Sri Charitropakhyan An Analysis of The Writings of Sri Guru Gobind Singh Ji

Sri Charitropakhyan:
An analysis of the writings of

Sri Guru Gobind Singh Ji
Prabhjot Singh
Table of Contents
[Part 1]Charitropakhyan - Introduction and Analysis of Charitar No.1 - Chandi

Charitar ............................................................................................................................. 3
[Part II] Charitropakhyan - Analysis of Charitars 2 - 16........................................ 12
[Part III] - Analysis and Clarifications of Charitar 21-23 - (A)noop Kaur .......... 19
[Part IV] Charitropakhyan - Analysis and Clarifications of Charitars 25 -403 . 26
[Part V] Charitropakhyan - Analysis and Clarifications of Sri Sabudh Baach
(Charitar No. 404) .......................................................................................................... 38
Summary of the Charitars ........................................................................................... 44
Acknowledgements and further information ......................................................... 45
Waheguru Ji Ka Khalsa
Waheguru Ji Ki Fateh Guru Roop Sangat Jeo,
As we all know, there have been a lot of misconceptions and negativity being spread
about this Composition of Sri Dasam Granth Sahib Ji. It is my sincerest hope that
the following article will help to clear some of these misconceptions and doubts that
Darshan lal and his band of followers have been propagating in the Panth. I would
urge everyone, including sisters, to kindly have a read because Charitropakhyan is
definitely not what is made out to be and is no way against womanhood. In this
article, i have borrowed almost exclusively from Dr. Habhajan Singh Ji's book, with
few additions from Gyani Narain Singh Ji's Steek. If this Kirpa of Guruji continues,
he will surely take the next seva too. Thank you for reading this, now on to the
article.
Prabhjot Singh
UK
Part 1Charitropakhyan - Introduction and Analysis of

Charitar No.1 - Chandi Charitar
This composition of Sri Dasam Granth - completed at Sri Anandpur Sahib in

Bikrami 1753 (1696 AD) - is the most loathed work by this Granth’s adversaries. It
mainly describes the characters of females trapped in pursuits of pleasure; although
there are few descriptions of male characters too. The primary sources of these
Charitars are the Mahabharata, stories from Puranas, Brihat Katha, Saritasagar
Katha, Alif Laila, and Katha Granths etc.; but they also contain famous religious,
social and historical tales from local and international places. These stories are
associated with kings and queens, prince and princesses, wealthy people, sadhus and
sanyasis, prostitutes, etc.; with mostly amatory stories being prominent. There is a
moral message, in one form or another, attached with each of these stories; a
message that is universally applicable to entire mankind. Those who are skeptical of
Sri Dasam Granth believe that, because indecent language flows in this composition,
it cannot be work of Guruji. They consider it to be work of Shaakat poets
(worshippers of Maya), because it is their belief that it includes Shaakatpanthis
characteristics of engrossment in Maya. Although scholars like Bhai Kahn Singh
‘Nabha’ do not doubt that it is the work of Guruji, they believe that, in the debate
that followed within the Panth after the compilation of Banis in Sri Dasam Granth
by Bhai Mani Singh Ji, some Sikhs were of the view that since it is difficult to read
this Bani amongst mothers and sisters, it should be left in a separate pothi so that
while responsible individuals can read and recite such Banis, wider Sangat does not
get to face any moral difficulties of doing its paath. Even though the author of this
Bani has not divided it into sections, we could divide it in logical categories for our
purposes of in-depth critical analysis and disquisition.
This Bani begins in the following manner:
Quote
ੴ ਸੀ ਵਾਿਹਗੁਰੂ ਜੀ ਕੀ ਫਤਿਹ

ਸੀ ਭਗੌਤੀ ਏ ਨਮ।
ਨਮ। ਅਥ ਪਖਯਾਨ ਚਿਰਤ ਿਲਖਯਤੇ। ਪਾਤਸਾਹੀ ੧੦।
੧੦।
For the sake of convenience of our readers, we take the liberty of dividing this Bani
as follows:
1. It begins with ‘Chandi Charitar’ comprising of 48 verses, in which the Devi has
been eulogised.
2. In the second part, ministers of King Chitr Singh tell him 402 different tales of
crimes originating from sexual desires (Kaam), so that the dreadful veil of kaam
could be lifted from his mind.
3. After 403 tales, there is a composition called ‘Sabudh Baach’ in which ‘Baala’
and ‘Kaal’ clash with demons.
4. In the end, there is the ever popular ‘Kabeyo Baach Benti’ (Hamri Karo Haath
Dai Raccha).
A brief analysis of the above four categories can help in clearing many
misconceptions about this work:
CHARITAR NUMBER 1 – CHANDI CHARITAR
In 48 verses, the character of ‘Chandi’ has been described, but here Chandi is not a
revered Devi of Hindu or any Tantric faith. Chandi is that force of Akal Purakh
which, from the beginning of time, has been active in destroying impious forces.
This force is also the sword, and also the blade. It is one such sword, the rein of
which is diverse and widespread even in far off lands, in all four corners; therefore,
it is inappropriate to group and limit this maternal-force to India and its religions.
It is Jogmaya (the force with which the universe is created), Saraswati (the Devi of
knowledge) and mighty Bhawani. It has brought about the existence of Brahma,
Vishnu, and Mahesh, as per the following:
In 48 verses, the character of ‘Chandi’ has been described, but here Chandi is not a
revered Devi of Hindu or any Tantric faith. Chandi is that force of Akal Purakh
which, from the beginning of time, has been active in destroying impious forces.
This force is also the sword, and also the blade. It is one such sword, the rein of
which is diverse and widespread even in far off lands, in all four corners; therefore,
it is inappropriate to group and limit this maternal-force to India and its religions.
It is Jogmaya (the force with which the universe is created), Saraswati (the Devi of
knowledge) and mighty Bhawani. It has brought about the existence of Brahma,
Vishnu, and Mahesh, as per the following:
Quote
ਤੁਹੀ ਖੜਗਧਾਰਾ ਤੁਹੀ ਬਾਢਵਾਰੀ ॥ ਤੁਹੀ ਤੀਰ ਤਰਵਾਰ ਕਾਤੀ ਕਟਾਰੀ ॥ ਹਲਬੀ ਜੁਨਬੀ ਮਗਰਬੀ ਤੁਹੀ ਹੈ ॥ ਿਨਹਾਰੌ ਜਹਾ ਆਪੁ ਠਾਢੀ ਵਹੀ ਹੈ ॥੧॥
ਤੁਹੀ ਜੋਗ ਮਾਯਾ ਤੁਸੀ ਬਾਕਬਾਨੀ ॥ ਤੁਹੀ ਆਪੁ ਰੂਪਾ ਤੁਹੀ ਸੀ ਭਵਾਨੀ ॥ ਤੁਹੀ ਿਬਸਨ ਤੂ ਬਹਮ ਤੂ ਰੁਦ ਰਾਜੈ ॥ ਤੁਹੀ ਿਬਸ+ ਮਾਤਾ ਸਦਾ ਜੈ ਿਬਰਾਜੈ ॥੨॥
ਤੁਹੀ ਦੇਵ ਤੂ ਦੈਤ ਤੈ ਜਛੁ ਉਪਾਏ ॥ ਤੁਹੀ ਤੁਰਕ ਿਹੰ ਦੂ ਜਗਤ ਮੈ ਬਨਾਏ ॥ ਤੁਹੀ ਪੰ ਥ ਹ+ੈ ਅਵਤਰੀ ਿਸਸਿਟ ਮਾਹੀ ॥ ਤੁਹੀ ਬਕਤ ਤੇ ਬਹਮ ਬਾਦੋ ਬਕਾਹੀ ॥੩॥
ਘ) – ਹੇ ਭਗੌਤੀ ! ਤੂਹੀ ਿਸਧੀ ਤਲਵਾਰ ਦੀ ਧਾਰ ਏ ਂ ਅਤੇ ਤੂਹੀ ਟੇਢੀ ਤਲਵਾਰ ਏ ਂ

ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰ ਘ)
ਤੀਰ ਤਲਵਾਰ ਕਾਤੀ ਅਤੇ ਕਟਾਰ ਏ ਂ । ਤੂਹੀ 7ਾਮ ਦੇ7 ਦੇ 7ਿਹਰ ਹਲੱਬ ਦੀ ਬਣੀ ਹੱਲਬੀ
। ਤੂਹੀ ਤੀਰ,
ਤਲਵਾਰ ਏ ਂ ਅਤੇ ਪੱਛਮੀ ਦੇ79 ਦੀ ਤਲਵਾਰ ਏ ਂ । ਿਜਧਰ ਵੀ ਮ: ਵੇਖਦਾ ਹ9 ਉਥੇ ਤੈਨੰ ੂ ਿਬਰਾਜਮਾਨ ਪਾ;ਦਾ
ਹ9 ॥੧॥
ਹੇ ਭਗੌਤੀ!
ੀ! ਤੂਹੀ ਜੋਗ ਮਾਇਆ, ਸਰਸਵਤੀ ਿਵਕਰਾਲ ਰੂਪ ਅਤੇ ਭਵਾਨੀ ਏ ਂ । ਤੂਹੀ ਿਵ7ਨੂੰ, ਬਹਮਾ ਅਤੇ
ਮਾਇਆ ਸਰਸਵਤੀ,
ਿਵ7ਵਮਾਤਾ ਦੇ ਰੂਪ ਿਵਚ ਸਦਾ ਿਬਰਾਜਮਾਨ ਏ ਂ ॥੨॥
ਤੂਹੀ ਦੇਵ, ਦਾਨਵ,
ਦਾਨਵ ਰਾਕ7,
ਰਾਕ7 ਤੁਰਕ ਤੇ ਿਹੰ ਦੂ ਇਸ ਸੰ ਸਾਰ ਿਵਚ ਪੈਦਾ ਕੀਤੇ ਹਨ । ਤੂਹੀ ਸੰ ਸਾਰ ਿਵਚ ਵੱਖ
ਵੱਖ ਮਾਰਗ9 ਦੇ ਰੂਪ ਿਵਚ ਆਈ ਏ ਂ ਅਤੇ ਤੂੰ ਹੀ ਪਭੂ ਦੇ ਨ9 ਦੀ ਚਰਚਾ ਕਰਨ ਵਾਲੇ ਲੋ ਕ9 ਨੂੰ ਪੈਦਾ ਕੀਤਾ ॥੩॥
In above verses, we can see that this force manifests itself as the source of creation of
not only numerous Devis but also the three main Devtas. In no way it is a Devi of
Hindu faith, for it is the creator of this entire universe and also of people of different
faiths and beliefs. Not only that, the spread of different faiths and religions is its own
expansion. All those who live in remembrance of Akal Purakh are created by this
very force. It has got extremely horrific appearance and it is also like an extremely
beautiful, virgin girl. These paradoxical forms presented above are worth
contemplating on. Here, instead of being a Devi, the source of creation, or the
Primal Force, it takes on the form of a female. The protagonist of 403 Charitars is a
nymph of ugly proportions whereas the protagonist ‘Baala’ of ‘Sabudh Baach’ is
pure and chaste girl that is decorated with pure qualities; she is someone whose
chastity can never be violated. This virtuous ‘Baala’ takes the position of ‘Kaur’ in
Sikh faith. It is a mistake to call ‘Kaur’ princess of the Guru. The word ‘Kaur’ (ਕੌ ਕੌਰ)
ਕੁੰ ਵਿਰ)
is derived from ‘Kunwar’ (ਕੁੰ ਵਿਰ), which means ‘A chaste female’ i.e. a female
whose purity remains intact forever. Thus, its ugly form is associated with a
nymphomaniac, while its beauty is associated with high moral character.
The Chandi of Charitropakhyan is the source of creation, the Devi, the force of
Maya, slayer of demons in the form of deadly weapons, and in the form of cultured
and virtuous woman too. Not only it is the destroyer of demons like ‘Sumbh-
Nisumbh’, ‘Chand-Mund’, ‘Rakhatbeej’, etc.; it also is the source of the enunciation
of all four Vedas. This primal force is also the creator of all struggles and conflicts
in this world. It manifests as ‘Narsingh’ and destroys the demon ‘Harnakash’. This
force also takes on the form of brave men and courageous women. It is creator of
this universe and also its destroyer. It takes on the form of Ram in order to destroy
‘Ravana’ and it also takes on the Avatar of Krishna for the destruction of demon
‘Kans’. In these situations, it does not remain the primal force of Shaakats and
Tantriks; instead it emerges as the constructive force of Akal Purakh Waheguru Ji,
the mention of which appears in ‘Anand Sahib’ Bani of Sri Guru Granth Sahib Ji
Maharaj:
Quote
ਿਸਵ ਸਕਿਤ ਆਿਪ ਉਪਾਇ ਕੈ ਕਰਤਾ ਆਪੇ ਹੁਕਮੁ ਵਰਤਾਏ ॥
Similarly, there is also mention of this force in Guru’s Arjan Dev Ji’s Bani ‘Maaru
Di Vaar’. Here, we are told of Waheguru Ji’s dominance and command over this
force of creation. In ‘Devi Bhagvat Puran’ too, the Devi is the force of creation –
‘Namō Devai Parkaritai’ (ਨਮੋਨਮੋ ਦੇਵਯੈ ਪਿਕਤਯੈ).
). In reality, the Devi of Hindu Shaastras
is both the force of ‘Sankhai Shaastar’ as well as the force of God. It is present as
the force of Maya of God, above the forms of wife of Devtas and those of numerous
Devis. This quote from ‘Devi Bhagvat Puran’ verifies the above stated fact -
“Brahma asked: ‘Are you male or female?’ To this, Devi replied: ‘The One and
Only truth is Brahm, there is no difference between us. Whatever He is, I am that.
Due to ignorance, people differentiate between me and Him. Only that Brahm is
supreme, He is indestructible and has been present even before the beginning of
time (Snatan). During the process of creation of this universe, it takes up countless
different forms and that is when we both appear different, like a reflection in the
mirror. At the end of the universe, I cease to exist as a male or female.... “. This
Devi, the force of Maya, is definitely different from the Devi that is worshipped as
the wife of Devtas. In some areas of the Tantric faith, it appears to have superiority
over the male or Shiva. According to Sri Guru Granth Sahib Ji Maharaj however,
this force performs its actions as per the Hukam of Akal Purakh Waheguru:
Quote
ਹਾਠਾ ਦੋਵੈ ਕੀਤੀਓ ਿਸਵ ਸਕਿਤ ਵਰਤਾਈਆ ॥

ਿਸਵ ਅਗੈ ਸਕਤੀ ਹਾਿਰਆ ਏਵੈ ਹਿਰ ਭਾਈਆ ॥
(Ang 1096, SGGS Ji)
The girl ‘Baala’ of Charitropakhyan is also shown to perform her actions within the
sweet Hukam of Waheguru, although absolute victory in ‘holy war’ initiated by the
male is depicted to be impossible without ‘Baala’ bursting into the battle scene. To
win over ‘Kaal-Purakh’ in husband form is her penultimate goal. In this case, she is
the soul-bride and Kaal-Purakh Waheguru as husband. In contrast to the indecent
and ignominious union of male and female that was mentioned in the dialogues of
minister ‘Bhoop’, this establishes the male and female union of limitless purity and
pulls mankind out of the sorry state of that disgraceful situation; and even though
narrative style may appear to be different from that of Bani of Sri Guru Granth
Sahib Ji, the similarity in the levels of purity depicted in its final form is
unparalleled and inseparable.
In this first Charitar, that primal force is in the form of Vishnu resting comfortably
on the bed of Shesh-Naag’s coil and that very force is in the form of lion-riding
Durga too. That force is also the red-clothes-wearing Usha (in the form of red
colours of Dawn) i.e. a highly virtuous woman has the capacity to destroy darkness
and deliver new verve and freshness to life. It is also the wearer of white clothes (in
the form of bright light in high skies) and it is also the yellow-colour-clad evening (in
the form of pale yellow light of Dusk). Thus, woman depicts limitless beauty in all
three stages of life – Childhood, Youth and Old age. Without any doubt, this Devi is
Guru Gobind Singh Ji’s vision of utopian virtuous woman, and is totally different
from the Devi mentioned in Puran-Shaasters. These sentiments are in no way
different from those depicted in the verses of universally accepted ‘Akal Ustat’,
where Waheguru has been described as diversified in various forms of Devi:
Quote
ਕਹੂੰ ਦੇਵਬਾਨੀ ਕਹੂੰ ਸਾਰਦਾ ਭਵਾਨੀ ਕਹੂੰ ਮੰ ਗਲਾ ਿਮੜਾਨੀ ਕਹੂੰ ਿਸਆਮ ਕਹੂੰ ਸੇਤ ਹੋ ॥
In these verses of ‘Akal Ustat’, Waheguru has been referred to as forms of Devi,
because according to Sikh philosophy the force of creation, Maya or primal-force is
nothing but diversification of The Brahm. In reality, upon reading descriptions of
Chandi Charitars at different places of Sri Dasam Granth, it appears as if Guru
Gobind Singh Ji, by saying ‘Only Thou!, Only Thou!’, is describing various forms of
Akal Purakh Waheguru and is seeing Him omnipresent in everything around. The
following verses of ‘Chandi Charitar’ exemplify this state:
Quote
ਆਿਦ ਅਪਾਰ ਅਲੇ ਖ ਅਨੰਤ ਅਕਾਲ ਅਭੇਖ ਅਲਖ ਅਨਾਸਾ ॥

ਕੈ ਿਸਵ ਸਕਤ ਦਏ ਸAਿਤ ਚਾਰ ਰਜੋ ਤਮ ਸਤ ਿਤਹੂੰ ਪੁਰ ਬਾਸਾ ॥
ਿਦਉਸ ਿਨਸਾ ਸਿਸ ਸੂਰ ਕੈ ਦੀਪਕ ਿਸਸਿਟ ਰਚੀ ਪੰ ਚ ਤਤ ਪਕਾਸਾ ॥
ਬੈਰ ਬਢਾਇ ਲਰਾਇ ਸੁਰਾਸੁਰ ਆਪਿਹ ਦੇਖਤ ਬੈਠ ਤਮਾਸਾ ॥੧॥
Meaning – The one who is Primal, Infinite, beyond any description, limitless,
deathless, garbles, invisible, and eternal; (who) created Shiv-Shakti, four Vedas,
rajo-tamo-sato three modes of Maya, and pervades in all three worlds; (who)
created day and night, the lamps of Sun and Moon, the whole world and the five
elements; (who) extended enmity and fight between the gods and demons and
Himself seated (separately) watches over it. [The author has made a footnote here stating that original
Gurmukhi translation of the verse presented above is taken from Dr. Rattan Singh Jaggi’s Steek (staunch adversary of Sri
Dasam Granth) so that no allegation of wrong meanings could be levelled against him.]
Quote
ਦੋਹਰਾ ॥
ਿਕਪਾ ਿਸੰ ਧ ਤੁਮਰੀ ਿਕਪਾ ਜੋ ਕਛੁ ਮੋ ਪਿਰ ਹੋਇ ॥
ਰਚੋ ਚੰ ਿਡਕਾ ਕੀ ਕਥਾ ਬਾਣੀ ਸੁਭ ਸਭ ਹੋਇ ॥੨॥
ਜੋਤ ਜਗਮਗੈ ਜਗਿਤ ਮੈ ਚੰ ਡ ਚਮੁੰ ਡ ਪਚੰਡ ॥
ਭੁਜ ਦੰ ਡਨ ਦੰ ਡਿਨ ਅਸੁਰ ਮੰ ਡਨ ਭੁਇ ਨਵ ਖੰ ਡ ॥੩॥
Meaning – O Ocean of mercy! If Thy Grace is bestowed upon me, (then) I may
compose the story of Durga and my poetry (Bani) could be the best |2| (whose) light
is shining in the world, (who) is the mighty destroyer of demons like Chand-Mund,
(whose) mighty arms punishes the demons and (who) is the creator of the nine
regions of this universe.
Quote
ਸ+ਯ
ੈ ਾ॥
ਤਾਰਨ ਲੋ ਕ ਉਧਾਰਨ ਭੂਮਿਹ ਦੈਤ ਸੰ ਘਾਰਨ ਚੰ ਿਡ ਤੁਹੀ ਹੈ ॥
ਕਾਰਨ ਈਸ ਕਲਾ ਕਮਲਾ ਹਿਰ ਅਦਸਤ
ੁ ਾ ਜਹ ਦੇਖੇ ਉਹੀ ਹੈ ॥
ਤਾਮਸਤਾ ਮਮਤਾ ਨਮਤਾ ਕਿਵਤਾ ਕਿਵ ਕੇ ਮਨ ਮਿਧ ਗੁਹੀ ਹੈ ॥
ਕੀਨC ਹੈ ਕੰ ਚਨ ਲੋ ਹ ਜਗਤ ਮੈ ਪਾਰਸ ਮੂਰਿਤ ਜਾਇ ਛੁਹੀ ਹੈ ॥੪॥
Meaning – It is you Durga, who ferries across the people; you are the redeemer of
earth and slayer of demons. You are the cause of Shakti of Shiva – Parvati, and
Shakti of Vishnu – Lakshami. You are the Rajo-Tamo-Sato qualities essence of
which is the poetry, latent in mind of the poet. You are the philosopher’s stone in
the world, which transforms the iron that it touches into gold.
The same feelings are also seen in ‘Chandi Di Vaar’:
Quote
ਖੰ ਡਾ ਿਪਥਮੈ ਸਾਜ ਕੈ ਿਜਨ ਸਭ ਸੈਸਾਰੁ ਉਪਾਇਆ ॥

ਬਹਮਾ ਿਬਸਨੁ ਮਹੇਸ ਸਾਿਜ ਕੁਦਰਿਤ ਦਾ ਖੇਲੁ ਰਚਾਇ ਬਣਾਇਆ ॥
ਿਸੰ ਧੁ ਪਰਬਤ ਮੇਦਨੀ ਿਬਨੁ ਥੰ ਮEਾ ਗਗਿਨ ਰਹਾਇਆ ॥
ਿਸਰਜੇ ਦਾਨC ਦੇਵਤੇ ਿਤਨ ਅੰ ਦਿਰ ਬਾਦੁ ਰਚਾਇਆ ॥
ਤੈ ਹੀ ਦੁਰਗਾ ਸਾਿਜ ਕੈ ਦੈਤਾ ਦਾ ਨਾਸੁ ਕਰਾਇਆ ॥
ਤੈਥF ਹੀ ਬਲੁ ਰਾਮ ਲੈ ਨਾਲ ਬਾਣਾ ਦਹਿਸਰੁ ਘਾਇਆ ॥
ਤੈਥF ਹੀ ਬਲੁ ਿਕਸਨ ਲੈ ਕੰ ਸੁ ਕੇਸੀ ਪਕਿੜ ਿਗਰਾਇਆ ॥
ਬਡੇ ਬਡੇ ਮੁਿਨ ਦੇਵਤੇ ਕਈ ਜੁਗ ਿਤਨੀ ਤਨੁ ਤਾਇਆ ॥
ਿਕਨੀ ਤੇਰਾ ਅੰ ਤੁ ਨ ਪਾਇਆ ॥੨॥
Meaning – The supreme authority first created Shakti in the form of double-edged
sword; (then) created the entire world. After creating Brahma, Vishnu and Mahesh,
(then) created the play of Nature. (You created) the oceans, mountains and land and
suspended the skies without support of any columns. (You then) created Devtas and
Demons and created strife amongst them. You also created Durga and (through her)
destroyed the demons. Ram Chander received all his might from You, who then
killed Ravana with arrows. Krishna received the strength from You, who threw
down Kans by grabbing his hair. Great sages and Devtas practiced great austerities
for many Yugas, (but out of them) no one could find Your end.
Similar expressions can be seen in the beginning of Raas-Leela (dance and

celebration) episode of ‘Krishnavtar’. It is important to explain here that
progression and social development of women was Sri Guruji’s first priority. At the
end of ‘Bachitter Natak’, Guruji gives hint of writing about tales associated with
Avtars; however, he also states that he will write ‘Chandi Charitar’ before ‘Avtar-
Leela’. In ‘Raas-Leela’ of ‘Krishnavtar’, the amorous portrayal of Gopis was an
inseparable part in traditional puranic texts, and as such, its mention was crucial
for the poet. Before that description however, Guruji writes about ‘Devi Di Ustat’
(eulogy to woman). The real puporse of this narrative is to clarify that, although
mention of sexuality of Gopis was crucial, it is not the only facet of woman; rather,
her true form is that of a virtuous, brave, fierce (like edge of a sword), and pure
Devi. In the above narrative, Guruji, by saying ‘Only Thou! Only Thou!’ creates
such a majestic impression; it’s almost as if he is praising Akal Purakh with each
description of female form. In concluding verses of ‘Devi Ustat’ in ‘Krishnavtar’,
Guruji makes Akal Purakh and Devi indistinguishable, just like in Gurbani, where
all the Avtars and their names point towards that one and only Akal Purakh
Waheguru:
Quote
ਤੁਹੀ ਬਾਹਮੀ ਬੈ7ਨਵੀ ਸੀ ਭਵਾਨੀ ॥ ਤੁਹੀ ਬਾਸਵੀ ਈ7+ਰੀ ਕਾਰਤਕਯਾਨੀ ॥ ਤੁਹੀ ਅੰ ਬਕਾ ਦੁ7ਟਹਾ ਮੁੰ ਡ ਮਾਲੀ ॥ ਤੁਹੀ ਕ7ਟ
ਹੰ ਤੀ ਿਕਪਾ ਕੈ ਿਕਪਾਲੀ ॥੪੩੦॥
੪੩੦॥
ਤੁਮੀ ਬਾਹਮਣੀ ਹ+ੈ ਿਹਰੰ ਨਾਛ ਮਾਰਯੋ ॥ ਹਰੰ ਨਾਕ7ੰ ਿਸੰ ਘਣੀ ਹ+ੈ ਪਛਾਰਯੋ ॥ ਤੁਮੀ ਬਾਵਨੀ ਹ+ੈ ਿਤਨC ਲੋ ਗ ਮਾਪੇ ॥ ਤੁਮੀ ਦੇਵ ਦਾਨC
ਕੀਏ ਜੱਛ ਥਾਪੇ ॥੪੩੧॥
੪੩੧॥
ਤੁਮੀ ਰਾਮ ਹ+ੈਕੈ ਦਸਾਗੀਵ ਖੰ ਡਯੋ ॥ ਤੁਮੀ ਿਕ7ਨ ਹ+ੈ ਕੰ ਸ ਕੇਸੀ ਿਬਹੰ ਡਯੋ ॥ ਤੁਮੀ ਜਾਲਪਾ ਹ+ੈ ਿਬੜਾਲਾਛ ਘਾਯੋ ॥ ਤੁਮੀ ਸੁੰ ਭ ਸੁੰ ਭ
ਨGਸੁੰ ਭ ਦਾਨC ਖਪਾਯੋ ॥੪੩੨॥
੪੩੨॥
ਦੋਹਰਾ ॥
ਦਾਸ ਜਾਨ ਕਿਰ ਦਾਸ ਪਿਰ ਕੀਜੈ ਿਕਪਾ ਅਪਾਰ ॥ ਹਾਥ ਦੈ ਰਾਖ ਦੈ ਰਾਖ ਮੁਿਹ ਮਨ ਕਮ ਬਚਨ ਿਬਚਾਰ ॥੪੩੩॥
੪੩੩॥
In Charitropakhyan, majority of the charitars written in dialogues of ministers

“Bhoop” present an amorous picture of females. The only motive of writing ‘Chandi
Charitar’ in the beginning of this composition is to state that the real image of
females in the mind of the poet is not of a sexual nature. That form is only created
by wealthy people and pleasure-seeking libertines like King Chitr Singh. In her true
form, she adopts that active force which is fully capable of eradicating all crimes
and evils from this world. On one hand, there is a social structure that gladly hands
her the sword for the destruction of tyrants, and also gives her equal opportunities
to excel and touch the peaks of success in all walks of life. On the other hand
however, there is that primitive male-dominated social order which treats her like
an object of sexual desire and keeps her confined to the parameters of the house.
Such social structure pushes her towards destructive activities. Her extremely sharp
intellect and limitless strength is capable of breaching walls of the house; even in
that confinement, she has the capacity to destroy the biggest of kings, wealthy and
powerful people without using even a single weapon. Therefore, it is up to the male
society to decide whether it wants to choose destruction or progression. The path of
equality of men and women leads to progression, while inequality will most certainly
bring about destruction and chaos. If male society chooses the road of progression
and gives her equal opportunities in constructive tasks, evils, oppressions, and
immorality will be destroyed. But, if she is sidelined and forced to live under shadow
of males, she will keep reminding male society of her limitless force even while
treading on the path forced upon her. Male writes at length about her characters,
yet he is the one responsible for her destructive form. When male society is aware of
the fact that female intellect is capable of transforming any impossibility into
plausible situation, then why does it look down on women? Why does it not use her
peerless strength for growth and betterment of humanity? In Charitropakhyan, she,
with her sharp intellectuality and limitless capability, destroys the enemies of Faith
with her fierce tigress bites; she also eradicates fears from the minds of meek and
oppressed Brahmins. Dasam Guru Pita Ji tells us that this Devi, this force, has
appeared in the form of Sri Krishna, Lord Buddha and avatars like ‘Machh’ and
‘Kachh’. He describes some of her capabilities in Charitropakhyan:
Quote
ਭਾਨ ਸੇ ਤੇਜ ਭਯਾਨਕ ਭੂਤਜ ਭੂਧਰ ਸੇ ਿਜਨ ਕੇ ਤਨ ਭਾਰੇ ॥

ਭਾਰੀ ਗੁਮਾਨ ਭਰੇ ਮਨ ਭੀਤਰ ਭਾਰ ਪਰੇ ਨਿਹ ਸੀ ਪਗ ਧਾਰੇ ॥
ਭਾਲਕ ਜਯੋ ਭਭਕੈ ਿਬਨੁ ਭੈਰਨ ਭੈਰਵ ਭੇਿਰ ਬਜਾਇ ਨਗਾਰੇ ॥
ਤੇ ਭਟ ਝੂਿਮ ਿਗਰੇ ਰਨ ਭੂਿਮ ਭਵਾਨੀ ਜੂ ਕੇ ਭਲਕਾਨ ਕੇ ਮਾਰੇ ॥੧੮॥
੧੮॥
Meaning – The demons were as radiant as the Sun, and their bodies were mighty as
the mountains. They were so full of ego that they could not place their feet on the
ground. They roared like big, grizzly bears and fearlessly played horrific sounds on
the war-drums and Nagaras. These demons fell down spinning when Bhawani
attacked them with her arrows.
In reality, with Sri Dasam Granth Sahib Ji as base, an effort has been made to
inform the whole world that no other religion or philosophy can match the praise
and respect given to women in Sikh faith. In Sri Dasam Granth Sahib Ji, the
battlefields, in which even king of men ‘Indra’ becomes unsuccessful in defeating
the enemy, woman comes out victorious. We get to see an exquisite descriptive
example of this in ‘Chandi Di Vaar’. The following appears in Charitropakhyan:
Quote
ਜੇਨ ਿਮਟੇ ਿਬਕਟੇ ਭਟ ਕਾਹੂ ਸੌ ਬਾਸਵ ਸੌ ਕਬਹੂੰ ਨ ਪਛੇਲੇ ॥ ਤੇ ਗਰਜੇ ਜਬ ਹੀ ਰਨ ਮੈ ਗਨ ਭਾਿਜ ਚਲੇ ਿਬਨੁ ਆਪੁ ਅਕੇਲੇ ॥ ਤੇ
ਕੁਿਪ ਕਾਿਲ ਕਟੇ ਝਟ ਕੈ ਕਦਲੀ ਬਨ ਜJੋ ਧਰਨੀ ਪਰ ਮੇਲੇ ॥ ਸਨ
ੋ ਰੰ ਗੀਨ ਭਏ ਪਟ ਮਾਨਹੁ ਫਾਗੁ ਸਮੈ ਸਭ ਚਾਚਿਰ ਖੇਲੇ ॥੨੯॥
੨੯॥
Meaning – The horrible warriors could not be destroyed; even ‘Indra’ could not
manage to push them back. When they roared in the battlefield, everyone except
‘Kali’ fled the scene. Kali (whose form is stigmatised by society) got enraged and
chopped the warriors down; like forest of bananas trees chopped and spread on
ground. Their clothes got drench with blood; it’s as if everyone is merrily dancing
during Holi.
This is how woman’s valiant (constructive) form is depicted in the parable of

‘Chandi’ in the first Ang of ‘Charitropakhyan’.
Closing folio of Charitropakhyan Pothi

dated 1780 vs/1723
[Part II] Charitropakhyan - Analysis of Charitars 2 - 16
With Waheguru Ji's blessings, here is part 2 of the ongoing series of articles on
Charitropakhyan. This article provides plot descriptions of the Charitars 2 - 16,
their importance, lessons to be learned, and clarifications of the misconceptions
being spread by anti-panthic forces by twisting some of the meanings of these
Charitars. It also contains analysis of Charitar 16, which the haters make the
blasphemous mistake of associating it with Sri Guru Gobind Singh Sahib Ji
Maharaj. As in previous article, I have extensively used Dr. Harbhajan Singh Ji's
book as reference and Gyani Narain Singh Ji's steek for some of the gurmukhi
meanings. Ok, here's the article:
Although even the first part of Charitropakhyan (Chandi Charitar) is not

acceptable to Sri Dasam Granth's adversaries, however it is mainly the second part
that is the subject of intense hatred as most of the stories deal with amorous events,
and it is their belief that they are of lewd, sexual nature. The plot of the second part
is something like this: A fairy from the heavens gets enchanted upon seeing the king
Chitr Singh of 'Chitravarti' state and eventually marries him. This queen fairy gave
birth to a beautiful son but went back to heavens after a few years (or we can infer
that she passed away). King Chitr Singh became very sad. He ordered his ministers
to find him a girl with similar beautiful looks and qualities. The daughter of King of
Orissa was almost similar in looks and personality as that of fairy Queen. In order
to obtain this girl, king Chitr Singh attacked the king of Orissa. Chitr Singh's son,
Hanwant Singh, supervised and led his father's army in the battlefield. The king of
Orissa was defeated and killed in the war. And so, Chitr Singh won the princess and
married her. In reality, however, the new Queen was attracted to king's son – the
handsome, youthful Hanwant Singh.
The king sent Hanwant Singh off to a learned Brahmin for higher education but he
always remained quiet and aloof. The king tried talking sense to him, but all his
efforts went wasted. When the helpless king presented this issue in front of everyone
in his courtroom, Queen Chitramati secretly took Hanwant Singh to her room. She
said to him, "You are so charming and indescribably handsome, like the God of love
Kama-Dev. O my friend! Your eyes mesmerise me and bewitch my mind... I am not
satisfied with the king. Drop your fears of him and copulate with me." The prince,
however, flatly refused her offer. The Queen, embarrassed by his refusal, retaliated
by instigating the king, "O King! Your son is most evil! He tore my clothes off and
scratched and scarred my whole body!" The king, totally blinded in her lust,
ordered the execution of the prince without any investigation. This is when his wise
ministers tell him tales that describe the carnal desires of females, although there
are a few stories that deal with equivalent male characteristics too. Majority of these
stories are based on crimes originating from amorous sentiments. Following are the
facts that emerge from the above plot:
1. After attaining power of the State, the ruling faction forgets its primary
responsibilities and engages itself in carnal pleasures and other similar immoral
acts.
2. The rules shove innocent people into battlefield for their own corporal wants. As a
result, the humanity has to suffer in the aftermath.
3. According to the story, king's son had reached that state of youth where he was
able to lead an army by himself i.e. the king was far older than him. Despite his old
age, he married a girl much younger than him, while ideally she should have been
married to his son instead. Whenever a man uses his wealth and power as influence
to establish illicit relations, the results will always be devastating.
4. The mention of aloofness of Hanwant Singh is a portrayal of a child whose

parents, like Chitr Singh, make immoral decisions blinded by the influence of
amorous desires. The indication of full mental and physical growth of Hanwant
Singh is given when he provides leadership services during the war. But the king is
ignorant of his son's mental and physical development. It was natural that all this
would have adverse affect on Hanwant Singh. The moral learnt from this incident is
that decisions made by people like sexually engrossed Chitr Singh effect their own
family first.
5. The moral character of princess was not bad. It is the excesses of man that drives
her towards wrong-doings. As a result of these excesses, inappropriate conduct of
females projects an illusion of inherent impurity within the society. It is this illusion
– the result of male excesses and oppression - that glitters as obscene in the eyes of
adversaries of this Granth.
6.In the story, the model, responsible ministers of State have been portrayed. Thus,
if a ruler goes astray from the righteous path, it becomes the duty of the ministers to
use diplomatic means to persuade him back on the right path – to bring him out of
darkness and into the light.
7.It is important to note that the composer of this Bani has deployed intricate,
abstract reasoning while creating the plot; he has narrated the ethical content not in
first person, rather used ministers for the narrative, which indicates that it is not
compulsory for Beebis to read the Charitars. These tales can however be used for
the emancipation of people that are trapped in blind faith. Charitropakhyan is a
treatise on ethics; it is meant to be quoted wherever need is felt. The first, third and
fourth parts of it, however, are highly inspiration for both men and women.
The 401 Charitars that appear in the second part of Charitropakhyan have not been
narrated by the ministers for king's amusement; rather, there aim is to put the king
back on the path of righteousness and virtue. The opposing faction of Sri Dasam
Granth has serious objections against some of the language used in these stories. A
brief critical evaluation of this issue is important. In the first story i.e. third
Charitar, the protagonist is a woman whose husband is quite aged, because of which
she forms illicit relations with a younger person. Minister says:
Quote
ਹੋਤ ਤਰੁਨ ਕੇ ਤਰੁਿਨ ਬਿਸ ਿਬਰਧ ਤਰੁਿਨ ਬਿਸ ਹੋਇ ॥

ਇਹੈ ਰੀਿਤ ਸਭ ਜਗਤ ਕੀ ਜਾਨਤ ਹੈ ਸਭ ਕੋਇ ॥੬॥

ਘ) – ਇਸਤੀ ਜੁਆਨ ਆਦਮੀ ਦੇ ਵੱਸ ਿਵਚ ਅਤੇ ਬੁਢਾ ਆਦਮੀ ਇਸਤੀ ਦੇ ਵੱਸ
ਿਵਚ ਹੋ ਜ9ਦਾ ਏ,
ਏ ਸੰ ਸਾਰ ਦੀ ਇਸ ਰੀਤ ਨੂੰ ਸਾਰੇ ਜਾਣਦੇ ਹਨ ॥੬॥
Meaning – Women get bewitched by a youthful male, while an aged man gets lured
by a woman. This is the custom of this world, (which) everyone knows.
ਘੁਰਕੀ - Ghurki), Mahanand is an old man,

In the second Charitar of this part (ਘੁ
because of which his wife commits adultery with younger males. The fact that old
age is the cause of her wife's meanderings is crucial to note, because these stories
commence with aged men marrying younger women. The abuses hurled at the
composer of this work without analysing minute, intricate facts like these are most
ਸਿਹਜ ਕਲਾ-
unfortunate. In the third Charitar (ਸਿਹਜ ਕਲਾ- Sehaj Kalaa), the evil, perverted
mentality of people impersonating as saints is delineated.; a character, that pretends
to live in cavity of a tree in the woods, while in reality he absconds with a beautiful
ਮਾਲਮਤੀ – Maalmati), a character of a
girl of a nearby city. In the fourth story (ਮਾਲਮਤੀ
Muslim lady is painted to illustrate the fact that these amorous events are prevalent
ਅਨੁਰਾਗ ਮਤੀ – Anurag Mati) and seventh (ਜਗ
in every social order. Sixth (ਅਨੁ ਜਗ ਜੋਤਮਤੀ –
Jag Jogmati) Charitars depict the killing of a couple having illicit relations and eight
ਿਚਤਰਕਲਾ – Chitarkala) Charitar tells the story of a characterless woman who
(ਿਚਤਰਕਲਾ
commits heinous crimes of killing her son and husband.
The adversaries of Sri Dasam Granth are particularly critical of the sixteenth
ਛਜੀਆ – Chhajia) Charitar because the events in this story create an illusion of it
(ਛਜੀਆ
being associated with Sri Guru Gobind Singh Ji. The story goes like this: A king
lives happily on the banks of river Satluj. A prostitute, in greed of money, comes to
the king's house. She gets smitten by king's good looks, but her beauty does not have
any effect on the king. She even tries sorcery on him, but all attempts prove
unsuccessful. One day, she comes to the king's court disguised as a Yogi. The king
decides to establish contact with her so that he can learn some magic Mantra (i.e.
verify her true internal qualities). The prostitute, disguised as a yogi, tells the king
to come see her at midnight at her place. Upon king's arrival, the yogi orders
everyone else to leave and asks for incense, candles, rice, flowers and wine, which
the king makes available. The prostitute in yogi's disguise says to the king that she
has got magical power of converting her physical form; that she will disclose the
Mantra in male form but will copulate with him in her female form. The king
refuses and says, the givers of Mantras are like parents, one cannot dream of having
pervert relations with them.
The prostitute then says, "That man, who refuses to satisfy the sexual desires of a
passion ridden woman, should be thrown in hell. If you do not copulate with me, I
will scream that you are a thief and get you arrested... People from all corners come
to you for rewards, then why do you disappoint me?" The king argues, "Why
should I destroy my virtues by having immoral relations with you?" Upon hearing
this, the woman screams and gathers everyone but quickly changes the version of
her story and says she was just murmuring in sleep. Everyone leaves, and she starts
pressurising the king again to copulate with him. The king devises a plan and gets
the woman drugged; after she falls unconscious, he returns back to his home safe
and sound. The king says, "The Mantra that I have learned from this yogi is that I
will never have any sexual contact with her. This woman does not know the meaning
of love and affection; her only aim in life is to obtain more money and physical
gratification." –
Quote
ਰੀਿਤ ਨ ਜਾਨਤ ਪੀਤ ਕੀ ਪੈਸਨ ਕੀ ਪਰਤੀਤ ॥

ਿਬਛੂ ਿਬਸੀਅਰੁ ਬੇਸਯਾ ਕਹੋ ਕਵਨ ਕੇ ਮੀਤ ॥੪੩॥
੪੩॥

ਘ) – ਇਹਨੂੰ ਪਮ
ੇ ਦੀ ਰੀਤ ਦਾ ਪਤਾ ਨਹN,
ਨਹN ਪੈਸੇ ਵਾਸਤੇ ਹੀ ਇਸਦਾ ਇਹ ਪਮ
ੇ ਹੈ
। ਿਬੱਛੂ, ਸੱਪ ਅਤੇ ਵੇਸਵਾ ਦਸੋ, ਇਹ ਭਲਾ ਿਕਸਦੇ ਿਮੱਤਰ ਹੁੰ ਦੇ ਹਨ ॥੪੩॥
੪੩॥
The king had returned home after leaving 60 coins on the bedside of the
unconscious woman. Upon coming home, he swore, "With great effort, I have been
able to protect my virtues. I will never, ever look at any woman other than my wife.
This pledge is now etched deep in my heart."
Quote
ਤਬੈ ਰਾਇ ਿਗਹ ਆਇ ਸੁ ਪਣ ਐਸੇ ਿਕਯੋ ॥

ਭਲੇ ਜਤਨ ਸੌ ਰਾਿਖ ਧਰਮ ਅਬ ਮੈ ਿਲਯੋ ॥
ਦੇਸ ਦੇਸ ਿਨਜੁ ਪਭ ਕੀ ਪਭਾ ਿਬਖੇਿਰਹੌ ॥
ਹੋ ਆਨ ਿਤਯਾ ਕਹ ਬਹੁਿਰ ਨ ਕਬਹੂੰ ਹੇਿਰਹੌ ॥੪੯॥
੪੯॥
ਘ) – ਤ9 ਰਾਜੇ ਨP ਘਰ ਆਕੇ ਪਣ ਕੀਤਾ ਿਕ ਇਸ ਵਾਰ ਤ9 ਮ: ਜਤਨ ਕਰਕੇ
ਅਪਣੇ ਧਰਮ ਨੂੰ ਬਚਾ ਿਲਆ,
ਿਲਆ ਹੁਣ ਮ: ਦੇਸ ਦੇਸ9ਤਰ9 ਿਵਚ ਉਸ ਪਰਮੇ7ਰ ਦਾ ਜਸ ਫੈਲਾਵ9ਗਾ ਅਤੇ ਕਦੇ ਵੀ
ਿਕਸੇ (ਪਰਾਈ)
ਪਰਾਈ) ਇਸਤਰੀ ਵਲ ਨਹN ਤੱਕ9ਗਾ ॥੪੯॥
੪੯॥
Quote
ਦੋਹਰਾ ॥
ਵਹੈ ਪਤਗJਾ ਤਿਦਨ ਤੇ ਬJਾਪਤ ਮੋ ਿਹਯ ਮਾਿਹ ॥
ਤਾ ਿਦਨ ਤੇ ਪਰ ਨਾਿਰ ਕੌ ਹੇਰਤ ਕਬਹੂੰ ਨਾਿਹ ॥੫੦॥
੫੦॥

ਘ) – ਉਹੀ ਪਣ ਉਸੇ ਿਦਨ ਤF ਮੇਰੇ ਮਨ ਵਿਸਆ ਹੋਇਆ ਹੈ ਅਤੇ ਹੁਣ ਕਦੇ ਭੀ
ਪਰਾਈ ਇਸਤੀ ਨੂੰ ਨਹN ਵੇਖ9ਗਾ ॥੫੦॥
੫੦॥
Skeptics associate this story with Sri Guru Gobind Singh Ji. There is one more story
before this one, that story is associated with Amritsar and Kiratpur Sahib. The
opposition has several arguments – They say that how could it be possible that
characterless people lived in cities of Guruji. But even to this day, do only religious
people live at holy places? Pilgrims at major holy places get their personal
belongings stolen. Therefore, Guruji is giving this caution that immoral people not
only enter religious places, they can also try to deceive innocent pilgrims. The
protagonist of Guruji does not go to Chajjia to learn any Mantra, because there is
nothing but "sex Mantra" in her possession. In the story, a great attempt has been
made to expose the real facet of a sexually obsessed woman impersonating as a holy
person. The real Mantra (lesson) to be learnt was to reach deep down and expose
the intrinsic character of such perverted individuals disguised as yogis. That is why
Guruji says that only Mantra that's learnt from this episode is that no immoral
relations should be established with such a woman.
Quote
ਰਾਇ ਤਬੈ ਿਚਤ ਭੀਤਰ ਿਕਯਾ ਿਬਚਾਰ ਹੈ ॥

ਯਾਿਹ ਨ ਭਿਜਹੌ ਆਜੁ ਮੰ ਤ ਕਾ ਸਾਰ ਹੈ ॥
There is a specific meaning and purpose behind giving 60 coins to Chajjia. It has
been told in the early parts of this Charitar that this woman became immoral
because of her greed for money. The primary reason for entering prostitution has
always been money. The act of giving 60 coins symbolises that help should be
provided to these daughters of humanity who have fallen into immoral trades
because of their poor economic situations; that they can become women for high
moral character. The next message the rational composer wants to give through the
Charitar is that whenever there is a situation where prestige and faith are at stake, a
man should always defend his faith and religious duties. Whenever such tricky
situations surface in other Charitars, perverted people do not hesitate from killing
even their own loved ones; in contrast, the protagonist of this Charitar shows
immense sympathy for the sorry state of that woman. At the same time, he reiterates
his unshakable pledge:
Quote
ਰੀਿਤ ਨ ਜਾਨਤ ਪੀਤ ਕੀ ਪੈਸਨ ਕੀ ਪਰਤੀਤ ॥

ਿਬਛੂ ਿਬਸੀਅਰੁ ਬੇਸਯਾ ਕਹੋ ਕਵਨ ਕੇ ਮੀਤ ॥੪੩॥
੪੩॥

ਘ) – ਇਹਨੂੰ ਪਮ
ੇ ਦੀ ਰੀਤ ਦਾ ਪਤਾ ਨਹN,
ਨਹN ਪੈਸੇ ਵਾਸਤੇ ਹੀ ਇਸਦਾ ਇਹ ਪਮ
ੇ ਹੈ
। ਿਬੱਛੂ, ਸੱਪ ਅਤੇ ਵੇਸਵਾ ਦਸੋ, ਇਹ ਭਲਾ ਿਕਸਦੇ ਿਮੱਤਰ ਹੁੰ ਦੇ ਹਨ ॥੪੩॥
੪੩॥
The king had returned home after leaving 60 coins on the bedside of the
unconscious woman. Upon coming home, he swore, "With great effort, I have been
able to protect my virtues. I will never, ever look at any woman other than my wife.
This pledge is now etched deep in my heart."
Quote

੪੯॥

੪੯॥
Quote
ਦੋਹਰਾ ॥
ਵਹੈ ਪਤਗJਾ ਤਿਦਨ ਤੇ ਬJਾਪਤ ਮੋ ਿਹਯ ਮਾਿਹ ॥
ਤਾ ਿਦਨ ਤੇ ਪਰ ਨਾਿਰ ਕੌ ਹੇਰਤ ਕਬਹੂੰ ਨਾਿਹ ॥੫੦॥
੫੦॥

ਘ) – ਉਹੀ ਪਣ ਉਸੇ ਿਦਨ ਤF ਮੇਰੇ ਮਨ ਵਿਸਆ ਹੋਇਆ ਹੈ ਅਤੇ ਹੁਣ ਕਦੇ ਭੀ
ਪਰਾਈ ਇਸਤੀ ਨੂੰ ਨਹN ਵੇਖ9ਗਾ ॥੫੦॥
੫੦॥
Skeptics associate this story with Sri Guru Gobind Singh Ji. There is one more story
before this one, that story is associated with Amritsar and Kiratpur Sahib. The
opposition has several arguments – They say that how could it be possible that
characterless people lived in cities of Guruji. But even to this day, do only religious
people live at holy places? Pilgrims at major holy places get their personal
belongings stolen. Therefore, Guruji is giving this caution that immoral people not
only enter religious places, they can also try to deceive innocent pilgrims. The
protagonist of Guruji does not go to Chajjia to learn any Mantra, because there is
nothing but "sex Mantra" in her possession. In the story, a great attempt has been
made to expose the real facet of a sexually obsessed woman impersonating as a holy
person. The real Mantra (lesson) to be learnt was to reach deep down and expose
the intrinsic character of such perverted individuals disguised as yogis. That is why
Guruji says that only Mantra that's learnt from this episode is that no immoral
relations should be established with such a woman.
Quote
ਰਾਇ ਤਬੈ ਿਚਤ ਭੀਤਰ ਿਕਯਾ ਿਬਚਾਰ ਹੈ ॥

ਯਾਿਹ ਨ ਭਿਜਹੌ ਆਜੁ ਮੰ ਤ ਕਾ ਸਾਰ ਹੈ ॥
There is a specific meaning and purpose behind giving 60 coins to Chajjia. It has
been told in the early parts of this Charitar that this woman became immoral
because of her greed for money. The primary reason for entering prostitution has
always been money. The act of giving 60 coins symbolises that help should be
provided to these daughters of humanity who have fallen into immoral trades
because of their poor economic situations; that they can become women for high
moral character. The next message the rational composer wants to give through the
Charitar is that whenever there is a situation where prestige and faith are at stake, a
man should always defend his faith and religious duties. Whenever such tricky
situations surface in other Charitars, perverted people do not hesitate from killing
even their own loved ones; in contrast, the protagonist of this Charitar shows
immense sympathy for the sorry state of that woman. At the same time, he reiterates
his unshakable pledge:
Quote

੪੯॥

੪੯॥
And finally the following verse, which the adversaries of Sri Dasam Granth Ji are
calling the ideas of the writer, and use it to launch attacks against the Granth are in
fact uttered by Chajjia and not by Sri Guruji:
Quote
ਕਾਮਾਤੁਰ ਹ+ੈ ਜੋ ਤਰੁਿਨ ਆਵਤ ਿਪਯ ਕੇ ਪਾਸ ॥

ਮਹਾ ਨਰਕ ਸੋ ਡਾਿਰਯਤ ਦੈ ਜੋ ਜਾਨ ਿਨਰਾਸ ॥੨੩॥
੨੩॥
ਤਨ ਅਨੰਗ ਜਾ ਕੇ ਜਗੈ ਤਾਿਹ ਨ ਦੈ ਰਿਤ ਦਾਨ ॥
ਤਵਨ ਪੁਰਖ ਕੋ ਡਾਿਰਯਤ ਜਹਾ ਨਰਕ ਕੀ ਖਾਿਨ ॥੨੪॥
੨੪॥

ਘ) – ਕਾਮ ਦੀ ਦੁਖੀ
ਖੀ ਕੀਤੀ ਹੋਈ ਿਜਹੜੀ ਇਸਤੀ ਿਪਆਰੇ ਪਾਸ ਆ;ਦੀ ਏ,
ਏ ਜੋ
ਿਪਆਰਾ ਉਹਨੂੰ ਿਨਰਾ7 ਕਰਦਾ ਹੈ ਤਾ ਐਸਾ ਿਮੱਤਰ ਘੋਰ ਨਰਕ ਿਵਚ ਿਡਗਦਾ ਹੈ ॥੨੩॥
੨੩॥
ਜੋ ਆਦਮੀ ਕਾਮ-
ਕਾਮ-ਰਤੀ ਇਸਤੀ ਨੂੰ ਭੋਗ ਦਾਨ ਨਹN ਦRਦਾ,ਾ ਉਸ ਆਦਮੀ ਨੂੰ ਨਰਕ ਦੀ ਖਾਨ ਿਵਚ ਸੁੱਟ ਦੇਣਾ
ਚਾਹੀਦਾ ਹੈ ॥੨੪॥
੨੪॥
If Guruji Maharaj wishes, the next article will attempt to present analysis of the
(in)famous (A)noop Kaur Charitar and more..
[Part III] - Analysis and Clarifications of Charitar 21-23 -

(A)noop Kaur
With Guruji's blessings, here is an analysis of the (in)famous Charitar - The story of
(A)noop Kaur. This is the Charitar that Darshan ragi used to distort the essence of
Charitropakhyan at Rochester, NY. We all know what happened after that, so let's
not go into that. This article, based on Dr. Harbhajan Singh Ji's book, is an attempt
to present descriptions of the plot as well as clear many of the misconceptions being
spread by jeonwala and other anti-pantic pseudo-scholars regarding Guruji's role
in this Charitar. As in previous articles, I have provided Gurmukhi meanings done
by Gyani Narain Singh Ji to the quoted verses. It is my sincere hope that after
reading Dr. Sahib's article, we will be able to understand this Charitar (and
Charitropakhyan) in the way Guruji want us to understand it. Ok, please read on:
The plot of Charitar number 21 is associated with Sri Guru Gobind Singh Sahib Ji.
The story of this Charitar is quite similar to the story of Charitar No. 16 'Chajjia'.
In the 27th verse of this story, the name of this wealthy woman has been given as
Noop (or Anoop) Kaur, who gets attracted to Guruji (as protagonist in the story).
This wealthy lady bribes a servant of Guruji and gets a message delivered to him
saying that she has got one Mantra that Guruji would want to learn. Guruji goes to
the lady. Anoop Kaur makes arrangements for flowers, beetle-leafs and wine. It is
important to remember here that Chajjia had also asked for similar ingredients.
Actually, Guruji are exposing the real face of such Tantriks who are absorbed in
magic and sorcery. As soon as Guruji arrives, the lady tells her passion-ridden state
of mind and starts begging in front of Guruji to copulate with her.Guruji says to
her, "Why should I give up my faith and virtues; why should I drown in hell?" That
passion-struck lady says:
Quote
ਕਾਮਾਤੁਰ ਹ+ੈ ਜੋ ਿਤਯਾ ਆਵਤ ਨਰ ਕੇ ਪਾਸ ॥

ਮਹਾ ਨਰਕ ਸੋ ਡਾਿਰਯੈ ਦੈ ਜੋ ਜਾਨ ਿਨਰਾਸ ॥੧੮॥
੧੮॥

ਘ) – ਕਾਮ ਦੀ ਦੁਖੀ ਕੀਤੀ ਹੋਈ ਇਸਤੀ ਜਦF ਪੁਰ7 ਪਾਸ ਆ;ਦੀ ਏ ਅਤੇ ਜੇ
ਊਹ ਪੁਰ7 ਉਸਨੂੰ ਿਨਰਾ7 ਭੇਜਦਾ ਹੈ ਤ9 ਉਸ ਪੁਰਖ ਨੂੰ ਵੱਡੇ ਨਰਕ ਿਵਚ ਸੁਿਟਆ ਜਾਣ9 ਚਾਹੀਦਾ ਹੈ ॥੧੮॥
੧੮॥
To this, Guruji says, “You always bow to my feet in respect, you worship me, and
now you get obsessed (to your own Satguru) and want to have sexual relations with
him? Don’t you feel ashamed of yourself?”
Quote
ਪਾਇ ਪਰਤ ਮੋਰੋ ਸਦਾ ਪੂਜ ਕਹਤ ਹੈ ਮੋਿਹ ॥

ਤਾ ਸੋ ਰੀਝ ਰਮJੋ ਚਹਤ ਲਾਜ ਨ ਆਵਤ ਤੋਿਹ ॥੧੯॥
੧੯॥

ਘ) – ਲੋ ਕ ਮੇਰੇ ਪੈਰ9 ਤੇ ਿਡਗਦੇ ਨP ਮ: ਪਸੰਨ ਹੋਕੇ ਤੇਰੇ ਨਾਲ ਭੋਗ ਕਰ9,
ਕਰ9 ਕੀ ਇਸ
ਤਰE9 ਕਿਹੰ ਿਦਆਂ ਤੈਨੰ ੂ 7ਰਮ ਨਹN ਆ;ਦੀ?
ਆ;ਦੀ ॥੧੯॥
੧੯॥
In fact, the intention in these verses is to illustrate the pious relationship that exists
between the Guru and his Sikh. Anoop Kaur has become neglectful of this pious
relationship. Guruji is reminding this relationship to her follower who is drowning
in sea of immoral desire. The story also shows how sexually obsessed people twist
the meanings of religious texts to uphold their actions. The lady says, “Sri Krishna
was respected by everyone even after getting intimate with Gopis. He did not go to
hell. God has made our bodies with five elements, and attraction between males and
females has also materialised by Him, then how can physical relationships be called
sinful?”
Quote
ਿਕਸਨ ਪੂਜ ਜਗ ਕੇ ਭਏ ਕੀਨੀ ਰਾਿਸ ਬਨਾਇ ॥
ਭੋਗ ਰਾਿਧਕਾ ਸੋ ਕਰੇ ਪਰੇ ਨਰਕ ਨਿਹ ਜਾਇ ॥੨੦॥
੨੦॥

ਘ) – ਿਕ7ਨ ਵੀ ਸੰ ਸਾਰ ਲਈ ਪੂਜਨੀਕ ਸੀ,
ਸੀ ਪਰ ਉਸਨP ਵੀ ਰਾਸ-
ਰਾਸ-ਲੀਲEਾ
ਕੀਤੀਆਂ । ਉਹਨP ਰਾਿਧਕਾ ਨਾਲ ਭੋਗ ਕੀਤਾ,
ਕੀਤਾ ਿਫਰ ਉਹ ਨਰਕ ਿਵਚ ਨਹN ਗਏ?
ਗਏ ॥੨੦॥
੨੦॥
Quote
ਪੰ ਚ ਤਤ ਲੈ ਬਹਮ ਕਰ ਕੀਨੀ ਨਰ ਕੀ ਦੇਹ ॥

ਕੀਯਾ ਆਪ ਹੀ ਿਤਨ ਿਬਖੈ ਇਸਤੀ ਪੁਰਖ ਸਨPਹ ॥੨੧॥
੨੧॥

ਘ) – ਪਮਾਤਮਾ ਨP ਆਪ ਹੀ ਪੰ ਜ9 ਤੱਤ9 ਤF ਪੁਰ7 ਦਾ ਸਰੀਰ ਬਣਾਇਆ ਏ ਅਤੇ
ਆਪ ਹੀ ਉਸ ਿਵਚ ਇਸਤੀ ਪੁਰ7 ਦੇ ਪਸਪਰ ਿਪਆਰ ਦੀ ਰਚਨਾ ਕੀਤੀ ਹੈ ॥੨੧॥
੨੧॥
Quote
ਪਥਮ ਛਿਤ ਕੇ ਧਾਮ ਿਦਯੋ ਿਬਿਧ ਜਨਮ ਹਮਾਰੋ ॥

ਬਹੁਿਰ ਜਗਤ ਕੇ ਬੀਚ ਿਕਯੋ ਕੁਲ ਅਿਧਕ ਉਿਜਯਾਰੋ ॥
ਬਹੁਿਰ ਸਭਨ ਮੈ ਬੈਿਠ ਆਪੁ ਕੋ ਪੂਜ ਕਹਾਊ ॥
ਹੋ ਰਮੋ ਤੁਹਾਰੇ ਸਾਥ ਨੀਚ ਕੁਲ ਜਨਮਿਹ ਪਾਊ ॥੩੨॥
੩੨॥

ਘ) – ਰਾਜੇ ਨP ਿਕਹਾ ਪਿਹਲ9 ਤ9 ਪਮੇ7ਰ ਨP ਮੈਨੰ ੂ ਖੱਤਰੀ ਦੀ ਕੁਲ ਿਵਚ ਜਨਮ
ਿਦਤਾ ਹੈ, ਅਤੇ ਸਾਡੀ ਕੁਲ ਦਾ ਸੰ ਸਾਰ ਿਵਚ ਬਹੁਤ ਮਾਣ ਹੈ । ਿਫਰ ਸਾਿਰਆਂ ਿਵਚ ਬੈਠ ਕੇ ਮ: ਪੂਜਨੀਕ
ਕਹ9ਦਾ ਹ9,
ਹ9 ਹੁਣ ਜਦ ਮ: ਤੇਰੇ ਨਾਲ ਭੋਗ ਕਰਦਾ ਹ9 ਤ9 ਮ: ਨੀਚ ਕੁਲ ਿਵਚ ਜਨਮ ਪਾਵ9ਗਾ ॥੩੨॥
੩੨॥
There is no effect on Guruji despite the lady’s abetment. In this very episode, Guruji
utters such pious words which can be aptly called ‘mega-Mantra’ for freedom of
humanity from horrible diseases resulting from such immoral actions:
Quote
ਸੁਿਧ ਜਬ ਤੇ ਹਮ ਧਰੀ ਬਚਨ ਗੁਰ ਦਏ ਹਮਾਰੇ ॥

ਪੂਤ ਇਹੈ ਪਨ ਤੋਿਹ ਪਾਨ ਜਬ ਲਗ ਘਟ ਥਾਰੇ ॥
ਿਨਜ ਨਾਰੀ ਕੇ ਸਾਥ ਨPਹੁ ਤੁਮ ਿਨਤ ਬਢੈਯਹੁ ॥
ਪਰ ਨਾਰੀ ਕੀ ਸੇਜ ਭੂਿਲ ਸੁਪਨP ਹੂੰ ਨ ਜੈਯਹੁ ॥੫੧॥
੫੧॥

ਘ) – ਜਦF ਤF ਮ: ਹੋ7 ਸੰ ਭਾਲੀ ਹੈ, ਤਦF ਤF ਹੀ ਮੇਰੇ ਗੁਰੂ ਨP ਮੈਨੰ ੂ ਿਸਿਖਆ ਿਦਤੀ
ਹੈ ਿਕ ਹੇ ਪੁੱਤਰ ! ਿਜਨ9 ਿਚਰ
ਿਚਰ ਤੇਰੇ ਿਹਰਦੇ ਅੰ ਦਰ ਪਾਣ ਹਨ,
ਹਨ ਉਤਨਾ ਿਚਰ ਤੂੰ ਇਹ ਧਾਰੀ ਰਖਣਾ ਹੈ ਿਕ
ਆਪਣੀ ਇਸਤੀ ਨਾਲ ਤੂੰ ਸਦਾ ਪਮ
ੇ ਵਧਾ,
ਵਧਾ ਪਰ ਪਰਾਈ ਇਸਤੀ ਦੀ ਸੇਜਾ ਉਤੇ ਭੁੱਲਕੇ ਸੁਪਨP ਦੇ ਿਵਚ ਵੀ ਨਹN
ਜਾਣਾ ਹੈ ॥੫੧॥
੫੧॥
Meaning – (The king i.e. Guruji says- ) Right from the age of understanding, (my)
Guru has taught me; O son! Keep this pledged in your heart till the time you are
alive, (that) keep increasing love and affection for your own wife, but never, ever go
to someone’s else bed even in wildest dreams.
Quote
ਪਰ ਨਾਰੀ ਕੇ ਭਜੇ ਸਹਸ ਬਾਸਵ ਭਗ ਪਾਏ ॥

ਪਰ ਨਾਰੀ ਕੇ ਭਜੇ ਚੰ ਦ ਕਾਲੰਕ ਲਗਾਏ ॥
ਪਰ ਨਾਰੀ ਕੇ ਹੇਤ ਸੀਸ ਦਸ ਸੀਸ ਗਵਾਯੋ ॥
ਹੋ ਪਰ ਨਾਰੀ ਕੇ ਹੇਤ ਕਟਕ ਕਵਰਨ ਕੌ ਘਾਯੋ ॥੫੨॥
੫੨॥

ਘ) – ਪਰਾਈ ਨਾਰੀ ਨੂੰ ਭੋਿਗਆਂ ਇੰ ਦ ਨP ਹਜਾਰ ਭਗ ਪਾਏ ਸੀ । ਪਰਾਈ ਨਾਰੀ
ਦੇ ਭੋਿਗਆਂ ਚੰ ਦਮ9 ਨP ਆਪਣੇ ਆਪ ਨੂੰ ਕਲੰਕ ਲਗਾ ਿਲਆ ਸੀ । ਪਰਾਈ ਨਾਰੀ ਦੇ ਵਾਸਤੇ ਦਸ9 ਿਸਰ9
ਿਸਰ9 ਵਾਲੇ
ਰਾਵਣ ਨP ਆਪਣੇ ਿਸਰ ਗਵਾ ਲਏ ਸੀ । ਪਰਾਈ ਨਾਰੀ ਦੇ ਵਾਸਤੇ ਕੌਰਵ9 ਦਾ ਦਲ ਮਾਿਰਆ ਿਗਆ ਸੀ ॥੫੨॥
੫੨॥
Meaning – Because of illicit relations, Indra had received 1000 female genitals as
symbolic punishment. Because of illicit relations, the moon got blemished. Because
of illicit relations, Ravana had to lose his heads. (Similarly), because of someone
else’s woman, entire army of Kaurvas got killed.
Quote
ਪਰ ਨਾਰੀ ਸੌ ਨPਹੁ ਛੁਰੀ ਪੈਨੀ ਕਿਰ ਜਾਨਹੁ ॥

ਪਰ ਨਾਰੀ ਕੇ ਭਜੇ ਕਾਲ ਬJਾਪਯੋ ਤਨ ਮਾਨਹੁ ॥
ਅਿਧਕ ਹਰੀਫੀ ਜਾਿਨ ਭੋਗ ਪਰ ਿਤਯ ਜੋ ਕਰਹੀ ॥
ਹੋ ਅੰ ਤ ਸ+ਾਨ ਕੀ ਿਮਤੁ ਹਾਥ ਲR ਡੀ ਕੇ ਮਰਹੀ ॥੫੩॥
੫੩॥

ਘ) – ਪਰਾਈ ਨਾਰੀ ਨਾਲ ਪਮ
ੇ ਿਤੱਖੀ ਛੁਰੀ ਵ9ਗ ਜਾਨC । ਪਰਾਈ ਨਾਰੀ ਨਾਲ
ਪੇਮ ਦਾ ਅਰਥ ਮੌਤ ਦਾ ਆਉਣਾ ਸਮਝੋ । ਆਪਣੇ ਆਪ ਨੂੰ ਬਹੁਤ ਬਲ ਵਾਲੇ ਸਮਝ ਕੇ ਜੋ ਪਰਾਈ ਨਾਰੀ
ਨਾਲ ਭੋਗ ਕਰਦੇ ਨP, ਉਹ ਅੰ ਤ ਨੂੰ ਡਰਪੋਕ ਆਦਮੀ ਹਥF ਕੁੱਤੇ ਦੀ ਮੌਤ ਮਰਦੇ ਹਨ ॥੫੩॥
੫੩॥
Meaning – Consider love relations with another woman like a sharp edged knife.
Consider such relations as a sure invitation to death. Those who consider themselves
powerful and have such relations with someone else’s woman, they are eventually
delivered dog’s death by cowards.
Quote
ਬਾਲ ਹਮਾਰੇ ਪਾਸ ਦੇਸ ਦੇਸਨ ਿਤਯ ਆਵਿਹ ॥

ਮਨ ਬਾਛਤ ਬਰ ਮਾਿਗ ਜਾਿਨ ਗੁਰ ਸੀਸ ਝੁਕਾਵਿਹ ॥
ਿਸਖJ ਪੁਤ ਿਤਯ ਸੁਤਾ ਜਾਿਨ ਅਪਨP ਿਚਤ ਧਿਰਯੈ ॥
ਹੋ ਕਹੁ ਸੁੰ ਦਿਰ ਿਤਹ ਸਾਥ ਗਵਨ ਕੈਸੇ ਕਿਰ ਕਿਰਯੈ ॥੫੪॥
੫੪॥

ਘ) – ਹੇ ਇਸਤੀ ! ਸਾਡੇ ਪਾਸ ਦੇਸ-ਦੇਸ9ਤਰ9 ਤF ਇਸਤੀਆਂ ਆ;ਦੀਆਂ ਹਨ
ਅਤੇ ਮਨਭਾ;ਦੇ ਵਰ ਮੰ ਗ ਕੇ ਸਾਨੂੰ ਗੁਰੂ ਜਾਣਕੇ ਿਸਰ ਝੁਕ9;ਦੀਆਂ ਹਨ । ਉਹ ਿਸੱਖ ਮੇਰੇ ਪੁਤਰ ਹਨ,
ਹਨ ਿਸਖ9
ਦੀਆਂ ਇਸਤੀਆਂ ਮੇਰੀਆਂ ਧੀਆਂ ਹਨ । ਹੇ ਸੁੰ ਦਰੀ ! ਤੂੰ ਹੀ ਦਸ,
ਦਸ ਇਹਨ9 ਨਾਲ ਭੋਗ ਿਕਵR ਕੀਤਾ ਜਾਏ?
ਜਾਏ
॥੫੪॥
੫੪॥
Meaning – O disciple! Women from various states come to me; accepting me as

their Guru, they bow their heads in front of me and get their wishes fulfilled. I
consider Sikhs as my own sons and (their) women as my own daughters. O maiden!
How can I have wrong relations with them?
Quote
ਿਦਜਨ
ਿਦਜਨ ਦੀਿਜਯਹੁ ਦਾਨ ਦAਜਨ ਕਹ ਿਦਸਿਟ ਿਦਖੈਯਹੁ ॥
ਸੁਖੀ ਰਾਿਖਯਹੁ ਸਾਥ ਸਤA ਿਸਰ ਖੜਗ ਬਜੈਯਹੁ ॥
ਲੋ ਕ ਲਾਜ ਕਉ ਛਾਿਡ ਕਛੂ ਕਾਰਜ ਨਿਹ ਕਿਰਯਹੁ ॥
ਪਰ ਨਾਰੀ ਕੀ ਸੇਜ ਪਾਵ ਸੁਪਨP ਹੂੰ ਨ ਧਿਰਯਹੁ ॥
ਗੁਰ ਜਬ ਤੇ ਮੁਿਹ ਕਿਹਯੋ ਇਹੈ ਪਨ ਲਯੋ ਸੁ ਧਾਰੈ ॥
ਹੋ ਪਰ ਧਨ ਪਾਹਨ ਤੁਿਲ ਿਤਯਾ ਪਰ ਮਾਤ ਹਮਾਰੈ ॥੫੮॥
੫੮॥
ਅਰਥ (ਿਗਆਨੀ
ਿਗਆਨੀ ਨਰੈਣ ਿਸੰ ਘ)
ਘ) – ਬਾਹਮਣ9 ਨੂੰ ਦਾਨ ਿਦਤਾ ਜ9ਦਾ ਏ ਅਤੇ ਖੋਟੇ ਆਦਮੀਆਂ ਨੂੰ ਅੱਖ9
ਿਵਖਾਈਆਂ ਜ9ਦੀਆਂ ਹਨ । ਿਮੱਤਰ9 ਨੂੰ ਸੁਖ ਿਦੱਤਾ ਜ9ਦਾ ਏ ਤੇ ਦੁ7ਮਣ ਦੇ ਿਸਰ ਤੇ ਤਲਵਾਰ ਮਾਰ ਕੇ ਵਾਰ
ਕੀਤਾ ਜ9ਦਾ ਹੈ । ਲੋ ਕ-ਲੱਿਜਆ ਨੂੰ ਛੱਡਕੇ ਕੋਈ ਭੀ ਕੰ ਮ ਨਹN ਕੀਤਾ ਜ9ਦਾ,
ਜ9ਦਾ ਇਸ ਲਈ ਪਰਾਈ ਇਸਤੀ ਦੀ
ਸੇਜ ਤੇ ਸੁਪਨ
ਪਨP ਿਵਚ ਵੀ ਭੁਲਕੇ ਪੈਰ ਨਹN ਰਖਣਾ ਚਾਹੀਦਾ,
ਚਾਹੀਦਾ ਗੁਰੂ ਨP ਜਦF ਤF ਮ:ਨੰ ੂ ਇਹ ਸੱਚਾ ਪਣ ਕਰਵਾਇਆ
ਹੈ, ਤਦF ਤF ਪਰਾਇਆ ਧਨ ਮੇਰੇ ਲਈ ਪਥਰ ਦੇ ਸਮਾਨ ਅਤੇ ਪਰਾਈ ਇਸਤੀ ਮਾਤਾ ਦੇ ਸਮਾਨ ਹੈ ॥੫੮॥
੫੮॥
Meaning – Give donations to Brahmins* (i.e. virtuous people, see below) and glare
threateningly at enemies. Keep your friends happy and (always) keep striking your
enemies on the head with sword. Do not do anything that goes against society’s
decorum. Do not place your foot on someone else’s woman, even in dreams. From
the moment my Guru has taught me this; I have made this pledge that I consider
someone else’s money useless as a stone, and someone else’s woman as a mother. *
[There are some critics who, without any understand root meaning of the word ‘ਿਦਜਨ’
(Dijan), launch attacks on Sri Dasam Granth. ‘ਿਦ+ਜ’ (Dvij) means a person who is born
twice – once from mother’s womb and second time at the house of the Guru, i.e., a
virtuous person. Anyone who takes initiation in faith and follows the doctrines of that
religion is a Dvij (ਿਦ+ਜ). Thus, translation of ‘ਿਦਜ’ as merely Brahmin isn’t
appropriate.]
The clever words of Guruji not only cut the net of perverseness of the woman who
had threatened to blemish Guruji and wanted to establish physical contacts with
him, but also accused her actions as being wrongful. This woman apologised to
Guruji for her behavior. At this juncture, this episode takes an extremely tragic
turn. Guruji intention could never be to make woman feel inferior. That is why
Guruji apologises for his behavior that originated from helplessness, and makes
arrangements of half yearly grant of 20 thousand takkas to her so that she can live a
respectful, virtuous life.
Quote
ਿਛਮਾ ਕਰਹੁ ਅਬ ਿਤਯ ਹਮੈ ਬਹੁਿਰ ਨ ਕਿਰਯਹੁ ਰਾਿਧ ॥

ਬੀਸ ਸਹੰ ਸ ਟਕਾ ਿਤਸੈ ਦਈ ਿਛਮਾਹੀ ਬਾਿਧ ॥੧੨॥
੧੨॥

ਘ) – ਹੇ ਇਸਤੀ, ਹੁਣ ਤੂੰ ਮੈਨੰ ੂ ਮਾਫ ਕਰ,
ਕਰ ਮ: ਵੀ ਇਸ ਝਗੜੇ ਨੂੰ ਹੋਰ ਵਧਾਉਣਾ
ਨਹN ਚਾਹੁੰ ਦਾ,
ਦਾ ਇਸ ਿਪਛF ਉਸ ਇਸਤੀ ਨੂੰ ਵੀਹ ਹਜਾਰ ਟਕੇ ਿਛਮਾਹੀ ਬੰ ਨE ਿਦੱਤੇ ਗਏ ॥੧੨॥
੧੨॥
From the instances in these stories, where Guruji is shown to give monetary
assistance, an indication is received that not only he gave inspiration to sexually-
obsessed women through the Charitars, but he would also provide monitory
assistance for their rehabilitation, so that the aim of Guru Nanak Dev Ji, 'ਗਾਵਹੁ ਪੁਤੀ
ਿਰ।। ਨਾਮੁ ਭਣੇ ਸਚੁ ਦੇਿਤ ਸਵਾਿਰ
ਰਾਜਕੁਆਿਰ ਸਵਾਿਰ।।'could be achieved.
Sri Dasam Granth manuscript

Anandpuri Bir
Sri Charitropakhyan, corrected by
Sri Guru Gobind Singh Ji
[Part IV] Charitropakhyan - Analysis and Clarifications of
Charitars 25 – 403
With Sri Guruji's kirpa, the fourth article in the Charitropakhyan series is now
complete. This article provides a summary of important Charitars, from no. 25 - No.
403, and attempts to refute the baseless and illogical arguments raised by ragi
darshan and his band of nindaks from time to time. It is an important read in my
opinion, because allegations like Sri Dasam Granth Sahib ji promotes Brahmanical
ideas are aptly refuted with proper quotes. As with the previous articles, this one is
also extensively based on Dr. Harbhajan Singh Ji's book while translations are from
Gyani Narain Singh Ji's steek.
ਪੇਮ ਕੁਮਾਰੀ - Story of Prem Kumari) is an infertile aged

The king in Charitar No. 25 (ਪ
man . Concerned about the lack of heir, his politically conscious wife makes physical
relations with another man. It is important to note that it is the adulterous nature of
ਿਬਓਮ ਕਲਾ - Story
the king that has brought about this situation. In Charitar No. 27 (ਿਬਓਮ
of Beom Kalaa), a similar story is depicted where the protagonist queen is forced to
drop her morality because her husband is an old man incapable of procreating. The
woman in Charitar No. 28 (ਸੂਸੂਰਛਟ - Story of Soorchatt) is extremely beautiful while
ਚਾਚਰ ਮਤੀ - Chaachar Mati) tells
her husband is disgustingly ugly. 30th Charitar (ਚਾਚਰ
the story of a queen whose husband is one-eyed and she falls for a wandering
ਰਸ ਮੰ ਜਰੀ - Rass Manjari), the wise protagonist woman
juggler. In Charitar No. 32 (ਰਸ
ਨੰਦ ਮਤੀ - Nand Mati) is the story of a
Rass Manjari kills the thieves. 49th Charitar (ਨ
woman named Nand Mati, who lives with her husband in Anandpur. Her husband
keeps idling in Guruji's court the whole day while she keeps her engrossed with
other men:
Quote
ਤਾ ਕੇ ਧਾਮ ਬਹੁਤ ਜਨ ਆਵੈ ॥ ਿਨਸ ਿਦਨ ਤਾ ਸੋ ਭੋਗ ਕਮਾਵੈ ॥ ਸੋ ਜੜ ਪਰਾ ਹਮਾਰੇ ਰਹਈ ॥ ਤਾ ਕੋ ਕਛੂ ਨ ਮੁਖ ਤੇ ਕਹਈ ॥੨॥

ਘ) -ਉਹਦੇ ਘਰ ਬਹੁਤ ਲੋ ਕ ਰਾਤ ਿਦਨ ਆ;ਦੇ ਸਨ ਤੇ ਉਹਦੇ ਨਾਲ ਭੋਗ-
ਿਬਲਾਸ ਕਰਦੇ ਸਨ,
ਸਨ ਉਹ ਮੂਰਖ ਸਾਡੇ ਕੋਲ ਬੈਠਾ ਰਿਹੰ ਦਾ ਸੀ ਤੇ ਉਸ ਇਸਤੀ ਨੂੰ ਮੂੰ ਹੋ ਕਦੀ ਕੁਝ ਨਹN
ਕਿਹੰ ਦਾ ਸੀ ।
The message being given through this story is that it is not a religious obligation to
keep sitting in places of worship; it is important to live in and take care of the
household affairs too. This is an appropriate admonition for those people who
ignore their household responsibilities by staying only at religious places. The story
ਰਾਧਾ - Radha) is worth paying proper attention to. Under the
of Charitar No. 80 (ਰਾਧਾ
influence of pessimistic talks of a Yogi, the king in the story makes up his mind to
become yogi too. But his thoughtful wife correctly guides him thus:
Quote
ਜੋ ਿਨਪ ਨJਾਇ ਕਰੈ ਨਹੀ ਬੋਲਤ ਝੂਠ ਬਨਾਇ ॥ ਰਾਜ ਤJਾਗ ਤਪਸJਾ ਕਰੈ ਪਰੈ ਨਰਕ ਮਿਹ ਜਾਇ ॥੯੧॥
੯੧॥

ਘ) -ਜੋ ਰਾਜਾ ਇਨਸਾਫ ਨਹN ਕਰਦਾ ਤੇ ਝੂਠ ਬੋਲਦਾ ਹੈ, ਰਾਜ ਛੱਡਕੇ ਤਪੱਿਸਆ
ਕਰਦਾ ਹੈ, ਉਹ ਨਰਕ ਿਵਚ ਜ9ਦਾ ਹੈ ।
In this Charitar, woman's extremely sharp and constructive reasoning is portrayed;

the prudent character of queen is able to bring the king back from the path of
renunciation and onto the path of Raj-Yog:
Quote
ਮਹਾਰਾਜ ਜੈਸੀ ਸੁਿਨ ਬਾਨੀ ॥ ਿਚਤ ਕੈ ਿਬਖੈ

ਿਬਖੈ ਸਾਚ ਕਿਰ ਮਾਨੀ ॥ ਿਦਨ ਕੌ ਰਾਜੁ ਆਪਨੌ ਕਿਰਹੌ ॥ ਪਰੇ ਰਾਿਤ ਕੇ ਰਾਮ ਸੰ ਭਿਰਹੌ ॥੯੬

ਘ) -ਰਾਜੇ ਨP ਇਹ ਆਕਾ7 ਬਾਣੀ ਸੁਣਕੇ ਉਹਨੂੰ ਮਨ ਿਵਚ ਸਚ ਕਰਕੇ ਮੰ ਿਨਆ
ਿਕ ਿਦਨ ਸਮR ਮ: ਰਾਜ ਕਰ9ਗਾ ਅਤੇ ਰਾਤ ਸਮR ਪਮ7
ੇ ਰ ਦਾ ਭਜਨ ਕਰ9ਗਾ ।
ਰਾਜਕੁਮਾਰੀ ਰੁਦਕਲਾ - Rajkumari RudraKalaa)has been a particular

Charitar No. 119 (ਰਾਜਕੁ
target of intense criticism. It's story is associated with the practice of sorcery, black
magic, incantations, Rudra-Kala and Sambraatra in a state called ਿਤਰਹੁਤ (Terhut).
In actuality, the word ਿਤਰਹੁਤ is a corrupted form of word ਿਤਪੁਰ+ਹਤ (Tripur+hatt),
used for Shiva. ਸੰ ਬਰਾਿਤ (Sambraatra) is again used for Shiva and Rudrakalaa, the
ਰੁਦ- ਿ7ਵ'
protagonist of the story, is 'ਰੁ ਿ7ਵ (Rudra-Shiva), the wife of Shiva. The real
motive of this story is to negate and criticise the Yantra-Mantra-Tantra (to possess
and control, use of magic mantras, sorcery as specified in tantra-shastars)
meditation techniques practised by the worshippers of Shiva. The abundance of
vulgar words in this story is to reflect and highlight the filth propagated by Tantric
faiths. The episode has been written with the specific purpose of repudiation of
Shaatvik and similar faiths, therefore it is absolutely inappropriate and
irresponsible to associate Charitropakhyan with practitioners of such belief systems.
The next Charitar (No. 120 - ਿਵ7ਨੂੰ - Vishnu) is also linked to Shiva, in which his
rage is depicted as the root cause of creation of demons.
ਰਨਖੰ ਬ ਕਲਾ-
Charitar No. 266 (ਰਨਖੰ ਕਲਾ- RanKhambh Kala ) needs to be analysed in detail
because there are lots of questions raised against it by the opposers of Sri Dasam
Granth. They also love to distort the meanings of this Charitar in attempt to register
an obscene version in the mind of readers, whereas in reality, this lengthy and
important Charitar inspires the readers to renounce false beliefs of idol-worship
and live in the remembrance of that one and only Akal Purakh Waheguru Ji. This
advice comes from the female protagonist of the Charitar, which signifies their
highly sensitive and conscious mind. In fact, it is a perfect tribute to the female's
intellectual awareness and rationality against idol-worship, an example which is
extremely rare to find in other religious texts of the world. King Sumatt Sen (In
most stories, the characters have been named in accordance with their
characteristics and personality traits) has one extremely beautiful daughter named
Rankhambh Kala and four gallant sons - Saardul Dhuj, Naahar Dhuj, Singh Ket,
and Har Ket. The king, in order to get his daughter educated, had given lots of
money to a karam-kaandi Brahman expert in religious texts, their grammar and
Vedas. One day, the princess goes to the Brahman. With folded hands, the Brahman
kept bowing his head repeatedly in front of an idol. The princess laughed and asked
him, 'Why are doing praying in front of this stone with folded hands?'. The
Brahman replied, 'O Princess! The idol you are referring to is not a stone, it is God.'
It is very important for the readers to know the replies made by the princess to
refute the Brahman, because it is a vital component of the moral lessons delivered
by the Charitars:
Quote
ਤਾਿਹ ਪਛਾਨਤ ਹੈ ਨ ਮਹਾ ਜੜ ਜਾ ਕੋ ਪਤਾਪ ਿਤਹੂੰ ਪੁਰ ਮਾਹੀ ॥ ਪੂਜਤ ਹੈ ਪਭੁ ਕੈ ਿਤਸ ਕੌ ਿਜਨ ਕੇ ਪਰਸੇ ਪਰਲੋ ਕ ਪਰਾਹੀ ॥
ਪਾਪ ਕਰੋ ਪਰਮਾਰਥ ਕੈ ਿਜਹ ਪਾਪਨ ਤੇ ਅਿਤ ਪਾਪ ਡਰਾਹੀ ॥ ਪਾਇ ਪਰੋ ਪਰਮੇਸ+ਰ ਕੇ ਪਸੁ
ਪਸੁ ਪਾਹਨ ਮੈ ਪਰਮੇਸ+ਰ ਨਾਹੀ ॥੧੨॥
੧੨॥

ਘ) -ਰਾਜ ਕੁਮਾਰੀ ਨP ਿਕਹਾ ਿਕ ਮੂਰਖ ਲੋ ਕ ਪਭੂ ਨੂੰ ਪਛਾਣਦੇ ਨਹN ਹਨ ਿਜਸਦਾ
ਪਰਤਾਪ ਿਤੰ ਨ9 ਲੋ ਕ9 ਿਵਚ ਿਵਆਪਕ ਹੈ । ਜੋ ਇਸ ਪੱਥਰ ਨੂੰ ਪਭੂ ਸਮਝਕੇ ਪੂਜਦੇ ਹਨ,
ਹਨ ਉਸ ਨਾਲ ਪਰਲੋ ਕ
ਹੋਰ ਵੀ ਦੂਰ ਹੋ ਜ9ਦਾ ਹੈ । ਪਰਮਾਰਥ ਦੇ ਨ9 ਤਾ ਏਨP ਪਾਪ ਕਰਦੇ ਹਨ
ਹਨ U ਉਨE9 ਪਾਪ9 ਵੱਲ ਵੇਖ ਕੇ ਪਾਪ
ਖੁਦ 7ਰਮਸਾਰ ਹੋ ਜ9ਦੇ ਹਨ । ਹੇ ਮੂਰਖ ਪਰਮੇ7ਰ ਦੇ ਚਰਨ9 ਿਵਚ ਿਡੱਗ,
ਿਡੱਗ ਇਨE9 ਪੱਥਰ9 ਿਵਚ ਪਰਮੇ7ਰ
ਨਹN ਹੈ ।
Meaning - O fool!; Do you not recognise God, who is omnipresent in all three
worlds? You worship this stone, which pushes you (further) away from God. You
perform sins on pretext of faith, looking at which, even sin get ashamed. O fool!
Drop at the feet of Lord, there is no God exclusively in stones.
Quote
ਜੀਵਨ ਮੈ ਜਲ ਮੈ ਥਲ ਮੈ ਸਭ ਰੂਪਨ ਮੈ ਸਭ ਭੂਪਨ ਮਾਹੀ ॥ ਸੂਰਜ ਮੈ ਸਿਸ ਮੈ ਨਭ ਮੈ ਜਹ ਹੇਰੌ ਤਹਾ ਿਚਤ ਲਾਇ ਤਹਾ ਹੀ ॥
ਪਾਵਕ ਮੈ ਅਰੁ ਪੌਨ ਹੂੰ ਮੈ ਿਪਥਵੀ ਤਲ ਮੈ ਸੁ ਕਹਾ ਨਿਹ ਜਾਹੀ ॥ ਬJਾਪਕ ਹੈ ਸਭ ਹੀ ਕੇ ਿਬਖੈ ਕਛੁ ਪਾਹਨ ਮੈ ਪਰਮੇਸ+ਵਰ ਨਾਹੀ ॥੧੩॥
੧੩॥

ਘ) -ਪਰਮਾਤਮਾ ਸਭ ਿਵਚ ਵਸਦਾ ਹੈ । ਜਲ ਿਵਚ ਥਲ ਿਵਚ ਸਾਿਰਆਂ ਰੂਪ9
ਿਵਚ,
ਿਵਚ ਰਾਿਜਆਂ ਿਵਚ,
ਿਵਚ ਸੂਰਜ ਿਵਚ ਚੰ ਦਮ9 ਿਵਚ ਭਾਵ ਉਹ ਹਰ ਥ9 ਹੈ, ਜੇ ਉਸ ਨੂੰ ਮਨ ਲਾਕੇ ਭਾਿਲਆ ਜਾਵੇ ।
ਅੱਗ,
ਅੱਗ ਹਵਾ,
ਹਵਾ ਿਪਥਵੀ ਅਤੇ ਭਲਾ ਉਹ ਿਕਥੇ ਨਹN ਹੈ, ਉਹ ਪਰਮਾਤਮਾ ਸਭ ਿਵਚ ਿਵਆਪਕ ਹੈ । ਇਸ ਲਈ ਹੇ
ਮੂਰਖ ਉਹ ਕੇਵਲ ਪੱਥਰ9 ਿਵਚ ਹੀ ਨਹN ਹੈ ।
Meaning -(That) God has manifested Himself everywhere; in water, on land, in all
lifeforms, in every king, in the sun, in the moon, in the sky; He can be realised with
love and grace in any of them. In fire, in air, on land; there is no place where He is
not present. (He) is omnipresent in everything, and not just in stones.
Quote
ਕਾਗਜ ਦੀਪ ਸਭੈ ਕਿਰ ਕੈ ਅਰੁ ਸਾਤ ਸਮੁੰ ਦਨ ਕੀ ਮਸੁ ਕੈਯੈ ॥ ਕਾਿਟ ਬਨਾਸਪਤੀ ਿਸਗਰੀ ਿਲਖਬੇ ਹੂੰ ਕੌ ਲੇ ਖਿਨ ਕਾਜ ਬਨGਯੈ ॥
ਸਾਰਸ+ਤੀ ਬਕਤਾ ਕਿਰ ਕੈ ਸਭ ਜੀਵਨ ਤੇ ਜੁਗ ਸਾਿਠ ਿਲਖੈਯੈ ॥ ਜੋ ਪਭੁ ਪਾਯੁਤ ਹੈ ਨਿਹ ਕੈਸੇ ਹੂੰ ਸੋ ਜੜ ਪਾਹਨ ਮੌ ਠਹਰੈਯੈ ॥੧੪॥
੧੪॥

ਘ) -ਜੇ ਸਾਰੀ ਧਰਤੀ ਨੂੰ ਕਾਗਜ਼ ਬਣਾਇਆ ਜਾਵੇ ਅਤੇ ਸੱਤ9
ਸੱਤ9 ਸਮੁੰ ਦਰ9 ਨੂੰ
ਿਸਆਹੀ ਬਣਾਇਆ ਜਾਵੇ ਅਤੇ ਸਾਰੀ ਬਨਾਸਪਤੀ ਨੂੰ ਕਲਮ ਬਣਾਇਆ ਜਾਵੇ, ਸਰਸਵਤੀ ਖੁਦ ਬੋਲੇ ਅਤੇ ਸਾਰੇ
ਜੀਵ9 ਦੁਆਰਾ ਸੱਠ9 ਜੁਗ9 ਤਕ ਵੀ ਿਲਿਖਆ ਜਾਵੇ, ਤਦ ਵੀ ਉਸ ਪਭੂ ਦਾ ਰਿਹਸ ਨਹN ਜਾਿਣਆਂ ਜਾ ਸਕਦਾ ।
ਹੇ ਮੂਰਖ ਤੁਸN ਉਸ ਨੂੰ ਪੱਥਰ9 ਿਵਚ ਿਕਵR ਮੰ ਨ ਰਹੇ ਹੋ ।
Meaning - (If we) make the whole earth (our) paper, and seven seas the ink; the
entire vegetation cut down to make writing devices; (if we) get Saraswati as the
narrator and entire mankind as scribe, (if we) get them to write continuously for 60
yugs (ages), (even then) nobody can find out the mysterious ways of the Lord. O
fool! (and you think) you have got Him manifested in this stone.
Quote
ਏ ਜਨ ਭੇਵ ਨ ਹਿਰ ਕੋ ਪਾਵੈ ॥ ਪਾਹਨ ਮੈ ਹਿਰ ਕੌ ਠਹਰਾਵੈ ॥

ਿਜਹ ਿਕਹ ਿਬਿਧ ਲੋ ਗਨ ਭਰਮਾਹੀ ॥ ਿਗਹ ਕੋ ਦਰਬੁ ਲੂਿਟ ਲੈ ਜਾਹੀ ॥੧੫॥
੧੫॥

ਘ) -ਜੋ ਪੱਥਰ9 ਿਵਚ ਪਭੂ ਨੂੰ ਮੰ ਨਦਾ ਹੈ ਉਹ ਉਸ ਦਾ ਭੇਤ ਨਹN ਪਾ ਸਕਦਾ ।
ਿਜਵR ਿਕਵR ਉਹ ਲੋ ਕ9 ਨੂੰ ਭਰਮ ਿਵਚ ਪਾ;ਦਾ ਹੈ ਅਤੇ ਲੋ ਕ9 ਦੇ ਘਰ9 ਦਾ ਧਨ ਲੁੱਟ ਕੇ ਲੈ ਜ9ਦਾ ਹੈ ।
Meaning -Anyone who believes God is only established in idols will never be able to
realise His true nature. (You) misguide people in one way or another and vanish
after robbing them off their wealth.
Quote
ਜਗ ਮੈ ਆਪੁ ਕਹਾਵਈ ਪੰ ਿਡਤ ਸੁਘਰ ਸੁਚਤ

ੇ ॥ ਪਾਹਨ ਕੀ ਪੂਜਾ ਕਰੈ ਯਾ ਤੇ ਲਗਤ ਅਚੇਤ ॥੧੬॥
੧੬॥

ਘ) -ਸੰ ਸਾਰ ਿਵਚ ਤ9 ਇਹ ਲੋ ਕ ਆਪਣੇ ਆਪ ਨੂੰ ਪੰ ਡਤ,
ਡਤ ਸੁੱਘੜ ਅਤੇ ਸੁਚਤ
ੇ
ਕਹਾ;ਦੇ ਹਨ ਪਰ ਪੱਥਰ9 ਦੀ ਪੁਜਾ ਕਰਦੇ ਇਹ ਬੀਲਕੁਲ ਮੂਰਖ ਲਗਦੇ ਹਨ ।
Meaning - (You) claim to be scholar, agile and wise; (you) worship the stones, that is
why (you) look like a fool.
Quote
ਿਚਤ ਭੀਤਰ ਆਸਾ ਧਨ ਧਾਰੈ ॥ ਿਸਵ ਿਸਵ ਿਸਵ ਮੁਖ ਤੇ ਉਚਾਰੈ ॥

ਅਿਧਕ ਿਡੰ ਭ ਕਿਰ ਜਿਗ ਿਦਖਾਵੈ ॥ ਦ+ਾਰ ਦ+ਾਰ ਮਾਗਤ ਨ ਲਜਾਵੈ ॥੧੭॥
੧੭॥

ਘ) -ਮਨ ਿਵਚ ਹਰ ਵੇਲੇ ਧਨ ਦੀ ਆਸ ਲਾਈ ਰੱਖਦੇ ਹਨ ਪਰ ਮੁੰ ਹ ਤF 'ਿ7ਵ
ਿ7ਵ
ਿ7ਵ'
ਿ7ਵ ਉਚਾਰਣ ਕਰਦੇ ਰਿਹੰ ਦੇ ਹਨ । ਜਗਤ ਿਵਚ ਬੜੇ ਪਖੰ ਡ ਅਤੇ ਚਿਲੱਤਰ ਵਖਾ;ਦੇ ਹਨ ਪਰ ਦਰ ਦਰ
ਮੰ ਗਦੇ 7ਰਮ ਨਹN ਖ9ਦੇ
Meaning - In (your) heart, you hope for money (etc.) while chant 'Shiv, Shiv' from
(your) mouth. (You) take up many appearances to trick the world, (but) are not
ashamed to beg from door to door.
Quote
ਨਾਕ ਮੂੰ ਿਦ ਕਿਰ ਚਾਿਰ ਘਰੀ ਠਾਢੇ ਰਹੈ ॥ ਿਸਵ ਿਸਵ ਿਸਵ ਹ+ੈ ਏਕ ਚਰਨ ਇਸਿਥਤ ਕਹੈ ॥
ਜੋ ਕੋਊ ਪੈਸਾ ਏਕ ਦੇਤ ਕਿਰ ਆਇ ਕੈ ॥ ਹੋ ਦਾਤਨ ਲੇ ਤ ਉਠਾਇ ਿਸਵਿਹ ਿਬਸਰਾਇ ਕੈ ॥੧੮॥
੧੮॥

ਘ) -ਨੱਕ ਬੰ ਦ ਕਰਕੇ ਇਹ ਚਾਰ ਘੜੀਆਂ ਤਕ ਖੜੇ ਰਿਹੰ ਦੇ ਹਨ ਅਤੇ 'ਿ7ਵ
ਿ7ਵ
ਿ7ਵ'
ਿ7ਵ ਇਕ ਪੈਰ ਤੇ ਖੜੇ ਹੋ ਕੇ ਕਿਹੰ ਦੇ ਹਨ । ਜੇ ਕੋਈ ਇਨE9 ਨੂੰ ਆਕੇ ਇਕ ਪੈਸਾ ਵੀ ਿਦੰ ਦਾ ਹੈ ਤ9 ਇਹ ਓਸੇ
ਵੇਲੇ ਿ7ਵ ਦਾ ਿਸਮਰਣ ਬੰ ਦ ਕਰਕੇ ਉਸ ਦਾਨ ਨੂੰ ਚੁਕਣ ਿਵਚ ਲਗ ਜ9ਦੇ ਹਨ ।
Meaning - (You) keep holding you breath for few moments and keep chanting 'Shiv
Shiv' by standing on one leg. If someone comes and gives (you) even one paisa, (you)
forget your chants and get busy picking it up with your teeth [like a greedy dog].
Quote
ਔਰਨੁਪਦੇ7 ਕਰੈ ਆਪੁ ਧਯਾਨ ਕੌ ਨ ਧਰੈ ਲੋ ਗਨ ਕੌ ਸਦਾ ਤਯਾਗ ਧਨ ਕੋ ਿਦੜਾਤ ਹੈ ॥ ਤੇਹੀ ਧਨ ਲੋ ਭ ਊਚ ਨੀਚਨ ਕੋ ਦ+ਾਰ ਦ+ਾਰ ਲਾਜ ਕੌ ਿਤਯਾਗ ਜੇਹੀ ਤੇਹੀ ਪੈ
ਿਘਘਾਤ ਹੈ ॥
ਕਹਤ ਪਿਵੱਤ ਹਮ ਰਹਤ ਅਪਿਵੱਤ ਖਰੇ ਚਾਕਰੀ ਮਲੇ ਛਨ ਕੀ ਕੈਕੈ ਟੂਕ ਖਾਤ ਹੈ ॥ ਬਡੇ ਅਸੰ ਤੋਖੀ ਹ: ਕਹਾਵਤ ਸੰ ਤੋਖੀ ਮਹ9 ਏਕ ਦ+ਾਰ ਛਾਿਡ ਮ9ਿਗ ਦ+ਾਰੇ ਦ+ਾਰੇ
ਜਾਤ ਹੈ ॥੧੯॥
੧੯॥

ਘ) -ਦੂਸਿਰਆਂ ਨੂੰ ਉਪਦੇ7 ਿਦੰ ਦੇ ਹਨ,
ਹਨ ਖ਼ੁਦ ਉਸ ਉਪਦੇ7 ਵਲ ਿਧਆਨ ਵੀ ਨਹN
ਨਹN
ਿਦੰ ਦੇ ਅਤੇ ਇਹ ਲੋ ਕ ਦੂਸਰੇ ਲੋ ਕ9 ਨੂੰ ਿਤਆਗ ਦਾ ਉਪਦੇ7 ਿਦੰ ਦੇ ਹਨ । ਪਰ ਓਸ ਧਨ ਦੇ ਲੋ ਭ ਖਾਤਰ ਇਹ
ਊਚ ਨੀਚ ਦਾ ਿਵਚਾਰ ਕੀਤੇ ਿਬਨ9 ਦਰ ਦਰ ਿਫਰਦੇ ਹਨ ਹਰ ਇਕ ਅਗੇ ਤਰਲੇ ਕਢਦੇ ਹਨ । ਆਪ ਕਿਹੰ ਦੇ
ਹ9 ਪਰ ਅਸਲ ਿਵਚ ਅਪਿਵਤਰ ਹੁੰ ਦੇ ਹਨ ਿਕ;ਿਕ ਆਪ ਇਹ ਮਲੇ ਛ9 ਦੀ ਨੌਕਰੀ
ਹਨ ਿਕ ਅਸN ਪਿਵਤਰ ਹ9,
ਕਰਕੇ ਰੋਟੀ ਦਾ ਟੁਕੜਾ
ਕੜਾ ਪਾਪਤ ਕਰਦੇ ਹਨ । ਆਪਣੇ ਆਪ ਨੂੰ ਕਿਹੰ ਦੇ ਹਨ ਿਕ ਅਸN ਬਹੁਤ ਸੰ ਤੋਖੀ ਹ9,
ਹ9 ਪਰ
ਅਸਲ ਿਵਚ ਪਰਮ ਅਸੰ ਤੋਖੀ ਹਨ । ਉਹ ਇਕ ਪਭੂ ਦੇ ਦਵਾਰ ਨੂੰ ਛੱਡ ਕੇ ਹੋਰ ਲੋ ਕ9 ਦੇ ਦਰਵਾਿਜ਼ਆਂ ਤੇ ਜਾ
ਕੇ ਮੰ ਗਦੇ ਹਨ ।
Meaning -(You) lecture others but do not follow the teachings (yourself) and (you)
keep preaching others to renounce the love for money. In the greed of that money,
(you) shamelessly keep begging at every door and from everyone, without
considering their status. (You) say I am pure, but (in reality you) are highly impure
(because) you work for the malechhs for bits of food. (You claim to be) content but
in reality (you) are highly discontent (because you) leave God's door and beg at
every other door.
Quote
ਮਾਟੀ ਕੇ ਿ7ਵ ਬਨਾਏ ਪੂਿਜਕੈ ਬਹਾਇ ਆਏ ਆਇਕੈ ਬਨਾਏ ਫੇਿਰ ਮਾਟੀ ਕੇ ਸੁਧਾਿਰਕੈ ॥ ਤਾਕੇ ਪਾਏ ਪਰਯੋ ਮਾਥੋ ਘਰੀ ਦ+ੈ ਰਗਰਯੋ ਐ ਰੇ ਤ9 ਮੈ ਕਹਾ ਹੈ ਰੇ ਦੈਹੈ ਤੋਿਹ
ਕੌ ਿਬਚਾਰਕੈ ॥
ਿਲੰਗ ਕੀ ਤੂ ਪੂਜਾ ਕਰੈ 7ੰ ਭੁ ਜਾਿਨ ਪਾਇ ਪਰੈ ਸੋਈ ਅੰ ਤ ਦੈਹੈ ਤੇਰੇ ਕਰ ਿਨਕਾਰ ਕੈ ॥ ਦੁਿਹਤਾ ਕੌ ਦੈਹੈ ਕੀ ਤੂੰ ਆਪਨ ਖਬੈਹੈ ਤਾਕੌ ਯੌਹੀ
ਹੀ ਤੋਿਹ ਮਾਿਰ ਹੈ ਸਦਾ ਿ7ਵ
ਖ+ਾਰ ਕੈ ॥੨੦॥
੨੦॥

ਘ) -ਇਹ ਿਮਟੀ ਦੇ ਿ7ਵਜੀ ਬਣਾ;ਦੇ ਹਨ,
ਹਨ ਉਸ ਦੀ ਪੂਜਾ ਕਰਦੇ ਹਨ ਅਤੇ ਿਫਰ
ਉਸਨੂੰ ਪਾਣੀ ਿਵਚ ਰੋੜ ਿਦੰ ਦੇ ਹਨ,
ਹਨ ਿਫਰ ਦਬਾਰਾ ਿਮੱਟੀ ਨੂੰ ਗੋਹ ਕੇ ਉਸ ਨੂੰ ਬਣਾ;ਦੇ ਹਨ । ਤੁਸN ਉਸ ਦੇ
ਪੈਰN ਪ:ਦੇ ਹੋ, ਮੱਥੇ ਰਗੜਦੇ ਹੋ: ਹੇ ਮੂਰਖੋ ਉਸ ਿਮਟੀ ਦੇ ਬੁੱਤ ਪਾਸ ਕੀ ਹੈ ਜੋ ਤੁਹਾਨੂੰ ਦੇਵਗ
ੇ ਾ । ਤੁਸN ਉਸ ਦੇ
ਿਲੰਗ ਦੀ ਪੂਜਾ ਕਰਦੇ ਹੋ ਅਤੇ ਿ7ਵਜੀ ਸਮਝਕੇ ਉਸ ਦੇ ਪੈਰN ਪ:ਦੇ ਹੋ । ਿਫਰ ਤ9 ਉਹ ਤੁਹਾਨੂੰ ਉਹੀ ਕੱਢ ਕੇ
ਦੇਵਗ
ੇ ਾ ਿਜਸਦੀ ਤੁਸN ਪੂਜਾ ਕਰਦੇ ਹੋ । ਕੀ ਉਸ ਿਲੰਗ ਨੂੰ ਆਪਣੀ ਪੁੱਤਰੀ ਨੂੰ ਦੇਵਗ
R ਾ ਜ9 ਖ਼ੁਦ ਹੀ ਚੱਬ
ਲਵRਗਾ ? ਿ7ਵਜੀ ਤੈਨੰ ੂ ਉਥੇ ਹੀ ਿਖੱਚ ਕੇ ਮਾਰੇਗਾ ।
Meaning -(You) make clay Shivas and throw it in water after worshipping it and
then knead clay to make some (more). (You) fall in the feet (of that idol) and rub
foreheads; O (fool!), just think what it has got that it will give (you)? (You) worship
its phallus and fall at its feet thinking it is Shiva. (Then) you will only get the thing
that you worship (as reward). Will you give it (phallus) to your daughter or chew on
it yourself? This is exactly how SadaShiv (God) will humiliate you.
Quote
ਪਾਹਨ ਕੌ ਿਸਵ ਤੂ ਜੋ ਕਹੈ ਪਸੁ ਯਾ ਤੇ ਕਛੁ ਤੁਿਹ ਹਾਥ ਨ ਐ ਹੈ ॥ ਤਯ

ੈ ਕ ਜੋਿਨ ਜੁ ਆਪੁ ਪਰਾ ਹਿਸ ਕੈ ਤੁਿਹ ਕੋ ਕਹੁ ਕਾ ਬਰੁ ਦੈ ਹੈ ॥
ਆਪਨ ਸੋ ਕਿਰ ਹੈ ਕਬਹੂੰ ਤੁਿਹ ਪਾਹਨ ਕੀ ਪਦਵੀ ਤਬ ਪੈ ਹੈ ॥ ਜਾਨੁ ਰੇ ਜਾਨੁ ਅਜਾਨ ਮਹਾ ਿਫਿਰ ਜਾਨ ਗਈ ਕਛੁ ਜਾਿਨ ਨ ਜੈ ਹੈ ॥੨੧॥
੨੧॥

ਘ) -ਹੇ ਮੂਰਖ ਿਜਸ ਪੱਥਰ
ਪੱਥਰ ਨੂੰ ਤੂੰ ਿ7ਵਜੀ ਕਿਹੰ ਦਾ ਹ: ਉਸ ਪਾਸF ਤੈਨੰ ੂ ਕੁਝ ਨਹN
ਿਮਲੇ ਗਾ । ਪੱਥਰ ਦੀ ਜੂਨ ਿਵਚ ਿਜਹੜਾ ਖ਼ੁਦ ਿਪਆ ਹੈ, ਉਹ ਪਸੰਨ ਹੋ ਕੇ ਤੈਨੰ ੂ ਕੀ ਵਰਦਾਨ ਦੇਵਗ
ੇ ਾ ? ਉਹ
ਪੱਥਰ ਵੀ ਤੈਨੰ ੂ ਆਪਣੇ ਵਰਗਾ ਪੱਥਰ ਬਣਾ ਲਵੇਗਾ ਅਤੇ ਤੈਨੰ ੂ ਪੱਥਰ ਦੀ ਪਦਵੀ ਦੇ ਦੇਵਗ
ੇ ਾ । ਹੇ ਮੂਰਖ ਹੁਣ
ਹੀ ਸਮਝ ਲੈ , ਬਾਅਦ ਿਵਚ ਤੈਨੰ ੂ ਇਸ ਦੀ ਸਮਝ ਨਹN ਆਉਣੀ ।
Meaning -O fool! The stone that you think is Shiva, (you) will not receive anything
from it. That who itself has been reincarnated as stone, what can it give (you) if its
pleased? It will make (you) like itself, then (you) will be conferred the title of stone.
O fool! Be aware of this now!; (for you) will not be able to understand it later.
Quote
ਬੈਸ ਗਈ ਲਿਰਕਾਪਨ ਮੋ ਤਰੁਨਾਪਨ ਮੈ ਨਿਹ ਨਾਮ ਲਯੋ ਰੇ ॥ ਔਰਨ ਦਾਨ ਕਰਾਤ ਰਹਾ ਕਰ ਆਪ ਉਠਾਇ ਨ ਦਾਨ ਦਯੋ ਰੇ ॥ ਪਾਹਨ ਕੋ ਿਸਰ ਨJਾਤਨ ਤੈ
ਪਰਮੇਸ+ਰ ਕੌ ਿਸਰ
ਿਸਰ ਨJਾਤ ਭਯੋ ਰੇ ॥ ਕਾਮਿਹ ਕਾਮ ਫਸਾ ਘਰ ਕੇ ਜੜ ਕਾਲਿਹ ਕਾਲ ਕੈ ਕਾਲ ਗਯੋ ਰੇ ॥੨੨॥
੨੨॥

ਘ) -ਲੜਕਪਨ ਤੇਰਾ ਉਸ ਤਰE9 ਬੀਤ ਿਗਆ ਅਤੇ ਜਵਾਨੀ ਿਵਚ ਤੂੰ ਉਸ ਦਾ
ਨਾਮ ਨਹN ਜਿਪਆ । ਤੂੰ ਦੂਸਿਰਆਂ ਪਾਸF ਤੇ ਦਾਨ ਕਰਵਾ;ਦਾ ਿਰਹਾ ਏ,ਂ ਪਰ ਆਪ ਹੱਥ ਚੁਕ ਕੇ ਕਦੀ ਵੀ
ਿਕਸੇ ਨੂੰ ਦਾਨ ਨਹN ਿਦੱਤਾ । ਪੱਥਰ
ਪੱਥਰ ਅਗੇ ਿਸਰ ਝੁਕਾ ਕੇ ਕੀ ਤੁੰ ਪਰਮਾਤਮਾ ਦਾ ਿਸਰ ਨੀਵ9 ਕਰ ਿਰਹਾ ਹ:, ਤੁੰ
ਕਾਮਨਾਵ9 ਦਾ ਜਾਲ ਿਵਚ ਹੀ ਫਿਸਆ ਹ:, ਹੇ ਮੂਰਖ ਕੱਲ ਕੱਲ ਕਰਿਦਆਂ ਸਾਰਾ ਜੀਵਨ ਹੀ ਸਮਾਪਤ ਹੋ
ਿਗਆ ਹੈ ।
Meaning - (You) spent your life (unaware) in childhood and (you) did not remember
Him in (your) youth. (You) kept getting others to donate, while (you) never lifted
your hand to give donations (yourself). (You) have lowered God's head by bowing in
front of idols. O fool! (you) remained trapped in web of desires, saying 'tomorrow,
tomorrow'; (you) have wasted life away.
Quote
ਦ+ਕ
ੈ ਪੁਰਾਨਨ ਕੌ ਪਿੜ ਕੈ ਤੁਮ ਫੂਿਲ ਗਏ ਿਦਜ ਜੂ ਿਜਯ ਮਾਹੀ ॥ ਸੋ ਨ ਪੁਰਾਨ ਪੜਾ ਿਜਹ ਕੇ ਇਹ ਠੌਰ ਪੜੇ ਸਭ ਪਾਪ ਪਰਾਹੀ ॥
ਿਡੰ ਭ ਿਦਖਾਇ ਕਰੋ ਤਪਸਾ ਿਦਨ ਰੈਿਨ ਬਸੈ ਿਜਯਰਾ ਧਨ ਮਾਹੀ ॥ ਮੂਰਖ ਲੋ ਗ ਪਮਾਨ ਕਰੈ ਇਨ ਬਾਤਨ ਕੌ ਹਮ ਮਾਨਤ ਨਾਹੀ ॥੨੩॥
੨੩॥
ਘ) -ਹੇ ਪੰ ਡਤ ! ਤੂੰ ਇਕ ਦੋ ਪੁਰਾਣ ਪੜEਕੇ ਮਨ ਿਵਚ ਫੁੱਲ ਿਰਹਾ ਹ: । ਤੂੰ ਉਹ
ਪੁਰਾਣ ਨਹN ਪਿੜਆ ਿਜਸ ਦੇ ਪੜEਨ ਨਾਲ ਸਾਰੇ ਪਾਪ ਨ7ਟ ਹੋ ਜ9ਦੇ ਹਨ । ਪਖੰ ਡ ਿਵਖਾਕੇ ਤੁਸN ਤਪੱਿਸਆ
ਕਰਦੇ ਹੋ ਪਰ ਿਦਨ ਰਾਤ ਤੁਹਾਡਾ ਮਨ ਤ9 ਧਨ ਿਵਚ ਵਸਦਾ ਰਿਹੰ ਦਾ ਹੈ । ਮੂਰਖ ਲੋ ਕ ਭਾਵR ਤੁਹਾਡੀਆਂ
ਗੱਲ9 ਨੂੰ ਪਮਾਨੀਕ ਮੰ ਨ ਲੈ ਣ, ਪਰ ਅਸN ਤ9 ਇਨE9 ਗੱਲ9 ਨੂੰ ਨਹN ਮੰ ਨ ਸਕਦੇ ।
Meaning - O Brahman! By reading one or two Puranas, (you) have become

arrogant. But (you) have not read that Purana, reading which entire sins of the
world are eradicated. You pretend to meditate, (but your) mind is engrossed with
thoughts of money day and night. Fools may believe your theories, but I do not
believe in any of them.
Quote
ਕਾਹੇ ਕੋ ਕਾਜ ਕਰੋ ਇਤਨੀ ਤੁਮ ਪਾਹਨ ਕੋ ਿਕਹ ਕਾਜ ਪੁਜਾਵੋ ॥ ਕਾਹੇ ਕੋ ਿਡੰ ਭ ਕਰੋ ਜਗ ਮੈ ਇਹ ਲੋ ਕ ਗਯੋ ਪਰਲੋ ਕ ਗਵਾਵੋ ॥
ਝੂਠP ਨ ਮੰ ਤ ਉਪਦੇਸ ਕਰੋ ਜੋਊ ਚਾਹਤ ਹੋ ਧਨ ਲੌ ਹਰਖਾਵੋ ॥ ਰਾਜ ਕੁਮਾਰਨ ਮੰ ਤ ਿਦਯੋ ਸੁ ਿਦਯੋ ਬਹੁਰੌ ਹਮ ਕੌ ਨ ਿਸਖਾਵੋ ॥੨੪॥
੨੪॥

ਘ) -ਿਕ; ਏਨਾ ਕਾਰਜ ਕਰਦੇ ਹੋ ਅਤੇ ਇਸ ਪੱਥਰ ਲਈ ਸਭ ਕੁਝ ਪਹੁੰ ਚਾ ਰਹੇ
ਹੋ ? ਿਕ; ਇਸ ਜਗ ਿਵਚ ਪਖੰ ਡ ਕਰ ਰਹੇ ਹੋ ਤੁਹਾਡਾ ਇਕ ਲੋ ਕ ਤੇ ਿਗਆ ਤੁਸN ਆਪਣਾ ਪਰਲੋ ਕ ਵੀ ਗਵਾ
ਲੈ ਣਾ ਹੈ । ਮੈਨੰ ੂ ਝੂਠP ਮੰ ਤਰ ਅਤੇ ਉਪਦੇ7 ਨ ਦੇਵੋ ਜੋ ਤੁਸN ਚਾਹੁੰ ਦੇ ਹੋ, ਉਸ ਧਨ ਨੂੰ ਲੈ ਕੇ ਖੁ7 ਹੋ ਜਾਵੋ ।
ਤੁਸN ਰਾਜ ਕੁਮਾਰ9 ਨੂੰ ਹੀ ਇਹ ਮੰ ਤਰ ਿਸਖਾਓ ਮੈਨੰ ੂ ਕੁਝ ਵੀ ਿਸਖਾਉਣ ਦੀ ਲੋ ੜ ਨਹN ।
Meaning - Why do (you) make such effort, for what do (you)worship this idol? Why
do you deceit the world? (Your) current life is destroyed; (now you) will lose
afterlife too. Do not preach (me) false mantras. Whatever amount of money (you)
want, take it and be merry. The mantras you have taught the princes has been
taught, but do not teach me (any mantras).
The readers can now make up their own mind whether these supreme, inspirational
precepts have been given by some avataree person or by some ordinary poet. Decide
for yourself whether slander of such words is the path to emancipation or the path
to hell? There are lots of similar motivational verses given in this long story. It
appears as if it is neither the minister Bhoop dialogue, nor the advice given to the
Brahman; instead, it is a divine message delivered to us by some enlightened soul:
Quote
ਮੰ ਤ ਦੇਤ ਿਸਖ ਅਪਨ ਕਰਤ ਿਹਤ ॥ ਜJੋ ਤJੋ ਭੇਟ ਲੈ ਤ ਤਾ ਤੇ ਿਬਤ ॥ ਸਿਤ ਬਾਤ ਤਾ ਕਹ ਨ ਿਸਖਾਵਹੁ ॥ ਤਾਿਹ ਲੋ ਕ ਪਰਲੋ ਕ ਗਵਾਵਹੁ ॥੨੮॥
੨੮॥
ਸੁਨਹੁ ਿਬਪ ਤੁਮ ਮੰ ਤ ਦੇਤ ਿਜਹ ॥ ਲੂਿਟ ਲੇ ਤ ਿਤਹ ਘਰ ਿਬਿਧ ਿਜਹ ਿਕਹ ॥ ਤਾ ਕਹ ਕਛੂ ਗJਾਨ ਨਿਹ ਆਵੈ ॥ ਮੂਰਖ ਅਪਨਾ ਮੂੰ ਡ ਮੁੰ ਡਾਵੈ ॥੨੯॥
੨੯॥
ਿਤਹ ਤੁਮ ਕਹੁ ਮੰ ਤ ਿਸਿਧ ਹ+ਹ
ੈ ੈ ॥ ਮਹਾਦੇਵ ਤੋ ਕੌ ਬਰੁ ਦੈ ਹੈ ॥ ਜਬ ਤਾ ਤੇ ਨਿਹ ਹੋਤ ਮੰ ਤ ਿਸਿਧ ॥ ਤਬ ਤੁਮ ਬਚਨ ਕਹਤ ਹੌ ਇਹ ਿਬਿਧ ॥੩੦॥
੩੦॥
ਕਛੂ ਕੁਿਕਯਾ ਤੁਮਤੇ ਭਯੋ ॥ ਤਾ ਤੇ ਦਰਸ ਨ ਿਸਵ ਜੂ ਦਯੋ ॥ ਅਬ ਤੈ ਪੁੰ ਨJ ਦਾਨ ਿਦਜ ਕਰ ਰੇ ॥ ਪੁਿਨ ਿਸਵ ਕੇ ਮੰ ਤਿਹ ਅਨੁਸਰੁ ਰੇ ॥੩੧॥
੩੧॥
ਉਲਟੋ ਡੰ ਡ ਿਤਸੀ ਤੇ ਲੇ ਹੀ ॥ ਪੁਿਨ ਿਤਹ ਮੰ ਤ ਰੁਦ ਕੋ ਦੇਹੀ ॥ ਭਾਿਤ ਭਾਿਤ ਤਾ ਕੌ ਭਟਕਾਵੈ
ਭਟਕਾਵੈ ॥ ਅੰ ਤ ਬਾਰ ਇਿਮ ਭਾਖ ਸੁਨਾਵੈ ॥੩੨॥
੩੨॥
ਤੋ ਤੇ ਕਛੁ ਅਛਰ ਰਿਹ ਗਯੋ ॥ ਤੈ ਕਛੁ ਭੰ ਗ ਿਕਯਾ ਤੇ ਭਯੋ ॥ ਤਾ ਤੇ ਤੁਿਹ ਬਰੁ ਰੁਦ ਨ ਦੀਨਾ ॥ ਪੁੰ ਨJ ਦਾਨ ਚਿਹਯਤ ਪੁਿਨ ਕੀਨਾ ॥੩੩॥
੩੩॥
ਇਹ ਿਬਿਧ ਮੰ ਤ ਿਸਖਾਵਤ ਤਾ ਕੋ ॥ ਲੂਟਾ ਚਾਹਤ ਿਬਪ ਘਰ ਜਾ ਕੋ ॥ ਜਬ ਵਹੁ ਦਰਬ ਰਹਤ ਹ+ੈ ਜਾਈ ॥ ਔਰ ਧਾਮ ਤਬ ਚਲਤ ਤਕਾਈ ॥੩੪॥
੩੪॥...
...
ਕਾਹੂ ਧਨ ਤJਾਗ ਿਦੜਾਵਿਹ ॥ ਕਾਹੂ ਕੋ ਕੋਊ ਗਿਹ ਲਾਵਿਹ ॥ ਮਨ ਮਿਹ ਦਰਬ ਠਗਨ ਕੀ ਆਸਾ ॥ ਦ+ਾਰ ਦ+ਾਰ ਡੋਲਤ ਇਹ ਪJਾਸਾ ॥੪੧॥
੪੧॥
And extremely materialistic and greedy priests have been rebuked as:
Quote
ਏਕਨ ਜੰ ਤ ਿਸਖਾਵਤ ਹੈ ਿਦਜ ਏਕਨ ਮੰ ਤ ਪਯਗ

ੋ ਬਤਾਵੈ ॥ ਜੋ ਨ ਿਭਜੈ ਇਨ ਬਾਤਨ ਤੇ ਿਤਹ ਗੀਿਤ ਕਿਬਤ ਸਲੋ ਕ ਸੁਨਾਵੈ ॥
ਦJੋਸ ਿਹਰੈ ਧਨ ਲੋ ਗਨ ਕੇ ਿਗਹ ਚੋਰੁ ਚਕੈ ਠਗ ਦੇਿਖ ਲਜਾਵੈ ॥ ਕਾਿਨ ਕਰੈ ਨਿਹ ਕਾਜੀ ਕੁਟਵਾਰ ਕੀ ਮੂੰ ਿਡ ਕੈ ਮੂੰ ਿਡ ਮੁਰੀਦਨ ਖਾਵੈ ॥੫੭॥
੫੭॥
Meaning -To some, these Brahmans teach the art of Tantra and to others, they teach
the use of different Mantras. Those who do not get influenced by any of these, they
sing songs, sloks and kabits for them. (These Brahmans) are daylight robbers who
steal money from people's houses. (Their dexterity) amazes thieves and puts
swindlers to shame. They have no fear of the priest or the law, and (they) do not
hesitate to rip off even their own disciples.
The adversaries of Sri Dasam Granth Sahib Ji make a big accusation that the
spiritual head of this story is the Maha Kaal of Shaakat Panthis. It is important to
mention here that the Brahman in this story worships Rudra-Shiva. It is also Shiva
as Bhairo, husband of Bhairavi, he is also Mahakal and Rudra, etc. Following are a
few references from other granths as proofs:
"He who sees wine, fish, meat, woman should salute the Bhairavi Devi and say Om!
Salutation to the beloved of Siva, the remover of all obstacles"[Chapter 25, Shaakat
NandatRangini]
"Sankara has as many aspects as there are Mahasaktis, He who worships Her ever
worships Him as husband... He who worships the Devis pleases Rudra."[Principles
of Tantra, P.63]
"If it vexes Thee, drown me with a thrust of Thy foot, but then in so doing thou
must first raise Thy foot from the breast of Mahakala (Siva). The Devi is
represented as standing on Siva, who is, as it were, corpse, for he is bhokta only,
whilst she is kartari."[Principles of Tantra, P.63]
The Mahakal mentioned in the above story is the formless Waheguru - the creator
of Brahma, Vishnu and Rudra-Shiv. It is the same Waheguru who, in the bani
'Jaap', has been referred to as 'Sarb Kaal'; or 'Kaalaan Kaal';. The protagonist
Rankhambh Kalaa preaches the Brahman to stop worshipping Rudra-Shiv and
idols, and inspires him to worship the formless Mahakal instead. This Mahakal is
different from Rudra-Shiv. See verse no. 96 below:
Quote
ਏਕੈ ਮਹਾ ਕਾਲ ਹਮ ਮਾਨG ॥ ਮਹਾ ਰੁਦ ਕਹ ਕਛੂ ਨ ਜਾਨG ॥ ਬਹਮ ਿਬਸਨ ਕੀ ਸੇਵ ਨ ਕਰਹੀ ॥ ਿਤਨ ਤੇ ਹਮ ਕਬਹੂੰ ਨਹੀ ਡਰਹੀ ॥੯੬॥
੯੬॥

ਘ) -ਰਾਜਕੁਮਾਰੀ ਨP ਿਫਰ ਿਕਹਾ ਿਕ ਮ: ਕੇਵਲ ਇਕ ਮਹ9ਕਾਲ ਨੂੰ ਹੀ ਮੰ ਨਦੀ ਹ9,
ਹ9
ਮ: ਿਕਸੇ ਮਹ9ਰੁਦਰ ਨੂੰ ਕੁਝ ਨਹN ਸਮਝਦੀ । ਮ: ਬਹਮ9 ਿਬ7ਨੂੰ ਦੀ ਵੀ ਸੇਵਾ ਨਹN ਕਰ9ਗੀ ਅਤੇ ਇਨE9 ਪਾਸF
ਰਤਾ ਭਰ ਵੀ ਨਹN ਡਰ9ਗੀ ।
Meaning -(The princess then said) I only believe in One Mahakal, I do not give any
importance to any Maha Rudra. I will (also) not worship Brahma or Vishnu, (nor)
will I be fearful of them.
It is absolutely baseless to accuse Sri Dasam Granth Sahib Ji of having tendency to

promote pro-Brahmanical philosophies. This Charitar staunchly criticises the ways
of Brahmans and their deities, as:
Quote
ਜੌ ਇਨ ਮੰ ਤ ਜੰ ਤ ਿਸਿਧ ਹੋਈ ॥ ਦਰ ਦਰ ਭੀਿਖ

ਭੀਿਖ ਨ ਮ9ਗੈ ਕੋਈ ॥ ਏਕੈ ਮੁਖ ਤੇ ਮੰ ਤ ਉਚਾਰੈ ॥ ਧਨ ਸੌ ਸਕਲ ਧਾਮ ਭਿਰ ਡਾਰੈ ॥੧੧੪॥
੧੧੪॥
ਰਾਮ ਿਕਸਨ ਏ ਿਜਨG ਬਖਾਨG ॥ ਿਸਵ ਬਹਮਾ ਏ ਜਾਿਹ ਪਮਾਨG ॥ ਤੇ ਸਭ ਹੀ ਸੀ ਕਾਲ ਸੰ ਘਾਰੇ ॥ ਕਾਲ ਪਾਇ ਕੈ ਬਹੁਿਰ ਸਵਾਰੇ ॥੧੧੫॥
੧੧੫॥
ਕੇਤੇ ਰਾਮਚੰ ਦ ਅਰੁ ਿਕਸਨਾ ॥ ਕੇਤੇ ਚਤੁਰਾਨਨ ਿਸਵ ਿਬਸਨਾ ॥ ਚੰ ਦ ਸੂਰਜ ਏ ਕਵਨ ਿਬਚਾਰੇ ॥ ਪਾਨੀ ਭਰਤ ਕਾਲ ਕੇ ਦ+ਾਰੇ ॥੧੧੬॥
੧੧੬॥
ਕਾਲ ਪਾਇ ਸਭ ਹੀ ਏ ਭਏ ॥ ਕਾਲੋ ਪਾਇ ਕਾਲ ਹ+ੈ ਗਏ ॥ ਕਾਲਿਹ ਪਾਇ ਬਹੁਿਰ ਅਵਤਿਰ ਹੈ ॥ ਕਾਲਿਹ ਕਾਲ ਪਾਇ ਸੰ ਘਿਰ ਹੈ ॥੧੧੭॥
੧੧੭॥
Meaning - If they had any powers in their (false) mantras, they would not beg at
every doorstep. (They) chant mantras from mouth and (with that deceit) are able to
collect large amounts of wealth. Ram, Krishna, Shiva, Brahma, etc. have all been
destroyed and resurrected by Kaal.
By labelling the following verse of this Charitar-story, opposers do widespread

slandering of Sri Dasam Granth Sahib Ji. Actually, they derive wrong meanings
from it to project indecency. In reality, however, Rankhambh Kala, after getting fed
up with the Brahman's obstinacy and baseless logic, throws the stone phallus on his
face and says the same phallus you worship everyday has struck you on your face
today. The verse and its meanings are as follows:
Quote
ਕਹੋ ਿਮਸ ਅਬ ਰੁਦ ਿਤਹਾਰੋ ਕਹ ਗਯੋ ॥ ਿਜਹ ਸੇਵਤ ਥੋ ਸਦਾ ਦ9ਿਤ ਛੈ ਿਤਨ ਿਕਯੋ ॥ ਿਜਹ ਿਲੰਗਿਹ ਕੌ ਜਪਤੇ ਕਾਲ ਬਤਾਇਯੋ ॥ ਹੋ ਅੰ ਤ ਕਾਲ ਸੋ ਤੁਮਰੇ ਮੁਖ ਮਿਹ
ਆਇਯੋ ॥੧੧੦॥
੧੧੦॥
ਅਰਥ (ਿਗਆਨੀ
ਿਗਆਨੀ ਨਰੈਣ ਿਸੰ ਘ)
ਘ) - ਉਹ ਕਿਹਣ ਲਗੀ ਹੇ ਬਾਹਮਣ ! ਹੁਣ ਮੈਨੰ ੂ ਦੱਸ ਿਕ ਤੇਰਾ ਿ7ਵਜੀ ਿਕਥੇ
ਿਗਆ ? ਿਜਸਦੀ ਤੁਸN ਸਦਾ ਹੀ ਪੂਜਾ ਸੇਵਾ ਕਰਦੇ ਸੀ ਉਸ ਦੇ ਮ: ਦੰ ਦ ਤੋੜ ਿਦੱਤੇ ਹਨ । ਿਜਸ ਿਲੰਗ ਦੀ
ਪੂਜਾ ਕਰਿਦਆਂ ਤੂੰ ਏਨਾ ਸਮ9 ਨ7ਟ ਕੀਤਾ ਹੈ ਉਹ ਹੀ ਤੇਰੇ ਮੁੰ ਹ ਤੇ ਆ ਕੇ ਵੱਜਾ ਹੈ ॥੧੧੦॥
੧੧੦॥
Meaning (From Dr. Jaggi's translation) (..and she said) O Brahman! Now tell me,
where has your Shiv gone now? Whom (you) used to worship all the time, he has
broken (your) teeth. (you have) spent so much time worshipping the phallus, (that
same phallus) has struck you in the face.
Therefore, there is no indecency in this verse nor anyone other than Akal Purakh
has been given the status of the Supreme Being. Rebuttal of fake rituals of the
Brahmans, idol-worship and deity-worship and the motivation for the worship of
Only Waheguru Ji instead has been issued via the female protagonist of this
Charitar. For rest of the world, it sets a prime example of the awakened state of
women and issues an important message that a woman can play important role in
spreading true faith as well as in the eradication of baseless traditions. Most
Charitars deal with, and successfully portray, kings engrossed in wasteful pleasures,
the sexual urges of people impersonating as yogis and great renuniciators,
widespread exploitation on the pretexts of Jantra-Mantras, the co-relations between
sex and drugs, actions of immorality emerging from incompatible marriages, and
the evil nexus of wealth, power and intoxicants. The moral from all of the above is to
abstain from such situations and to live a honest, virtuous life. In some stories,
Guruji has attached himself as the protagonist to try to convey the message that
such attacks of kaam happen on men of God too, and they are able to destroy them
with their superior intellect. The following verse beautifully illustrates sharp power
of reasoning of women:
Quote
ਗੰ ਧਬ ਜਛ ਭੁਜੰਗ ਗਨ ਨਰ ਬਪੁਰੇ ਿਕਨ ਮਾਿਹ ॥ ਦੇਵ ਅਦੇਵ ਿਤਯਾਨ ਕੇ ਭੇਵ ਪਛਾਨਤ ਨਾਿਹ ॥੧੩॥
੧੩॥
It is unfortunate that influential people like Chitr Singh have turned woman of
immense talents into Kamini, a symbol of desire. If aged people like him will
forcefully establish physical relations with young girls like Chitravarti, it will result
in immoral actions in the society as the desires of beautiful and young women
cannot be fulfilled by weak, aged, and ugly people:
Quote
ਧਨੀ ਚਤੁਰ ਅਰੁ ਤਰੁਿਨ ਤਰੁਿਨ ਜੋ ਪਾਇ ਹੈ ॥ ਹੋ ਿਬਰਧ ਕੁਰਪ

ੂ ਿਨਧਨ ਜੜ ਪੈ ਿਕਯੋ ਜਾਇ ਹੈ ॥੧੫॥
੧੫॥

ਘ) -ਜਦF ਕੋਈ ਜੁਆਨ ਇਸਤੀ ਧਨੀ,
ਧਨੀ ਿਸਆਣੇ ਤੇ ਜੁਆਨ ਪੁਰ7 ਨੂੰ ਪਾ ਲਵੇਗੀ
ਤ9 ਭਲਾ ਫੇਰ ਉਹ ਬੁੱਢੇ, ਕੋਝ,ੇ ਗਰੀਬ ਤੇ ਮੂਰਖ ਮਨੁੱਖ ਪਾਸ ਿਕ; ਜਾਵੇਗੀ ॥੧੫॥
੧੫॥
Another accusation made by the opposition is that charitars give instructions to not
disclose secrets to women, which is not in accordance with Gurmat. See the
following verses from 12th and 13th charitars:
Quote
ਜੋ ਿਨਜੁ ਿਤਯ ਕੋ ਦੇਤ ਪੁਰਖ ਭੇਦ ਕਛੁ ਆਪਨC ॥ ਤਾ ਕੇ ਿਬਧਨਾ ਲੇ ਤ ਪਾਨ ਹਰਨ ਕਿਰ ਪਲਕ ਮੈ ॥੩੦॥
੩੦॥

ਘ) -ਜੋ ਮਨੁੱਖ ਆਪਣੀ ਇਸਤੀ ਨੂੰ ਥੋੜਾ ਿਜਹਾ ਵੀ ਭੇਦ ਦRਦਾ ਹੈ, ਪਭੂ ਪਲ ਿਵਚ
ਉਸਦੇ ਪਾਣ ਨ7ਟ ਕਰ ਿਦੰ ਦਾ ਹੈ ॥੩੦॥
੩੦॥
Meaning -The person who gives even smallest of secrets to his woman, God takes
away his life in a second.
Quote
ਜੋ ਨਰ ਅਪੁਨP ਿਚਤ ਕੌ ਿਤਯ ਕਰ ਦੇਤ ਬਨਾਇ ॥ ਜਰਾ ਤਾਿਹ ਜੋਬਨ ਹਰੈ ਪਾਨ ਹਰਤ ਜਮ ਜਾਇ ॥੯॥

ਘ) -ਜੋ ਆਦਮੀ ਆਪਣੇ ਮਨ ਦਾ ਭੇਦ ਇਸਤਰੀ ਨੂੰ ਦਸਦਾ ਏ,
ਏ ਬੁਢਾਪਾ ਉਹਦੀ
ਜਵਾਨੀ ਨੂੰ ਚੁਰਾ ਲ: ਦਾ ਏ ਤੇ ਜਮਰਾਜ ਉਹਦੇ ਪਾਣ ਕਢ ਲ: ਦਾ ਏ ॥੯॥
Meaning -The person who tells the secrets of heart to woman, old age snatches his
youth and Yamraj takes away his life.
It is our opinion that these lines appear in those stories where woman has been
blinded by sexual desires. It is instructed to not give away heart's secrets to an
immoral woman as the consequences of it can be devastating. Even today, youthful
female spies are deployed to spy on other countries. If someone gets lured in their
trap and gives away any secrets, then destruction is inevitable. We have seen in
previous verses that Sri Guruji has given immense motivation to increase love and
affection with one's own woman, but has given stern warnings against falling for
lustful women, as:
Quote
ਕੋਟ ਕਸਟ ਸJਾਨC ਸਹਿਹ ਕੈਸੌ ਦਹੈ ਅਨੰਗ ॥ ਨGਕ ਨPਹ ਨਿਹ ਕੀਿਜਯੈ ਤਊ ਤਰਿਨ ਕੇ ਸੰ ਗ ॥੨੭॥
੨੭॥

ਘ) -ਿਸਆਣੇ ਆਦਮੀ ਨੂੰ ਭਾਵR ਿਕੰ ਨਾ ਹੀ ਦੁਖ ਸਿਹਣਾ ਪਵੇ ਅਤੇ ਕਾਮ ਵੀ ਭਾਵR
ਿਕੰ ਨਾ ਹੀ ਿਕ; ਨਾ ਸਤਾਏ,
ਸਤਾਏ ਜਵਾਨ ਇਸਤੀ ਦੇ ਿਪਆਰ ਿਵਚ ਕਦੇ ਨਹN ਫਸਣਾ ਚਾਹੀਦਾ॥
ਚਾਹੀਦਾ॥੨੭॥
੨੭॥
Meaning - No matter how much pain a wise man should go through and no matter
how much kaam torments him, he should never fall in the trap of any youthful
woman. (Charitar 17)
Quote
ਪੀਿਤ ਕੈਿਸਯੈ ਤਨ ਬਢੈ ਕਸਟ ਕੈਸਹੂ ਹੋਇ ॥ ਤਊ ਤਰੁਿਨ ਸੌ ਦੋਸਤੀ ਭੂਿਲ ਨ ਕਿਰਯਹੁ ਕੋਇ ॥੧੦॥
੧੦॥
ਘ) - ਭਾਵR ਿਕੰ ਨਾ ਹੀ ਪਮ
ੇ ਵਧੇ ਅਤੇ ਸਰੀਰ ਨੂੰ ਿਕੰ ਨਾ ਹੀ ਦ੍ਖ ਿਕ; ਨਾ ਹੋਵ,ੇ
ਪਰ ਜੁਆਨ ਇਸਤੀ ਨਾਲ ਭੁਲਕੇ
ਲਕੇ ਵੀ ਪੀਤ ਨਹN ਕਰਨੀ ਚਾਹੀਦੀ ॥੧੦॥
੧੦॥
Meaning -No matter how much love increases and body goes through torments,
(one) should not fall for any other woman (except one's own) even by mistake.
Sri Guruji also gives the important message to mankind that it is not only woman
who is responsible for widespread immorality in society, in fact it is male who is
more responsible for this epidemic. That is why, it is inappropriate to be harsh on
any woman for her immoral behaviour. As far as possible, It is befitting to forget
about her mis-deeds:
Quote
ਚਾਕਰ ਕੀ ਅਰੁ ਨਾਿਰ ਕੀ ਏਕੈ ਬਡੀ ਸਜਾਇ ॥ ਿਜਯ ਤੇ ਕਬਹ ਨ ਮਾਿਰਯਿਹ ਮਨ ਤੇ ਿਮਲਿਹ ਭੁਲਾਇ ॥੪੨॥
੪੨॥

ਘ) -ਨੌਕਰ ਅਤੇ ਇਸਤੀ ਦੀ ਇਕੋ ਹੀ ਵੱਡੀ ਸਜ਼ਾ ਹੈ ਿਕ ਇਨE9 ਨੂੰ ਜਾਨ ਤੋ
ਮਾਰਨ ਦੀ ਥ9,
ਥ9 ਿਦਲ 'ਚF
ਚF ਕਢ ਦੇਣਾ ਚਾਹੀਦਾ ਹੈ ॥੪੨॥
੪੨॥
Meaning -This is the biggest punishment for the employee and woman - instead of
physically hurting them, (one should) throw them out of heart.
[Part V] Charitropakhyan - Analysis and Clarifications of

Sri Sabudh Baach (Charitar No. 404)
Guruji has shown immense kirpa - the fifth article in the series is now complete.
Sabudh Baach is a deeply engaging story, with many important moral lessons to be
learnt from it. It provides a nice, in-depth analysis of various metaphorical verses,
along with brief description of the story itself. Attempt is to answer many important
questions like Concept of Mahakal, implicit references to Puranic texts, etc. It is a
sincere hope that this pious composition of Sri Guruji be read by critics and curious
alike. As with previous articles, this one is also extensively based on Dr. Harbhajan
Singh Ji's book + Gyani Narain Singh Ji's Steek along with massive help from
Mahan Kosh by Bhai Kahn Singh Ji Nabha.
The third section of Charitropakhyan has generally remained neglected. Dialogues

of minister 'Bhoop' end at Charitar 403 and the composition begins under a new
ਸਬੁਧੀ ਵਾਚ'
title 'ਸਬੁ ਸਬੁਿਧ'
ਵਾਚ (Sabuddhi Vaach). The word 'ਸਬੁ ਸਦ-
ਸਦ-ਬੁਿਧ'
ਧ is shortened form of 'ਸਦ ਧ
ਚੰ ਗੀ ਬੁਧੀ'
which means 'ਚੰ ੀ (good intellect). The metaphorical meaning is that King
Chitr Singh eventually came to his senses with persistent inspiration from his wise
ministers. A more comprehensive and global meaning is, when wise and responsible
people present before society the dangers of crimes originating from kaam in a
proper manner, people become prudent and pleasing atmosphere is created. The
writer of Charitropakhyan tells that with the advent of prudence, Satjug-like age
dawned again. Negating the age of Satjug as given in Shastars, it has been described
as an age where expansion of positive reasoning takes place, ending society's
seemingly inexhaustible preoccupation with bad habits. The pitch black night of
Kaljug in which inexorable sexual misconducts take place is pleasantly transformed
into Satjug by the light of positive intellect. In fact, this ideology is in complete
harmony with that of Sri Guru Granth Sahib Ji, who tell us that it is not time that
influences good or bad behaviour in society, rather it is human conduct that make
time appear good or bad. With the end of Kaljug and rise of Satjug, a character
ਸਿਤ ਸੰ ਿਧ'
named 'ਸਿਤ ਿਧ (Satt Sandh) appears in the story. Word 'ਸਿਤ ਸਿਤ ਸੰ ਿਧ'
ਿਧ (Satt Sandh) is
a combination of two words - ਸਿਤ meaning 'truth 'and ਸੰ ਿਧ,
ਿਧ which means 'union'.
ਸਿਤ ਸੰ ਿਧ'
Thus, 'ਸਿਤ ਿਧ is someone who has merged and become one with truth. Because
Satt Sandh is a truthful person, as such he is king of Devtas. He ruled as a righteous
king for long time but then a monstrous demon took birth and clashed with him.
Many horrific battles were fought between them, with battlefields drenched with
blood of thousands of perished soldiers. In Sri Dasam Granth Sahib Ji, wherever
war scene are described, reader is also provided rendezvous with horrors of war.
We are also told that, even if one faction might decide to fight out of sheer
desperation to defend its faith, sadistic souls will always look to find cheap pleasures
out of misery of others. Devils, foxes, dogs, vultures, etc.. are only satisfied when
they see rivers of human blood flowing in front of their eyes. This important trait
can be seen prevalent in almost every episode of Sri Dasam Granth Sahib Ji and the
message delivered is universal: aftermath of war is never positive. Righteous men of
faith have to pick up their swords in self-defence, a beautiful example of which is by
Sri Guru Gobind Singh Sahib Ji in his eternal composition "Zafarnamah":
Quote
ਚੁ ਕਾਰ ਅਜ਼ ਹਮਹ ਹੀਲਤੇ ਦਰ ਗੁਜ਼7ਤ ॥ ਹਲਾਲ ਅਸਤ ਬੁਰਦਨ ਬ 7ਮ7ੀਰ ਦਸਤ ॥੨੨॥
੨੨॥
Meaning -"When an affair is past every other remedy, it is righteous, indeed to

unsheath the sword." Contrary to this, evil forces tirelessly make efforts to create
atmosphere of discontentment and unrest in society.
For twenty long years and through day and night, the torch-bearer of righteousness
ਦੀਰਘਦਾੜE' (Deeragh Daarh), the king of demons.
king Satt Sandh kept fighting with 'ਦੀਰਘਦਾੜE
Eventually, both armies clashed with each other one final time and ended up wiping
each other out. Thirty thousand Khoohni soldiers got killed (Khoohni is a unit used
to measure size of an army - 1 Khoohni = 21,870 elephants, 21,870 chariots, 65,610
horses and 1,09,350 foot soldiers, it totals to 2,18,700 units. Multiply this number by
30,000 = 6,56,10,00,000 total soliders killed). After that, both kings ferociously
clashed with each other. Horrifying battle ensued and there were flames of fire
everywhere. Out of these flames, a girl named 'Baala' was born. Dictionary
meanings of word 'Baala' are - girl, female younger than 16 years of age, youthful
girl. It is important to keep in mind here that surname 'kaur' of Sikh women also
represents same meaning. Baala's emergence from fire has a special metaphorical
meaning - With the advent of Satjug, man became 'Satt Sandh' (pure, virtuous), and
consequently, woman abandoned her corruptness (as depicted in Charitars) and
took birth in a new, pure form. When virtuous Baala stepped into the battlefield
with arsenal of weapons in her hands, she started slaying enemies, as:
Quote
ਚਾਰਹੁ ਿਦਸਾ ਿਫਰੀ ਜਬ ਬਾਲਾ ॥ ਜਾਨC ਨਾਗ ਰੂਪ ਕੀ ਮਾਲਾ ॥ ਐਸ ਨ ਕਤਹੂੰ ਪੁਰਖ ਿਨਹਾਰਾ ॥ ਨਾਥ ਕਰੈ ਿਜਹ ਆਪੁ ਸੁਧਾਰਾ ॥੩੦॥
੩੦॥
Meaning - When Baala ran about in all four directions (it appeared as if she was)
like a garland of snakes. There was no such male in sight, who could make her his
own.
This is the ultimate aim of the creator of Sri Dasam Granth - to bestow women with
power, to raise them from pits of helplessness and sexual exploitation and establish
them at a level of power much higher than that of men. From this revolutionary
successful attempt of Sri Guruji, brave and powerful women like Mai Bhago, Bibi
Harsharan Kaur, women like those who lived in brutal conditions of the prisons of
Mir Mannu, those who kept their devotion unwavering for Guruji even while
having garlands of chopped babies around their necks, those who braved strenuous
labour in captivity chanting 'satnaam', were born in Gurughar out of the bright
flames of Chandi. By referring to women by names like Chandi, Bhagauti, Tulwar,
Teer, Guruji blessed them with form of Maha-Chandi. In Guruji's composition
"Sabudh Baach", protagonist 'Baala' has only one objective - to marry the lord of
universe - Waheguru Ji. There is absolutely no affect of sexual urges on her body,
mind and spirit. She has become like the soul whose only aim is to be one with The
Supreme-Purity. The following verse shows her eagerness to obtain the Lord:
Quote
ਿਫਰ ਿਜਯ ਮੈ ਇਹ ਭਾਿਤ ਿਬਚਾਰੀ ॥ ਬਰੌ ਜਗਤ ਕੇ ਪਿਤਿਹ ਸੁਧਾਰੀ ॥ ਤਾ ਤੇ ਕਰੌ ਦੀਨ ਹ+ੈ ਸੇਵਾ ॥ ਹੋਇ ਪਸੰਨ ਕਾਿਲਕਾ ਦੇਵਾ
॥੩੧॥
੩੧॥
Then she considered in her heart - I will marry the lord of this universe. Now how
do I serve her so that Kaalka Deva is pleased (with me)
This Kaalka Deva is not Mahakaal, but the creator of 'Kaal' - Akal Purakh Himself.
The story gets immensely deep and absorbing from here on. Akal Purakh said to
ਸ+ਾਸ ਬੀਰਜ'
Baala that you will be able to attain me when the demon 'ਸ+ ਬੀਰਜ (Swas Beeraj)
gets killed by you.
Quote
ਅਰਧ ਰਾਿਤ ਬੀਤਤ ਭੀ ਜਬ ਹੀ ॥ ਆਗJਾ ਭਈ ਨਾਥ ਕੀ ਤਬ ਹੀ ॥ ਸ+ਾਸ ਬੀਰਜ ਦਾਨਵ ਜਬ ਮਿਰ ਹੈ ॥ ਿਤਹ ਪਾਛੇ ਸੁੰ ਦਿਰ ਮੁਿਹ ਬੁਿਰ ਹੈ ॥੩੫॥
੩੫॥
Meaning -After midnight had passed, lord command - when demon Swas Beeraj
gets killed (by you), after that you will be able to marry me
The verse means that when lustful tendencies get destroyed from the breath (Swas)
of society (i.e when even minute dormant urges are eliminated), woman's only
motive would be to attain Akal Purakh. According to the story, Baala fought
ferociously and as a result many infamous demons got killed.
ਕਾਲਕਾ'
ਕਾਲਕਾ (Kaalka) in verse no. 52, i.e. woman has been
She has been given the name 'ਕਾਲਕਾ
depicted as competent Devi. At this stage, 'Kaal Purakh' manifests himself in front
of Baala, who bows in reverence and requests his help to eliminate demonic forces.
Kaal Purakh agrees and they both join hands together in destroying the demons. It
is worthy to note that in almost all episodes of Sri Granth Sahib Ji where Devi is
mentioned, the prime motive is to provide befitting veneration and infuse such self-
determination in woman so that she could even outperform men in the destroying
the evil, i.e. men and women could be of assistance to each other. Guruji is not in
favour of any sort of imbalance in society; he neither favours male-dominant nor
female-dominant social structure. He is staunch supporter of absolute equality and
fair justice to everyone. The plan to uproot sexist attitudes and gender
discrimination comes to fruition in 'Sabudh Baach'. If these stories appear to have
Puranic connotations, it is simply because during the time of Guruji's social
revolution, Puranas and their contents were deeply imbibed in society's psyche for
centuries. The only motive of Puranic references in Sri Dasam Granth Sahib Ji is to
infuse passion for Dharam Yudh in minds of people. In the story, when Shiv (the
Mahakaal of Shaakatpanthis) witnesses formidable alliance of Kaal and Baala
proving relentless in war, his throne starts to shake:
Quote
ਮਹਾਦੇਵ ਆਸਨ ਤੇ ਟਰਾ ॥ ਬਹਮਾ ਤਸਤ ਬੂਟ ਮਿਹ ਦੁਰਾ ॥ ਿਨਰਿਖ ਿਬਸਨ ਰਨ ਅਿਧਕ ਡਰਾਨਾ ॥ ਦੁਰਾ ਿਸੰ ਧ ਕੇ ਬੀਚ ਲਜਾਨਾ ॥੮੦॥
੮੦॥
Meaning -Mahadev (shiva) got scared and left his throne; Brahma got scared and
hid in his lotus; Vishnu also got petrified; (and) hid under the ocean.
The poet has also exemplified 'Kaal Purakh' in the following verses, as:
Quote
ਤੁਮ ਹੋ ਸਕਲ ਲੋ ਕ ਿਸਰਤਾਜਾ ॥ ਗਰਬਨ ਗੰ ਜ ਗਰੀਬ ਿਨਵਾਜਾ ॥ ਆਿਦ ਅਕਾਲ ਅਜੋਿਨ ਿਬਨਾ ਭੈ ॥ ਿਨਰਿਬਕਾਰ ਿਨਰਲੰਬ ਜਗਤ ਮੈ ॥੯੧॥
੯੧॥
ਿਨਰਿਬਕਾਰ ਿਨਰਜੁਰ ਅਿਬਨਾਸੀ ॥ ਪਰਮ ਜੋਗ ਕੇ ਤਤੁ ਪਕਾਸੀ ॥ ਿਨਰੰ ਕਾਰ ਨਵ ਿਨਤJ ਸੁਯੰਭਵ ॥ ਤਾਤ ਮਾਤ ਜਹ ਜਾਤ ਨ ਬੰ ਧਵ ॥੯੨॥
੯੨॥
ਸਤA ਿਬਹੰ ਡ ਸੁਿਰਿਦ ਸੁਖਦਾਇਕ ॥ ਚੰ ਡ ਮੁੰ ਡ ਦਾਨਵ ਕੇ ਘਾਇਕ ॥ ਸਿਤ ਸੰ ਿਧ ਸਿਤਤਾ ਿਨਵਾਸਾ ॥ ਭੂਤ ਭਿਵਖ ਭਵਾਨ ਿਨਰਾਸਾ ॥੯੩॥
੯੩॥
ਆਿਦ ਅਨੰਤ ਅਰੂਪ ਅਭੇਸਾ ॥ ਘਟ ਘਟ ਭੀਤਰ ਕੀਯਾ ਪਵਸ
ੇ ਾ ॥ ਅੰ ਤਰ ਬਸਤ ਿਨਰੰ ਤਰ ਰਹਈ ॥ ਸਨਕ ਸਨੰਦ ਸਨਾਤਨ ਕਹਈ ॥੯੪॥
੯੪॥
ਆਿਦ ਜੁਗਾਿਦ ਸਦਾ ਪਭੁ ਏਕੈ ॥ ਧਿਰ ਧਿਰ ਮੂਰਿਤ ਿਫਰਿਤ ਅਨPਕੈ ॥ ਸਭ ਜਗ ਕਹ ਇਹ ਿਬਿਧ ਭਰਮਾਯਾ ॥ ਆਪੇ ਏਕ ਅਨPਕ ਿਦਖਾਯਾ ॥੯੫॥
੯੫॥
ਘਟ ਘਟ ਮਿਹ ਸੋਇ ਪੁਰਖ ਬJਾਪਕ ॥ ਸਕਲ ਜੀਵ ਜੰ ਤਨ ਕੇ ਥਾਪਕ ॥ ਜਾ ਤੇ ਜੋਿਤ ਕਰਤ ਆਕਰਖਨ ॥ ਤਾ ਕਹ ਕਹਤ ਿਮਤਕ ਜਗ ਕੇ ਜਨ ॥੯੬॥
੯੬॥
ਤੁਮ ਜਗ ਕੇ ਕਾਰਨ ਕਰਤਾਰਾ ॥ ਘਿਟ ਘਿਟ ਕੀ ਮਿਤ ਜਾਨਨਹਾਰਾ ॥ ਿਨਰੰ ਕਾਰ ਿਨਰਵੈਰ ਿਨਰਾਲਮ ॥ ਸਭ ਹੀ ਕੇ ਮਨ ਕੀ ਤੁਿਹ ਮਾਲਮ ॥੯੭॥
੯੭॥
ਤੁਮ ਹੀ ਬਹਮਾ ਿਬਸਨ ਬਨਾਯੋ ॥ ਮਹਾ ਰੁਦ ਤੁਮ ਹੀ ਉਪਜਾਯੋ ॥ ਤੁਮ ਹੀ ਿਰਿਖ ਕਸਪਿਹ ਬਨਾਵਾ ॥ ਿਦਤ ਅਿਦਤ ਜਨ ਬੈਰ ਬਢਾਵਾ ॥੯੮॥
੯੮॥
ਜਗ ਕਾਰਨ ਕਰੁਨਾਿਨਿਧ ਸ+ਾਮੀ ॥ ਕਮਲ ਨGਨ ਅੰ ਤਰ ਕੇ ਜਾਮੀ ॥ ਦਯਾ ਿਸੰ ਧੁ ਦੀਨਨ ਕੇ ਦਯਾਲਾ ॥ ਹੂਜੈ ਿਕਪਾਿਨਧਾਨ ਿਕਪਾਲਾ ॥੯੯॥
੯੯॥
Like the theme of compositions like 'Krishnavtar', in Subudh Baach too, characters
like Khan, Mughals, Sayyed, and Sheikhs enter into battlefield to contend against
Kaal Purakh. From the fire of Demons khans are born; and Mughals are born out
of the fire from mouths of Pathans. Similarly, from the raging breath of Mughals,
angry Sayyeds and Sheikhs are born. The opposers of Sri Dasam Granth find these
descriptions meaningless while the fact is, these metaphorical statements exquisitely
portrays similarities between the monstrosities of Mughals in India and evil Demons
of Puranas. When Pathans invaded India, they burnt the Hindustanis with their
fuming rage; when Mughals invaded, they put entire sub-continent into despair and
turmoil. Similarly, Sayyeds and Sheikhs showered the locals with their extreme
anger and hatred. No one came to India to establish peace and prosperity amongst
the population. Just as demons like Nahar, Khan, Jharajhar Khan, Nihang Khan,
Bharangh Khan, Jharangh Khan, Bairam Khan, Bahadur Khan, etc. fight against
Mahakal, Mughals kept launching vitriolic attacks against religious beliefs of the
people of India.
In the story, Mahakal has been portrayed in contemporary context, which provides
clear hints that this Mahakal is certainly not Mahakal of Shaakats, because there
are absolutely no references to wars between Mughals and Mahakal in any earlier
historical or mythological episodes. This Mahakal is the One who has been
constantly battling against unholy and impious forces right from Satjug to Kaljug,
the present time of Guruji. Therefore, the Mahakal of Sri Dasam Granth Sahib Ji is
none other than the ever-omnipresent Akal Purakh Waheguru. In the story,
Mughals do not get scared when Mahakal first destroys Pathans. However, they flee
when He starts annihilating them too. Then, He wipes out the Sayyeds and next in
line are the Sheikhs. The word Sheikh refers to those sufis who had a definite, albeit
implicit, religious agenda of initiating massive wave of conversions in India. They
had totally different methodology of converting people than someone like
Aurangzeb, nevertheless motives were the same. Descriptions of Mahakal
destroying the very existence of all 'Turks' represents Sri Guruji's wish to eradicate
the process of conversions, because they were inhumane and downright ugly. The
opposers of Sri Dasam Granth Sahib Ji should never forget that someone who can
turn any war episode to fit contemporary issues most certainly cannot be a Pandit of
Puranas. He can only be a far-sighted leader whose aim is to break free the people
of india from shackles of contemporary problems. There is another important facet
to be kept in mind about Sabudh Baach - The protagonist Baala, who fought with
immense courage on the advent of Satjug does not appear anywhere in this present
episode for a long time. This, again, is a subtle hint that the present social order has
rendered the otherwise capable woman absolutely powerless. However, she
reappears in the form of Bhawani and joins Kaal Purakh again in war efforts once
all the 'Turk' Demons have been destroyed. (A clear inspiration delivered through
this event is, if women of today get up to fight against oppressors, they can also put
an end to evil regimes.) In the end, the following verses appear, which we read daily
in Chaupai Sahib:
Quote
ਪੁਿਨ ਰਾਛਸ ਕਾ ਕਾਟਾ ਸੀਸਾ ॥ ਸੀ ਅਿਸਕੇਤੁ ਜਗਤ ਕੇ ਈਸਾ ॥ ਪੁਹਪਨ ਿਬਸਿਟ ਗਗਨ ਤੇ ਭਈ ॥ ਸਭਿਹਨ ਆਿਨ ਬਧਾਈ ਦਈ ॥੩੭੫॥
੩੭੫॥
ਧੰ ਨJ ਧੰ ਨJ ਲੋ ਗਨ ਕੇ ਰਾਜਾ ॥ ਦੁਸਟਨ ਦਾਹ ਗਰੀਬ ਿਨਵਾਜਾ ॥ ਅਖਲ ਭਵਨ ਕੇ ਿਸਰਜਨਹਾਰੇ ॥ ਦਾਸ ਜਾਿਨ ਮੁਿਹ
ਿਹ ਲੇ ਹੁ ਉਬਾਰੇ ॥੩੭੬॥
੩੭੬॥
Summary of the Charitars
The stories in these Charitars are not sexually provocative; On the contrary, they
provide awareness of the social pain, criminal mentality, and exploitation of women
that result from intense lust. The wealthy and ruling factions of society have been
ridiculed by portraying the sorry state that emerges from their indulgence in lustful
actions. The capitalistic mentality in which the only aim of earning and storing
money has been shown to have adverse effect on the family network. Those who
wear religious attire and pretend to be great renuniciators have been shown to be
worse than a family man; they abandon their own houses and wish for others'
wealth and bodies. People who believe in black magic and Tantra shastra have been
portrayed rightly as sexually obsessed and of criminal tendencies. Incompatible
marriages (aged man marrying young woman, ugly person getting married to
beautiful, pleasant woman, a fool with clever woman, a poor man with
materialistically ambitious wife) have been shown to bring about devastating
consequences. The young widows who find it difficult to remarry have been shown
to stray away towards wrongdoings. Conversely, a man marrying multiple women
has been shown to develop bad character. And anyone who gives his secret to a
nymph has been shown to be completely ruined. The unholy and unbreakable
alliance of drugs and sex is told and most importantly, the male society has been
held squarely responsible for the birth of immoralities in women. It is almost
impossible to find any other such superb literary composition that has provided
eloquent and minute disquisition of the psychology of sexually obsessed people the
way these Charitars have.
Acknowledgements and further information
Dr Harbhajan Singh, Project Director Panjabi University, Patiala, Dr. Balbir Singh
Sahitya Kendra Panchabati, Dehradun. His book: Shri Dasam Granth Sahib: Karta
Sambamdhi Vivad Punara-Samikhya
Anandpuri bir and Charitropakhyan pictures courtesy of Gurinder Singh Mann,

Leicester, UK.
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Sri Dasam Granth.

Sri Charitropakhyan An Analysis of The Writings of Sri Guru Gobind Singh Ji

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Sri Charitropakhyan An Analysis of The Writings of Sri Guru Gobind Singh Ji

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Sri Charitropakhyan:

An analysis of the writings of

[Part 1]Charitropakhyan - Introduction and Analysis of Charitar No.1 - Chandi

Part 1Charitropakhyan - Introduction and Analysis of

This composition of Sri Dasam Granth - completed at Sri Anandpur Sahib in

This Bani begins in the following manner:

ੴ ਸੀ ਵਾਿਹਗੁਰੂ ਜੀ ਕੀ ਫਤਿਹ

CHARITAR NUMBER 1 – CHANDI CHARITAR

ਘ) – ਹੇ ਭਗੌਤੀ ! ਤੂਹੀ ਿਸਧੀ ਤਲਵਾਰ ਦੀ ਧਾਰ ਏ ਂ ਅਤੇ ਤੂਹੀ ਟੇਢੀ ਤਲਵਾਰ ਏ ਂ

ਿਸਵ ਸਕਿਤ ਆਿਪ ਉਪਾਇ ਕੈ ਕਰਤਾ ਆਪੇ ਹੁਕਮੁ ਵਰਤਾਏ ॥

ਹਾਠਾ ਦੋਵੈ ਕੀਤੀਓ ਿਸਵ ਸਕਿਤ ਵਰਤਾਈਆ ॥

ਆਿਦ ਅਪਾਰ ਅਲੇ ਖ ਅਨੰਤ ਅਕਾਲ ਅਭੇਖ ਅਲਖ ਅਨਾਸਾ ॥

ਖੰ ਡਾ ਿਪਥਮੈ ਸਾਜ ਕੈ ਿਜਨ ਸਭ ਸੈਸਾਰੁ ਉਪਾਇਆ ॥

Similar expressions can be seen in the beginning of Raas-Leela (dance and

In Charitropakhyan, majority of the charitars written in dialogues of ministers

ਭਾਨ ਸੇ ਤੇਜ ਭਯਾਨਕ ਭੂਤਜ ਭੂਧਰ ਸੇ ਿਜਨ ਕੇ ਤਨ ਭਾਰੇ ॥

This is how woman’s valiant (constructive) form is depicted in the parable of

Closing folio of Charitropakhyan Pothi

Although even the first part of Charitropakhyan (Chandi Charitar) is not

4. The mention of aloofness of Hanwant Singh is a portrayal of a child whose

ਹੋਤ ਤਰੁਨ ਕੇ ਤਰੁਿਨ ਬਿਸ ਿਬਰਧ ਤਰੁਿਨ ਬਿਸ ਹੋਇ ॥

ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰ ਘ)

ਘੁਰਕੀ - Ghurki), Mahanand is an old man,

ਰੀਿਤ ਨ ਜਾਨਤ ਪੀਤ ਕੀ ਪੈਸਨ ਕੀ ਪਰਤੀਤ ॥

ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰ ਘ)

ਤਬੈ ਰਾਇ ਿਗਹ ਆਇ ਸੁ ਪਣ ਐਸੇ ਿਕਯੋ ॥

ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰ ਘ)

ਰਾਇ ਤਬੈ ਿਚਤ ਭੀਤਰ ਿਕਯਾ ਿਬਚਾਰ ਹੈ ॥

ਰੀਿਤ ਨ ਜਾਨਤ ਪੀਤ ਕੀ ਪੈਸਨ ਕੀ ਪਰਤੀਤ ॥

ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰ ਘ)

ਤਬੈ ਰਾਇ ਿਗਹ ਆਇ ਸੁ ਪਣ ਐਸੇ ਿਕਯੋ ॥

ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰ ਘ)

ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰ ਘ)

ਰਾਇ ਤਬੈ ਿਚਤ ਭੀਤਰ ਿਕਯਾ ਿਬਚਾਰ ਹੈ ॥

ਤਬੈ ਰਾਇ ਿਗਹ ਆਇ ਸੁ ਪਣ ਐਸੇ ਿਕਯੋ ॥

ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰ ਘ)

ਕਾਮਾਤੁਰ ਹ+ੈ ਜੋ ਤਰੁਿਨ ਆਵਤ ਿਪਯ ਕੇ ਪਾਸ ॥

ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰ ਘ)

[Part III] - Analysis and Clarifications of Charitar 21-23 -

ਕਾਮਾਤੁਰ ਹ+ੈ ਜੋ ਿਤਯਾ ਆਵਤ ਨਰ ਕੇ ਪਾਸ ॥

ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰ ਘ)

ਪਾਇ ਪਰਤ ਮੋਰੋ ਸਦਾ ਪੂਜ ਕਹਤ ਹੈ ਮੋਿਹ ॥

ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰ ਘ)

ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰ ਘ)

ਪੰ ਚ ਤਤ ਲੈ ਬਹਮ ਕਰ ਕੀਨੀ ਨਰ ਕੀ ਦੇਹ ॥

ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰ ਘ)

ਪਥਮ ਛਿਤ ਕੇ ਧਾਮ ਿਦਯੋ ਿਬਿਧ ਜਨਮ ਹਮਾਰੋ ॥

ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰ ਘ)

ਸੁਿਧ ਜਬ ਤੇ ਹਮ ਧਰੀ ਬਚਨ ਗੁਰ ਦਏ ਹਮਾਰੇ ॥

ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰ ਘ)

ਪਰ ਨਾਰੀ ਕੇ ਭਜੇ ਸਹਸ ਬਾਸਵ ਭਗ ਪਾਏ ॥

ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰ ਘ)

ਪਰ ਨਾਰੀ ਸੌ ਨPਹੁ ਛੁਰੀ ਪੈਨੀ ਕਿਰ ਜਾਨਹੁ ॥

ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰ ਘ)

ਬਾਲ ਹਮਾਰੇ ਪਾਸ ਦੇਸ ਦੇਸਨ ਿਤਯ ਆਵਿਹ ॥

ਅਰਥ (ਿਗਆਨੀ ਨਰੈਣ ਿਸੰ ਘ)

Meaning – O disciple! Women from various states come to me; accepting me as