja.p, (100). 11. Jsp, (6).
12. (a ) ::f~ ~ ita- 53:lfuIR'. ?>1'41(1 I cf,i;J Qq ~i! \:lffl ~etdl(I II Ch. A., Intro (2)
\Wl S,Q\I'<• ~ o'll(• I ~.ii! ">r.! it >!(ii \34t(fl, 11 B, N., VI {48)
Compare Bhng1ve.dgita, IV (7, SJ. Si;,e pu.ge 8tl fo r text, ~
Al,o comp• re <I~ <Is i[\( '1('1 ~ t[l•l I ~TTl: "l!.J( ""1'1 "lr<l'll-il II
~ "1'11@ <II( ;i@ ,n:a'\ I ~~ f.~ 'r,'j lJ( >l('l! II
<I'! <i'I 'l:J >l~ fsfi!'l m\n I ~(/!' .,;qrf;ifu '!l>'li! 'TIU 11
"llJ( 'II~ 'll'lT~ l:J\'s <T!il/!' fltar "!IB ~ 11
:;rn f<t«i!m' fln, s S!'!I (!'I ,r.,r 'Ii( ~ 11 Tuls.i : 'i\(e.ne.a, Ba\knnd, {121)
(b) Compa.ra verses (2-2S) of tl1a Jup and stanze.11 -10 and -l-1 of the Gfrm Prabodll wi~h
~ @r(Rl 'fl\S!lr<!J ifi'i o:;:fu '!fili6: 11
ii ~ ¾<ils4•<"!1'TT iitlt'l'4@ 'II"": 11 Bhsgwa.dgita IT, (23)
l{'o 'l(IB ffl 'l<"il ai:l i! ~ ffl 11 J&.p, (SI}
Compare "T~i6~'8~l'I I•'<!!¾ Sfijf'lt11Jit 11

28 6 THE POETRY OF TH E DASAM GRANTH
There are in the Nih-Kalanki A vto,· four verses1 in a form resembling Sanskrit,.
written in Gurmukhi script. These are attributed to Guru Gobind Singh. They are ethical
in purport and describe the effect of sin on the mind, character and destiny of man. These
verses echo the Sanskrit techniqu e. Their form has greatly suffered in the script o,ving to
its inherent limitations or ignorance of the transcribers.
4. Dingal .·
The poet of the Dasatn Gra11th borro\ved words not only from Persian, Panjabi,
and Sanskrit but also from Dingal. 'fhe stories of battles were often sung or recited by
Rajasthani bards in Dingal. These stirring compositions produce heroic sentiments in tbe
mind of the hearers. In order to produce heroic sentiment 1n his war songs, ballads and
other compositions, Guru Gobind Singh borrowed words from Dingal. words which were
favourites with the strolling bards.'
5. A vadhi :
Besides his mother tongue, Guru Gobind Singh had picked up Avadbi as a child
while playing with boys of bis age in the streets of Patna. These words clung to him like
the memories of bis playmates wbicb are as deep as life. ,~ vadhi words, therefore, came to
him spontaneously while composing his verses whether at Anaodpur or at Paunta Sahib.'
Guru Gobiod Singh knew many languages and bad, as such, an instinct for using
the right word at the right place. Like a jeweller he selected his words for their emotional.
1. '!il"Ri qiq,ij\ ai;i:,i ii 'll>Rl I'!;;
1'1'1 i!m'TT"l<l <W!<l ii ol'fl 11
e!)l'll<f f'l<Tml f'li<!il) >R'l 'li>:m!) fu"!rlii 11 N. A., (67)
2. °W- 'li~ II~i' a'\~ II i,~'ol il'[,i II ~ '!iT;;i

Also seo R . A., (1 lS, 124, 4[10, - 502, 509. 5501
II )-l. i'1., (50 1)
~ P-IN ,ft.if;, em·s 'fi1: "~ "l~f:a:a:rr ~" 11

ol'l ~ ~,; ~ " ef%:<1 ,;r'\ ,3er'\, ilTTI 11 R . A., {827)
~ U~ Gf'I ~ ij<lr <!'I it ai'to; "Ill• <l°l: ~ "ll-<'lt 11
U'l ,@,i !!(1'1 W)'1 sr.le!i 'Iii '1<1 ~'Ii ii lff'l'IT II
~<o.
\6+>,JRI s~: . ~
6TIBT : 6'l 'lg '"
'1'( '
'Ii._ i;'l ~'Ii 'I a\T'l'll II
m m1'!r.1 nmr 1l'1TI 'If, a" ~ 6'l mi%: slill'l'!r 11 R, A., (803)',
B!'i1 i[l'°l: ~ .f1Rt>l ~rt ,:r;i\ s%" ~Tr 11 ffl S!'!l>l i[l°l: <11qm
'l"ifl°l: 'is'I ""11~ i[lr ~"IISJll 'i."' i;Tr '!Tif'I i[lr ,1rqB\ 11 sr.i,
'lli; i[lr iJrol '!ill> grr ~ We; ;;\)q il_rl: m<l'I o!UT.: i;Jr eyro\ 11
'll, ,rt ,i1"! , ' I ~ arr ~ l '-1'1 '!Sf ! Tr qG<f <i'N ,Tr ami\ 11 •· u., \00)
.AIIIO aeo R . A .• (827, S42- 84.•l. A.'l fl, 862, SA4); B. N ., I (l , 02-101) , IX (1 6-24) , X ( l-4, B-1 0)
XI (4-lll, 64, :i7, 50, 65-69), XII ( 1-~, 9-12), et c.

A'RT VALUE 287
picturesque or musical values. In verse No. 6 of tbe Chandi Chari1ra I', he says, 'I shaU
adorn tbe Granlh ,vith appropriate use of selected and pearl-like precious idioms•.
I. He was a conscientious artist wbo bad studied the values of words in different
languages and used them in their proper co □ text. For instance,
(i) In verse No. 24 of the Akal Ustal', .lain.in and Jaman are two Persian words used
together, which lend picturesqueness to the meaning and music to the sound.
(ii) In verse No. 53 of tbe Akal Us/at•, the words Ja,nin and Ja,nan are separately
used with different musical effects.
(iii) In canto I, verse No. 46 of the Bachitra Natak', the words chamakka, seesia1n,
eesirun, bhookhanan,, dookha11a1n add to the meanings of the verse and at the
same time provide alliteration.
(iv) In verse No. 155 of the Jap', Sa,nast-ul-juban, Sahib Kiran, Bahist-ul-nin•as are
phrases coined on the Arabic grammatical pattern. Bahist-iil-ni1rar; and Sa,nast-
u/-juban are each a combination of a Persian and a Sanskrit word. whereas in
Sahib Kirau botb the \l.iords are of the san1e language ; Juban and Kiran<>
and Pranas and Nilvas produce rhyn1i □ g _effects. The foreign ,vords are more
musical thaa that of Braj equivalents. The possessive termrnalion 'ul' in
a compound is not known to Hindi but it is used here as a device for
verbal music.
(v) In S,viaya No. 387 of the Krisanavtar•, the last word in each line is Panjabi
introduced into Braj verse. They bead the Braji music to a Panjabi lune. In
describing a war-effect on tbe minds of con1batants, the poet found this device
more helpful in touching the emotion of his audience.
(vi) In S1va1ya No. 7:ll of the Krisa11av1ar', the ,vord sekan adds to the warn1th of
feeling and is more lntin1ate than any other word.
- - - -- - -
1. "'" q,,a: "" s's,I sa'\s om Ch. C/1 . . I (6)
,. 'la: ~l'I
Atso compt1.re
<bits ~l'I fa:11'\s Cf<!A B'IT'I il;- A. U .. (:?-1.)
ISl<TI'I <1111'1 il;- fs#i Bl!lffil O:ib <IR! { 11

" 'lie t " 'llG t ii '11c 'Ifs ~ II t A. U., (160 )
,. t.i .U 11 ,aj ~(\ II farm .U Ii :;mi ~(\ 11 A . U. i l.i3 J
,. "lllfllai; "Is B\fu,i 11 ,f..,ir;r a:r• fBfll
,,, .. . . ~ ' ~e ',~<!I. 11
II "'"ib B. N ., 1 (4li)
s<llB!;!iil'!!.t l l
11 f)i; B!fi['I f'f.si 11
5 f'o """ IP!J@ 11 l sfi\Bljmf.1'11'8 l:
11 Jap, (155i
ihii! ibT o'l ill '"''"~ a:,i ~l<R :,;qi{ ;ir ~ ..-isT 11
<fiiq ib<'!t "lfo ill 11'1'!1 " "l;r,.rr iii. Br ib\j; <11f~ sBisT II
ii'< sr.t ~ s;r iii. m s;f~ t ml{r Ris1"1 <1<1 aiia:r 11
,.
7.
'l'.• f.m~ 11~ is'"
See the Append b; p. (xv ) for tei.: t.
qr•
~ail 11\ffi "'R; "llrn fwa:1 11 K, .4., (387 ►

THE POETRY OF THE DASAM ORA NTH
(vii) The Persian words and phrases Jjke sahro, aakal,jullafai, siaah, baanki, adaa-ee,
sarvae sae-hee cha,na11raa 1 pur chusta Jaanv tanraa, jaalanun phiaaq deena, g!.tf-
chihar, used in verses No. 655-59 of the Ra1na vLar1, had infiltrated iot9 the poltte
speech of learned 01e n and acquired a grace and d·ignity which their equivalents
lacked in a place hke the Pa □jab, dominated as it was in the beginning by
Persian and bad no written tradition of its own.
~-A , triking feat ure of bis diction is tbe use of words for their picturesque effects.
:Such words are found abund a ntly in descriptive scenes, e.g.,
{i) In the Pakhya n Charilra' No 256, verse No. 6 is the description of a fores.t.
There are fruit trees and others of many varieties in it. Of these the banyan 1s
described as having long matted hair (ja11iare) and the fruits are swollen with
juice (rassan sou pagae).
'. (ii) In describing a battle-scene in the Chandi Chari/ra 11', (verse No. Ill), the poet
tells us that the clouds ol dust rose and covered the sky (dhoor udi nabh 1nandal
chhaayo) ; The battle-field was over-laid with the dead bodies of soldiers (poor
pare) ,vho bad themselves slain many and now looked all-furious (ros bhare)
in action.
(iii)
In the engagement or in actual fighting in Chandi Charitra II', (verse No. 162)
action is describt:.'.d as resounding with the roaring of guns (takaa tukka topam)
and the clashing of swords and shields (dhakaa dhukka dhaa/am) slashing of
bodies (tachha 1nuchh), cries of soldiers in tbe confusion (halaa chaal beeram)
rauling of spears ( dhamaa dhani saa11ga111), the echoes of which are heard even
in the netherland of snakes.
- - - --
"'" ~ <110:<-t "111( 11
•
l. 'In& !f'IR <IO: 11
•1r.«; ;fto: 'lGTO: 11 <-t,:U '!s'l ;r_i 'l: 11 R. A., (656)
'ltf Wlif "1~ II il\u "
am: ~ 11
"11'f.ijf .il: eo1q II 'ITm ~ ..,i l: II R. J.,, (6.51)
~<t ~ ;rj~ 11 41•14 rt, Rl>lli[ '!i<!i\ 11
m~ i""lr< ai<S"t II itslr iTTo!'l ~ ( 11 R, A,. (657)
'-'W!r <ai[T 'if"'il <T II q<-s<-ta aiT<! <!'ii <T 11
ra<! f,;& l[lt O<IT<T 11 '!i[ ~ 4il.{i1 ei;;;i t II R. A., (658)
fsioit ~ '1i;ir 11 $'"'" Ni<t<S 'l1'T! 11
fu;i ~ •" •"'" 1, ~ r,:i<ilr.. '<". ei;.i t 11 R . A., {659 )
<-ll&<l'!r.l,aj~"m'l: II f.i'I_ ~ !J'I! ¥P-stl: II
'Ile! "[ om
a1~a,1 11 f'lf1IN ~'ol< <<-t'l Wqlj It P. Ch., 256 (6)
'l( <ill WI >;_< 'l;j< ~ 'i' .it 'lllliil.i ~1,ii 11
X X X X X
'l('l! U<-t 'I{ <l:l!l 'lR ql: <!IT';_l<I !lil:fll!
"I< 11 Ch. Cb., II (111)
ro~ ii~ G'!il¥'6 <lloi 11 ~~ 1\n ~ fstt,roi II
,<i1Rto1 s"ti "llll'lihr <-tin 11 au ,1<!1,_<ii !!RIJ'it <iitn ;iin 11 Ch. Cb ., Il (l6ZI

ART VALUE 289'
(vi) Again describing a battle i □ the Ran1avrar', the poet says, 't he arrows fly thick
in the skies (cha llae baan rukkae gai//), the so ldiers a re drunken with the wine-
of fury (1na11ae soar); they have blood-shot eyes (ra1rae nain) ; the drums are
beating (dhakkae dho!) ; the shields ward off the sword-cuts (clhakki dhaa/) , the
arrows shoot like meteors (chhuttae baan 111thaejawaal), smeared with blood
they come reeling down to the earth (bhiggae sron diggae soar); the conches are
blo1ving (bajiae shankh saddam gadda) , the conches, cymbals and bugles are
making a hell of noise (taalan1 sankh bheri nadda) ; the armours have broken
(lut1ae Iraan) ; the limbs too have been broken (phuttae ang1 ; warriors are
fighting to death (rujihae vir jujjhae Jang) ; the soldiers are raging with wrath
(mache soor); the heavenly maidens are dancing (nae!,; hoar), the madness
is frightening the people on the earth (1natti dhoonnna bhoa,nipur)'.
3. Another feature of his diction is the use of onomatopoeia. In describing war-
scenes the poet needs such words the sounds of which echo the actual sounds of the battle.
For example,
(i) In the Cltandi Choritra II, the poet says, 'The crows caw (kal, koh su kookat
kankiya1n) ; the heavy weapons produce dull sounds, (balti-bahat); the swords.
clash (lalt-laltat); ghosts utter weird sounds (gah-gahat); the drums are beaten
(dah-dahat) ; the rattling spears are brandished (lah-lahat) ; the brave warriors
are hurling defiance (babkant) ; the arrows are discharged (chhu1ka111) ; the
soldiers are stunned (haharanl); the war drums are reverberating (,/alt/cant); the
Jogans are wailing (kah kahak kookat) ; the creakings of the bows rise high
(karaak karn111ka111 udha,n); the spears smite bard (saraak) ; countless arro1vs
rain in showers (barkhian1) ; etc' ,'
( ii) Jo the Bachitra Natak, be says, 'The 1vitches are squeaking (dahikka) ; the kites
are croaking (chikar); the trows are cawing (kahikka) ; the swords are rattling
l.
~ "R!J ~ i\111 II 'I~ ll( ('t1 i!l!J
II
..,ii; ifiiil igif,;1 <l'TQ! 11 ~~ '1111) ;r,t • '<l<rl 11 B. A., (lifil)
film .it'1! f.m ll( II wit ll_<r :'Jiff [I II
'Ii!\ tjw ffi[. 'll( 11 1!!.f tjw ,1-u "~ 11
§[ ;Jf1.1J :N' 'WT
~ ll( •"''IT [I
II '1J'"' ei\(
11 <[',ff ~![
"°"' ;/~
ll_!fl ~
II
II
R. A., (652)
2. <os <os ll '!i'£"1 'li'tli 11 Ch. Ch., II (133}'
•ii<@ <i'R ~tjs;,; 11 <rll;<rl@ i\,r sriiao,i ii
ITTISl'Rl Bi~ >t<iil;,j 11 •il'li<l am lJ:~'li>i 11 Ch. Ch., II /1:l4),
\¥'£"I ill<!! 'li!TT!!J'! 11 ,,~ ff @<I e,sr 1(!Jai 11
·~ ,rm ;gs;tjl II ,;~,;,., ~"' §'~11)1 II CJ1. L!,, JT (13~)
... l'o iJ;'l!f[i ,</ , I fl,1,; i:!1:01 '1]''1 11
fs<kr ilrflu si,;i,i 11 feiitw sR q,CsR ,1

(baijai); the skulls are clanging (khola,n kharakka), the guns are thundering
(taraak); the spears are striking (sai1han1 sarak) , the sol diers are being pushed
and driven about (dhakko,n dhahaak)' .'
4, In the description of scenes of nature and the physical appearances of his heroes
and heroines, he lavishes well-selected epithets that produce the effoct of beauty and
sweetness, e.g.,
(i) The trees were blossoming (phoo/ rahae); the flowery creepers (phool lataa) were
clinging (laplaaee) to them ; tbe lotus flo,vers were blooming in the tank full
of water (phool rahae sar saaras sundar) ; the splendour (sobha) of all bad
increased (adhikaaee).'
(ii) The fragrance of the flowers was floating in the air (baas subaas akaas n1ili);
the inhabitants of the land looked gay and merry (baasant bhoo1ni n1ahaan
chhabi paaee ) ; the cool and scented breeze was gently blowing (seetal ,nauda
sugaudha smeer bal,ai); It was heavy with the pollen of flowers (n1akraud nisauk
nii/aaee) .'
(iii) The water, the air and the sky and the earth are burning like fire (ueer s111eer
hutaasan ke sa,n aur akaas dharaa taptaaee) ; no traveller is seen abroad (panth
11aan panthi chalae ko-oo) ; the birds are looking up for a spot of shade ( taroo
•
taak tarai tan taap siraaee).<1
(iv) The hot wind is blowing strong (paun prachaud bahai at; tapat); the mind is
restless and tossing in all directions (c./ianchal chi/ta daso dissi dhaaee); all men
and women are confined indoors (bais avaas rahae nar naarJ i the flocks of
birds look for shade and water (v;l,angam vaar su chaahi takaaee).'
(v) The tanks are brimful of water (1aal bharaejal poorani sou); the streams are
fa,lling into the sea (aru sindh mi/i sar1aa sabh jaaee); lightning is likewise hidden
in the dark clouds (taisae ghataan chhataan ,nilee ); the Papeeha (hawk-cuckoo)
is raising its haunting cry (ali hi papeeha peeyaae laer laagaaee).•
The black bees were droning over Ram's cheeks (gunjat bhring kapolan oopar);
the curly hair gambolled like snakes (naag lavang rahae /iv laaee); the banana-
tree at the sight of his leg, the deer (kurang) at the sight of his eyes, the moon
(kalaanidh) at the sight of his face, the tiger (kehari) at the sight of bis waist, the
cuckoo (koki!) at bis voice, were all struck with wonder (hair heeai haharaaee) ;
the children who had a look at bis face would not lie in the beds (baa/ lakhain
chhab khaat paraen nahi) ; the travellers could not proceed on their way (11ahin
baa/ cha//ae11); they were looking at him more and more (nirkhae adhikaaee).'
1. i!l'<>'I ~flfl; '11'1< f\i,i;i, 11 'ol'iS <lii;_l'l'li flis 'laa\ ~ II
,;ir.;i ,;i,;fi!F. g<Wf. <1',f[<li 11 ~'f lil','- lif'f'!i ~If.is II B. N .. XI, t4.J )
2-6. K. A., (OU.-918) in ~he Appendil:, p. (iv).
'1< ,:ift ~ a:IT. fur/!

7.
~- Clo
,;,r
1>fl
fwT
~ff
'R '<ii.
,i;qre"
<liolif.t'!
=
'I~
it,;_ft
"lff <if'!ff
eil<liol ~
,~
zy>:
~If II
foler.i~
~~
II
II
'IIB .iiti ;\'I 'li!R" qt "(%: 'IP- 'I& ['f{'/J ~ II R. A,, (154)

ART VALUE 291
5, When he finds that the words, at his disposal, do not convey the sense that he
·wants them to, be compels tbem to yield t'be desired sense. For instance,
Word Q.,- ;gina l mean1'ng Desired sense
1.
Asipan 1 Holder of a sword God
2. Asidhari'
Bearer of a sword God
3. Asidhuj•
With sword as flag God
4. Asiketu• With sword as flag God
5. Kharagke!u' With s,vord as flag
6. Shastarpane 5 God
Holder of a striking weapon
(Shastar) God
7. Astarpane 1
Holder of a □1issile weapon (Astar) God
8. Sarabia!,• All-steel God
ij . Bhagauti' Goddess Bhagwati
10. Tapodhan 10 Sword
Tbe 1nerit of ascetic-practice Ascetic
1 I. Shri Kltarag" Respected sword
12. Akal" God
The timeless God
13. Maha/o/,ill The great-steel
14. Ka/ 14 God
Time God
15. Akal Purakh" Timeless person
16.
God
Kai Purakh'" Time-person, Regulator of time
17. Chakarpane 17
God
Holder of discus God
1B. Dhanurpan18 Tbe great-archer God
l 9. Keet 10 An insect
An bumble
20. Bhav2 D servant.
The world
21. Mal,akal" A birth
Tbe great-destroyer God
22. Tan 22 Body
~3. Bhayeas With
Passed With
24. Kalika" Goddess Kali God
25. Sarabka/" Ever-present or All-destroyer God
26. Chandika" Goddess God
27. Deg Teg" /\ cauldron and a sword Free kitchen
and war
28. Chhattrang Chhattri" The best hero (warrior) God
29. Sattrang Pranasi 29 The destroyer of enemies God
I. R. A,, (863). 12. Sh. H ., (-i} . J. P. Ub ., 405 (3 ~1. )
i\. P.Cb., 400 (-!Ul ). 4. P. Ch., -!OCi (367,370).
6. Jap, (52). 7. Jn.p, (15~).
9. Cli . V_ , (l ). 8. A. U., (1).
10. P. Cb,, 81 (70); A . U., (20 1). 11. B. N. l (I) .
13. J(. A., \4 37). 12. Jt1.p , (8-4),
14. B.N. I, (101 ). 15. Jup, (84).
l ?, B. :N. I, (89) . 16. B, A., {4).
18. Sh. H., (4). 10. B, N ., vnr, (24).
21. P. Oh., 266 ( 124.) . .20. B. N . VIJ , {2) ;P. Ob,, 405 (3}
22. Sb. H ., (IO)j P .OL ., 4Q5 (390). 23. R . A., {8-i.4 ).
25. B. N.XlY. (1, 4, 7). 24. A, U., (262).
26. Ch. Ob,, I (233). 27. K. A., (4 36/.
28. Jap, (106).
-29. Jti.p, (197) .

Wa,-d Origirtal meaning Desired se nse

30.
Shri Bhagauti' R espected deity Sword
Sarangdhar'
31. Holder of a quiver God
3:Z. Banpanan1 3 Holder of an arrow God
33. Kharagpanam' Holder of a swo rd God
34. Kharagdhara,n' Holder of a sword God
35. Sahib Shri' 'fhe great Lord God
ti . Sometimes he would change a word in order to modify its n1ea111ngs. A few-
instanc, s from the Jap 1 are given below :
Origina.1 iHoclified Odgina.l i'ifodiflcd Original IUorJ ifierl
word ,1~orrt 11·ord \l'Ol'd word word
Bhekh Abhekhae Bhara,n Nribllara1nae Varga Tribargae
Lek/, Alelchae Des Nridesae Sarga Asargae
Kaayaa Akaaye Bhe; Nribhesae Jaal Ajaalae
Jaa Ajaaye Gaal, llgaahae Paat Apaatae
Karan1 Nrikarnn1ae Baal, Abaal,ae 1l1azhab A1najbae
7. He would son1etin1es change tbe spellin g or the form of the word to extracti
romantic or musical value from it. Here are some instances fron1 the Ra,na111ar. 8
Origina,1 1\IodHied Ori ginal i\:lodified Originnl l\1odified
word ,vord word word word word
J111ae J11t1ae Tang Tanga,n Bajae Bajjae
Veer Veeran, Bhagae Bhaggae Gajae Gajjae
Chlz111ae Chh11ttae Lagae Laggae Nagaarae Naggaarae
Teer Teera111 Pikhae Pikkhae Hool Hui/a
P/111/ae Phultae Dharan, Dhartna111 I-fool H11lfalan1
Ang Angon, Dhaa111 Dhaa,na,n Kaloi Kala/am
Tutae Tuttae Bankae Bankaarae
8. Not content with a mere modification of words he would coin new words
because the musical aod other effects he wants to produce can best be achieved by such
coinages. The following words in the C!,a11di Charitra II and the Ran1av1ar coi ned by the
poet produce musical effects :
Taaga,dang, Baagardang, Kaagardang, BhakaabhunR, Dhakaadhunk, DamaaJam,
Dakaadunk, Rarae, Kilakk-ka'f'. Dhamadhliamma, Dh ala dhuhha, Sata satta, Kli aha kltoon, 9
I. K. A., (2237). 2. G. P., (35). 3. B. N. T, (86). 4. B. N. I,(:~); G. P., (20, 35).
'· B. N. T, (86).
"· A. U., (26). 7. Ju.p, (3, 10, 14, 17). ,. R. A., (708, 11 8).
9. (Ip l~~'I mf '-Tf.-r;a'n ~rm 11 'liln;¢n 'lil<!l ilieill flo<m!J. ~
II
• •
-
• •
' II mn¥-:']
'lln'l<ll '!1il; iillll1'.cl.il ~r~ «( ~i◄ l"i'fil lJ"f ' 11 Ch. Ch., !I ( 117)
'lili[E .. mt ig<:fi!§. cfi itai 11
•
ft:itj 'Fi ~ 'li\,i
•ai.rraf;:r ;:~ "'61~-.. Gqi II ,:,; w ""' ~
- f!,j.~ T~ li't#i¾J~ 'li'!i
.~ 0 ..
11
11 Ch. Ch., D ~125]
-'llil"l ir.i .,11.;~.. GT<,[ 11 ni[T ~<i ~re "!Jijf
~ n:aai II
~
«<1«1' itoi "'-1 'i!fl<1fln 11 '
.
<,3" '!Toi '!!''l
ge: ""' ""' ii Ch. Oh., 11 (2 13 )- •

ART VALUE 293
Tri12-nin Teeram, Brin-nin Beeram, Dhra11-na11 Dhaalam, Jran·nan Juaa/am, Tatta Teeram,
Babba Beeram,·Dhadhdha Dhartlam, Jajja Juaalam. 1
9. Occasionally he resorts to polysyl\ahic ,vords or compound epithets to enrich
bis expression by condensing more values than one together, for instance,
(a) Rozi-Ra:aakai' Giver of bread Dai1-Dar11i• Demon-slayer
Raheernai-l<1haakai 3 Merciful and liberator Garab-Harn;Jo Pride-killer
Saahaan-Shail'' King of kings Palangi-Piva11giu Riding a tiger
Raajak-Rah,,,,., Gracious providence Sarban1-Ka/i" Death of all
Sarbatra-Maa11eeae• Universally-adored Sarba111-Dali" Destruction of all
Rajaik- Yakeenai1 Sure provideoce Satru-Charbaini 14 Enemy-grinder
Sian1-Barni& Dark-complexioned Char-Chita11gi 1r. Ta too-limbed
(b) Deer-eyed, cukoo-voicedJ hearJ-~tealer, having elepha11t-ga;1, /Joney-tongued,
Moo11Jaced, ,vith the best i11tel/ect, dest,·oyer of vice, cupid-like splendoured,
beaulifu!ly bodiced, etc.,"
(c) Often these compound epithets are hybrid expressions made from two
languages, e.g.,
Raajul-Nid!,aa11e 11 Refugee for all Karc,11na11-Kareeniw Merciful in action
Kaara11-K11nind 18 Giver of n1eans Ajbaa-Krit 20 Of marvellous appearance
The wealth of expressions is further enriched by the use of idioms, con1mon sayings
and epigrams it
- - -- - - - - - - - -F;.-;;,;;i;;,-;;,- - -
1. Bf{!(fuml ooi 11 f¢i-Olfi!I-Ol ~~ II irITl!HJI "iIT(if II ~l!ll!ll!I ~ctl<!l II R, A., (533)
mi ffi~ II 'loci 'IR 11 ~ ~ 1;,i 11
iffi 11 ar.ai R. A,, (!"i4.l)
Aleo see "=""'

''"'" II "-" II
'<1';1« " ~ II
"f1,:B ~ ~ 11
\!Ii*« Jop .. ( 102)
11 wai a., { II \1,s 'llffi'! { 11 'ITT'! 'llffi'l 11 i: Jt1-p., (174)
l!:
11 S!i>rn 11'1 11 '>!lif,dl fil;a i:
11 "fl.,dl ~ 11 i: Jc.p., (li6)
3. Jo.p, (108). ,t. Jap (10\1). 5. J11p, lllO). 6. J,i.p, (111),
2. Jap, (108).
7, Jap, (123). 8, Ch. <...h., 11 (218}. !:l. Ch. OJ1., 11 {~HI,. 10, 1.,:1,. CL., 11 (253/. l l. Cl,. Ch., 11 {25.J).
13. Jnp,(110). 14 Cll.Ch.,U(:!03). i ii. Ch.Ch.,TI(l!ii<l). 16, R.A, \593) . Tts:x.L on p. 89.
12. Jap, (LIO).
17. Je.p, (1~3). JS. J(l.p, (100). 19. Ja.j:,, ( l lU). ~o. Ju.v- llSU}
21. (a)
"'ll'f ,ilom f-"lil <ill '11<:<I! ~ ll'I "'"l!R ,nt ~'< 11
~ f11o1! o!r,l'fil i!Ta { f«"ll'l 'of 'i!TI! 'f. ~Ill 'or{ "loll~ II R. .a .. (SSOJ
m;;i
~
..-i1'1: w<r f11a ~f"I .ii ,fu a.Wi 11
~ 'llffi: 2iq ill: "f'! ~~ R!SWi 11 P. Cb., 21 (28)
;;ir Qafl a
•nf,: lj,:t',; II "l"lill aj~ «i'l !\''51,; II P. Cb., JOO (2)
Ci\! ~10! ill ~II g>:,;i c,q;;if.,t II ~ ,is11!';1'1 'I>! rnlj 111 ~~ II P. Ch ., 102 16)
'1s ~U 3"" '1 ~ II ~{ !!';1'1 '1 >l_.r.l "!T'! II P. Cb., 292 (211
'11: 'l,
qi/l JI s, s, ~#) II a.t
'1 "l,'i!T JI <Ii( '1 "1,'i!T II N. a., 111())
W: {!p ~2' ~ it<ii l[ct II ~ ~ ~ ~ i-llG~Cf l! Ch. A,, Nar Nary11n, (16)
S!l 14\ l: '1iilfi; '1; lJ<l ,! fuq i:tit 'oll:>TT f.;{q ffi !;lf-1 'll<I! II
'!'.I ii~! ~ijl ,n 'f:J i!1'1 \1°llR ~ lJ'-'! a s!Wfil>TT II K. A., (t6,t)
Digitized by Panjab Digital Library/ www.panjabaigilib.org

It is clear by now that the poetry of the Dasa1n Granth is remarkable for the ,vealth
of its expressions. The resources of Braji have been supplemented by appropriate words
from Sanskrit, Avadhi, Dingal, Panjabi, Persian and Arabic. Two main effects seem to
have been achieved in the choice and treatment of words , music and picturesqueness.
Words have their own magic of the scene tbey create and the harmony that they lend to the
emotional experience. The craftsmanship in the Dasa1n Granfh is evident from the felicity
of pl1rase and the inner rhythm that they create within the line. __________ __
sl;!I (1 '!St! <Jl4i\ om!q ~ II
~(1 ,;<Jo st,s '1 "!!iii ~ IT JJ. N., (15)
'!iii" "'r" ,rer,11 11 t!l'ITR •nR i,r@,11 11

B. N., Ill (11)
1,lp:i'IS .:To ti11>i 11 "Ro B <J el W II
1,1 .R ilfta!'I 1st
'<'IS t
fl!• fir's!( ~ 'Iii%: 11
i;fij( it S'lsi! ot'1 fua i;fij( i[T f•i/i Bl!l\?i 11 B. N., YI (GO)
\fl >iqfs1 or ,ma ~ 1,,;i'\ (0 .ft sio II

;irn iilo<I t a-:isa'li<ii qrarn \ ""aio 11
K. A., (2'155)
.i'tsi!'l .ft~ TT!<ila !J"lot 11'1 ais'\ '11'! 11

f,i;, ~ITT'!TT f11~ Cilia \ "IR 'II, il; <lt'l II IC 1\ ., {24:li)
Bl1 'IS\j; ~ ;'if'! t si!l'I i!t; l1'1 Tl!'o II

o; ii:' iD! "It wfi, ~ .i'\B -.r~ f"" 11 P. Ch., 33 (41)
arm 'lit -.r~ "!TR sir mt, 11

'1ST o;afi
fu,i a '!Silg " lltf<•f%: l1'1 a fll<il!S: 1"1t, II P. Ch., 33 (42)
'1,W '<it f.ii:;1\'1 il; il'l ail '!Sill i!qr.'. II

si!iil fq,. a Mjj;\lll:'lf%: af.iais fsi/i l1R '"'• 11 P. Ch., 108 (4tl )
o;ais w;'\ ~ a~ a'\:l! '<!fo "" 'llll II

qrq ,i;t f'l'I '!'II i!'1. i!'1i iRll<l (Ill II P . Ch., 183 (19)
.\'isr Bl1 ~ i!ot !J'1 ~ 111st !!)ITT, 11

ml ~ 'It~ ;i,fr ii ,if;;: i!os__iil 'lR 11 P. Ch., 192 (15)
_.iais !!B'IS 'i<i,11 ~"" fil'!<I iliqto; "Iii%; II

;irn 5fll2: fii 'f'1 ~,t~ f'1!lf2" B'oiil il; l!if, 11 e. Ch., 2111 (0)
\'I'll .rlil l w "" W",r" ma: fs<il, II

!J.G!o '"" @it, 'l"< Bsl B'I "i<il 'ltl! flllilR It 1-', Ch., 2ii6 \ 60)
ufu s ,rt;i;; <!\fu 'ISi ~- s;) q~<TT\f 11

~ fllm~ itG'lr s;,i\ ""'" ;i; ma 11 P. Ch,, J6 ( .t-3J
rn'l B(3 ~!l q1,flr.n •" 'lit ,t ijl11• 11

W W 1,(• ilti/1 'R c'!f <<rr -.rm qta 11 P . Ch., 297 (7)
=-=Im
,_.,, .,.... .._ ti.o ii S!'ltf.11i 11 it
s;•r ,..._., "!TR ql\'i'lf
.._, 'l'l >ll'!'l ,,,__, _ si!Tf.!~ 11 p. ah., 0
~41 (7)
'lfil 'If.I >if.I ii '1!€110: sill '1ST ~ (!.rm 11

Bl1 f.R"1sl <rri1 fil;( !ll1 'si;I 'o(o B<!ll'I I I B . N ., 11 {35)
~ 'liilo fu,i i\ '!Sar<Ta; 11 iliB 'ITi;I o!:J 'li!B B'!Tt II

:;tfil; 'R <Jt B°rt sill~ 11 f~ 'tit
am{ '!Sill q~ II P. Ch ., 336 (5)
ra. -'" ffil ;;i .ft q; •-.it'!t II aiil; '!il<il f.!;g ,ifil: om!! 11 P . Ob., 315 (10) ·

ART VI\L UE 296
DESCRIPTIONS
Most of the verse in the Dasa,n Gra111h, as noti ced a bo ve, is narra tive. A literary
account supplements a narra tive with description. Descripti ons lend realism and diversity
to a narra tive. The objects of descripti ons a re perso ns, places and acti ons o r activities. The
narrative verse in the Dasa,n Granth offers consid erable scope fo r portrajt-pa inting, account
of actions, de scriptions of war-scenes, and trea tment of nature. Tbe description of the
beauty of Ram• and Sita', Krishna' and Rad ha•, Datta' and Ansuya•, Paras Nath' and D urga•
are matchless examples of portrait-painting. Kri shna's sports9, acqu atics10 , Raas Li/a 1i, gopis
12
in union , gopis in separation 13 , the marc h of an arn1y 14, a pr ocession of won1 enl5 and another
of Kan1dev'' are remarkab le examples of the descn ptions of a group or of a moving pageant.
The splendour of tl1e court of Aj in Vyas Avtar is matchless in its glory o f S11•;•am1•ur."
The poet has further e1uployed this method in the description of ugliness as well.
The personages of the army of Abibek are both t1gly and handsome. The poet has lavished
all his resources on the description of the phy sical as ,veil as symbolical attributes of Abibek,
Kan1deva, Basant, Hulas and Anand on the one hand and that of the ugly or grotesque
figures of Alas, Ka/aha and Vair on the other. Th e portraits of Paras Nath" , Kan, Dev" ,
Basant'" and Hulas" are striking for their beauty, both natural and symbolical, those of
Abibek," Bharam"' and Alas" are examples of the grotesque art. The pen picture of Anand"'
is reo1arkable for artificial or ornamental beauty. The poet has an eye for the details which
are not only significant in chracterization but also notable for telling their physical charm
or emotional appeal. These pen-portraits remind one of similar pictures drawn by Spenser
in his Faery Queene wherein he follows both Chaucer and his Italian predecessors. This
resemblance is striking in view of the fact that there is no evidence of any literary affinity or
contact. Human culture develops in different regions in its own "ay and yet on the same
lines, revealing an essential identity of hu,nan evolution everywhere.
The poet has not fai led to add to physical and emotional details any traits of
character if the figure is important as an allegorical virtue or vice. These portraits which
are abo11t a hundred in number are divided into t\VO processions, frozen into the respective
attitudes. Dhira)" in Chhapai ,netre in a six-line stanza and Abibek" in the san1e metre
would help us lo appreciate the poet's art.
The descriptio □ of war is a favourite theme in most of the ,vorks of the Dasam
Granth. The verse in such descriptions echoes the action; and the sound effects produced are
matchless. The subject bas already been treated in chapter Ill An atten1pt would now
be made to study the treatment of nature in the different sections of the Gran th.
I. Sae pa.ge Si for tax~. :l. :See page 87 for text, 3. Sea page 88 for te:ict.
5. D, A., (34-62, 65-77) Seo pa ge 121r. 4. See pag e 88 for text .
6•• A., (13-19, 25-33 . 29.'.!-3l 2). 7. P . N ,, {7-90) A h;o 11ee pngo I 'H,.
8. P . N. , (21-24, 45-74), 9. See page 83, 84. 10. See pa.ga 84 f or t e.&"t , 11. See pa11:e 86fn fe r text.
12. See page 88 for terl, 13. See page P!) for text. J4. See page J2.'.! for text. 15. See page 122 fo r text,
l 6. P. N ., (7-21). / 7, F:ee pfl.ge 11\lf for text,. 18. P. N., {7-20).
.'.! I, P . N., (173).
20. P . N ., (171 -72).
22 . P. N., (169). 23. P . 1',T., (176-lDG).
25. P. N., (174.-5).
24. P . N ., {1 70_22 1. l
26. P N., (_232). 27. P. N. , (169}.

THE POETRY OF THB DASAM GR/\NTH
(j) DESCRIPTION OF NATURE
Nature forms often a back-ground to the activities of man. Man's inner character
sometimes reveals itself in the con1pany of nature. The creative energy of nature delights
the heart in its happy mo,nents. It soothes in distress by its healing balm. The primitive
in man and nature are closely inter-related and for this very reason nature bas a don1inant
place in poetry. Broadly speaking, nature is treated in poetry in four different ways. The
first category may be styled as description of nature for its own sake. Such description aims
at the portrayal of nature alone. In the second category, the poet projects the emotions of
his hero and heroine and sees them reflected in. nature. This is the emotional treatment of
nature. Here, according to the varying moods oftbe hero and the heroine, nature is shown
to share their joys and sorrows. In the third category nature serves as a background to
the activities and emotions of men, as in novels and in epics. In the last variety, the
phenomena of nature are employed as a mere decorative device, figuratively or by ,vay
of illustration.
The description of nature depends upon the disposition, emotions and thoughts of
the poet. Somewhere he realises in it the inevitable loss of providence, else-where be
exp:':; riences cruelty, intoleratio □ • harshness ju nature, and in yet other p]aoes he finds
sympathy, co-operation and elements of spirituality manifested in nature. Thus the various
aspects of nature depend upon the disposition of the poet. He seeks the reflection of bis
-O\VD disposition in nature; and seeing it in the desired form, he describes iL as iI suits
liis purpose.
In no period or the Hindi literature, other than the modern period, is there a synthetic
confi~urative and free description of nature to be found. There are mainly two reasons for
this: Firstly, Sanskrit 1nasters took nature as an excitant and out of the in.1:inity of natural
phenomena, they selected rorests, gardens. lakes, the six seasons, elc . 1 for their descriptions.
Hindi inherited Sanskrit literature in theory as well as in practice. Hindi poets, where they
adopted other things of Sa nskrit, also adopted this vie,v in regard to nature. Secondly,
some Sanskrit books, for example, the Alankar Shekhar of Keshab Mishra and the Kavya
Ka/pa Latta Vritti of Amar, were written to il)itiate new poets ioto tbe te~baique of poetry.
Tn tbese books novices were instructed as to how to describe particular features while
<lescribing a phenomenon. These books also influenced Hindi poets, the result being that
while describing a landscape or a phenomenon, they have catalogued things instead of
presenting thern in configuration. Hence in the Hindi literaiu1e, there is a paucity of the
true depiction of the genuineness, beauty aod uoiqueoess or nature.
ln the Adi-Kai, considered by some as heroic age (Vir Gatha Kai), of the Hindi
literature the doroinent ii.1terest of the bard W~s war. His objective was to create heroic
sentiment in his people. There ,vas, therefore, no scope in bis Rasso poetry for the
treatment of nature for .its own sake. He, however, employed nature generally as the back-
ground of human actions•, as an excitant' of the human feelings and as a standard of
L Compare P . .k., Vl, 94, (2\1) ; P, R. , VI, (1-l, 15, 16, J'l). 2. Compare .P.R., VI (337, 339) ; P. R,, XXV (:J6, 4.6).

ART VALUE 297
comparison' for human (feminine) beauty which generally was the cause of war. Of these
the last use is extensively found but it was more or less conventional, having been borrowed
from Sanskrit poetry. Chandra Bardai's Pritlzvi Raj Rasso is a case in point. fn th e Bhakti-
Kal, the main theme of the poets was the union with God and to create the sentiment of
pacification or resignatioo. Kabir was a mystic poet. He did not employ outward nature
ia his poetry. He, bo\vever, used nature as ala11kar or standard of cotnparison. Tbe so ul
and God are compared to Chakva and C'hak11i 2 • ln Jaya.'!.·i 1s Pad,naval the devotee bas to pass
through a grea t many obstacles like a lover to fi nd )us beloved. He uses natu re as an excitant
both in separation and unioa. 3 In sagun school of thoughL, nature is employed a:; a back-
ground and an excitant. In ru\si 1 we find the description of natural scenes associated with
Ram• and in Sur with the sceoe where Krishna had sported .' But in both we find evidence
of a personal Jninute observation of nature. The conv~ntio nal descriplio ns are abseot. Both.
Tulsi and Sur have also used nature as a standard of co,nparison in the description s 01 the
beauty of their heroes and herotnes.
In the Riti Kai, the main theme of the poets was the description of eros. Their aim
was to describe the coquetry and beauty of heroines dwell,ng io the luxurious atmosp bere
of roydl palaces. Therefore, nature is seen to have beeo exploited to the utmost as a
standard of compariso o of hutnan beauty. Nature is seen to have been further etnployed as
a stimulus of the erotic sentiment in the description of seasons and the twelve months, just
for the sake of exciting the emotions of the hero and heroine. Independent descriptions
of nature are simply absent in this period. But ~vherever we come across de scriptions of
bunting, gardens, etc., we find, they are all con ventional. The master•poets had laid down
the forms of po etic compositions and acco rding to them the poets could describe the scenes
of nature with their eyes closed. They neve r felt the necessity of personal observation and
often their descriptions brist led with J:la1vs of time and place. Their kno1vledge of nature
did not come to then1 by experience. lt came th ro ugh ancient literature of Hindi poels, in
theory as well as in practice.• In the Dasan1 Gr anth, also, descrip tions of nature fall withiu
this conventional category. Neverthele:iis there are certain exa n1ples of descriptions which
do credit to Hindi poeiry.
- - - - - - - -- - -
1. Coruparo: ~;:i 'lffu +fqj" P. R., Snml\ylL 50
2. Compure K. G., 13; J\.. \'., 3, (18}.
"~ f~') 1il 'lit "IT~ fi[,i') 'Ri:tlil K. V., 18
't~ sis "11 si'li! q'i. if'>T 'lit <l'l fiR,: ,j,m, 11
'IS<ilq ~""" 1fu a.
'flip I f<l.r fa.r m ':!);'1 '!J'l f.rf11 'ltip 11 J, G., S2
~'<'I amo il'!<il "'l! 'lit I ll ~ ,¼;r ~l'11 <:tliiJf 11
si'li! ,;'), ~fi qfu 'I 'IT a:,;>: '(]ii T'!~fu '1ft ml[ 11
~II ,:IT '!TT qfi:,r,i "TlJ I llol~mfi: ~'IST 'iir<loltlj II
.,')i: !Jq-a') 'w[il-.rm I '<ii 'IT <tl! firot lJl1I mn 11 J. G., 16B
4- . Con:i pani description of Chitrakoot in Geeta1·a!i ; Ayodltya ka11d, (50),
5. Corop!l-fe Blrarmar gei,t, (16S).
7. Hindi Km•ya .Men Prakriri Chirra11, 186.

Treatment of Na tore in the Dasam Granth

Nature has been treated in the Dasanr Cranth in five important ways, nature as an
ex-citant, nature as an inexbau stible sonrce of alankar, nature as an entity, personification in
nature and lastly nature as pervaded by the su pre1ne Deity. In the Hindi poetry, nature has
also been treaied objectively as a source or sentiment <Aala,nban) or as a source of moral
wisdom. But these two do not find any significant place in the Granlh.
1. Nature as an excitant :
As an excita □ t nature bas been described both in the poetry of union and separation.
In union the Ma laya breeze• the cool moon•shine, etc.i increase mutual •
attraction but
in separation all the activities of nature fan the passion of love-lorn people and make them
unhappy.
In the Indian Poetry, nature as an excitant has been mostly employed in the erotic
sentiment pertaining to separation. When, inspite of lofty Jove between the hero and the
heroine, be or she does not find consummation in union, we have the erotic sentiment proper
to separation. Man experiences joy and sorrow in nature according to his prevailing mood.
While the mind is perturbed, the cooings of cuckoos upset it. The full-blown rose flower
looks like a burning coal and moon-shine appears like a snake.
A grier-stricken woman has it as her heart's wish that the whole nature should share
her sorrow. She desires that all the vegetation in nature should languish; trees should shed
their glory. All couples should become separated eve □ as her own person has become
emaciated by separation, even as her 0\1/n deJights, her spirit and enthusiasm have become frost-
bltten. Th1' sweet cooings of pigeons immersed in happiness appear di,tressful to the spouse
and she derives consolation from the distressed calls of separation of the female cuckoo.
The very ele111ents of nature which aggravate the pain of separation enhance the
feelings of love in union. In separation the Malaya breeze of the spring and the soothing
form of nature in her vernal bloom, torment the heart, but in union they excite the emotions
o[ love. They thrill the heroine ever and anon, while she is in a reminiscent mood about
th.e delights-of union which i• about to come.
Thus we see that in the excitant nature itself has no existence, y,,·hether in union
or in separation. Nature has but one usage and it is to arouse the en1otioos of mind. Thjs
employment of nature has been availed of, right from the first poet up to the present day.
Love in union has two main usages. Firstly, nature increases the exhileration of
the mind, and secondly, it becomes an object of physical enjoyment. The phenomena
of nature enhance n1utual charms ,,ben the hero and the heroine are united. Cool sweet-
scented breezes, n1oooligbt, bank or ihe waterfall, the rustliog sound of leaves and the
cooings and chirpings of birds, infuse a certain intensity, tasie and sweetness in their
mutual attractions. The hero feel s the attraction in full-blown flowers, pairs of birds and
trees and creepers. The whole nature appears to him full of delights. Rivers appear to
him as if they were going to meet their lovers in flurry . Trees appear to embrace their
beloved creepers and birds are seen absorbed in their mutual love sports,

ART VALUE 299
In the Krisanavtar of the Dasan, Granth, there are two poems called the Baralunah
(Calendar).' They furnish striking examples of the use of nature as an excitant. The spring
and the rainy seasons have been conventionally described as excitants of erotic feelings. The
full bloom of the plash trees, the humming of bees, the blowing of the pleasant breeze
induced Nandlal to play oo his flute whic n attracted his friends towards him.'
'
In the rains, the rolling clouds and the dowopour present a beautiful spectacle. The
Chatrik (pied-cuckoo), the pea-cock and frogs pour out their hearts to the symphony of
ihe clouds. The gopis' love for Krishoa grew iotense and they sported with him.' In the
month of Maghar, too, the erotic sentiment is given a sharp edge by the piercing cold, and
the comfort is sought by entwining the person of Syam ,vith the gopis'.• In bis company the
spring, the rain, and the cold winter were pleasaot. But in his absence each of these
becomes very paioful.• In the mooth of.Jeth, the atmosphere and the-earth become heated,
travellers cease to travel and the blrds hide tbemse1ves in trees. In the oppressive season,
the lonely heart in love becomes excessively uoeasy. The feeliog of separatioo is further
aggravated by the ioclemeot weather.• This sense of separation is further heightened, as we
have seen above, in Bhadon and Katak,' Even in the autumn when the clouds have turned
white, the nights are clear, the heart of the separated beloved is over-powered by loneliness.'
lo the month of Pok/,, the dreariness of heaven and earlh makes mortals look dismal. In
the increasing rigour of tbe season, there is nothing to soothe the heart, The bodily frame
laoguishes like the lilies, and the heart pines for the hard-hearted one.• When Phalgu11 is in
its full swing, happy house-wives are radiant wilh love,; they scatter rose, abir and gulal.
Their dupa1tas are saffron-coloured. The whole spectacle looks like Cupid aflame by
contrast. The forlorn woman is roost troubled at heart. 10
This form of poetry from the beginning of Hindi literature even to this day is
still being attempted. The treatment is more or less conventional. But there can be no
doubt here about the sincerity of tbe artistic lreatment.
2. Na1ure as a Source of Ala11kar :
Nature is an endless source of beauty in ils variegated aspects. In order to enrich
bis expressions and to lend beauty I to bis meaning, the poet bas always selected his
decorative devices, in the very first place, from aature. Tbe numerous sounds and sights of
endless phenonJeaa suggest endless comparisons. In the Dasani Gra111h also many such
comparisons have been employed in the descriptions of hu,nan face, battle-scenes and other
impressive activ]ties or movements of thjs life. Tbe poet seems to have observed very
numerous shades of colour and moveroeot, both the oatural and artificial sceoes of life. He
has carefully ransacked the skies aod the bowels of the earth to illumioate or enrich bis
expressioos. In his a/ankars we find such vast objects of nature as the sky, the sun, the
moon, the clouds j such reo1ote objects as the snow ; such fleeting phenomena as lightning.
l. K. A., (807.!i.S, Ol.i-26) . For text eee Appendix p . [i-v).
"' K. A., (879). 3. K. A., (872) .
4. IC A., (876 ).
!i.K . A ., /87 3-711) . compare : Totin samn i sukltdayak thee rir uusar yaa!ti hhaee dukhdaa-ee.
6. K . A ., (916).
7. X. A.. (91 9-922 ). 8, K . A., (920) . 9. K . .4. . , (9 23).
I O. K. A., (925) .

In his comparisons enter birds hke p1geon, parrot, crane, cuckoo, swan, etc. We meet deer,
and lion also. We come across fish. We seem to smell the fragrance of lotus, chanipa,
1nulati, and sandal wood. The poet brings in the use of even sil-ver, gold, quicksilver, crystal
and saltpetre for his comparisons. The vast objects of the earth like the Sindbu, the
Ganges and the roaring ocean are a1so used to elucidate the sense of power embodied
in the objects of his descriptions. Here are a few verses to illustrate the use of nature in
alankar in the Dasarn Granth.
(a) In order to relieve the burden of the earlb, the Lord of the Universe after deliberation, instituted
war.
The trumpeting of the intoxicated wild elepbauts is the thundering of clouds; white tusks of the
elephants shine like the rows of white herons preceding lhe dark clouds,
The warriors with armours oo move about ; the brightness of their swords is hke the gleam of
.. Thelightning .
hosts of demons marching against the gods are like the clouds gathered in the s.k:y. 1
(b) One day the Maharaja saw a beautiful maid-servant.

She looked as if she was tbe lovely moonlight ta.k en out of the moon.
He took her to be the lightning or the creeper of knowledge ,
Or the manifes.t ation of the 1oternal beauty of tbe lotus flower.
Or a garland of flowers, or tbe moon-light ;
Or Padmani in beauty, or like ma/ti ;
Or born of flowers or was raibe Ii in blossom.
Her body emitted the fragrance of champak.
Or she was celestial maiden walking the earth ?
Or a dancing damsel from the lleavens frolicking freely ;
Or she was Rudra moving about iu the garb of a girl,
Or she was a betd-leaf or a lotus-stalk dancing.
Or strains of music woven into her frame.
Or Formless had created her the queen of w0men.
Or she WdS the daughter of Nagas or she was lodra's spouse.
Or bhe was ~ankhani, Chitraoi, or Pad maoi. 2
1. Ch. Ch .I, (6~, ; see ]_Jli.ge 6ti, for text.

....
~ ~~r +r~~ ~rm 11 iliTT ~ 'qi"'" ~R ~ f.{~~t II
-·
i)
"'· ~ij\T
mt . ~ fct~~ cy@f m " . . ,,
11 f~'clf <ii~ tfi't +n~ ~T~r II ~m U. P., (lllS)
r~m 'f.QI .:tTQIT ~

~
=q~;i:rr ~r II
r .......
r~ 't~+r.rr +r ~1 +tiijjdl ...m II
.
~
.
•'l,
"
fef;~ ~q ~~m ~l ~r~~ 11 ""
~ WI €£Tij ~ ~ II a G. P., (189)
fsfim ~ ~f.=t;;rr f!;f!-.TT (ffiqi i~. 11 f.lim ~~;fr fcti;i.-t"r fu:a cfi~ 11
,. .
f~ ~ ~Ji m +ff~ ~Tm ll ~i ~ qr-:i
~
~ qiia(.il .:fRi{ 11 G. 1!., {190)
~
r> ,,
Wt m&t 00 ,n ,-... *
~'1 11 T<ii\:TT ~:£ u~ ,,ft ~ +I_tT 11
.
~) c\Tn ~'3fr fcfitTr m~t II Ffim ~<.eto1't ~~') 4/t+t.i\ { II G. P., (191)

ART VALUE 3()1
fc) Like n1ilk in Chirawadh, like buttermilk in Clthatra1Hr, like mooolight on lbe banks of Jamna;
Like a female swan in ·rurkey of the $bias, like diamond 10 Husainabad, like tbe stieam of the
Ganges when it blendctb with the seven seas ;
Like quicksilver 111 Palagarb, like silver 10 Rampur, like saltpetre in Surangabad;
Like champa floc,•er in Chanderikot, like moonhght 1n Cbandagarb, Thy praise flourisheth like
the rr,alati flower .1
3. _Natu1'e as Background:
ln the K.risa11a111ar nature provides the background against circular dance of Krishna
or the Raas Nfandal. According to Macaul1ffe, cbe Guru delighted to describe sports of
Krishna, the circular dances performed by hlm and the milk-maids and his special devotion
to Radhika, his queen. It was further to the south, on the margin of the same river that
Krishna himself had performed those great feats, ,vbich have secured him deification among
the Hindus. And it is for this reason that we come across nu1nerous and prolonged
descriptjons of forest, mountains, rivers, trees, flowers, birds and beasts. 2
While describing natural phenomena or things, Guru Gobind Singh has mostly
resorted to the catalogue-style or be has recounted these things indirectly as specimens of
wit and humour. In almost all the scenes of the Granth, descriptions are either simple
enumerations or indirect hints. The twelve months have heen sbown respectively as
there was room in the mythical narratives, like the Krisanavtar, for synthetic descriptions but
here too Guru Gobind Singh has employed the conventional style. 3 In the Pakhyan
Charitra, Brindaban3 forest has been described by the poet at great length, recounting
therein such things as trees, birds, artificial rivers, springs, etc. Here, again, the poet has
adopted the enumerative sty le.
Tall saal trees and ebonies, lemon trees Kadamb and banyan trees with their banging shoots
stand there,
Orange trees are laden with sweet oranges. There is a diversity of juices containing diverse
tastes.
The peepal tree, the palmyra and palm trees, the cotton trees. saar and siraari all are there. Two
varielies of Jaaman adorn the place. Cocoanuts, pomegranates and oranges are a ll standing
there in a stately manner.
N argis and rose flowers are blossoming on that spot , the whole thing looks like a garden of
paradise and there is none here oo earth to compare with it.
Many rivers are flowing through that forest; water-falls are lashing on and this is all pleasing
to the mind.
Its exquisite beauty cannot be described in words. He alone can appreciate its splendour, who
gazes on it.4
Few predecessors of Guru Gobind Singh have described nature so extensively
·in a single place. __ ' ---,-,-- _ _ ,
l. ~'r< ~ ~T~\-l ~~ ~m ~511~< ~qr
~ ~BT ~~ ~Ril~fr ~ ~i!t ~ 11
d~~ 6'l ~~ ~ @<r ~T ~~e: rim it~r \-lR =.:{Qfl ~H'll fu~ ~ ~ 11
41:CR.fl 4~13. ilro ~T ~ {f+{~ ~Ttrffi ij~rrr~r({ ;i(cy; ,@ ~ ~ II
~m1 ~~frq;g ~~ ~ "li~tn~ -€t:cfa f~ru ,~ +11mRt m ~ ~ 11 A ,u, (2B1>
:1. S. R. Vol. V, :!2 3. K. A., (876-878, 914-25). tror toxli seo the appendix p. (iii to v). 4. P. Ch., 209 (72-15)
Digitized by Panjab Digital Library/ www.panjabdigilfb.org

S02 THE POETRY OF THE DASAM GRANTH
4. Personification :
Attributjoa of a conscious personality to nature is personification. Oral stories-
pertaining to nature constitute an extremely o]d tenden cy of human nature. The emergence
of legendary stories is indicative of this teodency. Such a tendency has its beginning in the
Vedic period. The deification of the sun the mooo wind water and clouds and christening
, ' '
them by such sacred names as Surya) So,n, il1arut, Usha, Varun, and Indra is an illustration
of the tendency of personification. All the legendary stories forn1 the basis of this tendency.
The tradhion of clothing nature in outward human form and appearance is ancient.
On the basis of this, poets have experience.d human action and human behaviolll' in nature
and having observed in it the gestures and emotions resembling those of the heroine they
have.shown their ardour for nature. The poet's love of nature is not merely coafioed to its
activities but he also sees love, grief, and agitation therein. In the sentient beings of
nature this is natural. Devotion to progeny is noticeable in every bird and beast. Tbere ,is
also the struggle for one's rights among them. Besides these, they are seen to have affection,
attachment and nervous worry for human beings. Tulsi has mentioned horses uneasy in
mind over Ram's separation and Sur has described cows distressed and worried at
Krishna's separation. In the story of Heer and Raajba the buffaloes bellow in distress
at the departure of Ranjha. Thus mutu:i I relations of birds and beasts and their attachment
to man are natural. There is also similar response towards them on the part of man.
But a nature poet establishes a kinship with even insentient objects. The whole nature
appears to him capable of understanding his inn~r emotions. Nature as a companion
expresses sympathy for him in his distress, and is delighted in his happiness. Love-lorn
beings derive consolation from nature alone. Nature-poets have experienced such kinship
and sympathetic disposition in nature
Man shares other people's sorrows or joys according to his mental conditions. His
own mental condition is the standard of other people's joy and sorrow. While the mind is
perturbed, even the most splendid sights do not appear attractive to him . But when be is
free from sorrow even nature appears smiU □ g.
Personification as a poetical device is rarely met with in the Dasanz Gran th. Il occurs
only when. a character in an abnormal state of mind establishes kinship with insentient
objects. He finds a little sympathy in the human environments and seeks consequently the
company of nature in order to pour out bis suppressed feelings aad to invoke sympathy
from the objects of nature. Love-lorn characters often derive consolation from nature. In
the Ramavtar, Rama's anguish at the sudden disappearance or Sita is so powerful that his
very glances and breath burn natural objecls. Even the cool wind in the forest is forced to
take shelter in a lake.' In the Krisanav1ar, thegopis address the trees, even the iorest itself
for a clue or a trace that might- load to the discovery of Krishna.' On tne playing of Lord
Krishna's flute, trees shed juices, the mountains melt and retease water-tal1s and. Lbe
Jamuna stands tranquil to enjoy the melodious notes..a
1.
2.
<1'1 U'i'! m: @!I<
Compare K. A. , (482,484, 4tJ5, -1,8!}).
'!U II o• 'ITT liR:i'R >1\>t ~ II .R. A,, l3tl2)
3. Compa,, <,;(<I'! ~ I;!, ~ &fl1 'Ii< 'lT-tT fn, 'if l;j~ II K. A., (850J
olo ~ "'!l'll tJf.t ~ 8'1 UiJ "!i/t lf,lit ii SI~ ( II K. A.., l601 !

ART VALUE
5. Nature as pervaded by th e Supren1e Deity :

In the Dasam Granth, the poet bas regarded God as pervading the whole universe :
His sway pervades everywhere, He blossomelb in every blade of grass io the woods,
He pervades the splendour of the spring season, wherever it prevails.
The Great One pervadetb the woods and glades, birds and quadrupeds .
He everywhere blossome th, He is Beautiful aod Wise. 1
The objects of nature like the sun and the moon are invested with God's beauty :
Who bas invested the moon with effulgence and the sun wi Lb light
Who bas created the most radiant 6re and the wiod. 3
His splendour appearetb everywhere ; He is the repository of favour.
His light dazzle th ; His glory is perfect. 3
The poets like Plato believe that God is not only the power that creates the universe
but also universal beauty of which all the beautiful phenomena are expressions. In the
Dasam Granth, also, the poet has regarded God as the creator of nature and its many
forms, the earth, the sky, the winds, th~ forests, fruits, flowers, etc., for jnstance, he says,
Who bas hung the sun in the skies;
And after creating the stars has hid them (in the ligbt of the sua).
Who bas created the (four) oceans ; and fourteen worlds ;
Wbo bas created the gods, the demons, the men, and the Gandharuas.'
Who has created the four species of beings,
Who has made the earth, the firmament, the nether regions and the water.
Who bas created the most radiant fire and the powerful winds.
Who bas produced forests, fruits, flowers and buds. 5
Not only is God manifest in the beautiful objects of nature but he 1s activising,
energising every phenomenon and is the very principle of pbenome□ al life ,
"The fount o f effulgence" 0 "The stimulator of eoergy" 1 •'Pervades everywhere."b
Guru Gobiod Singb's view of nature is very comprehensive. He has employed

nature as an excitant. He has used it for embellishment and illustrations. He has also
adopted the catalogue style of describing things. But like,vise he has presented beautiful
pictures of nature in their contours and configurations. There is none of poet's main works
in which be has not employed nature i □ one forn1 or other.
Guru G0bind Singh was curiously observant of animate nature. He seems to
have the quickest eye, for tbe habits of birds and the beasts seem to come immediately and
1. ~ "•• 11;f\q
' §,ii l1lll
'!ii
""
~
.
i:r~i!C!f 11 "1flll 1.11.,a ai,'• •••' ~"" 11
'!ii <I'! mo llsf'I II ~Q ij'~~ ij~ii{ \1 SS: l;!S!R 11 A. U., (268)
'
""' l',;<I sr,; ~1.is ,l\q ,;{ 11 fS!, "IT'!~ qs. ~'s's ~' 11 A. U ,, (1 62)
,. A , U., (271) •• A. U., (153) A. U., {161)
., A. U., (259) 7. A. U ., (2.$0)
'·
'· a. u .. (~tio)

304 THE POE TRY Of THB DASAM GR.A NTH
readily to his minri when they touch the daily interests of average humanity. His memories
of nature seem to be numerous and handy. 1
A lover of human drama, and hin1seJf the leading actor on the stage of his province,
be was thrilled by the moving incidents of life and the excitements of sports and the chase.
He appears to have been a1inutely acquainted with all the love of field sports, the bunt of
wild animals, and the capture of the smaller game, He was a lover of the falcon which is
often found in some of the pictures of the Guru. It is a symbol of the great hunter. There
are, consequently, numerous allusions to tbis Jeisure-time activity of the leader of men.
---
~r 5"....
•
~.,{ ,..._
~Q ~!ff
r,
~r~ \t "
gT( i~r{fi{
~
~n~
,._
q'c3'f:q"f II
' '
;i;.i~
,...
efi" t6T~ +U:l er~
-, ~{ ar er+ri't +rrt~r l+Afl ~l()- II K.A., (731)
~ .:rrft.i m f"fu tli &~,~ ... °' ~
•
B:T(fl lJ ~<ti a~ i:lGTm II
~r ijfwl
~
qimrr ~rcra -...rr-:ro ~fvlliff ij.:t '~
~
~ qr~ 11 K.A., (7.'.i4)
Wii u~ mt 4,('41(1 1l P. Ch., S<l4 (4)
•
m~ ~~ m1i -~-fr:.f, Rf n B . .N., VIII (1)
~et ~~ ~t ~ro §t ~
~ ~T~ ~FT
•
(i(fit II
~ ~ ~u ~ fui:fibt it ~ ~ijf\' Wl~ II
'¥'T fflaf clffl.-t.f ~ ~ -cfio~ ~~ ra ~cft;:r II
~T tjcJ {{ 'qffl-=Rf ~ ra;r q1€j.=t a- ~ ~ .:( ~ 11 K.A., (200L)
Also compare K. A., (331,470, 490,427,527,607, 6L7, 620,668,672,754,873).

CHAPTER VI
LOOKING BACKWARD AND FORWARD
The Dasa,n Granth is a monumental work an encyclopaedia, as it were, in which
aU the possi ble themes aad forms of verse are t;eated with the skill of a virtuoso . It
represents all the traditions and currents of literature, devotional as well as secular, side
by side \V ith new experiments that a true poetic genius would Jove to make out of sheer
exuberance of its creative energy. It reflects tbe spirit of tbe times, when the saint and the
hero \Vere the natural leaders of the society and the state ; whe □ religious intolerance and
political insecurity affected deeply the n1iods of the people in the reign of incompetent or
irresponsible rulers; when men and \.Vomen ,vere, as a rule, interested more in activities that
sustained life rather than in politics ; and when the rhythm of life was rather slow and
leisurely.
That age is gone ; its natural Jeaders are gone; its mi1ieu, too, is gone. Tbe state
bas forged new powers and new values. The society has forged a new consciousness. The
poets respond with new sensibilities. The milieu inspires nev11 the1nes. And the past bas
been relegated into □ eglected books.
11
Before attempting the literary significance of the work, it is necessary to gather up
the threads into a pattern which seems to suggest itself in the survey.
1. The Dasa,n Granth enshrines the literary traditions of devotional and didactic
verse found in the Adi Granrh as well as in Kabir and other hl,aklas, io ~anjabi as well as in
Braji. The lap is an example of the one, and Shahad Ha,are of the other, ,vhile Akal Ustat
and Sri Mukhibak S111aiya, are examples of the both. In a part of the Akal Usrat, there
is a vein of satire to which the saints occasionally gave vent, \.vben they grew impatient of
the slow~awakeoing of the social conscience against tyranny of caste, or of tbe superstition
and ignorance of the mass mind.
There is also in the Shabad Hazare a short lyric quivering with tragic pathos, the
anguished cry of a dedicated heart. It strikes the note of hun1aoisn1 1¥bich emerges from
tbe poetry of bl1a/c/{IS who appeal to God in the name of bu111anity.
2. Th e Gian Parbod/1 Granth, which appears to be an incomplete treacise, is an
exposition, in tbe form of a dialogue, of practical philosophy or Dharma (R~i, Uaan, 81,og
and Nlokhsh), on which Bhish111a Pitamaba discoursed before be passed away in the field of
Kur11kshetra. Evidently, it is an attempt at the revival of the epic philosophy illustrated
with incidents from the reigns of kings like Pariksl1it, Janmejaya, and of rishis like Kasbyap,
Uttank and Austik.

J06 TliE POETRY OF THE DASAM GRANTH
3. The Bachitra Natak Granth follows the Puranic tradition of legend, history or
both, and retells the deeds of valour performed by Chandi, Chaubis Avtars, Brahma, Rudra
and still others. It, fllrther, gives an account of battles fought by Guru Gobind Singh him-
self in fulfilment of the mission with which he thought he bad come into the world. In
this heroic verse aurnerous actjons charged with the thrill of Vir rasa, are described with a
verve and zest that only a soldier-poet is capable of. The heroic poetry of Bbushan
(16L3-1715? A.D.J, the war balladry of the Rajputana echoing over the sands of Bhatinda,
would have thrilled the soldiers of Faith into re-living tl:te ancie□ t scenes again. On the
communal plane, life bad become a constant struggle for existence. The Mahrattas an.d
the Rajputs bad taken up the challenge and had resolved not to submit any longer to
political tyranny. Poetry became an echo of their spirit.
The heroic exploits of Chandi have been rendered into verse three times, twice in
Braj and once again in Panjabi. Before the readers are called upon to imagine or witness
the scenes of action, the horrors of war and engines of destruction in play, they are
jntroduced to the heroes like Datta, Paras Nath, Rama, Krishna, etc., and to heroines
like Sati Ansuya, Durga, Sita, Radha, etc.
Together with a pageant of allegorical figures like Kan,dev, Basa11t Hulas Anand
, '
BhararnJ Ka/ah, Bair etc., in the story of Paras Nath Avtar, the sketches of the heroes form
'
1
an excellent gallery of portraits. The art of portrait-painting reveals a skill that improves
upon the conventional technique of Nayikt1bhed and Nakh-Shikh which the Riti school
introduced into the seventeenth century and specimens of which we possess in Birah Natak
in the Krfsanavtar and elsewhere.
Contemporary influences are bard to shake off. One adopts them as one adopts the
climate into which one is born. The art evolves itself in conformity with tbe technique as
in lhe Krisanavta.r on the one hand and in tbe Jap aad Sastra Nan1 Mala on the other;
but transcends its weaknesses in the hands of a master, and achieves refreshing effects in
po rtrai I-painting.
4. Romance was the breath of life in the Panjab of those days, with hills in the
north and the west, deep impenetrable jungles along the rivers and a desert in the sou.th.
Every village had a ,vatch-tower ; and every town, a fort. People in adversity migrated by
the hundred, aod travelled in caravans. The sight of a stranger spread an alarm, and one
village gave a signal to another by the beat of a huge drum. The folklore of such a life
could not but be romantic, tales of hair-breadth escapes, deeds of chivalry, thrilling
adventures, magicj ghosts and news of abduction or clannish fight over a woman. The
Pakhyan Charitra drew upon such a stuff ; and one finds in it the romantic tales from
varied resources: the Panjabi as well as the Persian, the Pathanic or M ughal as well as the
.ancient, floating scandals of neighbourhood as well as the infiltrated ones of Rajasthan.
These form a body of purely secular form of literature that carries on the native tradition
-0f story-telling which was then primarily oral.

LOOKING Bi\CKWARD /\ND FORWORD 307
Ii.The poetry of the Dasa0"1 Grant/, like the Hiadi poetry of the day has several
elemeats of conventionality in it. This conventionality consists in the traditional use
of themes, plot, imagery, form aad metre. form and metre are traditional modes of
musical speech, that have been forged by the regional genius after generations of experi-
mentation ; but the same cannot be said of theme, plot and imagery. While it is left to
geniuses to invent oew forms or metres, even the trio can introduce fresh imagery and
variety of themes. la the Hindi poetry of the middle ages, the stories of Rani and Krishna
have beea told over and over again. Guru Gobind Singl1 has, however, extracted the
elen1ent of heroism from them without projecting tho atlltude of a worshipper.
In plot constructions also certain conventio □ a l devices bave found their way ioto
the Dasa1n Granth, viz .. a step-mother ·beiag eoamoured of her step-son and on his refusal
to g[atify her desires her anxiety to put him to death ; a minister relating a series of stories
to the king to enlighten him; the introduction of Baralunasa or Sha.tritu to depict pangs
of separation ; seeing of lover in a dream; falling in leve with a person at the sight of
a picture; change of form ; change of sex i etc. The use of such conventions in the Granzh
is well-planned. They have been employed to start the story or give it a turn in the
character-narratives .
"Conventionality'', says Keay, ''in the use of metaphors is another feature of Hindi
poetry. Some of these metaphors do not correspond witl1 the fact of nature, but the Hindi
poets are never tired of repeating them. The separation of chakva bird from its mate at
night i the eager waiting of the chatralc bird, 1.vho is supposed to drink only raindrops, for
the beginDing of the rainy season ; the chakor bird, that is never happy except wheo gazing
on the moon ; the swan that knows bow to separate milk from the water with which it has
been mixed-these and many other stock metaphors are continu~lly recurring in Hindi
poets". The same may be said of the poetry of the Dasa111 Grant!,.
Apart from conventional symbolism there is in the Dasa1n Granth. as 1n Hindi
poetry of the Ritikal, much of other imagery which is not only conventional but also
comIJ1onplace. In the description of beauty we have in this Granth certajn comparisons
as the, moon-faced, deer-eyed, cuckoo-voiced, with an elephant-gait, etc., which are found
in abundance as the common stock of poets of the period. But many beautiful similes,
drawo from a true observation of nature at first haad, are, also, found in tbe poetry
I
of the Daswn Granth.

The literary genre, the acrostic, in which every verse begins with the letters of
the alphabet in a strictly serial order, is not new. It is said to have its origin in the
Apbhransba period of the Hindi literature. In the Adi-Gra111h a similar composition of
Kabir appears under the name ofBa11•a11 Akhri. Jayasi also wrote a composition like this
under tbe name, of Akhravat .. _The saint poets like Rajjab, Haridas, Sundardas, etc.,
attempted thts kind of compos1t1on under the name of Ba,,.an Akshri. In the Dasam Gra111!,
,
too, we find similar compositions. It is, however, interesting to note that of the four

acrostics found in the Dasan1 Granth, one is conventiona], and the others are of a rare type
the Hindi literature in that the verses end with the letters of alphabet io serial order,.
though of course, tern1inating in vowel which is unavoidable.
Another conventional feature of tbe Dasa1n Gran th which brings it into line with
the literature of the Ritikal, is its encyclopredic nature. It covers a wide range of human
knowledge including ayurved, astrology, human psychology, geography, hunting warfare,
music, etc., and in fact all the sciences and arts to which references have been made in it.
There is a long list of diseases of diverse nature-diseases that have come down to us in the
wake of life. They are not only physical ailments but include mental worries as well. The
common astrological beliefs, such as the conjunction of the moon and mars that augurs well,
also find expression. A psychological touch is imparted to the well-known prescription of
medical treatment that a wound or cut is healed by fomentation. Indelible pictures of·
the various places in the country are dra,vn in a string of well-chosen similes . Intimate
knowledge of the habits and ways of various games and birds of prey is displayed.
Long lists of various kinds of missiles and weapons of warfare in the descriptions of wars
are frequently drawn. Mention of different rags and enumerations of various musical
instruments and presentation of word pictures of the strain flowing from them are also-
there.
III
The Dasa1n Granth, appears from this summing-up, to be a monument to the genius.
of the Medieval India raised at Anandpur in the Panjab. Its importance is three-fold : /
(a) It is a source of material for students of history who turn over the pages of
th, Baclzitra Natak for the account of battles that the soldier-,vriter gives, and those of the
Jafarnan,a that Guru Gobind Singh wrote to Aurangzeb as a letter of protest against the
royal breach of the royal word. Iiistorian after historian from Cunningham downwards,
has drawn upon the material for its authenticity and clarity.
(b) In the history of Braji literature, as in that of the Panjabi, the Dasan, Grant!, has.
carved a niche for itself, next in order, perhaps, to that of the Adi Grant!,. Clzadi di flar
in Panjabi possesses a place of pride in the Panjabi literature as the first and finest specimen
of poetry of Vir rasa written in Sirlc/zandi Chhand for the first time. The Panjabi genius at.
Anandpur accepted and maintained the literary traditions and conventions of the Braji verse,
and at the same time put on them its native stamp of devotion and valour. Jt went still
further. It re-orientated the art of autobiography in the Bachitra Natak, and the art of
fiction in the Pakhyan Charitra,-probably the reflexes of a greater ego and a greater
tendency towards escapism dominating in Punjabi character. •
(c) Apart from the historical value of the content and of the new experimen,s.
made in art forms, the poetry of the Dasa,n Grant/, bas its intrinsic literary vai"ue:
(l) lyricism (2) portrait-painting and (il) heroic as well as narrative verse, which have
made a refreshing appeal to the modern generation. In any selection of the medieval
Braji verse, the Dasa,n Granth would yield a rich harvest.

LOOKING BACKWARD AND FORWARD 309
Passages of lyric beauty are found io every form of verse, devotional, heroic or
erotic, rich in imagery and music and instinct with emotion. In tbe Akal Ustat, and Shabad
Hazare, however, we find short lyrics like 'gems of purest ray'. Some of them are poignant
like the cry of a soul in anguish.
ln portrait-painting or even in description of nature, the verse of the Dasam Gran th
attains a high water-mark in achieving effects of beauty or passion in shringar rasa.
The heroic verse of the soldier-poet is charged with sentiments of valour and martial
music, and gives a thrill of the war balladry of the oral tradition. Even the devotional
verse of the lap seems to have caught something of the declamatory or recitative rhythm
of the heroic verse, for God is Sarab Loh ; and Durga, the incarnation of the Primal Shakti.
The swift and sonorous verse tries to echo the hurry and dju of action, and the words seem
to act for the strokes of weapons, the volleys of bullets, the neighing of steeds and trumpet-
tings of elephants, the shouts of the fighters and the groans of the dying. The reader is
transported to the very scenes of battle as those of the Mahabharat described by Sanjay a.
IV
A survey and study of the Dasam Granth in these pages, and a brief summing-up
of the whole at the end of this work tempt one to estimate the place of the Dasam Gran th
in the Hindi literature. Apart from the large variety of themes and metres found in
it, on the basis of the number of verses (16,237, excluding those of Persian and Panjabi
compositions) alone, this Granth stands as tbe biggest work: in Braj, surpassing even
the Sur Sagar which has only 4,936 available verses. Moreover, like the s~r Sagar
it is not confined only to 111uktak Kavya; it constitutes both the Praba,idl, and /vl1<k1ak
types of poetry.
In war poetry, Bhusban's Shivraj Bhushan, Shiva Bavani and Chhatarsal Dasak
get the precedence of the Dasan-i Granth in time as well as in epic quality ; and 1t m ;i;y be
suggested, as already mentioned elsewhere in this volume, the author of the Dasarn Gta,uh
drew inspiration from his illustrious predecessor with a common cause, Shivaji, but in rar
and war balladry of the Ritikal, the Dasarn Grant!, in Braji as well as Panjabi verse
may be said to bear the palm in the person of our soldier-poet who regarded sword as
a symbol of Sarablol, (All-steel) God. In autobiographical poetry, we find a pioneer in a
Jain poet Banarsidas (1586-1641) of Jaunpur. But it was left to Guru Gobind Singh to
make a fresh experiment in this field in his world of medieval poetry. In the Nirgun
school of devotional poetry the Dasa,n Grant/, offers a fine blend of purely devotional poetry
and satirical or didactic verse of the school of Kabir and Guru Nanak. To fiction, the
Pokhyan Charitra contributes the largest collection of Upakhyan (talesJ 10 the Hindi htera-
ture and furtber marks a stage 111 the evolution or short story 1 in which character
dominates. Coming to the Panjabi one may observe that the Da1an1 Gra,uh comes next to
the Adi-Gra111/z in bulk of co111position as well as in literary importance. ln its secular
character, ho\vever, the LJa,5cu11 Granth is the greatest contribution to the Braji literature, a

monument to the versatile genius of Guru Gobind Singh. Further, the Dasant Gra11t!t
ln a way, is a great step towards rescuing much of the old Indian thought and culture
from becoming stagnant in the ancient la □ guage of the country, which had become
inaccessible to the general public, and transn1itting it into the language of the people.
Tn the variety of metres, the Dasa111 Gra11th ranks □ ext only lo the works of
Keshavdas, but in the broadness of canvas and poetic forms and moulds, it surpasses the
latter.
The Ala11kars used in the Dasan1 Granth are not only myriad but apt and striking.
They have been pressed into the service of sentiment, emotion and motive very deftly.
They impart potency to the manifestation of a suggested sense. With the poet of the Dasa1n
{],anth, as emotion increases, expression swells and figures or speech foam forth with the
result that \Ve have the cun1ulative e □joyn1ent of sound, idea and emotion, all in one relish.
Tbe emotion expressed by these Alankars may be found elsewhere for these are long-
established poetic conventions but io many places a new flight is shown, that is some-
times marvellous.
The poet's genius (Pratibha) presents ever fresh aspects in the domain of D/nvani.
The same thought, when made of glow by the poet's imagination, appears new.
Whatever the merits of good poetry, be it Rasa, Gu11a, Alankar, Dhwani or Riti or
eveo metre or mu-iical form) in the Dasan1 Grantlz aU these merits of good poetry combine
to give it a unique position as a work of great poetical value io the Hindi and Panjabi
literBture;. We may, therefore, justifiably conclude that the Dasa,n Granth is one of
the major glories of the Hindi literature. ,
V
The Dasa1n Granth has been lying in obscurity for decades and decades. The
educated Panjabis have turned their mi □ d to western literatures. The pious have recited
the Jap for their devot,on. The Nirnza/a scholars have give□ their preference to the
Adi-Gra,uh and Vedant over its secular verse. While the holy Gran1h has won wider
publicity by being transliterated into Devnagari script by the Shiromani Gurdwara
Prabandhak Committee, Amritsar, the privilege has not yet been extended to the Dasa1n
Granth for its secular character. Consequently, it has, with the exceptions of 1he Jap,
Akal Ustat and Bachitra Natale, remained a sealed book to the world of Braji or Hindi.
It is still waiting for a literary enterprise in the Punjab, that ,vould rescue it from its age-
·Old silence and solemnity, and publish some parts of it, at least, in Dev11agari to give it
-due publicity i □ the world of literature, which it richly deserves.

A BRIEF LIFE-SKEl'CH OF GURU GOBIND SING!-1
Guru Gobind Singh, the Tenth Guru of the House of Nanak, ,vas the son of Guru Tcg 13ah.adur, tlu:
Ninth Guru. He was born on the 26th of IJecernber, 1666 at Patna whereto the fa111ily had acco1npan1t!d
Guru Teg Bahaclur in his tour of the Ea.st. The Guru vvas in Assam at that tiine. \Vlien he recei,•ed the
happy news from a messengrr, he was requested to give a nan1e to lhe new-born child. He, it is said,
named him ' Gobind'. Since the name of the 5ixth Guru was •liflr Gobind', the baby's mothrr and gr:ind-
molhcr preferred to cull him by other loving narnes like 'Syitm', 'Ram' an<l •Rnri', all synonyms of ·Gobind'
The Guru could not see bic; ~on till thC" chilcl was about one year old.
\ Vhen Guru Teg 13::ih:Hlurreturncd to Patna, he could not stay wil11 his son !or Jong. He had to go l11
the Pan jab where he h::id to live alone, till ihe family also inoved back thereto.
During tt1 is re riod of about ~even ye;irs Gobincl Rai was brought up by his ,nother, grandmother and
maternal llncle !{irpal Chand. ITe was a playful nnd !oYable child. He gathered round him boys of lus a~'-'
and played various games with thc1n. 1:Ic! evinced signs of leadership, fearlessness anti Jo\'e for Jighling.
He arrang-f>d mimir. fights and ltend~omelv rewarded those,, ho won. Ti1us be endeared himself to all. He
learned to speak Eastern I{incli in Bibar. It ,11a.<i here that he started bis schoo li ng.
On his arrival ;,n th e Panjah :1t 1\L1khowal (later known as J\nandpur) in 167:l, bis father placed hirn
under the care o f Sahib Chand Gr;llltlii 10 l"arn Guru1nukl1i. Qaz i l'h· :Mohau1mcd was engaged to leach
him Persian. As he grew up he wu.c; l riuglit to compose poetry in Btaj, the literary language of the day. An
expert Rcijput was ..,ntrnstrd with tl1e cluly oi trainii,g hin1 in hors€n1anship and tl1e use of weapons. Hi,;
£nornings and evenings tve re spent in devotion , and dayti1ne in hunting a!ld other 1nanly games.
It was a period (l r great stress and strain for India. especial ly ihe Pa11jab. \\Then he grew up, reHgiou::;
per;ecution W,l~ .in full swi ng. The stofy of the incarceration and martyrdo1n of Guru Teg 13ahadur i.:> too
we\1-kno,vn and too pJ.inful to repeat. \1/l1en the Gun1 was in jai l, he sen t a lett er to his son n1cntioning
his fai ling strength and GoJ as his so le compauion. The boy of abou t nine sent a toucbjng verse in
reply, assuring liim that his streng1h would triumpht his fet ters would be loosen ed ~nd he would ha Ye
ill the resources for th.e righte~us en.use. This_ atonce ~leased t_he father and convinced hirn of h.is son •~
~tness for the Guru3]11p . l{e 1n1med1a.te1y nonunated hl!Jl as his successo r and then faced the execution
bra vely. He ""as beheaded on the 11t h of Noven1ber, 1675 in Chandni Ch auk, J)elhi.
Gobind Rai ::iscended the holy seat of the Gur u, at the age oi ten, in 1676. The cruel execution of his
father crea ted a deep impression on bis n1ind.
The dissensions of the Sodhi::, his kinsn1en , and the maHands (the religious deputies;·, from wi1hi11
and the danger of the ruthles; persecution of emperor Aurangzeb fron1 without, tbreatened to overwlicltn ll1m
and his followers. His resources were scan1y, but he believed tha t the immortal God had sent hhn inlo the
world to ::pread faith, to uproot evil anti protect from tyranny the \Vtak a:od the oppressed. The bulk o( ~he
people still believed in Avtars or rn ythological heroes. The :ige e,ld superstitions and cUf l01ns still go,•erned
their daily lives. In addition to the /Mtha. Itom the Adi-Granth, therefore, the hear£r5 were t:ntertain~d
soinetnnes with th e recitations. from tliC r<amaynn, the Nlalwbharat and the H ar1uman Nurak, and at others
with passages fro~1 the ·renth Guru's own compositions. It was probably during these d<.i)IS tL.1t he wrote
his poems, the J ap and the Ahal U st:'ll, whole or in part,:,.
The Guru de lighted to appear in uniform, we.iring arms. He practised ,nartial exercises. He induced
his f,ollp,vers to practi~e archery and mn~ket-sh:ooting. He caused it to be publicly ~110,~11 that he would be
grateful to all those who brought h,m arn1s and horses. lt is said that his appeal met with a ready res.ponse.
He wa.:; soon in possession of a well-equipped sn1all anny.

312
He installed a big drum called R 1 nj 1~ Nagata. It was beaten regularl}'· The beating of a drunl was
in those days.regarded as a syn1bol o( soverelgnty. Ith;, no wonder, there/ore, that the head of th,.. hill-
chie{:o Raja. Bhirn Chand of Kahlur (Bila~pur) got alarrued at this fearing that emperor Aurangzeb might take
a. serious \"iew of his allowi.7s:,h,im, \O ~Q. s~- He, ther~fo.re, caultonet.l th? Gi,tnL of the consequences. The
Guru, on the other band, was fully pr"epa'red for any eventna!i"ty. llut on the ieque::t or the lZa;a of Xahan,
ti1e persuasion.<; of hi:; rnasa,tds and his mother he shifted bis residence to Paunta, .s1tt1d.ted ia the territory of
Raja of 1\ahan in 168-1-, to live in pe.ace. The cla-;h was tl1us averted for the moment.
At Paunta, the GuFu placed literary activities in the forefront of his programme of national
reconstruction. l{c em;Jo}ed ina.ny scho'ars and poets of repute ::t.t hti court. I-le c11couraf;!'.'d them in
their work and rewctrded them l1bera l.ly. l{e h1111sel[ went through the whole range of llii1du epic poetry.
He used to rise early, bathe and walk along the bank of the river Janu1na sufficiently f11r to obtain
r.omple_te privacy and non-interruption. 1-fe would then sit down and ccrnpo-;e poetry for bours together.
[tis here at Paunta, beside the Jamuna that he finished in 1G$1, the con1posirion of Krisanavta'l' in Blratlia
based on the tenth sha11dli of the Bhagwat. Recitation from this would infuse a ne.w spirit among bis fol!owcrs-
to wage a holy war (Oha'l'ctrn J ud/1). H~ contiru1etl to practise manly exercises such a~ riding, archery and
sword-play.
'
}:arly in 1687, a quarr~l arose again between Raja Bhim Chand and the Guru over a i:assage near
Paunla. 'fhis resulted in a battle \vhich was (ought on the 5th of l\!a:y at Bhangani. The Guru won.
[n October ]687, l{ajn BhinL Chand aod the Guru made peace betwe~n then1selves and the latter returned to
llve in Anandpur in 168~ - Her':' be continued his literary pursuits, !ilo>-t of tile work~ con1ai11ed in the Dauim
Grantlt ,vere cnu1po.5erl during lids period. l{is autobiography, his free rendering into l3raj the old stories of
[n dian hef\)C!:. and heroines, hi3 con1position of the character tales of Pahhytln Char1tro, his H1ka)ats and
rna11y other ,vorks belong to lhi;; period. Sometimes there were, however, son1c political d isturbances in
which the hill-rajas, the Guru and tbe 1'[ogliul armie~ got involved. The repeated disaste r to the l\1oghul
forces 111aclc Aurangzeb realise t he necessity of ~ome tlruslic meiisuie on bi.5 part. Accordingly, be sen t
prince ~Iuazzin1 afterwards known as Bah:::i.dur Shah , to set matters right in tbe Panjab hills. Hi.s forces
crushed the hill-chiefs. but they did_ not touch th e Guru. Bhai Nand La l, the prince's secretary, brought
about peace between the t\vo. T!1e Guru pro1niscd the prince all aid 'and assured him of his support for his
accession to the thron! after Aurangzeb.
After 1his, for about fou r years, tbe Guru ,~·as left in peace. During this period, along with literary
<1.ctivlties, he devoted hi, time <1.nd attention to the improvement of his followers in mind a11d body. He
(ound.ed the Nirmala sect-a class of scholars of Hindu philosophy-through whom he made accessible to al\
his follow ers, the old treasure of Indian wisdom and kno\vledge irrespective of their birth or position in life.
He fini,-ht•tl hi:: con1position of lhe R.amavtar in 1698. He increased at the same time hii army and arn1oury.
In 1699. the Guru perfected his organisation. He selected (l\·e n1en, all belonging to different
c.i.stes, ,vho were prepared to ofier their Ji,.,.es as enjoined upon them by him. He called them as his
l'anj P,t1r cts. (the Five Beloved ones). On the Baisakhi day, in a:- vast assen1bly, he baptised th em, and got
h11nself baptised by th•1m, and, thereby, set an example of equality among his foJlowers. /\lore and mo1e people
juined them He named this brotherhood as Klwlsa , a band of the purified ones who \Vou!d be free fro1u
all evils. He laid down rules and rcguhitions for their con9uct in life. 1-fc gave them a fom1 to distingui~h
th.en1 fronl other people. He named them Singh$ (lions\ among men. This brought ahout in \hem a greal
psychologic.i.t change. Th ey felt as if a new life had been.infused in them. Ht> him.self, lil-e his follo1\ers,
becan1e Gobind Sincth 0
frorn Gobind
•
Rai. He entrusted bis PJnj Piaras with the n1anagement and control
of the l(hal;f! and thus democra"'led
., his organisation
The hill-chief;, saw in the activities of the Guru a menace to their own pow·er. Tht:-y thought that
the Guru was orga11ising a force to attack and d.estroy them. Jhey appealed to the ~mperor for ,help ..

313-
In 1700, the i!mperor $~11t two l;ornn1andiug divisious against the Guru. But both of tbe~e divisions ,vcre
beaten back. After this the cot11bined army of th'! hill-chief~ and th.e emperor besieged the Guru at
Anandpur in 1701 and [n three years reduceU the Sirighs to great ,vant auJ larnu1e. The tl[oghuls offered
t he Guru a safe conduct away from the city. 1:-lis 111other urgetl liim to accept it and her:,el[ left for l{iratpur
t aking with her two of her youngest grand:;ons, The Guru, too, left ia the night of 2uth-2!st l)ecemb~r, i ;u-1
and made liis way to Chamka.ur. ln:.pite of the as.~uranccs of s;if1:- conduct he WdS attil.cked. His two eltlt":.t
sons were killi::d and he escaped all alone, l.iart-footed, and as a fugitive tte took shellec with an old Illu:.!Jni
friend. The Guru then returned to Dina. I-Us two otlier sons who bad gone with their grandmother were
brutally walled up alive at Sirhiud on the 27th Decen1ber, l/04. Their grandmother died grief~srnitte11.
It was then that the Gun1 sent his Zafarnama, a historic letter of protest against lhe treachery of the
Imperical forces, to the emperor. Fron1 here be went to Damdarna ,vhere he stayed {or nine ruonlhs. There
he n:suincd his literary work. lie dictated , it is said, the whole of tbe Adi Graitth t o his scnbe, Bhai I\.l.inL
Singh, by name, adding his father's verses at appropriate places. From there in 1706 , he beg.Jn t o travel
southwards. \.Yb.ile in Rajputana, he heard or the death of Aurangzeb. He sent a n1es!iiage to Bahciclur Shal!
p1on1ising h.i1n help in succe:;sion to the throne.
The Gunt came to Nander in Hyderabad in Septen1ber, 1708. 1-lere on the bank of the Godavari,
be nu~t a Bairagi bern1it i!adhodas, known as a holy man in possession of charms for tile acqui-;ition of
· spirih1a\ and tcn1poral advantages. The hermit \Vas very rnuch influenced by the Gu1u's life and personality .
The dorn,ant heroic spirit in hin1 awoke. lfe dedicated himself t o the service of the Guru and called
himself as his Barida (slave). The Guru was pleased at this and named hi 1n Banda Bahadnr. He non1inated
him his 111ilitary succes.sor and enjoined upon him to proceed to the Pa11jab to look after his people there.
The Guru died at tl1e age of 43 as a result of the injuries received in a dastardly att:'.lck on him by t wo
Pathan~of the Pan jab. Before his death, he arpointed the Adi Granth ac.d the Khalsa as hi:. suc~essor and
thus endc c.1 tile personal. Guruship amongst his followers.

•
Digjtjzed by Panjab Digjtal Library/ www.panjabdigilib.org

APPENDIX

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(El8) '·y "}I
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I I ~Jl,J, kll.E hll ~ J,JeY, l.tl ll,l!,]l f~ J,ll -'la It 117 9
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(QLS) ''V ')I
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11 }lb .lej~ ajlt llli 1'.Pj_lt .'<Ji ~ .1->bl_lt ~ .1->.ei°k
11 }lJl.t, llls _gj, ~!, le(! Ji!!,!~ .2b t !,).Jh fill\!
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II ~lil} 1j:t JeJi 11,.1,J ltJlili .P,J ,lh !!,l;J2llllt -t,. l>Ft ill
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( !v ) BARAMAH
ii'l'c1 '91'-TT ~'Ii '.);·a:, 'l>Tf'!i"'f'Ff ara 'li'a f<RT .; '1:~t 11

a:Ts!T it liifir <i,'TT iffl'[ Isl ;,;ftr'!i'll 'f @'l! '!>ftr'!i!!l '1 '!i!JI{ II
K. A, (914)
sltf "l'l l!J '!!'!i[II f,mr '!!, armi'f "J"_flr +fl'[i ~far qr{ II
tfl\IB ll<( ~ " srini: 'l~ +f'!i"{S: Ra'!i !ml~ I I
ir, TTT'T tj:'t i!i:r1111 t sfii- f;;,;c;r c,JlJPf 'lit ';lifS:~ 11
'TT'1'1 ~ ar'!>U w 'FT i':II'!i!!T cf l'[i!!T '!itf'li"!!T .; '!isl"T{ II
K. A., (915)
,<\q1 .;ri: tri:rr, g"ori:r.; it tr<r '!!'3', '!!'!iTtr ,ru crq~ 11

t/"! '1 t/,fr '9~ 'fi\:i;ii\ i'fli i'ff'!i a'i: i'f'f clfq f1J,I{ 11
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ft« tf'li'll <1"tf'!i'll trflJ'!i'TT ;,;flJ'!i'lT '1 @!/t '!i!J'!i!!l .; '!isl"Tf 11
K. A., (916)
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K. A., (917)
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K.A., (918)
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a:!!TIJ Rtfl 'ff\[ "11'! qt a'f fcr~ar ~er i:fs '!il ~f• 91{ 11
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• K. A., (919)
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~ 'efcl '!!li Ua ~i':T m <);'if '!!C:T flJ'f' i <':'l:IJT~ II
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i:ri:r ~ fff'f m r.,,pi;,ir c:«'!i!/t " @<11 '!isf'!il.!l ij '!i!J 1~ 11
K. A., (920).

THE POETRY OF THE DASAM GRANTH ( V}
~~'Ii ifirafil; # !TR 0

<:[Cf l!in!W ir?r '!f'nftl i'i ;i-~ai<1aT{ II
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m >TC( "l-i: ,;iis-1 ~ !f"f ~ if; J.:fli fSf'f "ffl'fT{ 11
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K. A., (9Zl}
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cl I~, t.r <f 4;, °"R. f~ <lot, 'Tl!! J.:f'IT ;er ai,,i[T{ 11
"11a 'f@ m'l m '1!1'nm c:t1'1im " €;:rm "'e .. 111 'l <;;l;fr~ 11
K. /1.., (922)
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o
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K. A., (923}
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srr<1 sit nil' inU '3"'l ,,-r c:,,-'li1!1 'l €;:1111 'lil:f'lim 'l e!i"l;ft{ 11
K. A., (924)
q,l'j'l 9if!f afi>1![ '!f'J:1:fil iQT!f'l >i'T!f "(\,_T'I i;(~ II
;j;,,-, Sf['{ tl'U<: l]'<1"fq ,;r,f['{ l'f'-'fl<'f "3"<l!{ II
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K. A., (925}
---
MAAN L1LA
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{ viii ) MAAN LILA
l1 i=f ~ ~ ~ T ftr~ 'iQlfT ~ cii1" cn~1:1) ~ 1.=i :;'1R 11

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(~r;r1razr<-r) K. A., (689)
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('tlir-lfi't ~~ ~~) K. A., (690)
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~ tfi"T 1!~'3'1:Cf+f ~~srm f~~ cfi1" a.=r m lfTT ~9 ¥-1~ 11

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(e1;rtt ~l~ ~~) K. A., (691)
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K. A., (692)
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(~i)~T) K. A., (693)
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THE POETRY OF TliE DASAM GRANTJ-1 ( vii ),
<IT@ a- <11 m 'fi\11 "f.rt11 'lmi ~ 'li"U ., iR

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ITTQT tit lf'l" lfQ)" QR 'l>T 'sQ 'f@" @, a- "'"i Q~ ,;f"IT'fA 11
(,gl(f, ;;i ~) K. A., (684}
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(m,i\~'\q'!) K. A., (686}
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tf'l[lf ifi't fu '1~ <j,lf tff <'lof ll I'1 QiaT fl 'saef'r ifs,c!T{ 11
<ITT f'!'fT '!~ i® ~ 'fi\11!! <['-'lg ofljf efr lITia <'f1!1{ 11
(lll'I, ~"'l\, ac1a.1) K. A., (687}
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(L69) '·v ")[
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11 }.lh .lejb -ti ~ JQI!1'llt.lilaj
11 lt-%1 ~ :yll .\)l!hP.J= .iej.e- I b:b:t-
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(969) ''V ")I (J2l.tJ1!'h~t ' b~~Ji)
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11 iltftl l JljJe lli.(_k .l:lcl)1' Jl.lej ~ l2l._2ll ~ .\¥1' ~ filaj
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MAAN LILA
"l?"T'Tr ~ if: lFT ~,,1 .,fl;: ;,r u 'f>\[T 11r\1 ~"" tu 11

am" 91/d -arm efl: \1"" ,,-fu aml, ;;f\<li '""•1rn '1"f itu 11
(,i;r,~ 'I; ,rfo -M'l~I, w.;~ ,i;1 'l~<!!I) K. A., (700)
WIT ii1 l"l

s1~1 ii- ~r ~..., GfT'3" "'lflff <);fl;: <1lfla'f -FT ari,r~ 9oT{ 11
i'!T@ it \['3" B,r "![<:f'f it :.:r.% i'!'f l[T <!'f'l: qfl;: ,;rr{ 11
~- ,;rf"f'fl,, i a:o <:;ft 'fi{t msi'! ~ '"~• B"T@ <rmi 11
irrr "' ...f1 ');fl;: srrr 'f>@ <);lf,T lf'I t,i'! m ~ 11
(,Hill, -.rf.mri!) K. A., (70 I) ·
fqq1 l[f, q[l;[ " ,i- 'il".r\[r u l;lil!T '! ~ ,r<ir GIT <!m 'fli'! ,.m 11
lif'!ll'.! 'f l'.!t'l: ~- 'TTl;i" 'liST 'i\[ 'fli'f'f it '!>'lit \'ff@ 91{ 11
,fl '!>9il f! 'f>\[T lf!!T "TTU'f ~- if ~ 'f,~ tjr,: q;:T{ II
!IT ai;fQ m, ,n:rr,; s\[T 'of\[ ~1 " •11" f'l'ilrn '"ll" - m 11
(f.'1(1~~. <sil<'l'U<l 'I; "1:!li'l' ~ <111T:;efa) K. A., (702)
~ffi i4 l"l
f~<11 fq;f.: ~~ ~111 "l<114 ,r ~ <R

i1- \fR ii> 'lf\['TT '"~ m{ 11
\[lg., mi'!<: mfll"Gf'll'l \[3 <1111sct ~ '3"\[ Gfl,; <RI{ 11
,;a ?:. 'f>f>- "1" <:;ft l;[Gf'lr \[Fi: ,t '! "l"m i'ffar ef"l"m 11
i'!l f,4;, <IT 9" i; ofla 'llfl ~lfl Gfl'fi'! ~ ~ 'fli'! <!<:T{ II
0
\'<l!<l1'1"q<!J) K. A., (703)
''" 'fl'il"
f~a, '3"o m{ gm '! 'f>\1l lf!!T "fr,;, ,;rrs; " ~ ~,:rr ~
l;lTU 11
Gflf\[ ~,ft fem 'f \[R q ,;\[ it '!>~ mar 'f <1l'Ti'! c!RT II
lfl i4i'!Tlfl or~,; ~ ,t ai;far B"lfll'.[ '!>~ 4,@>i) '.! ,;r~r 11
"fl,>[1[[ lFl l!li'! ai;,:) <!11 B"T '1\[1 ITTi'! ~,n l!lf 'ITU 11
(mfo~r "'1<\J K. A., (70! J
<!" ,;\[ uST'f>T ai;r i!i'!llfr i'!ar m '"o Rf.'"' qr,;;, <111TT 11
mc1 '"Q,.r1 ~ 'Fl" '!l1" B"T t[fi: "fl,>[1[[ ll" "r l!li'! f(l!!lrft 11
siT<f l;ll.TTl'.! ~~ ~ t);f\;: ~" 'f: <:B" 'f "-f'l,T'IT 11
3'!'fil
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(sr:;'11!, ,i;\q'<ill'<I 'of '1~«1, '11(iBr) K. A., (705)

THE POETRY O.F THE DA SAM GRANTH (xi)
ta:1.11 fil<ll•il '1 '!iil l'la ~ Sliifrn '1"'1

"1"1'l<'f ~ ,«<!Ti'! s:,:TT'TT II
a1"@ 'fiT lJ''lllj f'l~,i'! t 11•ri': for'! ,r '1% <TT'fi'! 'TT"[! 11
~- a:Q ma ~ IJ:"' a
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i:TTiP" ff <lll'li:T \l.T «"1"'1T wr 'lTT'l'l q,a: m' t ITTT'TT 11
(f.r.?,'!) 1( . A. , (706)
ill 1 'Ii (!.1T l,'l iCT'l ,af\l:!T i:T"1"

fi'. ;'[ l:l'llll :;r~ ;!;,)
a:o ,~l 11
a:o ~') 'f'F "!'11'1 "!t l]',[ <,jl'fq llli'! '!if 'I I'I 1 iiu 11
a) wr i'!s, ,t 'f;Q'TT ll"1~1 'f;\l.'f "'2 ar) "'1'11:!T '11 iru 11
-i 1'I a ~ ~ ,n 'l'l *
na;i 'ill\ 'li"r q,~r m." a,r 11
(~)f,rn) K. A ., (707)
i:TT 'i>' 'l 91ll Sf\9' '3'o 'fi 'ITT' ll!.11'1 "1f:3i «"1 \.fl•l1 ;[\,ft II
i:TTff ~r \l.o a:o ,,rm "" "'r "'~ oT'lr 1 -i Iq1 ...w 11
:;r);;r'! 'li"r ar '1"1" ,g' fa \l. arTif'l '!ST '.! <:s11 ~ ~mr 11
a) afar 'fi mo> 'IT ,f~ f:;rlj 'Ii<! q GT\ if>i ii { :;r),ft 11
(W-IR!v'll'il) K, A., (708)
4'1 ~,,t,, ~ <!'lt~f, ,tr 'f;fc: ,T l,J;1 f<'! t

«'I 11
'111., l,J; ~ ~ ~ «T ~ \l. 'f;f 'lj'l 'f;<,j" sl:Til'{ '!'!. ~ 11
a:◊ W \l.o 'Ii<! "l"!l f% a "'~ 'a 191 Qr l,J;1 ~ · ~ 11
Q; (I'! ~ w\, a;, '!;\>TT Qf<: f«'3' \l.Ri (!; '!.,,:) 'fig @~ ~ 11
l'llilfmr, ~q,rJ'lliilT, smstr) K. A., (709)
~if!.11 ,r'l 'fi ~ ''!ITT ,tr 'l'ffil:!I f~ ('l'~l1 \\al '1@ Us! >f,T 11
4'1 1 '91 ~ "(;.Ja: *
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aft;,; .irt lj'fjq'f •if1, f.f <fr faQ
0
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«,,fl "'1~ 'f'T Q" \l.f, qrn 'lBT Qf, 'f'T "'~ llT\l. Y, 'I IQ q,) 11
(,'!'\ii/ K. A., (710)
'fl ~ 3;(1'{ ~q ,r{ i;[q l:!T fsf"T m -< '! q[i:T 'f'U ~ 11
<'.Tel '!\-!Ts f\1'3' <J,f 'f; {! ;ifQ f'f'-< 'f'f\l. '!>19' ;j;' l;['l >f\T ~ 11
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(fs'!l'i! tis;1{t) K , A., (711)
~11'1 'lT ~ <{] (I '!;@ fq;f<: l:!T '315 'f'l Sfii!T 'lfu \[lg l;/ait,ft 11
i'!TfiT 'Ii' 4'l Bir sl, o'3, arf:3i «>r \'fl'!'f 'li1 , '1'>rl'TT 11

(xii) MAAN LILA
clT ii; 'f 'TTB" ~ fr,f;ft i:i'f'FT 9',5, ~ '1 ',I Iq'1
.irft 11
~
<'!~ 'l:" ,r <01 ~'f 'FT ~,rf ~ .t;r ,m; cit"' f.!mirr 11
(~oc; tt ~11,;f'Rf, ,~<r.r) K. A., (712)
,aq, q.ia- ~ 'f'cif si,,,, ,rf>iT <];1!,T ~ ~arr arfu <if¼ R'cfTf 11
a't @ "f'TT'f fari ,;rc:il, 'J:l!U @ f,v<T't arf<il 'ff<! -,Sfr1: 11
+§_'f frrf 'li<ft\_. 'f<'.'fl 'Ii, c>t l!f'1" mqar si,rq 'iii:rrt 11
i'1 "''1 ~ tf'ir i'ilf'cf fS!arfi: <i; B"l:lf"'f al" ir'f 'fi'r l!f'f f.rcrr ~ I I
~
(si"!TeT-w.:) K. A., (713)

~q1 ma ar '11'1 ~r l;f;;r,TT ;,fo itir "l<i!t ,r,~ sf,r, '1 •~1ifl 11
~
"14,i:r sft- arm ii;arr '<II! a <1;i:i't fiaa # !!!4'1T f"la .,rarr 11
a't @ "f'TT ar 'liB" ~ n:ar
if.f,t 'l'f m'f mr1,r, 'f'<IJ 'ft 11
'l<l" ,@ ,;J4<11 ffl '11'1 ~ l,_TT 'fi'r 'f'<Il ij:a 9~111 II
(61c) K. A., (714)
lJqqJ .-ar~fu sft" l_l;'f <i; "f<IT'TT <rar U'1"if.T '3"'cf, <::a 11i 11
f'li'cf ~a ~ af;i- Cf; '<ITT YTf'3 'l'ff'f'f ~ ii; 'lil»I ~ 11
~ '<I'-' Sffu ll.1 efi: YTB" ~T<J;ir<:r ""' ,r,~:r lffa ~: ~ .. ~ 11
l;f<lf ',I '3 '-.'1 'fT"'f 'i\: 'l<l" '1"f 'f ~ fil: Q'° if. f'li 'i'? 'l~ 11
K. A., (715)
fqqJ <l;'f ~ fsr<1>rl'f 'il,d I 'I>! 'lil,_111 ~ ma BT •';(T<'f ""7<: <TT'ft 11
,r ~ar rqr,f.r .,1 <farm fu'f if. ~ar .rrar ,rrit '"" 'lirar, 11
'W'cf 'Ii~ 'l:i' ~ .:rfu 'liil_~I Sf<i!T>r ;,oi qffi 'if'n 'f 9,1"!'11 11
m@ sr'i ~ '!'fl '<ITT ,r,'r fail: it <J;i=r ll 'lii,.>i'1 ID"! ~ ci 1'1'1 11
91 ;;;'1 i'1't't q-i:) <i!<i!'fT l;o '10 'li,T ~- ~ 'lf'!T 11
rn farsi,r, "1<1"T af;i- 'ii,r, fi!.'1"i l;fi: sft- "'<I iftfa rmr'ft 11
('<r,!11'< '1ST "f,1! sJ111T) l(. A., (717)
f4l:!T ~Gf'i if l3<11 TTlJ lifif l,_f, <i<1" 'li't 'h'1 ID "f'f if 11
fora'lT ;,;,.,r fija ~ <J;f'cI .rt fu'cI it ;,@ mf<T'li ~ ;_er;, # 11
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it 'li'f
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<flf f.rn'li "!<'TT <f;,:<i; '3'1"
-:,
'f "f'f sil" 'l'f if 11

THE POETRY OF THE DASAM GRANTH (,iii}
~'-IT lJ'l I'f ij,,11sa ~ sr<1r~

ii' "" ,t ;, ~ ~ '!'Tar
<r<'f 11
ire ~r 'l'R l!T'f 'I 'i1 ~ •F3 ('i R siT 'PQ'IT <);R <'f[Cif 11
ma- ~ <fie 'f>l:T ~ lJT ciQ il" 'i 'I' 'i. ~,r ~ ~Ti 11
~ ~ 'l'QlTT ~ m, sr,1- afar l!T'f '!(a; efsr <ft-¾ 11
K. A., (719)
,N """ Ff' sr)
ir 'f Q<'fl Qf( cmr Sfffi 'fi)' "1 s< 'N m m . .~ c<j, ma; 11
m, '391'1 '!!its" 'ei: ,;r1; "ITT;af .J,9( m<'f f-1>11~ 11
lf ifi"R 'fi[l" '31T 3' CQi <); ;,ID i!if\r '!T!c'I>" <fla ii '1 Pei 11
'1'3< '!>"r "'""" <R •1Aar .-.r '!!f'!'l 'l'f""" ar~ mlif """'"~
. , .
. 11
K. A., (720)
lffa .,,'ii< i!IT"!
f~'-11 ·';;ft 's'i' ~ ~T il(O'll i'fif @ ~ T,f'f ,{t ~) ~fr 11

"1'
0
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<:I 111 B <'fl >ni' ~r <e@ir SQ <'ff'< 'l>"i: flrcr '1'1 si:afrfr I I
"l<il<.1 ~ Qll'l>"T ~ q ~ m faQ ,j; 'ffQ ''1'.ITT ,nfr 11
(>rnaii\) K. A., (721}
f~'-11 >Fri'! ~ ~ q Q'f'iiT 0:Q "f,T<:if lf'I' ifil ~11 'R II
~ <ii 1'1 ct a; 'sc ~ Qll if ~ if QC '1'T'1 ,:@ 'I c,· 11
ai;far fl1!Tl! fir@ 0:Q •11<r., 'fil" +rfu lJ'!Tl! ,j; 'liT'f i'r 9' 'I :si: Ii
fCQ <:11 i!fu "1 1-3, ~ ~rir fail_ <1111 '1 g '!T 'r'f if ;;"fi: II
K. A., (722)
+~111 s1111B 'l>"i: sr.fr '!!'3', i;i ifta i'!a; sQ •s.ITR 'l,<1 9~1if 11
slai; '!il"Q; fs'f fr <'fffi (! ,@ 'l>"fQ s'i ',! ~rft ~ lJT'f II
'TT '!i1 fifffl( :st 1'.f'f if <Iii! @ sQ 'fl 'lf\r ~ q;i, "11 A 11
,;tcr fufffs '<'IT '!!'§<110: ~ ) i'[iif @ SQ l!R <! lJT 4- 11
(~l,;\'l'f) K. A., (723>
t~!IT 'IT lJ:A ,t; f;fl;!-.rl'l ¥1 fuil, «r. RR ai;f s+r ;;n, sr'TT 11
>1"ta 'l>"(T Qfl.: st.wrr «'I <R Q+r R '!!<'f+rr'l ,i; si'r.fl 11
<R '1<il11 ~!TT '-"o W '!!%: ITT fr i,_;°( 'II 1il R llljz <:11 il[ f.aeTT siR <TT'TT II
(<:;;:~1<'1) X. A., (724)

xiv) MAAN LILA
in ~ >s. r,;f'[ srl ara-r'!r '!>far ;ri:rr,r 'FQ fq,, ~~ ai;~ ~ 11

"ITfQ fr "'~ '!i'1 ~of ~ ,,.TTR ('r,r 'Fl,lfl ,;ifu @ ir ~!IT ~ 11
cll"cl s,tzT me @ m 'FT \!TTl: cfl'rl '[ BT Blffi fsi'<f Sf¢\ Q 11
cf!@ a- ti:" " si<TT sr;;iarr lc'f ml,fi: m'" ,,;:rar 'Qm Q 11
K. A., (725)
in ¥ <am ~ ,r{ .,fq Bl:fl'f 'r~ [zTT if; &,:a ~r II

'fil•(z if; -.t-if (I 'TI 'I-fl,: m-.: 'fi 'fi 'Ii ~ '1 I el '1 '!i'J ,;rfu 'lfiU II
sf'llll "!'!i'J,ar .'raif "'1 lJ,if ,T ~ -.ii<[ ~ lfif i'm II
m@ ~TT f'f(zl, wit BIB si) ~ ~<'[ ~ @;~ ,) a-u II
(0!@~1,nf.,,) K. A., (726)
•
fi!CQI ~ ~ \! 'fiW -.,,ft 'l•.
r,f.l ir ;, 'Flz'll fue if; er&,: ~ 11
~ if; 'l>R ;:r,TQif U Bfl;tzl '!lCf'fT efcr ~ ,;r~ II
"~,., ,st wr ,;r;:rs 'IT'il fu;r if; er&,: ;;ir-.: 'fiW ;;isr ~ 11
i'fT(I er<TIT§' ,r "'""r tzn: "'1 .,r~ ~a i,;cr f~iit 11
K. A., (727)
~ "'"' '!if'l! 'l)'._ " '

'11 ;;iar <llf/,: ,;'[f ar<IT'TI '07i 'Ii ma, ai~iitiit 1 '<TTl: S\lT{ II
S\ll~'fi ~~ 'r(\~I tzf, q \[TT"!_ ;,f.;: 111'1<1 '!', ~ II
'Ii <'fol 'TTTTl: ffi ~'1'11 '1@ ll JC['I Ci!T-.:'fi f\'I Sil hl lfif!{ 11
mwr <rra "I 1141 fi'fi'[ ai;) ai;far Wll ai;~ ;rn: ,;rr, tzr m{ 11
K. A., (728)
,;i;i <., >s0 T,f'[
ai;)a; cror "!f\'f 'I'; tzf, "!_ as mer tzr ,;rrzft 11
aT@ 'fi'r "''! f.ltzr,a tz't f,ilil-11;, ~a1 'f'f ir ~ CfT'IT 11
'TTS: "!'fl '!Iii ci "" ir ,.fa a;q, 111;, sr) ar'tiit" WfT'll 11
"R("1')[ R mitiit" '!isl ~ o"' ~T <!f;;i iit"To!ftz m,rr II
('T9<i!lfu~,nf~o, 'lr,Tf<fo, "'sfi\''ll) K. A., (729)
'l!. sr)
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,1s1~ fs,;:r af01 "!s1'f'IT "!@ 'I'; tz11teftz f.:F;a- 'fi(!ql m,rr 11
~ -.:;r ~lsR 'lil ftr<A 111'1 'f IDCf'f l[[ '3"o 'Ii s!lilf '1141 II

THE POETRY OF THE DASAM GRAN TH (<v}
G111a •ft f'li' ar:s1 a'.( ~ s'f arraar 1'r ,;ra, if!" <'!18 ,ni:i) 11
fil;-a- Qi:rt q~ ,;r1, 'Ii'~ (I'f ell lj'f 'lTT ar@ arm 'loT'TT II
K. A., (730).
'Ii'~ "):_ illii 'l:T't ~)
lc~QT 'TT l);'f ""' ;l;a ,r,i-) 'ffi;I ,) <_!fi;I 'fel TTf'f 0
arm 961'-lf II
~"" il;- 'li'R .rrcf ".:r ~, m ~r i:rim f'J:'I lTT~r 11
<ff fil(izl'lf'f sf) l);'IT>l- 'f<T ,;il[ "1(41 ID '14"1 'f 'il'sl'-lf II
a-fr 'l,el 141 ., 'l!f!TT tft ft f<n,: 6'TT G\"t 'l'g' ~f.!;f., m1TT II
(fua.i~ 'ill~,. 'f-Til'l.\!1'1, AA<W) K. A., (731}
,N illS!I if;~ ~T
tj-7[ f'<iu <1+rt ~ ,~s1(1 "11<ri:r "'~ '"f• ,111 ~ m1r 11
<'fl'l'f ,i;) <>9"~'1 '1(I'<f <_!fi,_ '1(d s:fr;r 'ii ,;in: 'f s:fr,ft 11
~a lf;'('TT ,;ra ;,_r <_!'f '1! \!'f R afar ~ <WT ~ #!<ft 11
>ITa rit tj-7[ '1!'3', 'Ttl'.!T ,i;f;,_ scff'1 l'f1TT '!!11ff1<i ,rs: <'TT'TT 11
('i!'lTiil•'fJ K. A., (732).
•
fi:tttl ir,T '!'fl f~ ~ <_!'f m'1181 =, f'li''11 1rf;,_ •cf TTR ~ 11 0
i'Tt ,;rl: ~ il:ilfa ~ fif1 <'I \!i;I 'J:_s:i:f #I 9"s:mi;Il 11

i:ir ~ '"1 ,;,_ 'lizT ar~ "'"'ri- "'i:r m 'f'f it <!"' ~r 11
Q i[[ Sf':( iru ID iru ID i'f-.::t sri i'Tu ~[ (i-,:) ID 'lT(IT "£ 'fl;,_) II
(s1<m) K. A., (73 1}
'IT ~ 'li°l'Q ~ ar@m fa[ <11'1'! 'li'T 'J:'lf'<T ,'1 arr ~ II

~fi: ,TT f;f;,_ sTT '1¥ ~ far(, SM 11'1 i\ ,if~ 1"Tc'li' 'l'f ~ II
®- if;~ 's.\74 ~ tj-7[ 'Cf[ sfl'[ •'1 Ts:'f '!?t 'f'l 'fl~ 0
II
'-IT ~ <f'Tf;,_ lf;,:T f'f'fcfr l!;,,f; <,!fQ <lffi Qr~ i:rf<T arr ~ 11
K. A., (73!!}
'li'I~ '3 (1"11 a:icT '11-ITT .,;;,_,i-'r ma '!'TT il+f,l <['I i'T't II
'fTQ'l> i· mi:f\" it ~ ma " sis:wn
'f'l 'f'l i'ft 11
<Tm '3'1il af;f l!l'f '1>1- Sf<! a;fffii,_ '! "11J:'lT i:fc ali't II
l!l'ffi ~ ~ amT ;,_it f'l{\[I<_!( ~: foi,:@ ar'! ~ 11
K. A., (735)

(xvi) M/\AN LILA
fa4t <fl<TlT ctai,_1.f1 ,;fif l!T'f ffi'IT i,'f ~ <j;ll ~ if'f ;fts, crmf 11
'IT~ @ ci;· f,m ll'f l1" 'fi,T 'ITT'!"TTl!T ll'f '!Ta i,ll I'< 11
. cf@ -!;!B'l'ii if; BT'! lj;'lT if.r ic!l<: 'lift" Ber ID 'iiPo: "1f 11
I.IT ~ 'f ,;r;;,: '+fffi 'ii~ ~ fm'1 "if, i,ll '1"'! 'iii ll I'1 f.,qrf 11
K. A., (736)
+&q I 'iif'i, S:BT'!:"l: ~ ,;rfu @ ~ ¥ f WI 'fT([ ;jif[U 11

<TTFo ll'!T ef, 'fl([ m fu'f l{['1 'iiT 'fT([ f.l'CT 'ff, ;:ru 11
i,T'lfl,: ID ar@ ,~1 'TTi, Biflll lj; ~iJ 'iiQ'-TT ,;fif .t.rfu" I.ITU II
'l'Pq 'ii iJ.41 (fij" ,N'n[ ID i,lTT <f1T il;<, 'ii"U llnl fq,;i I lJ 11
K. A., (737)
' ' " ifl~ '!iT'l! ffl

+&m ir'i ef;, f. flr@"mif ¥f .-i~<.11<.1 \i\'IT ~ <i"m ift"ll't 11
m@ ID i!m 9'<1 i,f, "): f-sri, ;J; WT ~~ 'l'fl ¥ ffll 11
<ni%: 'liT<i" m,r ar@ ,r~rm ll; '.);@"'1 ,;;r~ ""' i,T 11fl;: ;;jtjr 11
irr "'fl; ifm -+rU ,;r,rr,;rt 'iif,'!i' '.l;"' ~~B '3B IB ll; \'l"R1 11
K .A., (738)
~qf if;<, s,,T ;j"'f 'J:arl<R ID f"R <f1T <"l'TT l{'f ~ ,r <j;'fl,T 11
fs[B'f ~ ',! (sl,;ri <R: "if, f<T'Slm'f ~ 'i:i, -+rm <i"Sff(! II
WT Sfm 'ff\[ i,'3" ~ "" m'!cr ~ s,fl,:m f'l><i" 'I@ 'fl,I 11
Brsr '!>fl.I ¥ BT sffiirt ic!F-sr f. i,ll s,J af'.l;'IT< cr,;rm 11
K. A., (739)
'lil•Q 'l); ill'<I' <l'f *!I

••
f,aq( B'l Sf<.11 ~ G"o'f. Blsl lll'l 'ii~ ll'f l1" 'fil:T •~11) II
m, ~ ~ ic!far <i,;; f;,<i., "''i fui, ~ ,,, ,1<1 crw,n 11
fl,,r 'fi" ~ fs,"fl f<t'f.lii 'ii, <1<i"'f t),'11 Bait >!lic! 'ii"i,]ift 11
<f@" i," ~,) 'ii"U f<t'lill 'lifi,<il 'l;fi, l{]'f l;f'i'fl ,;fq ll 1'11 11
( ilrBafl,'lai) K . A., (740)
>ti '.fl" "if, i[U ,;;) ofic!T'-l"T i,TT '!ii fu'1 '-TT g'q '3D< C:T'fl 11
ma ,@ i,'f ID <j;'fU '!ii,i '-TT 'ITTi,'f. fii:ar 'IT< '+f>J'TT I I

THE POETRY OF TH E DASAM GRANTH (xvii)
mer 'n{! ffll "Fa'1'TT i!!ffi'ITT'.! 'lol4l ~ (t "I,% i>!laft 11

'Ii~ ,f; m, t'fl'1" <'Ill"! '!iR <l<II~ 'Ii"~ ,;J<f ~ 1>9~1'1' 1 ii
(mfis'li s,r;;~a) K. A., (741)
"litq <R:T rnf, arm

;m filis'IT]'flliJT '!l.'f 'b ·« fu;3- 11
¥ ID i[l! ID ' " "'" '! ,if'l't 'fi"fq <l 1l I q ~ f.Tq 11;' q-~ fat;, 11
irn: <IT ~ i:rrf~ ~ <);TT; m;,'I" 'ITT'f ;;~'t ir>r m'fi"g ~ 11
'b'TT ff'T ~ ~ i!'! 'T ,flrzT ~iTT1l 1 ~'1 ft i!<'i S:'3" II
(,~r) K. A., \ 742)
"1~ "'- .,.. n>t l'ff

ll~T ~ a-u '1"'81 'ifftr<fl fl!-'-'l ,r)~tt) '1"1 Q;, f.:•1 il,sa ilt Ii
~ ~q) ,;r.r,f; ¥'-l fq-fu ai 1a ,r,i-) afar!fr '!~ ~ 11
qt~ ~ttt We: wr f'1iri,a iftfa ~
i!'aT a-
'1'l i'it 11
l'fT% ~ '!!if a-u ~a m 'T'! st1< "f'Ft,'! ~t 11
('<'!''Ii) K. A., (7411)
<ITit '! ,iai;.ir '!~ <l"f "f<'lt ;,2> '-Ii- ,;r;si' ~ 11

'IT'! <j;<J
~u ¥ m tT'-'lr ma cAT '!if'< ara ~ afa'f i '1"ar @ 11
f~ ff ~ ~;,;'! arra '!ii ,ra '!i~T 'f ,;ru ~T q;ar~ 11
~ a- 'fl i:rr mm "'.f\1l ~ oj;fi;J .,')q; 'f .,~ .r'IT@" 11
(<f'l"'Ti!T, f-Ro'\) K. A., (744)
,;ra@ arar ~ '!it't f'l-1dr aar i[r '1'! ~ ,rrm ~r:a; ,rr;fr 11
~' 'fi<:T '1'! ~ 'I '1 ct't "[if @" ef, of;[ fu.l ma om;rlft II
a;, s;:,r a;t1 < ~ 'IT{ ;ar)a; sis<W ~ 'l'T!f'f uarr 11
a1:11•1 ~{ ~ '1'! 'li1' Qn: ID,« 'lld'1 ID f.rar 'fi"T'TT II
(~r,r,r) K. A., {745)
i:rr~ ~ "s,11~ Q,r't fi,r ar1'fcf Qt w <JT.:r wm 11

mi f<r<ir i[l! "'r <l"f i'T sr'"r afl'!a "! r,f'1 <l"f ,;ruit 0
11
Q;, 'f@ ir1n: '<['3" ~ ¥ a' ¥ '<[! Q'f a' '<[f, '<[ff.: 9"DTf 11
\l;'fi" ,; afl'fi'f F 'TITT 'f \'l'f[S: ~ 'F~ 'FT~ 'F,T'T 11
K. A., (741i)
fu'!if'ITl'i<ldl
., 'Ffs €1:Jlq ~ ,;rfu af'r '<[n: ~ ,sf.fra, .fr;ft 11
,T f~<il~ l"f 'Ii'~~ ,f; ~ 0:fi'f'f ~ liTTi ~<'. S!'J;fr 11

(xviii) MAAN LILA
ITT Wif '!if ,;rfu @ •39 4 I ,r,, lf of 'lTT; 'ITT• ij; .r):,; 'Fl'TT 11
•
far-a- "f'f it"! <'l"ll" "!q<fT m'!i") o'T Tf o'T'ff o'T <'IT'ff I I
K.A., (7~7)
f~QI firlsm'f\!<TT ffl '1'-114 ,;rfcr <,rt ef, if;- W «@<: <l'Rf II
'Ii~
it"! ~[{1 tjit;'-1\ ll'f ij; ar<r 'li"R[ 'li"T '1'm .r* 'l'7 m'l"T II
'.l]af 'ffif'f lf ,g('[f~ij- i;f, al;" fa'f Wf <f>i[>i'T 'lit.fr 11 m
n;'i ~ <r@ fui'l 'li"'o:>i't i:r'f air ~f,, a{ .rar @ ,for <ft.fr 11 •
0
... , (il;lir,!,TB, "1[ 0>11'1) K. A., (748)
~!IT ci'J:,; c;r;; ~ <rfcf'f <i'l ,"';_ <); g"<'jf<f fs<'IT<f o1i/; (f>n: 11
~ 'lili <'l"'!TS: <'!{ <'l"<'!'lf 'lfQ '!fi ,;f'f'f ('\ ,;f<o >TT II
d {'l;l ~ cf'TT ~,<f,) ,;iirr,;rr 'I< 41 <'I cl ¥ <i; <'I I<'I ~ 11
<ir!f ;i;- flmQ; m a1;- @~ a' ,;i'[U ro1,i[1f'l'l il> fi!'li"=t · 11
(;;i ~) K. A., (749)
• •
ef, Wf "!sit 'f'f if 'li"fif <f!fT<r 'ii"~ lftj <{ltj-~ ,ri,-h 'i1
TT"<i'lil
'.lJof 'lm'f ii- al;"<'!" 'li"'t ll'f si't .ri:r m<f> ~eft fcru"oo 11
i'fr@ <f>'TT '1i'T fi,;'11 ar'! ii- ,,,,- 4 ~'" mR'li" 'ITS: '\l,tj 1lfl 11
<>/ta; .r;i-
~
m
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1 1 ) , •
K. A., (750)
• 'Ii~ ::ij'_ •11~ "~ .r)
ef': "!_ s;:ll U"l'ITT <i'l 'li"\[I "1 4 tj r ll a<J <i;<r 'FT 'lfi; ~ 11
~<'I" lf Qi, , ili-<'I" 'R'T 1;!'11 ,<f 'f@ '1-l '\l, cf~ '!i"f\r ~ 11
f~ ,;it"{ ~ <r'j; fuar '!i"r <'l"<'l""!fS: ,r,1- frrfurafr "lfQ ~ 11
'!g"fift 'l@ m "ii <:f'f r.( ~ ~ <!'1 fr.,; ~r mi ~ II_

K. A., (751
N@m'l~[ ef, ij; ':(@ a- af<'I" 'lli'l ,fr il"ITT'll tf! '!!{ 11
'1"TS: 'Ii" arTs;: ,n:) m lf 'lift: <i; ,;fcf @ fil"ltjl'.f ~ II
cflf\r al;" '!T~ if 'l>f<r ij; 'l'7 lf -a-qi:rr S:Q <ITT 11
f'-11 '1 .,'{
i:r~ tl'll<r uj_ o! l"1 q <:lfl fqf,;r <i; fu"l;m: 'ITT far-a- ':("<:'lli' II
(~),~'<!11 K. A., (752)
C1'f qfu 'Ii" arfu 4° f~ "111 < m3i

fif"f'lT'T cf<r arrs: 'I@ II
~ 'Iii i'R 'R g<1l'1 <r<ri\ fi[tjc'!l ll''f 'fif af<'I" llia Cf@ I\
•
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(8fS) '·y ')[
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0
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11 ~1'1, 1' .h.:t.l! ll.ie ~ hl.hfl Jej!la !f ltb: !}.Is filb:1' hllJ
I I !la 11 l'lel.1! 2..l!j If.ls !lail f>l'.f! f>hl.le 2.11'.Jtj !lail <lePE' JhP1:
•
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6-ll:il~::l:-P... ti
S:Jl-1.SOll:)V
I M!tltli
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(99l) '·y "){
11 lellt t 1ll2 ~l .La.1l l,l,}..I>- hl !laf>.flh Vt
11 111 t •
J!ltle )!,.ll lJ!la lJJJ,, 2l._2 l}_<j, Pe 1eJ
(99l) '·y .)I
11 l!JsB: j,l!la.fl ll.ieij:l .i.J<J,h ll1' ll.ie le-Lil !la1
11 ll.lsll It,y, lJel<le h l:l I Ph 1l fil
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II lh-lli.le J>ill !lale -t< lulfl le k-leletaj ~jltj lll hljl1' l!>.leJ
11 lJllli 21'lli } P (5t 1'h .IJ.llli lf>ll.eiltl;!Jtj llt 1'..lelli
11 JJ7 I I>- !t fill. l.!aj ~ J:tllilt tj.'le l» Bili ~ !f ~ !la -11 le.I!, ! ., ....
•
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11 lJ} :l.t.l~ .il.iej JJ>h.ie * l;!jhj J_hil1 'It.If 'f'1_1, ¥e i!>j l_h&l)J
0
11 1¥<Je llljllt 1'!la ~ l;!h 2f> .lej!la t 1'h j_hl!.e 1'\J' 21'lli 'f'l_.le
(x~x) HlNV1!D wvsva c!HL dO Alll30d 3Hl
61o·q1116/pqe(ued·MMM / t0e1q11 7e1161a qe(ued tfq paz.1116.10
II rte hl_'iieel} leh11t :f1 h.D. J,Je f}lt 21!,J J;Jtl2
II I!> II fltr lcB !'-h :Yl'- }.1 :la :i.Jle l.lel3.l:t -t'-.li ellt 1,);1t, ' t:tl?➔
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•(t9E) <·y '){
11 .ill"}. le.le.I_¥, 1ili li)}.!J, % le:, l!1' lt1" % illel~ ~
11 lli~ .lt.& :f1 Je.l'J %l'l?l}J,, U:2 let .tp.lt llel!!> .eh ~
11 l@el! bieSc!I> -l_h.lt ff! }.lt }}il}.}ih .\¥ .l?le \chhh l,.&J
11 1@~ ft .elaj tt .l:l.1"
lhlli '.!;.;,. fuh ~11 :f1 }.lt I~->_I~ Bl! !hie•
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(E9E) '·y ')[
11 lib J:!h ill.ele ~ .a:~ I<,} l<l> b.laj ~!Jo ~le, ~
'
11 ~ I I> '£(!e, lh1f..lc ~b .E,.!I> .g.l'.Je ~lt }.l.le lli ~ b)!l,
];lh
11 ~ 11' .eh 11 Baj -l_fil 2J? ~.'la ~}.h :la Je.l'J & '
~I It J,\;lli ltlli!➔
II a II @I!!> @l!J, lchh ltlt .eh.Ii l.'l, } 2}1
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(igE) "y .)I
II ~ .Islli ~}.lit .eh'£J:! et'f' b 1-l' Ill .el:!ill. eelt • !tit
11 ~ .'Jell .I- b)dl .eJ~ 11 ~j 1/ .e2 ij!J:!\; I e>) le ~
II ~ ];jlt .\¥ }.-l_le.lz}. f Jetj .(_e>}Je .\Jl!!e ); II!' lchl_t Jill
11 e, 11 ~}. b)!l, 0_1,1.r, J;Jt ',le .1'-'j.ll 1.1e1s11 ',le filaj i,a ebUr lttl? ➔
•
{T£E) "y ')[
II l·S_I- J:!11 J pb,)t l!le .l>lE.ej Pit J:!11 ~ llJb '.@ .1-.'JelJe.
11 Ult .i.tk JJl]; lli1'Je:,> !<Ii .(_.'la hl!> ,W !tit 11') %
11 ll,12 b 2.1aj .lt.li ll2 }\ell .illi :la }it :la .i.tk.llalt ~ill
11 ~ 11 llb}E }I,:, ';,Is¼ .llllitl 1l.Je.1"j ',!e}.l:l .(_It .lllilt I htd:
•
(OY!:) '-y ")I
11 l3.l:t 1el:!h !!i .I,\¼ lhl.a: 2Jllt 11 hJJt J,J; ili.!J, ru,, 1-:;, I>
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11 .WS illIB 1/ J,J; J.!ibft .\Jl Jel:! .Q.!l, J, ~ le.le .l!:ili
•
II hl l.etj \,'<lie OJ,' ]Jeb 'f' .Lhli.1" llileP. at.lol.l! lli\eP. :,,1;
11 li 11 hh l.\l:yll %'f'l]!, -l_leb l:tJ.h .loljltj ',le ~ J_:l, !tit ~ Jl,l!J, lt>I?•
•
·(6tE) '·v '){
11 ~l)f-1' tt .lz}. :f1 .(jl Jl..1<1> .!loll ~lt .filt. J.ali }J.t U:h
11 )1.lle .I-le '.@ lJJl jt.lol e11'1aj lt.& tt lllj ~ Tu, j,i llial_l,
11 jt.lb 'rl'(lt ffi :f1 .(jl i,,l!J, .t,}i leb.ft J;!la 1ili }J.t .lollt
II 11 I\ ~Iii :-tjle l.'la 1,l.l;.IS ~\!I' .\-l!, :la k.ty -t'-.lz }l1" \els,t, .1..1:ihl
•
S:JJ.LSO'l!:JV (xx)
THE POETRY OF THE DASAM CRANTH (xxi}
ID '¥ <l"'3"'R li ,i;;, lftcr ,;:1;1) fa« '!if .r, ai; '3"o '+fri 11
'!ITT: '!'t ;,:f, ili" sfl{ Cf!;['! ,;f[C['f errsl;f;,:T's ili" 'Ii I ai 11
K. A., (355)
~'!'l ~ ;s, "' ;,:f, srrlj;;,: 'TIC[ '.l;iJ;[,:(( ~ '.I;!! ,rt,i;r II it II

( 0 ¾ 'liU ;,: iru 'lili'!Tf'fif f,rsr<: 1{~ fs;, ,;['3"sfc! mm 11
,Z'li s"<r " lfi>i '.!< 'lir .,,,fr :i;ifU s,;;"t ,;fl'; sr,i;r 11
~it'" sr'lr11 'l; uoIB ,:;, fer'! ;,:r, f.-rr f'fl<!P: qfa um 11
K. A., (356)
'!if.lg 'lil"1l'll'l ~TR9 4<3'11.J 'li'ds-1'11'+! 'li4<11 ;i; <TTf s:;,: f~1ar ~ ;;ft,t II 'l II
'l'il'-1""1 ~ if>· ir;,:r-/:l 41"141U ~"l-1 41411~ 'li!lf ;j; ITTT<J 1il'1 'liT ;;ft,t 11
'fi;3of I <cl '!9 ia p!'lil'\( 'l, 4 (!\{~ I 41<1'14 if; ar.,r;,{'lr i:(m '!if :ii "11 d "11 ;;ft,t 11
41<:lff;,:B 41"1 '111f'l 'li(ct i);lf f't>91f'lf'1 "l<J'l mer ~R "'TT errit 11
K.A., (357)
•
fc4QI '! s'l cfrvr eft @ !" 'I' firer 'l; :i;, i ~ 'f ,rt' f<I;;,: q 1;[1{ •14'1 ,/,;; @:,J \'Ill 'l!\{41 II
m ml ,ftq;, '1'R m
f<r'fcfr ;,:f's ;f; ,;f'J._,;[l 'fg "I!\{~ I 11
i!il"'l ~,,ir ;,:11 cf .,,;;,rr il:lfU <J;'l .:a,;; 'liU ilo\l,{41 11
K. A., (358}
fqq ( <TTsfia ~ " 'Ii~ ,;i-~)fo:fia itf,; s<J"f f"11 a '!'f ,;i-rar 11 q 11
i!i1'l +rt iSr-J: 'f;efi: '!Teria O:Tlf'f O:iia f'f'liffi GUai- 11
'TT'l'f <ii I!\ 'liU f.r;,cf'r ;,:f,: 'i wft'T ;,:R <ill <!'f ~ 11
fuq ;j; 'Wia f6"'!'l f41( 'Ii~ !Cf 'I' "14<11'1> 'lof'i II
K. A., (359)
\'qQ I i!il"'l '+ft \l:'TT '.!;{ li 'lg 'f'f'l if; 'si; of<: ~ I I l! 11
R;,: 'liT '1"141ii:~ iITT'li 'Ii~ f;r;, 'f"iif'f ili" 'l<: 'Fl'l ~ II
<j;4 ;,:t 4(ctl «+r @ Sflf ii; <);lf \l:f fin: (14'1 41i'. sf~ 11
'.!" fui:rf '1jR ~f,sa ,nq,, sTT q,isfi, GUoIB 4)q .,-~ 11
K. A., (360)
fqq I ~ <J;'f '11'1i W( 'fi'T "114 lJ; erFf 'fii: <!\l: W I I o 11

4 I•;,:
m ga 1\l 'l ~ 'R!<n: '-fTiir <!4 @ lf'1 'li\s:rr 11 'lifor
i/,;: ~ 'f, (oh <!If@ Sflf 1l fu;,r ctTc! +rm Cf'! 'fr.it 11
fuq lf><TT <J;'1 @ "!llTT Wi'-.'Ii<: <TT'! <J;U!];, tj F'i! d 416' 1 II
K. A., (361)

1,(_xxii) ACROSTICS
f<iQI 1Tf9"if tj;, ~f ~ a-

fq;, <i Q'1"CT iti' ta; <1-3( 'f 1,ll il i II 's' II
i'ri!;, i:fR farai-n: :riT :JJftr <i1 1<1eF 'J::((f f;;r;; <);11" '11'51' 11
i'ri!;, si'f fiw 1,-'f <T'ITT'!' 'lg<); ;g~ 9:jif "ft;:; <1 1:l lil l 11
'f.A, ,;rir '.;B"illif -~f. mer ;:rm .,) sr.-.r rrr'fif GI I" 1 11
K. A. , (362)
•
fCf41 <11,\1 '!Ts '.!<s< 'Fr -i1-iri: '1cT ~ mi: (1" <11~ 11 ar 11
'fi 'ti( '"· <l: f.f;,n 11"if 11"f.r ~ £ 4{ <!Tif 'fi 'lg aJ.r YR 11
<1"'3" ,;if(! ~ "a 'f<1T sal1"'fi 'lg ~i;'f sIT <ii (<.r>ft ;:r(f'JT(f arit si: ., 11 «>T ef,; 'lT'1" '!'FIT n , 11
;i;)q- ,;;<.'I') Q'l° ·q- 'lif'11 a- -~ 9"
f(!Q <i1<"1 'E!'f -.,n: 11 .'
.,~ >1~,n S\t 'li'r <!" R fuQ a- ~ ;i; ;;r;, m ,rm 11
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K. A., (364)
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K. A., (366)
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K. A., (367)
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THE POETRY OF TH E DASAM GRANTH (x.xiii)
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K. A. , (375)
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{xxx) ACROSTICS
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K . A., (453)
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K. A., (454)
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K. A., (458)

THe POETRY OF THE DASAM GRANTH
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• K. A., (459)
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K. A., ('160)
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K. A., (46J)
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K, A,, (464)
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(,xxiv) f\CROSTICS
far,i U11i .rmf;.;., ~ ~T ~" .f; S:'ifffi'if "~ f;r'[ <:ftsr 11 " 11
'l I <a eyf. <::\'I' a:cr;i sft f;,:'1 lf "!'f '1\ 'Ii, <::!'f 'if"+t;T<;f I I
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K. A., (477)
l;!ffif 'fiRl: lj; fcr,Q <TT farQ 'Iii ,); ~ '3.t QT af'l'GI I~ I 11 "I 11
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K. A., (478)
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K. A., (479)
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F,r<1 ~'f i:rt'f'f ;i; .r, .f; fcf"l fcratr'l 'ifllt i:r;,'\ arn:>r ,;;:;;:11r 11
K. A., (480)
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•The v&'8(1S under this l1eading (Ire not in soria.L ordar. Su,>h venws nre soa.~lerad fill over lhe text,, 'lboy have bt-on pnt
hero in a vowE!l-loLter-encling order only ! o ahuw that tbe po<;t l1as oven used pure vowel-letters, s.iinilar to coul!OOO!lta, o.ll the end
of J.iuea. Thia C\ppoora to be u rare attempt na also the l.i.na.s endiag in aerial order of t,h1;1 Coll.Bonan~-grcmp in Hindl poet1'y,

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KRlSHNA-GOPI-PREMLILA
tli6l!f -lfrlft-~ir&
lirllllf-Z
'IS1;;, ,.;ft ,<1 ,re fuat -m: t ,,r ,r1 \l,'I m '!'I ir 11
Wt ;ft !lfui 'l'1" ils
~ :'j'I \ i['l ii_ §'I [ nf.i (\) II
ear,; ITT('! ils 'lii[m
ID'! l\'1 ¥! sl<R ,a §'l 'fil ,f.! ii 11
<l'l i[t q;,: ,r,s Bli §'11: -.;;: ~ ai[t Bo 'Ii Ci[~ 11 K. A. (200)
~ 'li\l:'r a,;r it ;;:fl ci't !Jr.I u l('li '!lo ~ 'iin it'l: 11

am 'ISir '!SR Bl §'l
lf'll'l ~ alhr i!'l: _,.o 11
al i[l1 '!!if ~ \1,11 o:i\ ~ '!To ifil'\ WI - "Mil: I1
i(1'! .rt ,\hr aj;t i[ll\i_ i;:B ~ 'lii[l §'!U if'1 t'l: 11 IL A., (26'l)
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X X X X X
'lil'il: ,;i[t .re ;\ foil llT §'11: fun it ftn '%,;io a'\'ir 11 J{. A., (270)
X X X X X
~ 'Ii( o:i\ '!i\a,'1<): 'lil-iit ,( r<l"!R II I<. A,, (277)
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~ <IB''l 'li\l:'11 i;:11 q ~ '11<1 ~
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BI'!
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?rfi:: ire''! Bll ~s,rr flifur 11ra ~ ab 'lil•e ~ \ 11

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'O!'I BRT +Im ,:11 ~ ~\lll "' '11ff '10:T l(i[ '1RT
1\, A., (281}
'1i[t 11
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~ ~"! <rl ~n ,:r~ i: 11 K. A., (282)
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ITT<! 'liU 'S!ra t(\ ffi<': ,m 'lg 00'1.f '1il ,.q,t,:i '16'1\ i: II
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K. A., (607)
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X X X X X

(xxxxiv) KRISHNA-GDP!-PREMLILA
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....................................... ................................ . '
aft "~ .,q,rr "" ir fu~r ~ 111~ ~ ,i; "'r~ 11 K ..a\., {601}
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~<! ai~[ ~ Uiil\l t f,i~il; 'TI,ill furr Slll~ -.r t II

THE POETRY OF THE DASAM GRANTH (xxxxv}
~ .m ;;:ft ll,'1 ar,,n fin,'lil q;r,r w.n,i <!ii't

,f'l t 11
ml m'IT o-1 <1•1'1 ;;:ti ~ >iITTl q;cyrr ~ Ui!: n{t t 11
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R1.:a1 (Anxiety)
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~ m ~ ~ ~tt 'lg @rar.t ail ~ ~H, t 11
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~ ~ 'i1>T 'lit 'liiiT i_\ 'ls '1'1'1 ait sl\;i; s..r fssref 11
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:arm mfu,;;r ,iq; q "'" ~ il;- ~ at n,i ,iil 11

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m ,, arr ~ a "" '1'TT "I<! i[\ 'Ii< at Bn ITT<l i[>lr'l: 11
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'(xx:xxvi) KRISHNA-GOPl·PREML ILA
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5(1;!'114 (Pre.ttliag, tal.kiug nollStmse)

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K, A., (490)

THE POETRY OF THE DA5AM GRANTH (xxxxvii).
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The Poetry of the Dasam Granth - Dr. DHARAM PAL ASHTA

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All rigbts re served. No part of 1his book may be reproduced

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Dr. Dharam Pal Ashta's thesis on the Dasa111 Gra111h is a piece

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I. P. L. An introduction of Panjabi Literature.

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L S. R. Vol, V. , '.!60. 2. H.P. L.,40,

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